Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 67 verk av Thomas Faed i vår katalog
Kort fortalt
Av alle originalverkene Thomas Faed etterlot seg, er det mest kjente Worn Out. Like bak følger Faults on Both Sides (1861) og Highland Mary (1857). Vår katalog inneholder 67 verk av Thomas Faed; galleriet har bevart de 67 verkene som verden beundrer mest, hver vist med sin dato, sitt 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 motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Thomas Faed | Malerier fra denne listen |
|---|---|---|---|
 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 |
Velg et tiår for å se originalverket som 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. Deretter 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. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 67 verk av Thomas Faed, datert fra 1845 til 1889.
Hovedsakelig i Scottish National Gallery (Edinburgh), Guildhall Art Gallery (London) og Queen's University Belfast (Belfast). Museumslisten ovenfor viser alle.
I 1860s: 9 av de 67 verkene på denne siden ble laget da, Faults on Both Sides av dem.
På denne siden er det eldste The Gamekeeper's Cottage (1845) og det nyeste The Doctor's Visit (1889).
Woman (8), Domestic scene (6) og Scottish art (6), fordelt på 67 verk på denne siden.
Oil On Canvas, for 9 av de 67 verkene på denne siden.
Realism, basert på originalene på denne siden.
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 av verkene på denne siden.
Thomas Faed innehar en unik plass i den skotske kunsthistorien, og beskrives ofte med den dype ærbødigheten man ville vise Robert Burns’ innflytelse på skotsk sang. Faed ble født ved Barlay Mill i Kirkcudbrightshire og var en del av en bemerkelsesverdig familie av skapere; hans brødre James og John, sammen med søsteren Susan, delte alle denne dype kunstneriske kallelsen. Hans tidlige liv var rotfestet i det værbitte og vakre landskapet i Galloway, et miljø som utvilsomt preget varmen og hjemligheten man finner i hans mest kjære verk. Etter å ha fullført sin formelle kunstutdannelse ved designskolen i Edinburgh, la han ut på en reise som skulle føre ham fra hjertet av Skottland til de prestisjetunge atelierene i London.
Karrieren hans var preget av betydelige profesjonelle milepæler, inkludert valget som assosiert medlem av Royal Scottish Academy i 1849. Etter hvert som ryktet hans vokste, økte også hans innflytelse innen den britiske kunstscenen; han ble assosiert medlem av Royal Academy i 1861 og oppnådde til slutt status som akademiker i 1864. Denne utviklingen reflekterte ikke bare hans tekniske mesterskap, men også hans evne til å fange selve essensen av det viktorianske livet gjennom en linse av ømt realisme.
Faeds samlede verker feires for sin mestring av sjangermalerier og portretter, verk som ofte fungerer som vinduer inn i de intime, stille øyeblikkene i menneskelig eksistens. Han besatt en sjelden evne til å formidle komplekse følelser gjennom subtile detaljer—et nedslått blikk, den varsomme berøringen av hender, eller det myke gjenskinnet fra en peis. I hans mesterverk Forgiven, malt i 1874, presenterer han en hjertevarm scene av familiær tilknytning, hvor han bruker myke farger og uttrykksfulle ansiktsuttrykk for å fremkalle en følelse av seremoni og fred. Arbeidene hans inviterer ofte betrakteren til å tre inn i en intim verden, der et barns uskyld eller en mors medfølelse kan føles nesten håndgripelig.
Utover den hjemlige sfæren tillot Faeds tekniske ferdigheter ham å utforske mer kontemplative og til og med symbolske temaer. I Meg Merilees benyttet han olje på panel for å skape en lysende finish, og fanget en studie av menneskelig emosjon gjennom nitid penselføring og strategisk bruk av lys og skygge. Dette verket, i likhet med hans andre berømte verk som The Last of the Clan, demonstrerer hans kapasitet til å gi et enkelt portrett dyp alvor og åndelig streben. Enten han skildret det røffe høylandet eller stillheten i et interiør, forblir Faeds malerier evokative studier av menneskets tilstand.
Den historiske betydningen til Thomas Faed ligger i hans evne til å bygge bro mellom streng realisme og den emosjonelle historiefortellingen som kjennetegnet hans epoke. Hans verk er ikke bare representasjoner av motiver, men narrativer som taler til verdiene og estetikken i midten av det 19. århundre. Mange av hans viktigste verk har funnet sine permanente hjem i noen av verdens mest anerkjente institusjoner, noe som sikrer at hans visjon fortsetter å resonnere med generasjoner av kunstelskere:
Gjennom sin dedikasjon til å fange essensen av menneskelige relasjoner og skjønnheten i det skotske landskapet, etterlot Faed seg en arv av visuell historiefortelling som forblir like fengslende i dag som den var under hans levetid i London.
