ford madox brown - eTheses Repository - University of Birmingham

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Letters from John Leighton to Ford Madox Brown Undated c. June 1866 (MSL/1995/14/56/7) 20 June 1866 (MSL/1995/14/56/1) 16 July 1866 (MSL/1995/14/56/2) 18 July 1866 (MSL/1995/14/56/3) 17 July 1866 [?](MSL/1995/14/56/5) 27 August 1866 (MSL/1995/14/56/4) Letter from Joseph Swain to Ford Madox Brown, 18 March 1867, (MSL/1995/14/106/1) Letters from Bertrand Payne to Ford Madox Brown 10 March 1869 (MSL/1995/14/78/5) 23 March 1869 (MSL/1995/14/78/6) 1 April 1869 (MSL/1995/14/78/7) 21 June 1869 (MSL/1995/14/78/8) 25 June 1869 (MSL/1995/14/78/9) 29 June 1869 (MSL/1995/14/78/10) 22 [?] July 1869 (MSL/1995/14/78/11) 30 July 1869 (MSL/1995/14/78/12) 8 October 1869 (MSL/1995/14/78/13) 22 [?] October 1869 (MSL/1995/14/78/14) 19 January 1870 (MSL/1995/14/78/15) 29 April 1870 (MSL/1995/14/78/16) Letter from Virtue & Co. (publishers of The Art Journal) discussing the engraving of The Last of England by Herbert Bourne, 3 August 1869 (MSL/1995/14/78/17) Letter from Herbert Bourne to Ford Madox Brown discussing the engraving of the Byron illustrations, 11 October 1869 (MSL/1995/14/78/17) PRIMARY BOOKS Allingham, William, The Music Master and other Poems, London, G. Routledge & Co., 1855 Anonymous, The Language of Flowers: an alphabet of floral emblems, London, T. Nelson and Sons, 1857 Art Pictures from the Old Testament, London, Society for Promoting Christian Knowledge, 1894 Bate, Percy, The English Pre-Raphaelite Painters, London, Bell, 1899 Black, Grace, A Beggar and other Fantasies, Holmwood, Surrey, Edward Garnett, 1889 Blair, Robert, The Grave, with 12 Etchings from the original Designs by William Blake, London, T. Bensley, 1808 311
Blind, Mathilde, Dramas in Miniature, London, Chatto and Windus, 1891 Bonnard, Camille, Costumes des XIII, XIV, et XV Siècles, Extraits des Monuments des plus authentiques de Peinture et de Sculpture, avec un Texte historique et descriptif par Camille Bonnard, 2 vols., Paris, Treuttel et Würtz, 1829-1830 Brown, Oliver Madox, Gabriel Denver, London, Smith, Elder & Co., 1873 Brown, Oliver Madox, Dwale Bluth: Hebditch's Legacy and other literary Remains of Oliver Madox Brown, 2 vols., London, Tinsley Brothers, 1876 Buerger, Gottfried August, Leonora. A Tale, translated and altered from the German by J. T. Stanley, a new Edition, with a Frontispiece and two Vignettes engraved after Designs by William Blake, London, William Miller, 1796 Burne-Jones, Georgiana, Memorials of Edward Burne-Jones, 2 vols., London, Lund Humphries, 1993 Byron, Lord, The poetical Works of Lord Byron, London, John Murray, 1857 Carrington, Henry, Translations from the Poems of Victor Hugo, London and Newcastle-on-Tyne, Walter Scott, 1885 Carlyle, Thomas, On Heroes, Hero-Worship and the heroic in History, London, Chapman and Hall, 2 nd ed., 1842 Carlyle, Thomas, Past and Present, London, Chapman & Hall, 1843 Carlyle, Thomas, ed., Oliver Cromwell's Letters and Speeches, London, Chapman and Hall, 3 rd ed., 1849 Carlyle, Thomas, Sartor Resartus, Lectures on Heroes, Chartism, Past and Present, London, Chapman and Hall, 1888 Carlyle, Thomas, Critical and miscellaneous Essays, 5 vols., London, Chapman and Hall Limited, 1899 Cunningham, Allan, The Lives of the most eminent British Painters, Sculptors, and Architects, 6 vols., London, John Murray, 1830 Dafforne, James, Life and Works of E. M. Ward, London, Virtue and Company, 1879 Dalziels' Bible Gallery: Illustrations from the Old Testament, London, George Routledge and Sons, 1881 Dalziel, George and Edward, The Brothers Dalziel. A Record of Work in Conjunction with many of the most distinguished Artists of the Period 1840-1890, London, Methuen and Co., 1901 312
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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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the throne and the prominence of th
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Cat. no. 84 King Lear: Kent accuses
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Etching in the Germ’ in 1853. 121
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attracted no attention, and the yea
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faithfully. 133 However, capturing
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Cat. no. 93 Lyra Germanica - the Ch
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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 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: 4. Princeton University Library, Pr
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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