ford madox brown - eTheses Repository - University of Birmingham

More documents

Recommendations

Info

Cat. no. 120 Portrait: Ford Madox Brown, c.1865 After Elliott & Fry (albumen carte de visite) Modern photographic print, 138 x 111 mm (i.), 145 x 118 mm (p.) Lit.: Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Found unaccessioned, 2007 (2007.2600) Cat. no. 121 Portrait: Thomas Carlyle, c.1859 Albumen print possibly by Charles Thurston Thompson; (top) 312 x 185 mm (bottom) 312 x 168 mm Lit.: Hueffer, pp. 163-64; Jeremy Maas, The Victorian Art World in Photographs (1984), pp. 186-87 Exh.: Thomas Carlyle 1795-1881, National Portrait Gallery, London, 1981 (13); Ford Madox Brown: The Unofficial Pre-Raphaelite (38) Found unaccessioned, 1975 (1975P329) Although Ford Madox Brown met Thomas Carlyle (1795–1881), the essayist was too busy to sit for Work in person and instead posed for this photograph most likely taken in 168 1859 at 'Mr Thompson’s Photographic Establishment'. Mr. Thompson is almost certainly the photographer Charles Thurston Thompson (1816-1868). eral of them influenced his choice of ngs were known for their lively rhetoric which comes g to pose for the photograph: 169 Brown was deeply impressed with the works of Carlyle and sev subject matter. Carlyle’s writi across in the letter he wrote to Brown agreein I think it a pity you had not put (or should not still put) some other man than me in your Great Picture. It is certain you could hardly have found among the sons of Adam, at present, any individual who is less in a condition to help you forward with it … I very well remember your amiable request, and the promise I made to you, to 'sit for some photographs.' That promise I will keep; and to that we must restrict ourselves, hand of Necessity compelling. Any afternoon I will attend here, at your studio, or where you appoint me, and give your man one hour to get what photographs he will or can of me. If here, the hour must be 3½ pm (my usual hour of quitting work, or to speak justly, the chamber of work); if at any other place, attainable by horseback, it will be altogether equally convenient to me; and the hour may be such as enables me to arrive (at a rate of 5 miles per hour we will say!). 170 The National Portrait Gallery holds another photograph of Carlyle sitting in a chair, which was owned by the sculptor Thomas Woolner (1825-1892), a friend of the artist (F ig. 182). It appears to have been taken in the same studio session as the same clothes, props and backdrop can be seen in the photograph. It is a smaller portrait of Carlyle from the waist up, and is likely to have been taken as the sitter seems to have moved his head 168 Undated letter from Thomas Carlyle to Ford Madox Brown cited op. cit. at note 3, p. 163. Hueffer implies that the photography session took place in 1859. 169 See entry for Thomas Carlyle (albumen photograph, c. 1859, National Portrait Gallery, NPG x1344) accessed online on 28.11.2008 at http://www.npg.org.uk/live/search/portrait.asp?search=ss&sText=thomas +carlyle&LinkID=mp00760&rNo=15&role=sit 170 Op. cit. at note 3, pp. 163-64. 270
in the Birmingham photograph, producing a blurred effect which may not have contained enough detail for Brown to work from. The Birmingham photograph has pin holes in the corners suggesting that Brown tacked it up to use as a guide to Carlye’s pose, which is the same as in the finished picture, but may have relied on the clearer half-length study for his likeness. Cat. no. 122 Portrait: Head Study of Daniel Casey (three-quarter view), 1848 Black chalk; 253 x 177 mm Insc. br.: Ford M Brown London/48 Lit.: Whitley, p. 46; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 68 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P720) Cat. no. 123 Portrait: Head Study of Daniel Casey (full-face), 1848 Black chalk; 250 x 175 mm Insc. br.: Ford M Brown London/48 Lit.: Whitley, p. 46; Andrea Rose, Pre-Raphaelite Portraits, 1981, p. 19, ill. p. 19; Diary, p. 44, Newman and Watkinson, p. 41 Exh.: Pre-Raphaelite Art from Birmingham, Hong Kong Museum of Art, 1984 (5); Ford Madox Brown: The Unofficial Pre-Raphaelite (21) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P721) the artist Daniel Casey ordeaux to Irish parents he specialised in historical and met Brown in 1837 when they tudied under Baron Wappers at the Antwerp Academy and shared lodgings at the Hotel oney to bring the body home. e pawned valuables and left art materials with the family. 171 The man in these two potraits has traditionally been identified as (active 1842-1880). Born in B biblical scenes, particularly those depicting horses. He s du Pot d'Etain. Following their studentship they both relocated to Paris where Casey remained after Brown moved to England in 1844. From 1842 until 1880 he exhibited paintings such as St Louis in the Desert at the Salon but despite commissions from the French Government monetary success evaded him. After his first wife’s death in Paris in 1846 Brown was helped by the Caseys to raise enough m H Two years later Brown returned to Paris to visit Daniel Casey and stayed almost three weeks with his friend. He wrote happily of the holiday in his diary recording 'Went to Paris to see my old friend Casey & buy a lay figure. Did both, enjoyed myself much, painted a portrait of Casey, worked about 7 hours at it.' 172 These studies of Casey may have been made by Brown during the visit, and finished in London, for the portrait (now lost). In the first study Casey is shown turned slightly to the left and with a beard. In the second he is in a much more startling full face pose and Casey's eyes bore into the viewer. This striking drawing is reminiscent of Dürer’s Self Portrait at Twenty-Eight (1500, oil on panel, Alte Pinakothek, Munich), and was made when Casey would have been the same age, suggesting that Brown wanted to highlight his friend’s artistic genius. 171 Op. cit. at note 2, pp. 153-154. 172 Ibid., p. 44. 271
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 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: Cat. no. 119 Poets of the Nineteent
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?