ford madox brown - eTheses Repository - University of Birmingham

More documents

Recommendations

Info

This drawing is a study for the toddler sitting on the knees of the Madonna. The child sits with crossed legs, almost completely facing the viewer. There are two further studies of the child's left leg on the same sheet and on the reverse is a frieze design in black ink which Mary Bennett has identified as the the border of the tent in Lear and Cordelia (Fig. 37). 160 Cat. no. 109 Oure Ladye of Saturday Night: Three Studies of Arms and Legs of Child, 1847 Pencil, 219 x 127 mm Lit.: Whitley, p. 38; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P688) Cat. no. 110 Oure Ladye of Saturday Night: Three Studies of Child's Legs on Virgin's Knees, 1847 Pencil; 212 x 104 mm Insc. bl. [FM cut] B/47 Kensington Lit.: Whitley, p. 38; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P689) Cat. no. 111 Oure Ladye of Saturday Night: Studies of right Foot and left Hand of Child, 1847 Pencil on light brown paper; 67 x 107 mm Insc. bl.: FMB./47 Kensington Lit.: Whitley, p. 38; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P690) able trouble to make sure that the toddlers he depicted in the hild sitting on the Virgin's knees show this strong desire little boy in the cartoon also appears in Brown's stained ildren (cat. no. 144) and in his watercolour ersion of The Entombment although it was designed twenty years later. 161 Brown went to consider cartoon were as anatomically realistic as possible. These three sheets of studies for the feet, arms, legs and torso of the c for accuracy. The face of the glass designs for Christ Blessing Little Ch v Cat. no. 112 Oure Ladye of Saturday Night: Drapery Study for Virgin, 1847 Black chalk; 288 x 255 mm Insc. br.: F M Brown 1847 Kensington Lit.: Whitley, p. 38; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P686) 160 Op. cit. at note 7, p. 68. 161 The Entombment (1871-1878, National Gallery of Victoria, Melbourne). 264
Cat. no. 113 Oure Ladye of Saturday Night: Study for Head of Virgin, 1847 Black chalk with wash; 244 x 222 mm (s.) Insc. br.: FMB/47 Lit.: Whitley, p. 37; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Exh.: Arts & Crafts, 1896 (439 ?) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P676) This head study is for the central figure of the Virgin. She is shown wearing a veil and looking down. It is a detailed study for the Virgin's face and hair - her veil and clothes are barely drawn in. The drawing is a good example of the second stage of his working process in the years following his academic training. Once he had made rough sketches of the composition, and the figures in it, he focused on each individual figure and made detailed studies of their pose, clothes and facial expression. He often used paid models to sit for him but he also used friends, such as fellow artist Dante Gabriel Rossetti, and his own wife and children. ------------------------------------------------------ ------------------------------------------------------ Cat. no. 114 Parisina's Sleep: Study for Prince Azo and Parisina, 1842 Black chalk with pencil side drawing; 415 x 418mm Insc. in pencil bl.: FMB/42 Lit.: Whitley, p. 27; Newman and Watkinson, ill. pl. 19; Visions, p. 74, ill. fig. 16; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov. : James Richardson Holliday Bequest of J.R. Holliday, 1927 (1927P355) Cat. no. 115 Parisina's Sleep: Study for Head of Prince Azo, 1842 Black chalkwith grey wash; 432 x 310 mm Insc. bl.: FMB/42 Paris Lit.: Whitley, p. 26; Newman and Watkinson, ill. pl. 21; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov.: Charles Fairfax Murray Presented by subscribers, 1906 (1906P716) Cat. no. 116 Parisina's Sleep: Study for the Head of Parisina, 1842 Black and white chalk with grey wash; 320 x 299 mm Insc. br.: Ford M Brown 1842 (Paris) Lit.: Whitley, p. 27; Newman and Watkinson, ill. pl. 20; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Exh.: Visions (2) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P717) 265
Page 1 and 2:
FORD MADOX BROWN: WORKS ON PAPER AN
Page 3 and 4:
ABSTRACT This collaborative thesis
Page 5 and 6:
I extremely grateful to the Arts an
Page 7 and 8:
VOLUME ONE ABBREVIATIONS The follow
Page 9 and 10:
Charles Fairfax Murray (1849-1919),
Page 11 and 12:
group even before it was formally f
Page 13 and 14:
Cherry's misfortune was to the adva
Page 15 and 16:
The first exhibition of works exclu
Page 17 and 18:
lies in her exceptional visual anal
Page 19 and 20:
invaluable to scholars and those wo
Page 21 and 22:
catalogue has been compiled with it
Page 23 and 24:
historiography in the nineteenth ce
Page 25 and 26:
innovative painter. However, as has
Page 27 and 28:
sister, in 1840, Brown decided to m
Page 29 and 30:
outsider and misfit?' offering the
Page 31 and 32:
of 'French' Art. 18 Romanticism had
Page 33 and 34:
subjects. As early as 1818 he wrote
Page 35 and 36:
omitting the death of Lear and Cord
Page 37 and 38:
drawing competitions which took pla
Page 39 and 40:
them together but varied the viewpo
Page 41 and 42:
scene is set outside with the castl
Page 43 and 44:
drawings as 'the reflection of the
Page 45 and 46:
picture. 61 The study also hints at
Page 47 and 48:
The sketch is to be 36 inches in he
Page 49 and 50:
ecords the event, relating that Chr
Page 51 and 52:
from a darkened Earth to a brillian
Page 53 and 54:
unlikely that Madox Brown would hav
Page 55 and 56:
Brown’s interest in another conte
Page 57 and 58:
As shown above the strongest eviden
Page 59 and 60:
Brown sustained his friendship with
Page 61 and 62:
Byron The Romantic poetry of Lord B
Page 63 and 64:
when Prince Azo discovers that his
Page 65 and 66:
these preparatory studies. Even the
Page 67 and 68:
immediate inspiration for the young
Page 69 and 70:
Chamois Hunter: What dost thou mean
Page 71 and 72:
This work composed, in 1840, when I
Page 73 and 74:
published in 1768 and it remained p
Page 75 and 76:
was the romantic and comic aspects
Page 77 and 78:
are identical, although Brown raise
Page 79 and 80:
Brown's use of subtle comedy and ei
Page 81 and 82:
to the Ascension, there are certain
Page 83 and 84:
CHAPTER 2 FLESHING OUT TIME: FORD M
Page 85 and 86:
In the section 'Construction: The P
Page 87 and 88:
eighteenth century with the formati
Page 89 and 90:
The picturesque mode not only told
Page 91 and 92:
Scott's historical novels also infl
Page 93 and 94:
BMAG collection by a sheet of early
Page 95 and 96:
which he forced Harold to swear to
Page 97 and 98:
Normandy.' 47 Therefore, a more pla
Page 99 and 100:
order to improve it, and he was …
Page 101 and 102:
unbefriended Widow is seen to appea
Page 103 and 104:
constitution, and is brought forwar
Page 105 and 106:
Byron, Pope and Burns, and in medal
Page 107 and 108:
Journal in an editorial entitled 'G
Page 109 and 110:
undertook research to check that th
Page 111 and 112:
farmer and lost in a religious tran
Page 113 and 114:
Construction: The Practicalities Re
Page 115 and 116:
institutions he used as resources.
Page 117 and 118:
Southey’s book of the church. Met
Page 119 and 120:
copied the portrait, keeping his po
Page 121 and 122:
Costume and Historical Sourcebooks
Page 123 and 124:
similar British works, such as the
Page 125 and 126:
such as the hat and hair style of t
Page 127 and 128:
Fairholt originally published secti
Page 129 and 130:
Chaucer and John of Gaunt in Wyclif
Page 131 and 132:
he went to grays in Lane to Seddon
Page 133 and 134:
students study '2 hours a day drawi
Page 135 and 136:
y not pursuing this course, the art
Page 137 and 138:
moment when the Anglo-Saxons lost c
Page 139 and 140:
and perfect their poses. He has als
Page 141 and 142:
ack over the early stages of The Se
Page 143 and 144:
Chaucer (Fig. 117). His last prepar
Page 145 and 146:
etter than reading because the view
Page 147 and 148:
explored in detail, Brown’s work
Page 149 and 150:
stopped at was the leave-taking of
Page 151 and 152:
drawing but not to the etching whic
Page 153 and 154:
of working up a composition, most o
Page 155 and 156:
translate his drawing into a carved
Page 157 and 158:
month on an etching of King Lear, y
Page 159 and 160:
Might shine-it was a foolish though
Page 161 and 162:
his friend Dr John Marshall supplie
Page 163 and 164:
illustration to the Prisoner of Chi
Page 165 and 166:
minutely observed study of a corpse
Page 167 and 168:
Let me take this opportunity of exp
Page 169 and 170:
appealing subject in its own right
Page 171 and 172:
Bible had been dropped and it was c
Page 173 and 174:
From these suggestions the obscure
Page 175 and 176:
Brown wrote of the effect he wished
Page 177 and 178:
Eglon's arm jewellery appears to ha
Page 179 and 180:
contributed approximately 30,000 dr
Page 181 and 182:
wood - & the cartoons would be of g
Page 183 and 184:
involved photographing the finished
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 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 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: Cat. no. 104 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
Page 315 and 316: APPENDIX Down Stream Between Holmsc
Page 317 and 318: 4. Princeton University Library, Pr
Page 319 and 320: Blind, Mathilde, Dramas in Miniatur
Page 321 and 322:
Hope, Thomas, Costume of the Ancien
Page 323 and 324:
Retzsch, Friedrich August Moritz, R
Page 325 and 326:
White, Gleeson, English Illustratio
Page 327 and 328:
Fairholt, Frederick William 'Notes
Page 329 and 330:
SECONDARY BOOKS Athanassoglou-Kallm
Page 331 and 332:
Johnson, Lee, The Paintings of Eug
Page 333 and 334:
Vaughan, Michael, William Blake, Lo
Page 335 and 336:
Cusack, Tricia, 'Emma’s Teeth: Re
Page 337 and 338:
Sidey, Tessa, 'Charles Fairfax Murr
Page 339 and 340:
Catalogue of the Permanent Collecti
Page 341 and 342:
Pre-Raphaelite Drawings and Waterco
Page 343 and 344:
Nicoletti, Lisa, Resuscitating Ophe
show all

ford madox brown - eTheses Repository - University of Birmingham

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?