Pamela Andrews (1741) je najpoznatije delo umetnika Robert Feke, koje se nalazi u muzeju Rhode Island School of Design Museum of Art u gradu Providens. Self Portrait (1743) i Anne Shippen Willing (Mrs. Charles Willing) (1746) su sledeća dva dela koja svet najbolje poznaje. Od 22 dela umetnika Robert Feke u našem katalogu, izdvajamo ovih 22 koja kolekcionari i posetioci muzeja najčešće posmatraju, uz navođenje godine, muzeja i priče o svakom od njih.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
Četiri teme koje se najčešće pojavljuju među ovim remek-delima, sa najboljim primerom za svaku od njih.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzeji | Grad | Radovi umetnika Robert Feke | Slike iz ovog spiska |
|---|---|---|---|
| Boston | 4 | Self Portrait, Mary Channing (Mrs. John Channing), John Channing | |
| Providens | 3 | Pamela Andrews, Portrait of Mrs. Tweedy, Portrait of Joseph Whipple Jr. | |
| Kembriđ | 3 | Susannah Speakman Inman (Mrs. Ralph Inman) (1727-1761), Benjamin Franklin (1706-1790), Ralph Inman (1713-1788) | |
| Washington | 2 | Captain Alexander Graydon, Simon Pease | |
| Salem | 1 | Judge Richard Saltonstall by Robert Feke | |
| Klivlend | 1 | Charles Apthorp | |
| Brooklyn | 1 | Portrait of a Woman | |
| Hjuston | 1 | Portrait of Mrs. Samuel McCall, Sr. (Anne McCall, 1720–1785) |
Oko deset godina, od 1741 do 1750, obuhvata sva datirana remek-dela umetnika Robert Feke: evo ih, godinu po godinu.
Pamela Andrews (1741), Rhode Island School of Design Museum of Art, Providens. Sledeći su Self Portrait (1743) i Anne Shippen Willing (Mrs. Charles Willing) (1746).
36 godina: Pamela Andrews datira iz 1741, a Robert Feke je rođen/a 1705.
Pamela Andrews, Self Portrait, Anne Shippen Willing (Mrs. Charles Willing), Judge Richard Saltonstall by Robert Feke, Portrait of Mrs. Tweedy, Portrait of Joseph Whipple Jr., Charles Apthorp, Portrait of a Woman, Portrait of Mrs. Samuel McCall, Sr. (Anne McCall, 1720–1785) i Portrait of Dr. Phineas Bond (1717-1773). Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 22 dela umetnika Robert Feke, datiranih od 1741 do 1750.
Većina njih se nalazi u Muzej finih umetnosti u Bostonu (Boston), Rhode Island School of Design Museum of Art (Providens) i Harvard Art Museums (Kembriđ). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1748: 8 od ukupno 22 dela na ovoj stranici datiraju iz tog vremena, od čega je Charles Apthorp.
Najstarije delo na ovoj stranici je iz Pamela Andrews (1741), a najnovije iz Judge Richard Saltonstall by Robert Feke (1750).
Self Portrait, Mary Channing (Mrs. John Channing) i John Channing su među 4 dela na ovoj stranici koja se nalaze u Muzej finih umetnosti u Bostonu, Boston.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
In the tapestry of early American art, few threads are as intriguing yet elusive as those woven by Robert Feke. A painter whose life remains shrouded in the mists of the eighteenth century, Feke emerged as a vital force in the colonial landscape, capturing the burgeoning identity of a new world through the faces of its rising aristocracy. Born around 1705 in Oyster Bay, New York, his early years are largely lost to history, leaving behind only fragments of a journey that would eventually lead him to the heart of Boston’s social elite. While much of his personal biography remains speculative, his artistic presence is undeniable; he was a man who translated the quiet dignity and material wealth of the American colonies into enduring visual legacies.
Feke’s arrival in Boston around 1741 marked a transformative moment for regional portraiture. Before his ascent, the colonial aesthetic often lacked a cohesive, sophisticated standard, but Feke brought with him a refined sensibility that bridged the gap between rugged frontier life and European elegance. His work was not merely about recording a likeness; it was an exercise in psychological realism and social positioning. By observing the subtle textures of silk, the luster of pearls, and the stern resolve in a merchant's gaze, Feke provided his patrons with more than just a portrait—he provided them with a sense of permanence and prestige.
The artistic DNA of Robert Feke was deeply shaped by the masters who traversed the Atlantic. Scholars often point to the profound influence of John Wollaston, a British painter whose arrival in the colonies introduced a more flamboyant, Rococo-inspired grace. From Wollaston, Feke learned to navigate the complexities of light and shadow, yet he chose to temper this exuberance with a uniquely restrained elegance. Where others might have leaned into excessive ornamentation, Feke favored meticulous observation and subtle tonal gradations, creating a style that felt both grounded and aristocratic.
This stylistic evolution is perhaps most evident in his ability to blend various European traditions into a distinctively American vernacular. He drew inspiration from the compositions of John Smibert, notably seen in his group portrait of the Isaac Royall family, which echoed the structured grandeur of earlier masters. Through this synthesis, Feke developed a technique that emphasized:
Though his active years were relatively brief—with his documented activities tapering off around 1751—the impact of Feke’s oeuvre was monumental. He worked across a significant geographic corridor, leaving his mark on the vibrant communities of Boston, Newport, and Philadelphia. His subjects were the architects of the colonial economy: shipping magnates, lawyers, and wealthy landowners who sought to immortalize their lineage. In doing so, Feke became a chronicler of an era, documenting the faces of a society on the precipice of profound historical change.
Today, the surviving works of Robert Feke—roughly sixty paintings in total—serve as precious windows into the eighteenth century. His ability to set a new standard for his contemporaries was recognized by art historians like Richard Saunders, who noted that Feke’s pictures established the benchmark by which the next generation of colonial artists would be judged. Whether through the commanding presence of Portrait of Ralph Inman or the delicate grace of his depictions of women, Feke remains a quiet master whose brushstrokes continue to resonate with the dignity of a lost age.