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ford madox brown - eTheses Repository - University of Birmingham

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Discussion has highlighted his use <strong>of</strong> prints as sources for compositions and<br />

historical details, as well as his view <strong>of</strong> illustration as a useful and enjoyable artistic<br />

outlet. Conventionally, the history <strong>of</strong> art is discussed predominantly through the<br />

study <strong>of</strong> paintings. Yet studying and exhibiting paintings in isolation provides far<br />

fewer insights into the artists, their work and the influences, cultural, social and<br />

artistic, acting upon them than if graphic art is also taken into account.<br />

Additionally, this thesis has shown that the study <strong>of</strong> drawings is essential to<br />

discover if ideas have been changed or discarded, as well as to enable scholars to<br />

piece together a work when, as in the case <strong>of</strong> Parisina's Sleep (1842), the painting<br />

has been lost. It has also highlighted the importance <strong>of</strong> works on paper as important<br />

objects in their own right. Many <strong>of</strong> the works in the collection were not made in<br />

connection with a painting but as works <strong>of</strong> art in themselves; the portraits <strong>of</strong><br />

Brown's second wife Emma, and his published wood engravings are perhaps the<br />

clearest examples. It appears that Charles Fairfax Murray, as an artist himself,<br />

understood the importance <strong>of</strong> prints and drawings. When creating his collection he<br />

chose to focus on works on paper. He did not restrict himself to those related to<br />

more well known projects, notably The Last <strong>of</strong> England and Chaucer at the Court <strong>of</strong><br />

Edward III. Instead, he included many whose purpose was not necessarily clear,<br />

such as the Compositional Sketch for an unknown Subject (cat. no. 154), but which<br />

would add to the understanding <strong>of</strong> Brown's work in other ways. His legacy has<br />

enabled this study to move away from the traditional assessment <strong>of</strong> Brown's<br />

paintings and gain a far broader perspective <strong>of</strong> his achievements as draughtsman,<br />

designer and illustrator. The aims <strong>of</strong> this thesis also shaped the exhibition Ford<br />

Madox Brown: The Un<strong>of</strong>ficial Pre-Raphaelite and the accompanying catalogue.<br />

This collaborative aspect <strong>of</strong> this PhD has meant that my research is already<br />

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