Manteau sonore (1964) er det mest berømte maleri af Robert Wolfe, som er i Musée national des beaux-arts du Québecs samling i Québec City. Les Dieux nordiques (1966) og Dishevelled Lectern (1966) er de næste to værker, som verden kender bedst. Udvalgt fra de 25 værker af Robert Wolfe i vores katalog er her de 24, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Robert Wolfe | Malerier fra denne liste |
|---|---|---|---|
 Musée national des beaux-arts du Québec |
Québec City | 23 | Manteau sonore, Les Dieux nordiques, Moïse |
 National Gallery of Canada |
Ottawa | 1 | Dishevelled Lectern |
Manteau sonore (1964), Musée national des beaux-arts du Québec, Québec City. Derefter følger Les Dieux nordiques (1966) og Dishevelled Lectern (1966).
29 år gammel: Manteau sonore er fra 1964, og Robert Wolfe blev født i 1935.
Manteau sonore, Les Dieux nordiques, Dishevelled Lectern, Moïse, Tiarella cordifolia, Ligularia, Maslaghan, Rusucurru, Jaune et blanc og Ennéades 3. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 25 værker af Robert Wolfe, dateret fra 1964 til 2003.
De fleste af dem findes i Musée national des beaux-arts du Québec (Québec City) og National Gallery of Canada (Ottawa). Tabellen ovenfor lister museerne enkeltvis.
I 1980s: 9 af de 24 værker på denne side stammer fra denne periode, herunder Moïse.
Det tidligste på denne side er Manteau sonore (1964), det seneste Sarab (2003).
Manteau sonore, Les Dieux nordiques og Moïse er blandt de 23 værker på denne side, som er i Musée national des beaux-arts du Québec, Québec City's samling.
Born in Montreal, Canada, in 1935, Robert Wolfe spent his years observing the world through a lens of stillness. His work does not shout; instead, it settles into a space, much like the objects he chose to paint. He worked with oils on masonite and acrylics on canvas, focusing on the way light and form occupy a room. There is a certain weight to his compositions, a sense of things being exactly where they belong, even when they appear slightly out of place.
His hands moved between different textures and surfaces, seeking to capture the essence of a subject without the need for grand gestures. In 1966, he produced Dishevelled Lectern, an oil on masonite piece that found its way into the National Gallery of Canada. It is a work that demands a slow look, much like the quiet corners of a library or a study.
The practice of his work reveals a steady commitment to the physical reality of his subjects. He dealt with the tangible, the everyday, and the structural. His output includes works that explore the relationship between space and object, often leaving the title to the viewer's own perception.
His approach to a canvas was methodical. Whether working with the thick application of oil or the more direct nature of acrylic, the focus remained on the subject at hand. He did not seek to transform the world, but to record it as it sat before him.
By the time of his death in 2003, Wolfe had left behind a body of work that remains part of the Canadian artistic landscape. His paintings, such as the large-scale Tombeau de Vincent, show a continued interest in the way light interacts with a surface. He remained a painter of the specific, finding meaning in the arrangement of a room or the tilt of a piece of furniture. His legacy is found in these quiet, composed moments captured on wood and cloth.
