ford madox brown - eTheses Repository - University of Birmingham

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explained his inclusion of the archaic nimbuses saying that 'the golden Aurioles or ded to represent facts but rather that traditional glory which for all ties in the divine drama or b cording to the most recently received archaeological views.' Thomas o use photography to transfer designs onto the boxwood ok produced using his new method of wood ngraving was the first volume of Lyra Germanica published in 1861. 146 Nimbuses are not inten good Christians attaches to certain of the great personali legend.' This new draw directly onto gns during the engraving process, he was able to oubt this was his motivation for making the detailed 144 He also revealed his dedication to historical accuracy noting that ‘the tom 145 itself is formed ac Bolton was the first engraver t blocks used in book illustration. The first bo e application of technology suited Brown because rather than having to the block, and therefore lose his desi keep them and sell them later. No d pen and ink drawing of The Entombment (cat. no. 93). ------------------------------------------------------------------------------------------------------------ Cat. no. 95 Male: Sketch of Man reclining on Steps with Hands bound together, 1844 Brown pen and ink over pencil; 242 x 225 mm Insc. br.: (Paris)/F. M. Brown/44 Lit.: Whitley, p. 47; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 67 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P724) y Mary Bennett stated that this sketch was related to the of Justice. 147 In conversation with Tessa Side figure of Wisdom in the cartoon The Spirit The date would certainly be appropriate but no figure in that design resembles this man reclining on steps. The medium and subject matter of a naked, captive man show Brown's interest in the Romantic depiction of prisoners which was popularised in England by Fuseli and his circle, and later in France by Delacroix. 148 Cat. no. 96 Male: Academic nude Study, half-length with Moustache and Arms folded, 1846 - 1849 Black chalk, 172 x 142mm Lit.: Whitley, p.48 Exh.: Exposed: The Victorian Nude, Tate, London, 2001 - 02 (25); Ford Madox Brown: The Unofficial Pre-Raphaelite (11) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P708) 144 A note written by the artist for Charles Rowley, post 1883, Horsfall Papers, Manchester Art Gallery quoted in Op. cit. at note 59, p. 215. 145 Ibid. 146 nd This is according to Henry Bohn (John Jackson and W. Chatto, A Treatise on Wood Engraving, 2 ed., with a new chapter by Henry Bohn 1861, p. 577, discussed in Paul Goldman, Victorian Illustrated Books: 1850-1870, London, 1994, p. 42. 147 Op. cit. at note 7, p. 67. 148 See chapter one. 258
Cat. no. 97 Male: Academic Study of Nude holding a Staff, 1847 Pencil; 252 x 134 mm Insc.: Ford M Brown/47 London Lit.: Hueffer, ill. p. 447 et seq.; Whitley, p. 45; Ford Madox Brown: The Unofficial Pre- Raphaelite, p. 67 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P672) Cat. no. 98 Male: Academic Study of Nude posed as a Sculptor, 1847 Chalk with grey wash; 387 x 175 mm Insc. br: Ford M Brown /47 London Lit.: Whitley, p. 46; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 67 Exh.: Lely to Turner Drawings and Watercolours from Birmingham Museum and Art Gallery, The Nordic Watercolour Museum, 2007 (52) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P709) Cat. n o. 99 Male: Academic Study, three-quarter length Nude, with a Moustache and clenched Fists, 1847 Black chalk, 302 x 174 mm Insc. br.: Ford M. Brown London/47 Lit.: Whitley, p. 46; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 67 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P710) ed at London Art Schools in the nineteenthbout le models continued throughout the century. In 1847 Brown attended life- 's ent, Camden Town, London. This house rown kinson Brothers Drawing Academy at 18 1/2 Maddox s a drawing master. 150 The exact date that e Academy opened is not known but it was advertised in the Illustrated London News on 15 January 1848 as open ‘for the study of Painting and Sculpture, and Preparatory for the Royal Academy.’ 151 As Virginia Surtees notes the academy was open to professional artists four evenings a week from 7pm to 10pm for life study and held ladies' classes in the daytime. 152 Professional artists’ models were employ century. Models of both sexes were used for life drawing classes although debate a the use of fema classes run by his friend and fellow artist Charles Lucy (1814-73) and held in Lucy studio at Tudor Lodge in Mornington Cresc contained several artists’ studios including one used for a short time by Brown. 149 B also attended classes at the Dic Street, London where Lucy was employed a th These four drawings are likely to have been made during one of the classes at either Tudor Lodge or Maddox Street. Together they show the range of poses set by the 149 Op. cit. at note 2, p. 4. 150 See chapter 3, p. 147-148 for biographical details of the Dickinson Brothers. Lowes Cato Dickinson was also a founder member of the Working Men's College where he taught drawing (Op. cit. at note 2, p. 15). Other drawing masters included Ruskin, Rossetti and Brown. 151 Ibid., p. 15. 152 Ibid. 259
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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
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Cat. no. 6 The Ascension: Study of
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Cat. no. 12 The Ascension: Study fo
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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 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
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: Cat. no. 93 Lyra Germanica - the Ch
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
Page 309 and 310: Discussion has highlighted his use
Page 311 and 312: the artists working in the German s
Page 313 and 314: 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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