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ford madox brown - eTheses Repository - University of Birmingham

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The hand studies, the figure <strong>of</strong> the page slumped over, and the head <strong>of</strong> a man wearing a<br />

crown <strong>of</strong> leaves do not appear to have been used in the final version and may have been<br />

early experiments in pose and character.<br />

Cat. no. 20 Chaucer at the Court <strong>of</strong> Edward III: Nude Studies for the Figures <strong>of</strong> Byron,<br />

Shakespeare and Burns, 1845<br />

Black chalk; 294 x 328 mm<br />

Insc. br.: Ford M Brown Rome/45<br />

Lit.: Whitley, p. 32<br />

Exh: Ford Madox Brown: The Un<strong>of</strong>ficial<br />

Pre-Raphaelite (9)<br />

Prov.: Charles Fairfax Murray<br />

Presented<br />

by Subscribers, 1906 (1906P705)<br />

These life studies are for the full-length figures <strong>of</strong> Byron, Burns and Shakespeare from<br />

the wings <strong>of</strong> The Seeds and Fruits<br />

<strong>of</strong> English Poetry (Figs. 1 and 77). The blockish<br />

simplicity <strong>of</strong> the nudes is unusual in Brown’s oeuvre and suggests that he was inspired<br />

by<br />

the muscularity <strong>of</strong> the classical sculpture he saw in Rome.<br />

Cat.<br />

no. 21 Chaucer at the Court <strong>of</strong> Edward III: Drapery Study for Burns, 1847<br />

Black chalk; 355 x 212 mm<br />

Insc. bl.: Ford M Brown London/47<br />

Lit.: Whitley, p. 33; Ford Madox Brown:<br />

The Un<strong>of</strong>ficial Pre-Raphaelite, p. 64<br />

Prov.: Charles Fairfax Murray<br />

Presented by Subscribers, 1906 (1906P744)<br />

his rather abstract-looking drapery study shows the intensity <strong>of</strong> Brown’s preparations<br />

rns and at the top Brown has added lines<br />

indicate his tartan sash. Brown writes about drawing the drapery for Burns in his diary.<br />

the<br />

ies for Robert Burns in the Lay figure - sweated over it till dark but got it to do at<br />

noted ‘finished the plaid and began drawing for the robe <strong>of</strong><br />

shed the following afternoon. 40 T<br />

for a painting and his close observation <strong>of</strong> minute details such as the fall <strong>of</strong> the fabric. It<br />

is a study for the full-length figure <strong>of</strong> Robert Bu<br />

to<br />

On 9 September he wrote, 'bought some plaid draperies … set about arranging<br />

draper<br />

last.'<br />

This one <strong>of</strong> two<br />

Burns drawn a year apart (see also cat. no. 50).<br />

39 On 14 September he<br />

R.B. [Robert Burns]' which he fini<br />

drapery studies for the figure <strong>of</strong><br />

Cat. no. 22 Chaucer at the Court<br />

<strong>of</strong> Edward III: Study <strong>of</strong> a right Leg and left Foot for<br />

Milton, 1847<br />

Black<br />

chalk; 294 x 125 mm (s.)<br />

Insc. br.: Ford M Brown London [further writing hidden by mount]<br />

Lit.: Whitley, p. 32; Ford Madox Brown: The Un<strong>of</strong>ficial Pre-Raphaelite, p. 64<br />

Prov.: Charles Fairfax Murray<br />

Presented by Subscribers, 1906 (1906P711)<br />

39 Op. cit. at note 2, p. 5.<br />

40 Ibid., p. 6.<br />

213

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