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      Robert Feke, 1705 – 1750

      As 22 pinturas mais famosas de Robert Feke, classificadas

      A pintura mais amada de Robert Feke é Pamela Andrews (1741), que está exposta no Rhode Island School of Design Museum of Art, Providence. Self Portrait (1743) e Anne Shippen Willing (Mrs. Charles Willing) (1746) vêm a seguir entre as telas que os leitores mais conhecem. O nosso catálogo contém 22 obras de Robert Feke: aqui estão as 22 mais famosas, cada uma com o seu ano, o seu museu e o que a torna memorável.

      Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada pintura nesta página pode ser encomendada como uma reprodução a óleo pintada à mão sobre tela de linho, ou como uma impressão fine art, feita no tamanho que escolher.

      Retrato de Robert Feke
      Robert Feke · 1705 – 1750
      Nascimento · falecimento
      1705 – 1750, Oyster Bay
      Obras em nosso catálogo
      22
      As mais famosas
      Pamela Andrews (1741)
      Mais obras em
      Museu de Belas Artes de Boston

      As 10 principais pinturas de Robert Feke: as telas que todos conhecem

      Mais telas de Robert Feke, de 11 a 22

      O que Robert Feke mais pintou

      Os quatro temas que mais aparecem nestas telas, cada um com o seu exemplo mais amado.

      Onde as telas de Robert Feke estão expostas

      Os 8 museus que detêm a maioria das pinturas desta página.

      Museus Cidade Obras de Robert Feke Pinturas desta lista
      Museu de Belas Artes de Boston, BostonMuseu de Belas Artes de Boston Boston 4 Self Portrait, Mary Channing (Mrs. John Channing), John Channing
      Rhode Island School of Design Museum of Art, ProvidenceRhode Island School of Design Museum of Art Providence 3 Pamela Andrews, Portrait of Mrs. Tweedy, Portrait of Joseph Whipple Jr.
      Harvard Art Museums, CambridgeHarvard Art Museums Cambridge 3 Susannah Speakman Inman (Mrs. Ralph Inman) (1727-1761), Benjamin Franklin (1706-1790), Ralph Inman (1713-1788)
      National Gallery of Art, WashingtonNational Gallery of Art Washington 2 Captain Alexander Graydon, Simon Pease
      Peabody Essex Museum, SalemPeabody Essex Museum Salem 1 Judge Richard Saltonstall by Robert Feke
      Cleveland Museum of Art, ClevelandCleveland Museum of Art Cleveland 1 Charles Apthorp
      Brooklyn Museum, BrooklynBrooklyn Museum Brooklyn 1 Portrait of a Woman
      Museum of Fine Arts, HoustonMuseum of Fine Arts Houston 1 Portrait of Mrs. Samuel McCall, Sr. (Anne McCall, 1720–1785)

      As telas mais amadas de Robert Feke, ano a ano

      Cerca de dez anos de pintura, de 1741 a 1750, compõem as telas datadas de Robert Feke nesta página: percorra-as ano a ano.

      1. 1741
        Pamela Andrews (1741) de Robert Feke
        1 de 22

        Pamela Andrews

        Idade: 36 · Rhode Island School of Design Museum of Art
      2. 1743
        Self Portrait (1743) de Robert Feke
        Classificado em 2 de 22

        Self Portrait

        Idade: 38 · Museu de Belas Artes de Boston
      3. 1745
      4. 1746
      5. 1746
      6. 1746
      7. 1746
      8. 1746
      9. 1746
      10. 1746
      11. 1747
      12. 1748
        Charles Apthorp (1748) de Robert Feke
        Classificado em 7 de 22

        Charles Apthorp

        Idade: 43 · Cleveland Museum of Art
      13. 1748
      14. 1748
      15. 1748
        John Channing (1748) de Robert Feke
        Classificado em 12 de 22

        John Channing

        Idade: 43 · Museu de Belas Artes de Boston
      16. 1748
        Isaac Winslow (1748) de Robert Feke
        Tela 13 de 22

        Isaac Winslow

        Idade: 43 · Museu de Belas Artes de Boston
      17. 1748
      18. 1748
      19. 1748
      20. 1749
        Simon Pease (1749) de Robert Feke
        Tela 19 de 22

        Simon Pease

        Idade: 44 · National Gallery of Art
      21. 1750

      Sobre as telas de Robert Feke: suas perguntas respondidas

      Qual é a pintura mais conhecida de Robert Feke?Leia a resposta

      Pamela Andrews (1741), Rhode Island School of Design Museum of Art, Providence. Seguidos por Self Portrait (1743) e Anne Shippen Willing (Mrs. Charles Willing) (1746).

      Qual era a idade de Robert Feke quando Pamela Andrews foi pintada?Leia a resposta

      Robert Feke, nascido(a) em 1705, tinha 36 anos: Pamela Andrews data de 1741.

      Quais são as 10 pinturas mais famosas de Robert Feke?Leia a resposta

      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) e Portrait of Dr. Phineas Bond (1717-1773). Cada tela no ranking acima inclui o seu ano e o seu museu.

      Quantas obras Robert Feke pintou ao todo?Leia a resposta

      22 obras de Robert Feke estão em nosso catálogo, datadas de 1741 a 1750.

      Onde posso ver as telas mais famosas de Robert Feke?Leia a resposta

      Principalmente em Museu de Belas Artes de Boston (Boston), Rhode Island School of Design Museum of Art (Providence) e Harvard Art Museums (Cambridge); a lista acima indica cada museu e as suas telas.

      Quando é que Robert Feke pintou as suas telas mais amadas?Leia a resposta

      Em 1748, que compreende 8 das 22 obras desta página, Charles Apthorp entre elas.

      Quais são as primeiras e as últimas telas famosas de Robert Feke?Leia a resposta

      A tela mais antiga aqui é de Pamela Andrews (1741); a mais recente é de Judge Richard Saltonstall by Robert Feke (1750).

      Quais telas de Robert Feke estão expostas no Museu de Belas Artes de Boston?Leia a resposta

      O Museu de Belas Artes de Boston, Boston detém 4 das obras desta página, entre elas Self Portrait, Mary Channing (Mrs. John Channing) e John Channing.

      Posso comprar uma reprodução de uma tela de Robert Feke?Leia a resposta

      Sim. Todas as pinturas desta página podem ser encomendadas a partir de sua própria página como uma reprodução a óleo pintada à mão, ou como uma impressão fine art, no tamanho de sua escolha.

      Robert Feke: uma vida em pintura

      The Enigmatic Brush of a Colonial Master

      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.

      Influences and the Evolution of Style

      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:

      • Meticulous Detail: An almost scientific devotion to the textures of clothing and the fine details of lace and jewelry.
      • Tonal Sophistication: A mastery of soft transitions in skin tones that breathed life into his subjects.
      • Character Depth: Moving beyond mere vanity to capture the inner character and social standing of the colonial elite.

      A Legacy Carved in Canvas

      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.