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Cat. no. 171 Wycliffe reading his Translation of the Bible: Study for Head of Constance, 1848 Chalk over pencil, 135 x 155 mm Insc. bl.: London, br.: Ford M Brown 1848 Lit.: Whitley, p. 39; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 70 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P691) Mrs Ashley, the model for the mother in Infant’s Repast (see cat. nos. 80-82), may well have sat for this head study. In his first diary entry referring to her, made on 26 January 1848, he called her ‘Miss Ashley’ and noted that she 'came at 11 stopped till four … will never do.' 248 However, she continued to sit for him for ‘the head of the female’ and on 22 February 1848 he even accepted some 'beautiful Castor oil pomatum' she made for him in exchange for a small amount of money. 249 Cat. no. 172 Wycliffe reading his Translation of the Bible: Study for Head of Chaucer, 1848 Pencil, 176 x 148 mm Insc.: London/ F.M.Brown/ 48 Lit.: Whitley pp. 39-40; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 70 Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P702) Whitley identitified this as a ‘Study for the Head of a Woman in profile to Right.’ In fact, it is a study for the head of Chaucer. It is not clear if the model was male or female and Whitley’s identification may have been suggested by the drawing’s original mount which grouped it with a number of studies for Constance (cat. nos. 168-171). Cat. no. 173 Wycliffe reading his Translation of the Bible: Study of Monk representing the Catholic Faith, 1848 Black chalk with brown pen and ink, squared up; 275 x 245 mm (i.), 278 x 275 mm (p.) Insc. br.: Ford M. Brown 1848 London Lit.: Whitley, p. 40; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 70 Exh.: Arts & Crafts, 1896 (446); resented by Subscribers, 1906 (1906P703) 250 Grafton, 1897 (184); Ford Madox Brown, 1964 (59) ; Visions (8) Prov.: Charles Fairfax Murray P 248 Op. cit. at note 2, p. 27. 249 Ibid., pp. 27, 31. 250 No. 446 is listed as 'Two Saints in Circles 1848. Lent by Charles Fairfax Murray' (Op. cit. at note 9, p. 105). The date and description indicates that it was the studies for Catholicism and Protestantism which were exhibited. 298
Cat. no. 174 Wycliffe reading his Translation of the Bible: Study of young Woman representing the Protestant Faith, 1848 Black chalk; 245 x 247 mm (i.), 277 x 278 mm (p.) Insc. br.: Ford M Brown 1848 London Lit.: Whitley, p. 40; Ford Madox Brown: The Unofficial Pre-Raphaelite, p. 70 Exh.: Arts & Crafts, 1896 (446); Grafton, 1897, (184); Brussels, 1929 (15); Pre- Raphaelite Art from Birmingham, Hong Kong Museum of Art, 1984 (6) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P704) rown turned his attention to completing the two spandrel ebruary records that he changed his mind about one of em settling on a 'young girl instead of a child to impersonate the Protestant faith.' 251 On of Romish faith, a figure holding a chaineda torch - with a hood like the penitents at Catholic funeras [sic] showing nly the eyes, with burning fagots [sic] and a weel [sic] of torture or accessories.' '252 Near the end of the project B figures. His diary entry for 28th F th the same day he 'composed the other figure up bible and o This figure can be seen in the oil sketch for Wycliffe reading his Translation of the Bible (Fig. 80). It was not until the end of March that Brown began to draw the cartoons for 'the symbolic figures in the spandrils' and at this point he redesigned them. gure of Catholicism, omitting the wheel and replacing the torch with a crucifix. He also completed the cartoons just over a week. According to his diary Brown had Miss Wild to sit 253 He altered the fi decided to set the figures in elaborate roundels (see Fig. 1). He for both figures in for the figure of Protestantism and used Maitland’s head for Catholicism. 254 hly finished except the lily which is barely as running out of time Brown decided to deviate from his ore painting them. In order to do is he 'squared the monk & drew him in on the Canvas.' 255 The two cartoons reveal that Brown was under intense pressure to finish the painting on time. The majority of the drawing for Catholicism is highly finished in black chalk but the edge of the book and the chain have been finished much less carefully in brown ink. Likewise the cartoon for Protestantism is hig drawn in. Perhaps because he w usual practice of tracing his figures onto the canvas bef th The lines he used to square up the cartoon are still visible on the drawing. The effort of finishing the work took its toll on Brown and he had to ask his friend Charles Lucy to draw the figure of Protestantism onto the canvas because he was having problems with his eyes, a complaint he makes several times in the diary and no doubt due to the punishing hours he put in 256 near the completion of a painting. 251 Op. cit. at note 2, p. 32. 252 Ibid. 253 Ibid., p. 36. 254 Ibid., p. 37. 255 Ibid., p. 36. 256 Ibid., p. 38. 299
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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
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that his 'idea was conceived abroad
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works to be bought for a public col
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the same composition in the collect
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The hand studies, the figure of the
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"knight" made a lirlipipe for it.'
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decorative architecture and her fin
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illustration in Strutt's A Complete
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painting the King's cloak has a che
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Cat. no. 45 Chaucer at the Court of
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y Brown, perhaps one of the sashes
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This pastel portrait shows Emma Mad
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Cat. no. 59 Costume Studies: French
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Cat. no. 62 Dalziels' Bible Gallery
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DALZIELS' BIBLE GALLERY: ELIJAH AND
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Such attention to detail and desire
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wheel of a tricycle-like object whi
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In December 1863 Brown sent his pat
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The British Museum The Dark Blue, O
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Manchester A.D. 1363 which was comp
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etc.' 111 These drawings may well b
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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
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 301 and 302: Cat. no. 164 Wycliffe reading his T
Page 303: 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
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