Ford Madox Brown (original) (raw)

Paintings

Drawings

Study of Thomas Carlyle (philosopher) and Frederick Dennison Maurice (Anglican)

Ford Madox Brown (16 April 1821 – 6 October 1893) was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style.

Life and work

Brown was born in Calais and studied art in Antwerp under Egide Charles Gustave Wappers. In 1843 he submitted work to the Westminster Cartoon Competition, for compositions to decorate the new Palace of Westminster. He was not successful. His early works were, however, greatly admired by the young Dante Gabriel Rossetti, who asked him to become his tutor. Through Rossetti, Brown came into contact with the artists who went on to form the Pre-Raphaelite Brotherhood (PRB). Though closely linked to them, he was never actually a member of the brotherhood itself. Nevertheless, he remained close to Rossetti, with whom he also joined William Morris's design company, Morris, Marshall, Faulkner & Co., in 1861. He was a close friend of the landscape artist Henry Mark Anthony. Brown was also the main organiser of the Hogarth Club, a short lived replacement for the PRB which existed between 1858 and 1861.
Brown, at left, with William Holman Hunt. Caricature by Max Beerbohm from Rossetti and His Circle.

One of his most famous images is The Last of England which was sold in March 1859 for 325 Guineas[1] (2010: £25,800). It depicts a pair of stricken emigrants as they sail away on the ship that will take them from England forever. It was inspired by the departure of the Pre-Raphaelite sculptor Thomas Woolner, who had left for Australia. The painting is structured with Brown's characteristic linear energy, and emphasis on apparently grotesque and banal details, such as the cabbages hanging from the ship's side.

Brown's most important painting was Work (1852–1865), commissioned by Thomas Plint [2] and which he showed at a special exhibition. It attempted to depict the totality of the mid-Victorian social experience in a single image, depicting 'navvies' digging up a road, Heath Street in Hampstead, London, and disrupting the old social hierarchies as they did so. The image erupts into proliferating details from the dynamic centre of the action, as the workers tear a hole in the road – and, symbolically, in the social fabric. Each character represents a particular social class and role in the modern urban environment. Brown wrote a catalogue to accompany the special exhibition of Work. This publication included an extensive explanation of Work that nevertheless leaves many questions unanswered.

Brown's major achievement after Work was the "Manchester Murals", a cycle of twelve paintings in the Great Hall of Manchester Town Hall depicting the history of the city. These present a partly ironic and satirical view of Mancunian history.

Family

Brown was married twice. His first wife Elizabeth Bromley died in 1846 aged 27, after giving birth to a daughter Lucy. He later married his model Emma Hill, who appears in many of his paintings and is the wife in The Last of England. His son with Emma, Oliver Madox Brown (1855–1874) showed promise both as an artist and poet, but died of blood poisoning. Their daughter, Catherine, married Francis Hueffer.

He was the grandfather of novelist Ford Madox Ford and great-grandfather of Labour Home Secretary Frank Soskice. Brown is buried in London in the St Pancras and Islington Cemetery, close to Muswell Hill. He was given a secular funeral, and the funeral oration was delivered by the American Moncure D. Conway, the secularist after whom Conway Hall was later named. (See TLS 2008 article cited below)
The Ford Madox Brown, a Wetherspoons pub in Manchester, England

Heritage

The Wetherspoon pub in Oxford Road, Manchester is named after Ford Madox Brown.[3] It states on the Wetherspoons website that "This J D Wetherspoon pub is named after the much-travelled artist Ford Madox Brown, a one-time resident of Victoria Park, a suburb south of the pub." The pub opened in 2007.

Books

* Virginia Surtees (ed), The diary of Ford Madox Brown (1981, ISBN 0300027435)
* Kenneth Bendiner, Ford Madox Brown: Il Lavoro, (Turin: Lindau, 1991).
* Kenneth Bendiner, The Art of Ford Madox Brown, (University Park, PA: Penn State Press, 1998)
* Tessa Sidey (ed), Ford Madox Brown: The Unofficial Pre-Raphaelite, (2008, Birmingham Museum and Art Gallery ISBN 978-1-904832-56-0)