John Faed (1819 - 1902), the eldest son of James and Mary Faed, was a Scottishpainter, as was his brother Thomas Faed. Faed primarily painted religious, literary and historical scenes, and was an active member of the community in his hometown, Gatehouse of Fleet, and helped to conceive and develop a number of community projects such as the clock tower and town hall. His paintings, popular in Victorian England, can be found in private and public collections, including the National Gallery of Scotland. The book John Faed RSA - The Gatehouse Years traces his life and the life of his family. 1819 was a common year starting on Friday (see link for calendar). ... 1902 was a common year starting on Wednesday (see link for calendar). ... Scotland (Alba in Scottish Gaelic) is a country in northwest Europe, occupying the northern third of the island of Great Britain. ... A painter is a person who paints woodwork, walls, etc. ... Thomas Faed (1826 - 1900) was a British painter born in Kirkcudbrightshire, was the brother of John Faed. ... Categories: United Kingdom-related stubs | Art museums and galleries in the UK | Edinburgh ...
John, the eldest of James and Mary's children was born in 1819 and showed early artistic promise, beginning to paint miniatures of the local dignitaries at the age of nine.
John became closely involved with the young Kirkcudbright artists, encouraging them in their work in the face of their critics.
JohnFaed also gave his support to those who set up the Kirkcudbright Fine Art Association, not only by acting as President of the Association but by encouraging other members of the family to show their best work at the Association's exhibitions.
By 1849 Faed had exhibited six paintings at the Royal Scottish Academy including 'Scott and his literary friends' and 'Friends at Abbotsfords' (engraved by James Faed) and was made an Associate of the Academy, with all of his paintings selling on the first day of the exhibition.
Faed's carefully composed and finely painted rural scenes of Scottish folk and daily life, appealed enormously to the Victorian public and whilst he played upon their emotions with his choice of subject matter, he never seemed to let things degenerate into pure sentimentalism.
Technically speaking, Thomas Faed was indeed an 'expert' and his handling of oil paint in Interior genre scenes, of figures, landscapes and still-life detail and his adept application to composition and colour rarely, if ever failed him.
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