Manteau sonore (1964) é a pintura mais famosa de Robert Wolfe, guardada pelo Musée national des beaux-arts du Québec em Cidade de Québec. Les Dieux nordiques (1966) e Dishevelled Lectern (1966) são as próximas duas obras que o mundo melhor conhece. Dos 25 trabalhos de Robert Wolfe em nosso catálogo, aqui estão os 24 que colecionadores e visitantes de museus mais observam, com o ano, o museu e a história de cada um.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026.
Os 2 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Robert Wolfe | Pinturas desta lista |
|---|---|---|---|
 Musée national des beaux-arts du Québec |
Cidade de Québec | 23 | Manteau sonore, Les Dieux nordiques, Moïse |
 Galeria Nacional do Canadá |
Ottawa | 1 | Dishevelled Lectern |
Manteau sonore (1964), Musée national des beaux-arts du Québec, Cidade de Québec. Seguem-se Les Dieux nordiques (1966) e Dishevelled Lectern (1966).
29 anos: Manteau sonore data de 1964 e Robert Wolfe nasceu em 1935.
Manteau sonore, Les Dieux nordiques, Dishevelled Lectern, Moïse, Tiarella cordifolia, Ligularia, Maslaghan, Rusucurru, Jaune et blanc e Ennéades 3. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo lista 25 obras de Robert Wolfe, datadas de 1964 a 2003.
A maioria deles está em Musée national des beaux-arts du Québec (Cidade de Québec) e Galeria Nacional do Canadá (Ottawa). A tabela acima lista os museus um a um.
Em 1980s: 9 das 24 obras nesta página datam dessa época, entre elas Moïse.
A obra mais antiga nesta página é de Manteau sonore (1964), e a mais recente é de Sarab (2003).
Manteau sonore, Les Dieux nordiques e Moïse estão entre as 23 obras nesta página pertencentes ao Musée national des beaux-arts du Québec, Cidade de Québec.
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.
