Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 67 værker af Thomas Faed i vores katalog
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Af alle de originale værker, som Thomas Faed efterlod, er det mest berømte Worn Out. Lige efter følger Faults on Both Sides (1861) og Highland Mary (1857). Vores katalog indeholder 67 værker af Thomas Faed; galleriet har bevaret de 67 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
In 1868, Thomas Faed presented Worn Out at the Royal Academy. The oil on canvas captures a quiet, heavy moment within a Highland interior. It depicts a working man who has spent a restless night watching over his small boy. Now, as the grey light of dawn touches the room, both father and child have finally succumbed to sleep.
The air in the room feels heavy with the weight of unspoken words. A man and a woman sit close together, their presence anchoring the space. He holds a stick or cane, a silent companion to his posture, while she rests beside him. They are caught in a moment of shared existence, perhaps a conversation that has drifted into a comfortable silence or a shared glance that says more than…
is an oil on canvas work by the Scottish artist Thomas Faed. Executed in 1857, the portrait captures a woman dressed in a pink dress. The subject is positioned amidst a rugged landscape, her attire and presence anchoring the composition within a specific social and natural context.
In this 1889 oil painting, a domestic interior becomes a stage for a quiet, private drama. A woman lies in her bed, her presence defined by the stillness of her repose. Beside her, a man stands in a posture of attentive concern, while two other figures occupy the periphery of the room, their presence adding to the gravity of the scene. The composition is anchored by the mundane objects of…
The large-scale historical group portrait titled Sir Walter Scott and his friends at Abbotsford captures a specific gathering of distinguished men. Painted by Thomas Faed, the work places Sir Walter Scott and his contemporaries within a shared moment of social engagement. The scene is set around a dining table, where the figures are gathered in a dense, centralized arrangement.
In this 1850 oil portrait, we find ourselves in a moment of profound stillness. A young boy is positioned slightly off-center, his presence defined by a soft, direct gaze that establishes an immediate connection with the viewer. Beside him, a hound rests, their companionship forming the emotional core of the composition. The lighting, appearing to descend from the upper left, brushes against the boy's rosy cheeks and illuminates the side…
The wind carries the scent of salt and damp earth across a vast, turbulent landscape. A solitary woman moves through the field, her figure centered against a sky that churns with heavy, bruised clouds. She is a quiet presence in a world of movement, her hands steady as she works the harvested grain. The golden hues of the wheat stalks catch a filtered, dramatic light, creating a sharp contrast against…
A solitary female figure stands alone against a rugged, cliffside backdrop in A Seaside Toilet. This oil painting by Thomas Faed captures a quiet, mundane moment as the woman pauses to adjust her clothing by the sea. The scene unfolds in a coastal setting, where the salt air and the movement of the wind seem to linger around her. She exists in a private interval, caught in a simple act…
In this intimate oil on canvas, titled Forgiven, the Scottish artist Thomas Faed explores the quietude of domestic life. Created in 1874, the work offers a glimpse into the sentimental realism that defined much of Faed's career. The piece is modest in scale, measuring 36 x 48 cm, which encourages a close, personal encounter with the figures depicted.
In this 1860 oil on canvas, we find ourselves drawn into a private, domestic moment that feels almost overheard. The scene is set within a room bathed in soft light, where a woman sits while a man stands beside her. They are caught in a moment of quiet connection, perhaps sharing a thought or a passage from the books resting upon the dining table. A single potted plant introduces a…
Listeners Ne'er Hear Any Good Of Themselves
12
The First Break In The Family
13
Scottish Settlers In North America
14
Pot Luck
15
The Last of the Clan1865
16
The Gamekeeper's Cottage1845
17
Four Saints Saint George, Saint Catherine, Saint Margaret and Saint Andrew1848 · Scottish National Gallery
18
Life Study of John Mongo, The Punka Walla1847 · Scottish National Gallery
19
Molly's Toilet1855 · Grundy Art Gallery
20
The Fishergirl1859
21
The Listener Ne'er Hears Gude o' Himsel1858
22
Highland Lassie1871 · Touchstones Rochdale Arts And Heritage Centre
23
Jessie, the Flower of Dunblane1867
24
Milkmaid1869
25
Free from Care1878
26
In Time of War1876
27
Sunday In The Backwoods Of Canada
28
The Home Of The Faeds
29
The Flower of Dunblane
30
Seeing them off
31
Meg Merilees1861 · Gracefield Arts Center
32
A Highland Gypsy1870 · Guildhall Art Gallery
33
Ere Care Begins1865
34
Home and the Homeless1856 · Scottish National Gallery
35
A Lowland Lassie1873
36
From Hand To Mouth
37
Highland lassie
38
The shooting match
39
Too Young To Be Married
40
Good News
41
Forgiven
42
Maternal joy
43
Lucy's Flittin
44
The Pedlar
45
Hard Times
46
Study For Head Of A Woman
47
Sunday In The BackwoodsMontreal Museum of Fine Arts
48
A highland gypsy
49
Self Portrait Of The Artist
50
Home and the Homeless
51
The Ray Of Sunlight
52
Taking rest
53
Sir Walter Scott And His Literary Friends
54
Lady Writing a Letter
55
The soldier's return
56
The End Of A Happy Day
57
The Pet Lamb
58
A Highland TrystBroughton House - Garden
59
The Silken Gown
60
Maternal JoyStirling Smith Art Gallery And Museum
61
EvangelineManchester Art Gallery
62
The Mitherless Bairn
63
Interior with Figures
64
A Flower from Paddy's Land
65
A Game of DraughtsSheffield City Art Galleries
66
God's AcreThe New Art Gallery
67
The Freedom of the Press
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 Thomas Faed | Malerier fra denne liste |
|---|---|---|---|
 Scottish National Gallery |
Edinburgh | 3 | Four Saints Saint George, Saint Catherine, Saint Margaret and Saint Andrew, Life Study of John Mongo, The Punka Walla, Home and the Homeless |
 Guildhall Art Gallery |
London | 2 | Forgiven, A Highland Gypsy |
 Queen's University Belfast |
Belfast | 1 | The Doctor's Visit |
 Scottish National Portrait Gallery |
Edinburgh | 1 | Sir Walter Scott and his friends at Abbotsford |
 The Hunterian Museum and Art Gallery |
Glasgow | 1 | Boy with a Hound |
 Grundy Art Gallery |
Blackpool | 1 | Molly's Toilet |
 Touchstones Rochdale Arts And Heritage Centre |
Rochdale | 1 | Highland Lassie |
 Gracefield Arts Center |
Dumfries | 1 | Meg Merilees |
Vælg et årti for at se det originale værk, der definerer det.
The large-scale historical group portrait titled Sir Walter Scott and his friends at Abbotsford captures a specific gathering of distinguished men. Painted by Thomas Faed, the work places Sir Walter Scott and his contemporaries within a shared moment of social engagement. The scene is set around a dining table, where the figures are gathered in a dense, centralized arrangement.
is an oil on canvas work by the Scottish artist Thomas Faed. Executed in 1857, the portrait captures a woman dressed in a pink dress. The subject is positioned amidst a rugged landscape, her attire and presence anchoring the composition within a specific social and natural context.
The air in the room feels heavy with the weight of unspoken words. A man and a woman sit close together, their presence anchoring the space. He holds a stick or cane, a silent companion to his posture, while she rests beside him. They are caught in a moment of shared existence, perhaps a conversation that has drifted into a comfortable silence or a shared glance that says more than…
In this intimate oil on canvas, titled Forgiven, the Scottish artist Thomas Faed explores the quietude of domestic life. Created in 1874, the work offers a glimpse into the sentimental realism that defined much of Faed's career. The piece is modest in scale, measuring 36 x 48 cm, which encourages a close, personal encounter with the figures depicted.
In this 1889 oil painting, a domestic interior becomes a stage for a quiet, private drama. A woman lies in her bed, her presence defined by the stillness of her repose. Beside her, a man stands in a posture of attentive concern, while two other figures occupy the periphery of the room, their presence adding to the gravity of the scene. The composition is anchored by the mundane objects of…
Worn Out. Derefter følger Faults on Both Sides (1861) og Highland Mary (1857).
Worn Out, Faults on Both Sides, Highland Mary, The Doctor's Visit, Sir Walter Scott and his friends at Abbotsford, Boy with a Hound, The Reaper, A Seaside Toilet, Forgiven og His Only Pair. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 67 værker af Thomas Faed, dateret fra 1845 til 1889.
Primært i Scottish National Gallery (Edinburgh), Guildhall Art Gallery (London) og Queen's University Belfast (Belfast). Museumslisten ovenfor viser dem alle.
I 1860s: 9 af de 67 værker på denne side blev skabt dengang, herunder Faults on Both Sides.
På denne side er det tidligste The Gamekeeper's Cottage (1845) og det seneste The Doctor's Visit (1889).
Woman (8), Domestic scene (6) og Scottish art (6), fordelt på de 67 værker på denne side.
Oil On Canvas, for 9 af de 67 værker på denne side.
Realism, baseret på originalerne på denne side.
Four Saints Saint George, Saint Catherine, Saint Margaret and Saint Andrew, Life Study of John Mongo, The Punka Walla og Home and the Homeless: Scottish National Gallery, Edinburgh har 3 af værkerne på denne side.
Thomas Faed indtager en helt særlig plads i den skotske kunsthistorie, ofte beskrevet med den dybe ærbødighed, man kunne vise Robert Burns' betydning for den skotske sang. Faed blev født i Kirkcudbrightshire ved Barlay Mill og var en del af en bemærkelsesværdig familie af skabere; hans brødre James og John samt hans søster Susan delte alle denne dybe kunstneriske kaldelse. Hans tidlige liv var forankret i det barske og smukke landskab i Galloway, et miljø der uden tvivl prægede den varme og hjemlighed, man finder i hans mest elskede værker. Efter at have modtaget sin formelle kunstneriske uddannelse ved designskolen i Edinburgh, påbegyndte han en rejse, der førte ham fra hjertet af Skotland til de prestigefyldte atelierer i London.
Hans karriere var præget af betydelige professionelle milepæle, herunder hans valg som associeret medlem af Royal Scottish Academy i 1849. I takt med at hans ry voksede, steg hans indflydelse også inden for den britiske kunstscene; han blev associeret medlem af Royal Academy i 1861 og opnåede til sidst status som akademiker i 1864. Denne udvikling afspejlede ikke blot hans tekniske mesterskab, men også hans evne til at indfange selve essensen af det victorianske liv gennem en linse af øm realisme.
Faeds værk fejres for sin beherskelse af genrebilleder og portrætter, værker der ofte fungerer som vinduer ind til de intime, stille øjeblikke i den menneskelige eksistens. Han besad en sjælden evne til at formidle komplekse følelser gennem subtile detaljer—et nedslået blik, en varsom berøring af hænder eller det bløde skær fra en pejs. I sit mesterværk Forgiven, skabt i 1874, præsenterer han en hjertevarm scene af familiært bånd, hvor han bruger bløde farver og ekspressive ansigtsudtryk til at fremkalde en følelse af sindsro og fred. Hans arbejde inviterer ofte beskueren til at træde ind i en intim verden, hvor et barns uskyld eller en moders medfølelse kan mærkes næsten fysisk.
Udover den hjemlige sfære tillod Faeds tekniske dygtighed ham at udforske mere kontemplative og endda symbolske temaer. I Meg Merilees benyttede han olie på panel til at skabe en lysende finish, hvilket indfangede en undersøgelse af menneskelige følelser gennem minutiøse penselstrøg og den strategiske brug af lys og skygge. Dette værk demonstrerer, ligesom hans andre berømte værker såsom The Last of the Clan, hans evne til at besjæle et enkelt portræt med dybde og åndelige ambitioner. Uanset om han skildrede det barske højland eller stilheden i et indendørs rum, forbliver Faeds malerier stemningsfulde studier af den menneskelige tilstand.
Den historiske betydning af Thomas Faed ligger i hans evne til at bygge bro mellem streng realisme og den følelsesladede historiefortælling, der kendetegnede hans æra. Hans værker er ikke blot repræsentationer af motiver, men fortællinger, der taler til værdierne og æstetikken i midten af det 19. århundrede. Mange af hans vigtigste værker har fundet permanent hjem i nogle af verdens mest ansete institutioner, hvilket sikrer, at hans vision fortsat genlyder hos generationer af kunstelskere:
Gennem sin dedikation til at indfange essensen af menneskelige relationer og skønheden i det skotske landskab, efterlod Faed en arv af visuel historiefortælling, der forbliver lige så fængslende i dag, som den var under hans levetid i London.
