ford madox brown - eTheses Repository - University of Birmingham

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Long, Burke O., 'Picturing Biblical Pasts,' in Steven W. Holloway, ed., Orientalism, Assyriology and the Bible, Sheffield, Sheffield Phoenix Press, 2006, pp. 297-321 MacCulloch, Laura, 'Forgotten Images: The Illustrations of Ford Madox Brown,' in Ford Madox Brown: the Unofficial Pre-Raphaelite, exh. cat., Birmingham Museum and Art Gallery, 2008, pp. 32-38 Mancoff, Debra N., ‘The Play’s the Thing:’ Victorian Literary Paintings as Theatre,' in The Forbes Collection of Victorian Pictures and Works of Art, sales cat., Christie’s, 2nd vol., London, 20 February, 2003 Mayne, Jonathan, 'Exhibition Review of Ford Madox Brown, at Liverpool, Manchester and Birmingham,' The Burlington Magazine, vol. 107, no. 744, March 1965, p. 156 Mehra Bharat, 'Hindu Temples and Asian Indian diasporic Identity in the United States' in Identity and the Arts in Diaspora Communities, eds. Thomas Turino and James Lea, Warren, Michigan, 2004, pp. 93-102 Meisel, Martin, 'Pictorial Engagements: Byron, Delacroix, Ford Madox Brown,' Studies in Romanticism, vol. 27, no. 4, Winter 1988, pp. 579-603 Mitchell, Rosemary, ‘Knight, Charles (1791–1873)’, Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; accessed online 17 April 2007 (http://www.oxforddnb.com/view/article/15716) Oergel, Maike, 'The redeeming Teuton: Nineteenth-century Notions of the 'Germanic' in England and Germany,' in Geoffrey Cubitt, ed., Imagining Nations, Manchester and New York, Manchester University Press, 1998, pp. 75-91 Phelps, Sarah Hamilton, 'The Hartley Collection of Victorian Illustration,' Bulletin: Museum of Fine Arts Boston, vol. 71, no. 360, 1973, pp. 52-67 Poulson, Christine, 'A Checklist of Pre-Raphaelite Illustrations of Shakespeare's Plays,' The Burlington Magazine, vol. 122, no. 925, April 1980, pp. 44-250 Prettejohn, Elizabeth, ‘Images of the Past in Victorian Painting,’ in Angus Trumble, ed., Love and Death: Art in the Age of Queen Victoria, Art Gallery of South Wales, Adelaide, 2002, pp. 85-90 Richmond, Velma Bourgeois, 'Ford Madox Brown's Protestant Medievalism: Chaucer and Wycliffe,' Christianity and Literature, vol. 54, no. 3, Spring 2005, pp. 363-396 Robertson, David, ‘Cross, John (1819–1861)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed online 17 April 2007 (http://www.oxforddnb.com/view/article/6793) Schoenherr, Douglas E., ‘The 'Cartoon Book' and Morris & Co Sale of Burne-Jones's cartoons in 1901-1904,’ The Journal of Stained Glass: The Journal of the British Society of Master Glass Painters, vol. 29, 2005, pp. 82-134 329
Sidey, Tessa, 'Charles Fairfax Murray, J. R. Holliday and the Birmingham Collection of Millais Drawings,' in John Everett Millais: Illustrator and Narrator, exh. cat., BMAG, 2004, pp. 49-53 Small, Lisa, ‘Gilbert, Sir John (1817–1897)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed online 10 October 2008 (http://www.oxforddnb.com/view/article/10693) Smith, Roger, ‘Bonnard’s Costume Historique – a Pre-Raphaelite source book,’ Costume, vol. 7, 1973, pp. 28-37 Sperling, Joy, '"Art, Cheap and Good:" The Art Union in England and the United States, 1840-1860, Nineteenth Century Art Worldwide: An online Journal of nineteenth-century visual Culture, vol. 1, no. 1, Spring 2002, pp. 1-16, accessed online 1 May 2008 (http://www.19thc-artworldwide.org/spring_02/articles/sper.shtml) Thirlwell, Angela, 'Vieux Fordy: Death of a modern Man,' in Ford Madox Brown: the Unofficial Pre-Raphaelite, exh. cat., Birmingham Museum and Art Gallery, 2008, pp. 7-15 Thirlwell, Angela, 'Tender Human Tie: The unconventional Intimacy of Ford Madox Brown and Mathilde Blind,' Times Literary Supplement (TLS), no. 5506, 10 October 2008 Thomas, Daniel, 'Some Pre-Raphaelite Paintings,' Art Gallery of New South Wales Quarterly, vol. 4, no. 1, October 1962, pp. 119-121 Treuherz, Julian, ‘Ford Madox Brown and the Manchester Murals,’ in J.H.G. Archer, ed., Art and Architecture in Victorian Manchester, Manchester, 1985, pp. 162-207 Treuherz, Julian, ‘The Pre-Raphaelites and Medieval illuminated Manuscripts,’ in Leslie Parris, ed., Pre-Raphaelite Papers, London, Tate Gallery Publications, 1984, pp. 153-69 Treuherz, Julian 'Review of The Art of Ford Madox Brown by Kenneth Bendiner,' in The Burlington Magazine, vol. 140, no. 1147, October 1998, p. 697 Trodd, Colin, 'Culture and Energy: Ford Madox Brown, Thomas Carlyle and the Cromwellian Grotesque' in Colin Trodd, Paul Barlow and David Amigoni, eds., Victorian Culture and the Idea of the Grotesque, Aldershot, Ashgate, 1999, pp. 61-80 Turpin, John, 'Daniel Maclise (bap. 1806, d. 1870),' Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed online August 2008 (http://www.oxforddnb.com/view/article/17682) White Trimpe, Pamela, ‘Pinwell, George John (1842–1875)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed online 23 Oct 2008 (http://www.oxforddnb.com/view/article/22308) 330
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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
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Cat. no. 101 Morris & Company Windo
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Cat. no. 104 Oure Ladye of Saturday
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Cat. no. 113 Oure Ladye of Saturday
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POETS OF THE NINETEENTH CENTURY: TH
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Cat. no. 119 Poets of the Nineteent
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in the Birmingham photograph, produ
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Cat. no. 125 Portrait: Emma Hill (l
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Cat. no. 127 Portrait: Mrs Madox Br
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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: Cusack, Tricia, 'Emma’s Teeth: Re
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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