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'When the steamer had slowly backed out, and John MacAlpine had thrown off the hawser [rope], we began to feel that our once powerful clan was now represented by a feeble old man and his granddaughter, who, together with some outlying kith-and-kin, myself among the number, owned not a single blade of grass in the glen that was once all our own.'
A masterpiece of genre painting on a relatively large scale, Faed combines an eye for detail with a fluent painterly manner. The high quality of the still life painting of objects strewn on the quayside – a ginger jar, a pheasant, pots and packing cases – and the costumes worn by the figures, are typical of Faed at his best and reveal a Pre-Raphaelite influence. These elements are set amidst a fine landscape with a breezy sky and distant choppy sea. All in all, Faed brings an epic quality to a subject which is charged with tragic emotion and powerful immediacy.
The Last of the Clan
oil on canvas
H 144.8 x W 182.9 cm
purchased with the assistance of the Heritage Fund for Scotland, the National Art Collections Fund, The Pilgrim Trust Glasgow Print Studio and public subscription, 1980