Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 215 værker af Frederick Goodall i vores katalog
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Hunt the Slipper (1860) er det maleri af Frederick Goodall, der vækker mest opsigt; originalen findes på Sheffield City Art Galleries, Sheffield. Derefter falder blikket på The Holy Well (1843) og The Village Holiday (1847). Blandt de 215 værker af Frederick Goodall i vores katalog er disse 100 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
The painting Hunt the Slipper by Frederick Goodall captures a moment of communal movement. Created in 1860, this work presents a landscape format that stretches the viewer's gaze across a rural scene. It is an oil on panel, a medium that holds the light of a mid-nineteenth-century afternoon within its grain.
The Holy Well is an oil painting by the English painter Frederick Goodall. Created about 1843, this work depicts a group of figures gathered around a stone well situated within a wooded, rustic setting. The scene includes a stone cross and the remains of an archway in the background, establishing a setting defined by religious and historical elements.
The Village Holiday by Frederick Goodall captures a lively moment of communal celebration. This 1847 oil painting presents a genre scene where the rhythms of rural life take center stage. Within the frame, traditional festivities unfold in an English village, looking back to a time of simple, shared joy. The atmosphere feels thick with the energy of a community gathered together, momentarily stepping away from the toil of daily existence…
In Market People of Brittany in a Boat, Frederick Goodall centers the composition around a wooden boat that occupies most of the frame's central area. This vessel is filled with various people and goods. To the left of the boat, a shoreline featuring reeds and vegetation is visible. On the right side, a distant bank or coastline is suggested, providing a sense of scale to the water. The horizon line…
A Halt at a Brittany Well is an oil on canvas by Frederick Goodall. Painted about 1844, the work captures a quiet moment of rest in the rural landscape of Brittany, France. The scene focuses on a man, a woman, and a child pausing by an old stone well, accompanied by a horse and cart. It is a study of stillness amidst the daily rhythms of provincial life.
Mother and Children is an oil on panel work by the English artist Frederick Goodall. Executed in 1851, the painting belongs to a period in the artist's career preceding his extensive travels to Egypt. Goodall, who lived from 1822 to 1904, established himself within the London art establishment through numerous exhibitions at the Royal Academy.
An Episode in the Happier Days of Charles I is an oil on canvas history painting by the British artist Frederick Goodall. Executed in 1853, the work represents a significant contribution to the mid-Victorian interest in historical narrative and royal portraiture. The piece reflects the technical precision Goodall developed through his early training and his subsequent reputation for large-scale figure subjects.
The Heath Cart by Frederick Goodall, created about 1850, centers its composition on a wooden cart and its occupants. A donkey pulls the vehicle across a rugged, uneven landscape, establishing a focal point amidst the surrounding terrain. The figures within the cart are positioned to suggest family unity and the shared nature of their labor. This arrangement emphasizes the human element within a vast, pastoral setting.
A mother sits upon a patterned rug, her body curved around the small, pale weight of her infant. The scene is set within a room that breathes the air of the Middle East or North Africa, a space defined by soft shadows and the stillness of a private moment. Light spills from an unseen source to the left, catching the smooth curve of a baby's cheek and the gentle slope…
In High Society Couple, Frederick Goodall presents a quiet, composed scene from the height of Victorian social life. Painted about 1861, the work captures a man and woman positioned within an arched doorway, their presence framed by the architecture of a refined urban setting. They are accompanied by servants, a detail that subtly acknowledges the social hierarchies and domestic structures of the era. A small dog sits at the bottom…
Rachel1867 · National Gallery of Victoria
12
the marriage procession1870
13
A Helping Hand, Cairo1870
14
Interior of a Coffee Shop, Cairo1870
15
The Marriage Procession1870 · Touchstones Rochdale Arts And Heritage Centre
16
Getting in the Sugar Cane, River Nile1875 · Grundy Art Gallery
17
Mother and Child1875 · Petit Palais
18
The Flight into Egypt1884 · Te Whare O Rehua Sarjeant Gallery
19
Memphis1882
20
Egyptian Woman and Child1879 · Russell
21
Leading the Flock1889
22
Davids Promise to Bathsheba
23
Egyptian nomad
24
Early Morning in the Wilderness of Shur
25
La Porte du Desert
26
Puritan and Cavalier1886 · Walker Art Gallery
27
Old and Young Come Forth To Play1847
28
Leaving a Church, Brittany1840 · Wolverhampton Art Gallery
29
Gypsy Encampment1848 · Towner Gallery
30
Entering a Church, Britanny1840 · Wolverhampton Art Gallery
31
Ruins of Egypt1849
32
the swing1853
33
tired gleaners1855
34
William Edward Dighton (1822–1853) in Middle Eastern Dress1852 · Metropolitan Museum of Art
35
William Edward Dighton (1822 1853) in Middle Eastern Dress1852
36
A Letter from Papa1855
37
summer song1863
38
arab boy resting1858
39
Portrait of a Middle Eastern Girl1859
40
Felice Ballarin Reciting Tasso to the People of Chioggia1858 · Sheffield City Art Galleries
41
Highland Jessie (also known as The Campbells are Coming)1858
42
The Drinking Trough A Scene in Brittany1857
43
The Rising of the Nile1865
44
rebekah
45
Widow of Nain1874
46
the water bearers1878
47
The Distaff Worker1878 · Nottingham Castle Museum And Art Gallery
48
A New Light in the Harem - Oil on Canvas -1885
49
A View of Eton from Windsor Castle1889 · Royal Collection
50
the young arab outpost - oil on canvas -1889
51
Puritan and Cavalier1886
52
portrait1891
53
Horatio Herbert Kitchener, 1st Earl Kitchener of Khartoum1890 · National Portrait Gallery
54
Spinners and weavers1894
55
Rica his daughter1894
56
The Ploughman and the Shepherdess Time of the Evening Prayer1897
57
Female Riding Camel1893
58
Landscape Near Folkestone, Kent1900
59
Rachel
60
fruit woman
61
Thomas Cranmer At The Traitor's Gate
62
The homely meal
63
the flight into egypt
64
A woman of Cairo
65
untitled
66
a fairy scene
67
flower girls
68
jessies dream
69
miranda frederick goodall
70
an arabian dealerPetit Palais
71
a letter from papa
72
the irish piper
73
sheik distributing alms
74
the grand bazaar
75
A Dream of Paradise
76
an eygptian flower girl
77
Figures and Goats by an Oasis
78
The Song of the Nubian Slave
79
Musicians
80
Bazaar scene
81
Leaving the Village
82
Market Day
83
Femme à la cruche
84
The Light of the Rising Sun upon the Pyramids of Ghizeh
85
Irish Cabin Interior
86
Maternal Affection
87
The Irish Piper
88
The children of Charles I illustration from Hutchinsons Story of the British Nation1923
89
An Arab home1893 · Art Gallery of New South Wales
90
Trespassers
91
travellers in the desert
92
Arab travellers at sunset a town beyond
93
Scen at a well
94
Arabs in the Desert
95
driving ducks
96
At the well
97
an eastern shepherdess
98
Overflow of the Nile
99
By the Nile
100
the pipe smoker
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Frederick Goodall | Malerier fra denne liste |
|---|---|---|---|
 Sheffield City Art Galleries |
Sheffield | 3 | Hunt the Slipper, The First Born, Felice Ballarin Reciting Tasso to the People of Chioggia |
 Petit Palais |
Paris | 2 | Mother and Child, an arabian dealer |
 Wolverhampton Art Gallery |
Wolverhampton | 2 | Leaving a Church, Brittany, Entering a Church, Britanny |
 National Gallery of Ireland |
Dublin | 1 | The Holy Well |
 Fitzwilliam Museum |
1 | The Heath Cart | |
 National Gallery of Victoria |
Melbourne | 1 | Rachel |
 Touchstones Rochdale Arts And Heritage Centre |
Rochdale | 1 | The Marriage Procession |
 Grundy Art Gallery |
Blackpool | 1 | Getting in the Sugar Cane, River Nile |
Vælg et årti for at se det originale værk, der definerer det.
The Holy Well is an oil painting by the English painter Frederick Goodall. Created about 1843, this work depicts a group of figures gathered around a stone well situated within a wooded, rustic setting. The scene includes a stone cross and the remains of an archway in the background, establishing a setting defined by religious and historical elements.
Mother and Children is an oil on panel work by the English artist Frederick Goodall. Executed in 1851, the painting belongs to a period in the artist's career preceding his extensive travels to Egypt. Goodall, who lived from 1822 to 1904, established himself within the London art establishment through numerous exhibitions at the Royal Academy.
The painting Hunt the Slipper by Frederick Goodall captures a moment of communal movement. Created in 1860, this work presents a landscape format that stretches the viewer's gaze across a rural scene. It is an oil on panel, a medium that holds the light of a mid-nineteenth-century afternoon within its grain.
In the marriage procession, Frederick Goodall presents a scene of Middle Eastern travelers and a camel caravan. The composition is vertically oriented, directing the viewer's gaze upward from the foreground figures toward distant buildings and palm trees. A group of men occupies the center, riding atop a richly decorated camel. Among them, one man prominently carries drums while another plays a pipe, establishing a sense of movement and ritual. Several…
In this work, titled The Flight into Egypt, Frederick Goodall presents a quiet moment of biblical history. Painted about 1884, the scene captures a period of profound transition. The subject matter focuses on the necessity of movement, touching upon themes of migration, refuge, and endurance as the figures navigate a landscape of uncertainty.
Hunt the Slipper (1860), Sheffield City Art Galleries, Sheffield. Derefter følger The Holy Well (1843) og The Village Holiday (1847).
38 år gammel: Hunt the Slipper er fra 1860, og Frederick Goodall blev født i 1822.
Hunt the Slipper, The Holy Well, The Village Holiday, Market People of Brittany in a Boat, A Halt at a Brittany Well, Mother and Children, The Happier Days of Charles I, The Heath Cart, The First Born og High Society Couple. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 215 værker af Frederick Goodall, dateret fra 1840 til 1900.
Primært i Sheffield City Art Galleries (Sheffield), Petit Palais (Paris) og Wolverhampton Art Gallery (Wolverhampton). Museumslisten ovenfor viser dem alle.
I 1850s: 13 af de 100 værker på denne side blev skabt dengang, herunder Mother and Children.
På denne side er det tidligste Leaving a Church, Brittany (1840) og det seneste Landscape Near Folkestone, Kent (1900).
Landscape (8), Woman (8) og Victorian art (8), fordelt på de 100 værker på denne side.
Oil On Canvas, for 16 af de 100 værker på denne side.
Hunt the Slipper, The First Born og Felice Ballarin Reciting Tasso to the People of Chioggia: Sheffield City Art Galleries, Sheffield har 3 af værkerne på denne side.
London, 1822. Frederick Goodall træder ind i en verden af præcise linjer og teknisk håndværk som den anden søn af Edward Goodall, en stålindgraver. Denne familiære forbindelse til graveringens mekanik giver ham en grundlæggende forståelse for detaljen. Han modtager sin formelle uddannelse på Wellington Road Academy, en studietid, der forbereder ham på de krav, som professionel repræsentation stiller.
Overgangen fra studerende til professionel sker med en forbløffende hastighed. Som blot sekstenårig sikrer Goodall sig en betydelig opgave fra Isambard Brunel. Opdraget går ud på at dokumentere konstruktionen af Rotherhithe-tunnelen gennem seks akvarelmalerier. Disse værker gør mere end blot at registrere ingeniørkunst; de placerer hans spirende talent på en offentlig scene. Fire af disse akvareller finder vej til Royal Academy, hvilket markerer hans første store møde med den institution, der skulle komme til at definere hans karriere.
Frederick Goodalls karriere tog sin begyndelse med en opsigtsvækkende tidlig succes, der vidnede om et ekstraordinært talent. Som blot sekstenårig skabte han seks akvarelmalerier, der dokumenterede konstruktionen af Isambard Kingdom Brunels Thames Tunnel – værker, som i 1838 fandt deres vej til Royal Academy. Denne tidlige fremdrift fortsatte ind i hans oliemalerier, hvor hans første værk i dette medie blev belønnet med en sølvmedalje fra Society of Arts. Han etablerede hurtigt en fast position i Londons kunstneriske etablissement og udstillede på Royal Academy hele 27 gange i perioden mellem 1838 og 1859.
Den institutionelle anerkendelse fulgte i kølvandet på hans voksende ry. I 1852 blev han valgt som Associate of the Royal Academy (ARA), en opstigning der fortsatte, indtil han i 1863 opnåede status som fuldgyldigt Royal Academician (RA). Hans indflydelse i Akademiet forblev stabil gennem årtier; over en periode på 46 år udstillede han i alt 170 malerier på institutionen. Hans kunstneriske produktion fokuserede ofte på storslåede figurkompositioner, der spændte fra dybe historiske fortællinger til levende, samtidige scener fra det egyptiske liv.
Det egyptiske tema dominerer gennemgribende Goodalls samlede værk. Under hans første besøg i 1858 delte han hus og atelier i Cairo med kunstneren Carl Haag. Sammen udforskede de byens gader og dens udkanter med skitseblokken i hånden. Denne periode markerer et afgørende skift mod den etnografiske detaljerigdom, som skulle komme til at definere hans karriere. Han nøjedes ikke blot med at observere på afstand; han slog lejr sammen med beduinstammer for at indfange de autentiske teksturer og nuancer i deres dagligdag.
I 1870 vendte han tilbage til Egypten, og på denne anden rejse bosatte han sig ved Saqqara, tæt ved pyramiderne. Hans utrættelige stræben efter præcision var så stor, at han tog både får og geder med tilbage til England, blot for at sikre, at han kunne gengive dyrene helt korrekt i sine malerier. Han søgte efter ørkenens helt særlige lys og bevægelse, og han bevægede sig langt væk fra ungdommens velkendte landskaber for at dokumentere en kultur, som han betragtede med et intenst og analytisk blik.
I 1846 indtrådte Goodall i et ægteskab, der knyttede ham tæt til graveringens tekniske traditioner. Han blev gift med Anne Thomson, datter af den dygtige graver James Thomson. Sammen skabte de et hjem, der udviklede sig til et betydningsfuldt knudepunkt for kunstnerisk talent. Deres fem børn voksede op i et miljø, der var præget af visuelle studier og kunstnerisk fordybelse; blandt dem var Frederick Trevelyan og Howard Goodall, som begge fulgte i faderens fodspor og skabte deres egne karrierer som kunstnere.
Denne stabile familiære tilværelse gennemgik dog en markant forandring i 1869, da Anne gik bort. Efter en periode med sorg fulgte et andet ægteskab i 1872. Hans nye hustru, Alice May Tarry, var selv kunstner, og dette partnerskab fortsatte det mønster, hvor det private familieliv var uløseligt vævet sammen med malerkunsten og de professionelle kunstneriske cirkler.
Højdepunktet i Frederick Goodalls sociale status blev markeret af opførelsen af Grims Dyke i Harrow Weald. Huset, der blev opført mellem 1870 og 1872, blev et centralt samlingspunkt for hans sociale kreds og husede prominente gæster, herunder prinsen af Wales. Denne periode repræsenterer toppen af hans personlige og professionelle stabilitet – en tid præget af velstand, som står i skarp kontrast til de økonomiske omvæltninger, der skulle følge.
De senere år bragte dog et markant forfald med sig. Omkring 1902 stod kunstneren over for den barske virkelighed i form af konkurs. Den velstand, der engang havde defineret hans karriere, forsvandt og efterlod en arv præget af både betydelige kunstneriske bedrifter og pludselig økonomisk nød. Han gik bort den 29. juli 1904, og hans sidste hvile er fundet i familiens gravkammer på den vestlige side af Highgate Cemetery.
