ford madox brown - eTheses Repository - University of Birmingham

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The design was reused in 1863 as a stained glass cartoon for the windows of ‘The Hill,’ the Surrey home of the artist Myles Birket Foster (1825-1899). Although there are several other copies of the design this study is the earliest and must relate to the original Seddon commission. ------------------------------------------------------------------------------------------------------------ T HE LAST OF ENGLAND Related works: Birmingham Museums and Art Gallery The Last of England, oil on canvas, 1852-1855, 1891P24 Fitzwilliam Museum, Cambridge The Last of England: replica, oil on canvas, 1860, M.Add.3 Tate, London The Last of England, watercolour, 1864-6, N03064 Cat. no. 89 The Last of England: Cartoon, 1852 Pencil, image edged with brown ink; 408 x 365 mm (p.) Insc. br.: F. MADOX BROWN 1852 Lit.: Whitley, p. 42, ill. p. 427; Deborah Cherry, An annotated Edition of the Diary and selected Letters of Ford Madox Brown 1850-1870, unpublished PhD thesis, 1977, p. 272; Diary, p. 153.; Newman and Watkinson, p. 92; Tim Barringer, Men at Work: Art and Labour in Victorian Britain, 2005, pp. 32; Angela Thirlwell, 'Vieux Fordy: Death of a modern Man,' in Ford Madox Brown: the Unofficial Pre-Raphaelite, p. 12 Exh.: Work, 1865 (71); Pre-Raphaelite Drawings, Roland, Browse & Delbanco, London, 1947 (40); Pre-Raphaelite Drawings and Watercolours, Cambridge Arts Council Gallery, 1953 (5); Some Pre-Raphaelite Paintings and Drawings, National Library of Wales, Aberystwyth, 1955 (6); English Eye I, Midlands Federation Travelling Exhibition, 1958 (4); Pre-Raphaelite Art, Australian State Galleries, 1962 (4); Ford Madox Brown, 1964 (71); The Pre-Raphaelites, 1984 (178); Theodor Fontane and the Visual Arts, Alte Nationalgalerie, Berlin, 1998 (32); Visions (20); Ford Madox Brown: The Unofficial Pre- Raphaelite (30) Prov. : Charles Fairfax Murray; Frederick James Shields Presented by Subscribers, 1906 (1906P795) Between 18 The Last of England, a painting which s s subject ‘the great emigration movement which attained its culminating point in 1852.' 124 His inspiration for the work came from the departure of his friend and fellow artist Thomas Woolner to Australia in 1852 and his own desperate thoughts of emigrating to India due to lack of recognition and commissions. 125 52 and 1855 Brown worked intermittently on was 'in the strictest sense historical’ and took a it An insight into his acute financial situation can be gained from Hueffer who recalls that in 1852, 'the duplicate of Waiting, exhibited at the Royal Academy, 124 Op. cit. at note 20, p. 8. 125 Op. cit. at note 2, p. 151. 252
attracted no attention, and the year’s sales were smaller than ever.' 126 The middle class couple who dominate the oval are portraits of Brown and his future wife Emma. The husband stares gloomily at his last sight of England whilst his wife appears more settled on their fate, perhaps as Brown imagined in his sonnet on the painting: through rainbow-tears she sees a sunnier gleam, 127 She cannot see a void, where he will be. At the end of 1852 Brown began painting the figures 'in the open air on dull days, and when the flesh was being painted, on cold days.' e and he r in ercy Street, to exhibit the completed ealer rating to 128 After six weeks he realised that th painting was too detailed to be finished for the 1853 Royal Academy exhibition stopped working on it until September 1854. It was finally finished a year late September 1855, with Brown renting a room, on P picture, with a few other works including The Pretty Baa-Lambs (Fig. 167). His d D. T. White, bought it immediately for £150, including copyright, along with this pencil cartoon for £7, before selling both on to the collector Benjamin Godfrey Windus. 129 The financial boost given by the sale of the two works ended Brown's notions of emig India. This finished preparatory drawing was produced in December 1852, and though close to the final composition it differs in a number of significant details. The painting was originally to be slightly more oval in shape with far fewer figures; only the reprobate, his mother, and the young woman with her arm round the straggly haired boy from the final composition can be seen in this drawing. The name of the boat carrying the emigrants was altered from ‘White Horse Lin[e] of Australi[a]’ to the more symbolic ‘Eldorado’ in the painting. Emma’s shawl also changed; she is seen here in a wide checked shawl. Unlike the final painting the man has no string attached to his hat, this having been added at the insistence of D. T. White. According to his diary Brown took up the cartoon again, most likely with a view to selling it: 16 March 1855 'up early to work by ½ past 10. After a walk, the cap, one boot, the hand & the jacket-evening worked about 3 hours at the cartoon of this picture.' 18 'Eveng cartoon (good).' 19 'eveng at the cartoon.' 20 'After tea I am ½ hour at the cartoon indoors.' 130 126 Op. cit. at note 3, pp. 92-93. 127 Op. cit. at note 20, p. 8. 128 Ibid., p. 9. 129 Mary Bennett in op. cit. at note 59, p. 125. 130 Op. cit. at note 2, pp. 127-29. 253
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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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involved photographing the finished
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corrected it into the end of a lock
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In the mid-nineteenth century steel
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who is leaving on horseback. On the
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year. The most arresting element of
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My Dear Brown, - I expect to see yo
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with bold black outlines and minima
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For several years Brown was an inti
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England (Fig. 5). This chapter has
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FORD MADOX BROWN: CATALOGUE OF DRAW
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Exposition Rétrospective de Peintu
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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
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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 and 234: This pastel portrait shows Emma Mad
Page 235 and 236: Cat. no. 59 Costume Studies: French
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
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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: Etching in the Germ’ in 1853. 121
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
Page 285 and 286: Justice entry again. 'My blessed Li
Page 287 and 288: This is a detailed study of the fac
Page 289 and 290: Cat. no. 143 Stages of Cruelty: Stu
Page 291 and 292: After the reorganisation of the Mor
Page 293 and 294: 1873. 217 The second window depicts
Page 295 and 296: Cat. no. 152 Sterne's 'Sentimental
Page 297 and 298: Cat. no. 154 Unknown Subject: Compo
Page 299 and 300: Cat. no. 158 Wycliffe reading his T
Page 303 and 304: December 1847. 239 On 28 January 18
Page 307 and 308: 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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