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ford madox brown - eTheses Repository - University of Birmingham

ford madox brown - eTheses Repository - University of Birmingham

ford madox brown - eTheses Repository - University of

FORD MADOX BROWN: WORKS ON PAPER AND ARCHIVE MATERIAL AT BIRMINGHAM MUSEUMS AND ART GALLERY VOLUME ONE: TEXT by LAURA MacCULLOCH A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham September 2009

  • Page 2 and 3: University of Birmingham Research A
  • Page 4 and 5: ACKNOWLEDGEMENTS I am extremely gra
  • Page 6 and 7: VOLUME ONE: TEXT CONTENTS Abbreviat
  • Page 8 and 9: INTRODUCTION Ford Madox Brown (1821
  • Page 10 and 11: Cambridge, his gifts to BMAG contin
  • Page 12 and 13: Further insight into Brown's life w
  • Page 14 and 15: After Surtees' edition of Brown's d
  • Page 16 and 17: Madox Brown: The Unofficial Pre-Rap
  • Page 18 and 19: English identity explored by the ar
  • Page 20 and 21: ecent years as many of the works ha
  • Page 22 and 23: nineteenth century. 36 Bhabha argue
  • Page 24 and 25: study this chapter also throws ligh
  • Page 26 and 27: CHAPTER 1 CROSS-CURRENTS: DRAWINGS
  • Page 28 and 29: Brown's parents could be described
  • Page 30 and 31: individual engaged in actively cons
  • Page 32 and 33: literature. When Brown moved to Par
  • Page 34 and 35: idea of creating his own series of
  • Page 36 and 37: King Lear whilst Brown was living i
  • Page 38 and 39: the King Lear series. Retzsch was a
  • Page 40 and 41: the right. Brown made two versions
  • Page 42 and 43: inhabited by two elderly servants.
  • Page 44 and 45: Brown's emulation of the earlier ar
  • Page 46 and 47: y the earlier Romantic artist, Fuse
  • Page 48 and 49: in the RA but that year Thomas Jone
  • Page 50 and 51: Within the relatively small body of
  • Page 52 and 53:

    for King Lear. These two groups of

  • Page 54 and 55:

    Pickering. 93 Of the three it seems

  • Page 56 and 57:

    1797) that Brown seems to have been

  • Page 58 and 59:

    Hueffer states that ‘the students

  • Page 60 and 61:

    (Fig. 57) shows how much he, like B

  • Page 62 and 63:

    on the two younger brothers who are

  • Page 64 and 65:

    and suggest that Brown's compositio

  • Page 66 and 67:

    some idea of what it looked like fr

  • Page 68 and 69:

    The following year Brown used anoth

  • Page 70 and 71:

    Like foam from the roused ocean of

  • Page 72 and 73:

    Hunter has saved Manfred. 137 This

  • Page 74 and 75:

    in a large number of engravings and

  • Page 76 and 77:

    ways in which the images of Maria c

  • Page 78 and 79:

    Antwerp but made trips to both Pari

  • Page 80 and 81:

    the unfortunate Maria from her popl

  • Page 82 and 83:

    artistic bodies in their respective

  • Page 84 and 85:

    or explanation.' 6 This chapter wil

  • Page 86 and 87:

    Both were vehicles that enabled the

  • Page 88 and 89:

    catalyst for the change in historio

  • Page 90 and 91:

    y the thousands' and 'rivalled the

  • Page 92 and 93:

    Unlike other contemporary painters,

  • Page 94 and 95:

    in his design for the Houses of Par

  • Page 96 and 97:

    aristocratic view which focused on

  • Page 98 and 99:

    uried at last; and hope that Britis

  • Page 100 and 101:

    of his last Loaf to a Pilgrim (1850

  • Page 102 and 103:

    the six subjects allowed Brown to a

  • Page 104 and 105:

    and my friends, French or Belgian o

  • Page 106 and 107:

    What is immediately striking about

  • Page 108 and 109:

    popular Victorian persona. 78 Altho

  • Page 110 and 111:

    first seeds of English Protestantis

  • Page 112 and 113:

    ehabilitation and through his work

  • Page 114 and 115:

    In an historical composition, corre

  • Page 116 and 117:

    the facts known respecting him perf

  • Page 118 and 119:

    painting had not yet been begun at

  • Page 120 and 121:

    Westminster Abbey. On 16 th October

  • Page 122 and 123:

    inscribed 'Rome/45' (cat. nos. 58-6

  • Page 124 and 125:

    engraving of 'Cimabue' but does not

  • Page 126 and 127:

    of England. 137 What has not been r

  • Page 128 and 129:

    The sale catalogue of Brown's house

  • Page 130 and 131:

    two books used as sources for Wycli

  • Page 132 and 133:

    Working Process As has been shown i

  • Page 134 and 135:

    chiaroscuro. 163 Brown seems to hav

  • Page 136 and 137:

    means that may assist the clear dev

  • Page 138 and 139:

    take pencil and paper, and sketch r

  • Page 140 and 141:

    Like many artists he borrowed costu

  • Page 142 and 143:

    138). It focuses on the bulge of th

  • Page 144 and 145:

    from his choice and interpretation

  • Page 146 and 147:

    CHAPTER 3 FORGOTTEN IMAGES: THE ILL

  • Page 148 and 149:

    in Ford Madox Brown: The Unofficial

  • Page 150 and 151:

    of their designs that Dante Gabriel

  • Page 152 and 153:

    disappointment to him. Yet despite

  • Page 154 and 155:

    much annoyance.' 27 During the late

  • Page 156 and 157:

    an article written to it. But the c

  • Page 158 and 159:

    Like his previous attempts these pr

  • Page 160 and 161:

    thinking of Gilbert & his great fac

  • Page 162 and 163:

    first and flat on its back. Althoug

  • Page 164 and 165:

    grotesque; a dug grave and a realis

  • Page 166 and 167:

    although his attention to detail he

  • Page 168 and 169:

    Wednesday last I finished the drawi

  • Page 170 and 171:

    suggestion, as he had himself tried

  • Page 172 and 173:

    Elijah [paper torn] [and the Widow'

  • Page 174 and 175:

    Widow (Fig. 146) the German artist

  • Page 176 and 177:

    throughout [Austen Henry] Layard's

  • Page 178 and 179:

    East and perceived contemporary cus

  • Page 180 and 181:

    sensuality run to ignominious fat,

  • Page 182 and 183:

    as a drawing rather than a print. T

  • Page 184 and 185:

    surround the great fireplace. Brown

  • Page 186 and 187:

    mention it first of all to Brown, a

  • Page 188 and 189:

    In these illustrations we see the e

  • Page 190 and 191:

    four years earlier in 1865. 125 Lik

  • Page 192 and 193:

    'the fatal implications of philande

  • Page 194 and 195:

    egun to adopt a looser style with g

  • Page 196 and 197:

    Garnett who was Keeper of Printed B

  • Page 198 and 199:

    I'm going home at last." In eager h

  • Page 200 and 201:

    work needed to produce a painting.

  • Page 202 and 203:

    Gleeson White, English Illustration

  • Page 204 and 205:

    Cat. no. 1 Alfred the Great: Sketch

  • Page 206 and 207:

    studies indicate that he also plann

  • Page 208 and 209:

    Cat. no. 9 The Ascension: Drapery S

  • Page 210 and 211:

    of the orginal founders of Morris,

  • Page 212 and 213:

    I have undertaken.' 15 At first Bro

  • Page 214 and 215:

    Edward III. is now old, Phillippa b

  • Page 216 and 217:

    the two BMAG drawings is the earlie

  • Page 218 and 219:

    The nude figure of a boy holding a

  • Page 220 and 221:

    This is one of two studies held at

  • Page 222 and 223:

    identification is confirmed by an e

  • Page 224 and 225:

    for a muse in the left wing. The mo

  • Page 226 and 227:

    makers of lay figures. 52 In the pa

  • Page 228 and 229:

    Cat. no. 42 Chaucer at the Court of

  • Page 230 and 231:

    well refer to this sheet of drawing

  • Page 232 and 233:

    Cat. no. 55 Chaucer at the Court of

  • Page 234 and 235:

    Cat. no. 57 Costume Study: Five Ske

  • Page 236 and 237:

    DALZIELS' BIBLE GALLERY: THE DEATH

  • Page 238 and 239:

    Thankfully, Brown chooses to depict

  • Page 240 and 241:

    Cat. no. 66 Dalziels' Bible Gallery

  • Page 242 and 243:

    DALZIELS' BIBLE GALLERY: JOSEPH’S

  • Page 244 and 245:

    Cat. no. 71 Dalziels' Bible Gallery

  • Page 246 and 247:

    It has not been possible to identif

  • Page 248 and 249:

    Brown, who was asked to illustrate

  • Page 250 and 251:

    Cat. no. 80 Infant's Repast: Study

  • Page 252 and 253:

    King Lear: Cordelia parting from he

  • Page 254 and 255:

    Will you lie down and rest upon the

  • Page 256 and 257:

    The drawing depicts the scene in wh

  • Page 258 and 259:

    The design was reused in 1863 as a

  • Page 260 and 261:

    It is highly likely that this is th

  • Page 262 and 263:

    Cat. no. 92 Lyra Germanica - the Ch

  • Page 264 and 265:

    explained his inclusion of the arch

  • Page 266 and 267:

    instructor to demonstrate the muscu

  • Page 268 and 269:

    In 1846 Ford Madox Brown began work

  • Page 270 and 271:

    This drawing is a study for the tod

  • Page 272 and 273:

    These three studies are the earlies

  • Page 274 and 275:

    Cat. no. 118 Poets of the Nineteent

  • Page 276 and 277:

    Cat. no. 120 Portrait: Ford Madox B

  • Page 278 and 279:

    They were lifelong friends and Brow

  • Page 280 and 281:

    her on a week’s holiday to Ramsga

  • Page 282 and 283:

    was extremely impressed by classica

  • Page 284 and 285:

    painter Peter Cornelius (1783-1867)

  • Page 286 and 287:

    Cat. no. 133 The Spirit of Justice:

  • Page 288 and 289:

    this drawing it is unclear if the f

  • Page 290 and 291:

    Cat. no. 144 Stained Glass Design:

  • Page 292 and 293:

    cartoons for St Jude, the Shipwreck

  • Page 294 and 295:

    the second window is a label for Me

  • Page 296 and 297:

    During his stay in France he execut

  • Page 298 and 299:

    was labouring up to seventeen hours

  • Page 300 and 301:

    Cat. no. 162 Wycliffe Reading his T

  • Page 302 and 303:

    The left study is for John of Gaunt

  • Page 304 and 305:

    Cat. no. 171 Wycliffe reading his T

  • Page 306 and 307:

    MISSING WORKS The following works a

  • Page 308 and 309:

    CONCLUSION This thesis is the first

  • Page 310 and 311:

    contributing to the dialogue in gal

  • Page 312 and 313:

    [1796-1875], and Jules Dupré [1811

  • Page 314 and 315:

    paper as a scholarly subject and to

  • Page 316 and 317:

    ARCHIVAL SOURCES BIBLIOGRAPHY 1. Ar

  • Page 318 and 319:

    Letters from John Leighton to Ford

  • Page 320 and 321:

    Doughty, Oswald and Wahl, John Robe

  • Page 322 and 323:

    Longfellow, Henry Wadsworth, The po

  • Page 324 and 325:

    Shakespeare, William, The Complete

  • Page 326 and 327:

    The Art Union, vol. 5, no. 55, 1 Oc

  • Page 328 and 329:

    Catalogue of the household and deco

  • Page 330 and 331:

    Gerard, W. B., Laurence Sterne and

  • Page 332 and 333:

    Ray, Gordon, The Illustrator and th

  • Page 334 and 335:

    Boase, Thomas Shearer Ross (T. S. R

  • Page 336 and 337:

    Long, Burke O., 'Picturing Biblical

  • Page 338 and 339:

    Turino, Thomas, Introduction to Ide

  • Page 340 and 341:

    Hidden Burne-Jones, exh. cat., Birm

  • Page 342 and 343:

    A Victorian Master: Drawings by Fre

  • Page 344:

    http://www.parliament.uk/about/hist

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