ford madox brown - eTheses Repository - University of Birmingham

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Cat. no. 57 Costume Study: Five Sketches of Armour and Costume, 1844 Brown pen and ink over pencil; 363 x 225 mm Insc.: Edward 1st & IInd Richard IInd / Henry 6th & Edward 4th / Henry 4, br.: Ford M Brown Paris/44 (all inscriptions referring to kings are written on the left of corresponding figures except 'Henry 4' which is under the figure) Lit.: Whitley, p. 47; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 66 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P740) re studies for The Spirit of d into the third Westminster Competitions held in 1845 to rliament. 74 Mary Bennett has suggested that these costume sketches we Justice, a cartoon Brown entere select artists to decorate the new Houses of Pa The date and location inscribed on the bottom of the sheet 'Paris/44' certainly supports this identification. The similarities in subject matter, style and medium between these sketches and another drawing for The Spirit of Justice in the collection, Study for the Baron and his advisor (cat. no. 132), add further weight to her hypothesis. Brown's preoccupation with armour in this sketch must also be related to the row of knights behind the Baron in the same composition. These sketches are most likely to have been made as part of the artist's research into ancient armour for these figures but the exact source for them has not been identified. Cat. no. 58 Costume Study: Archbishop's Dress, 1845 Brown pen and ink on tracing paper; 173 x 95 mm Insc. tl. in reverse: Archévéque MCCCC, br.: Rome/ 45 Lit.: Whitley, p. 47; Roger Smith, 'Bonnard's 'Costume Historique' - a Pre-Raphaelite Source Book', Costume, issue 7, 1973, p. 29; Ford Madox Brown: The Unofficial Pre- Raphaelite, p. 66 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P739) This is one of several drawings Brown made after illustrations in Camille Bonnard's Costumes Historiques, a sourcebook of dress taken from manuscripts and artefacts of the thirteenth, fourteenth and fifteenth centuries. a book, from a copy of the book owned by the English Academy hilst he was in Rome in 1845 (see Fig. 91). He used it as the basis for the costume of an lthough no archbishop appears in the final painting. 75 The book had lavish, hand coloured plates, engraved by Paul Mercury with accompanying texts by Bonnard describing the costumes and their sources. Brown most likely made this tracing of an Archbishop holding a crozier and w archbishop in two early compositional drawings for Chaucer (cat. nos. 15 and 16), 76 a 74 In conversation with Tessa Sidey, January 2008. 75 Op. cit. at note 36, pl. 79. 76 Brown's inscription is incorrect, the original illustration had the title 'Archêveque MCCC.' 228
Cat. no. 59 Costume Studies: French and Italian thirteenth-and fourteenth-century Costumes (Seven Drawings), 1845 Brown pen and ink on tracing paper; 338 x 220 mm Insc.next to corresponding figure (clockwise from top left): Petraque MCCC / MCCC C imabue / Hood & Lirilipipe of a count of Flanders / Page MCCC / Jeune Francais MCC/ MCCC Page / Pages; bl.: Rome/45 Lit.: Whitley, p. 47; Roger Smith, 'Bonnard's 'Costume Historique' - a Pre-Raphaelite Source Book', Costume, issue 7, 1973, ill. p. 29; The Pre-Raphaelites, exh. cat., Tate, London, 1984, p. 54 Exh.: Ford Madox Brown: The Unofficial Pre-Raphaelite (6) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P737) The figures depicted in this drawing are Petrarch, Cimabue, a young French man, and pages in thirteenth and fourteenth century costume (Figs. 93-98). ike cat. nos. 58 and rique. The drawing of the head of n e-print for a hood which . no. 26 is a study of this 77 L 60, they are tracings of illustrations in Costume Histo the Count of Flanders, in the top right hand corner of this sheet, is a copy of a illustration in J. R. Planché's British Costume: A complete History of the Dress of the Inhabitants of the British Isles (Fig. 99). 78 It was used as the blu Brown had made up and used for two figures in Chaucer. Cat hood. Cat. no. 60 Costume Study: Seigneur de Rimini, 1845 Brown pen and ink on tracing paper; 167 x 94 mm Insc. b.: Seigneur de Rimini/MCCCC ROME/45 Lit.: Whitley, p. 47; Roger Smith, 'Bonnard's 'Costume Historique' - a Pre-Raphaelite Source Book', Costume, issue 7, 1973, p. 29; Ford Madox Brown: The Unofficial Pre- Raphaelite, p. 66 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P738) This drawing has been traced from the illustration of a fourteenth century nobleman from Rimini, Italy, which appeared as plate 75 in Bonnard's Costume Historique (Fig. 92). No figure wearing this costume appears in the final version but this study indicates that an intial stage of Brown's working process was to research costumes and make sketches for possible use later on. ------------------------------------------------------------------------------------------------------------ 77 Taken from Costume Historique, pls. 44, 32, 71, 9, 13 and 21 (Op. cit. at note 36). The young page on the far right is a figure from 'Podestat,' pl. 9 and the page holding a long sword is a figure from 'Homme d'Armes,' pl. 13. 78 James Robinson Planché, British Costume: A complete History of the Dress of the Inhabitants of the British Isles, London, 1834, p. 134. 229
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FORD MADOX BROWN: WORKS ON PAPER AN
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ABSTRACT This collaborative thesis
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I extremely grateful to the Arts an
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VOLUME ONE ABBREVIATIONS The follow
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Charles Fairfax Murray (1849-1919),
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group even before it was formally f
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Cherry's misfortune was to the adva
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The first exhibition of works exclu
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lies in her exceptional visual anal
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invaluable to scholars and those wo
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catalogue has been compiled with it
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historiography in the nineteenth ce
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innovative painter. However, as has
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sister, in 1840, Brown decided to m
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outsider and misfit?' offering the
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of 'French' Art. 18 Romanticism had
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subjects. As early as 1818 he wrote
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omitting the death of Lear and Cord
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drawing competitions which took pla
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them together but varied the viewpo
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scene is set outside with the castl
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drawings as 'the reflection of the
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picture. 61 The study also hints at
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The sketch is to be 36 inches in he
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ecords the event, relating that Chr
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from a darkened Earth to a brillian
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unlikely that Madox Brown would hav
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Brown’s interest in another conte
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As shown above the strongest eviden
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Brown sustained his friendship with
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Byron The Romantic poetry of Lord B
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when Prince Azo discovers that his
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these preparatory studies. Even the
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immediate inspiration for the young
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Chamois Hunter: What dost thou mean
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This work composed, in 1840, when I
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published in 1768 and it remained p
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was the romantic and comic aspects
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are identical, although Brown raise
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Brown's use of subtle comedy and ei
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to the Ascension, there are certain
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CHAPTER 2 FLESHING OUT TIME: FORD M
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In the section 'Construction: The P
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eighteenth century with the formati
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The picturesque mode not only told
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Scott's historical novels also infl
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BMAG collection by a sheet of early
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which he forced Harold to swear to
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Normandy.' 47 Therefore, a more pla
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order to improve it, and he was …
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unbefriended Widow is seen to appea
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constitution, and is brought forwar
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Byron, Pope and Burns, and in medal
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Journal in an editorial entitled 'G
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undertook research to check that th
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farmer and lost in a religious tran
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Construction: The Practicalities Re
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institutions he used as resources.
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Southey’s book of the church. Met
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copied the portrait, keeping his po
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Costume and Historical Sourcebooks
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similar British works, such as the
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such as the hat and hair style of t
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Fairholt originally published secti
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Chaucer and John of Gaunt in Wyclif
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he went to grays in Lane to Seddon
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students study '2 hours a day drawi
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y not pursuing this course, the art
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moment when the Anglo-Saxons lost c
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and perfect their poses. He has als
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ack over the early stages of The Se
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Chaucer (Fig. 117). His last prepar
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etter than reading because the view
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explored in detail, Brown’s work
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stopped at was the leave-taking of
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drawing but not to the etching whic
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of working up a composition, most o
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translate his drawing into a carved
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month on an etching of King Lear, y
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Might shine-it was a foolish though
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his friend Dr John Marshall supplie
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illustration to the Prisoner of Chi
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minutely observed study of a corpse
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Let me take this opportunity of exp
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appealing subject in its own right
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Bible had been dropped and it was c
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From these suggestions the obscure
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Brown wrote of the effect he wished
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Eglon's arm jewellery appears to ha
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contributed approximately 30,000 dr
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wood - & the cartoons would be of g
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Page 185 and 186: corrected it into the end of a lock
Page 187 and 188: In the mid-nineteenth century steel
Page 189 and 190: who is leaving on horseback. On the
Page 191 and 192: year. The most arresting element of
Page 193 and 194: My Dear Brown, - I expect to see yo
Page 195 and 196: with bold black outlines and minima
Page 197 and 198: For several years Brown was an inti
Page 199 and 200: England (Fig. 5). This chapter has
Page 201 and 202: FORD MADOX BROWN: CATALOGUE OF DRAW
Page 203 and 204: Exposition Rétrospective de Peintu
Page 205 and 206: already begun the painting in 1845
Page 207 and 208: Cat. no. 6 The Ascension: Study of
Page 209 and 210: Cat. no. 12 The Ascension: Study fo
Page 211 and 212: diary he described it as 'the most
Page 213 and 214: that his 'idea was conceived abroad
Page 215 and 216: works to be bought for a public col
Page 217 and 218: the same composition in the collect
Page 219 and 220: The hand studies, the figure of the
Page 221 and 222: "knight" made a lirlipipe for it.'
Page 223 and 224: decorative architecture and her fin
Page 225 and 226: illustration in Strutt's A Complete
Page 227 and 228: painting the King's cloak has a che
Page 229 and 230: Cat. no. 45 Chaucer at the Court of
Page 231 and 232: y Brown, perhaps one of the sashes
Page 233: This pastel portrait shows Emma Mad
Page 237 and 238: Cat. no. 62 Dalziels' Bible Gallery
Page 239 and 240: DALZIELS' BIBLE GALLERY: ELIJAH AND
Page 241 and 242: Such attention to detail and desire
Page 243 and 244: wheel of a tricycle-like object whi
Page 245 and 246: In December 1863 Brown sent his pat
Page 247 and 248: The British Museum The Dark Blue, O
Page 249 and 250: Manchester A.D. 1363 which was comp
Page 251 and 252: etc.' 111 These drawings may well b
Page 253 and 254: the throne and the prominence of th
Page 255 and 256: Cat. no. 84 King Lear: Kent accuses
Page 257 and 258: Etching in the Germ’ in 1853. 121
Page 259 and 260: attracted no attention, and the yea
Page 261 and 262: faithfully. 133 However, capturing
Page 263 and 264: Cat. no. 93 Lyra Germanica - the Ch
Page 265 and 266: Cat. no. 97 Male: Academic Study of
Page 267 and 268: Cat. no. 101 Morris & Company Windo
Page 269 and 270: Cat. no. 104 Oure Ladye of Saturday
Page 271 and 272: Cat. no. 113 Oure Ladye of Saturday
Page 273 and 274: POETS OF THE NINETEENTH CENTURY: TH
Page 275 and 276: Cat. no. 119 Poets of the Nineteent
Page 277 and 278: in the Birmingham photograph, produ
Page 279 and 280: Cat. no. 125 Portrait: Emma Hill (l
Page 281 and 282: Cat. no. 127 Portrait: Mrs Madox Br
Page 283 and 284: carefully collated from different k
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Justice entry again. 'My blessed Li
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This is a detailed study of the fac
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Cat. no. 143 Stages of Cruelty: Stu
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After the reorganisation of the Mor
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1873. 217 The second window depicts
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Cat. no. 152 Sterne's 'Sentimental
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Cat. no. 154 Unknown Subject: Compo
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Cat. no. 158 Wycliffe reading his T
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December 1847. 239 On 28 January 18
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The Traveller, pub. 1869 Wood-engra
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Discussion has highlighted his use
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the artists working in the German s
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and in fact suggested they name the
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APPENDIX Down Stream Between Holmsc
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4. Princeton University Library, Pr
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Blind, Mathilde, Dramas in Miniatur
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Hope, Thomas, Costume of the Ancien
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Retzsch, Friedrich August Moritz, R
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White, Gleeson, English Illustratio
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Fairholt, Frederick William 'Notes
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SECONDARY BOOKS Athanassoglou-Kallm
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Johnson, Lee, The Paintings of Eug
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Vaughan, Michael, William Blake, Lo
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Cusack, Tricia, 'Emma’s Teeth: Re
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Sidey, Tessa, 'Charles Fairfax Murr
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Catalogue of the Permanent Collecti
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Pre-Raphaelite Drawings and Waterco
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Nicoletti, Lisa, Resuscitating Ophe
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