Ford Madox Brown

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Brown, Ford Madox,

1821–93, English historical painter, b. Calais, France. Although closely affiliated with the Pre-RaphaelitesPre-Raphaelites
, brotherhood of English painters and poets formed in 1848 in protest against what they saw as the low standards and decadence of British art. The principal founders were D. G. Rossetti, W.
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 in London, he never joined the brotherhood. Examples of his paintings are Work (1852–63; Manchester Art Gall.); The Last of England (1855; Birmingham Gall.); and his series of 12 frescoes in the town hall of Manchester, depicting the history of that city. He was the grandfather of Ford Madox FordFord, Ford Madox,
1873–1939, English author; grandson of Ford Madox Brown. He changed his name legally from Ford Madox Hueffer in 1919. The author of over 60 works including novels, poems, criticism, travel essays, and reminiscences, Ford also edited the
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Brown, Ford Madox


Born Apr. 16, 1821, in Calais; died Oct. 6, 1893, in London. English painter.

Brown studied in Belgium. His historical and religious compositions, which influenced the Pre-Raphaelites, are of a romantic moralizing character and are distinguished by explicitness of detail and sharpness of color (Christ Washing Peter’s Feet, 1852, Tate Gallery, London; paintings on the history of Manchester, 1873-93, Town Hall, Manchester). Brown’s paintings The Last of England (1852-55, Birmingham Art Gallery) and Work (1852-65, Manchester Art Gallery), in which laborers are juxtaposed with the idle rich, were inspired by his social Utopian views.


Rossetti, W. M. F. M. Brown. London, 1902.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Rossetti consistently addressed the volume's most thoughtful and substantive letters to Ford Madox Brown, to whom he expressed emotional solidarity, set forth his views and preoccupations without reserve, and gave advice--when Brown prepared to deliver some lectures on art history, for example, but got certain facts wrong.
The Last of England - Ford Madox Brown (Birmingham Museums and Art Gallery / The Fitzwilliam Museum, Cambridge) (1852-55 and a later painting in 1860)
This interpretation reconciles early and late paintings, and it is nearer to my focus on Ford Madox Brown's vision of Chaucer as the Father of English Poetry and Wycliffe as the "Morning Star of the Reformation" and "Father of English Prose." From the Middle Ages these men emerge as ideals that fostered Victorian national, racial, and religious identity, embodied in the English language and historical personality.
Other artists commissioned or collected by Howard include Walter Crane, Rossetti, Edward Lear, Holman Hunt, Ford Madox Brown and William Blake Richmond.
The drawing also speaks to van Gogh's desire to create a major figural composition, one indebted to painters (such as Gustave Courbet and Ford Madox Brown) concerned with building major modern pictures around the subject of labor.
References to Ford Madox Brown's Work (1852-65) are made in the advertising boards and the policeman, while a deferential nod is given to the detail of mid-century Frith and Hicks narratives.
Formerly responsible for 7,000 paintings and 3,000 miniatures until he retired in 2005, Christopher's book includes Ford Madox Brown's An English Autumn Afternoon, Pierre Subleyras's St John of Avila and Augustus Egg's The Travelling Companions from the collection at Birmingham Museum and Art Gallery.
It was owned and probably commissioned by Benjamin Windus, one of the early patrons of the Pre-Raphaelites who also owned The Last of England by Ford Madox Brown, also in the Birmingham collection.
"The Pre-Raphaelites, such as Rossetti and Ford Madox Brown, were also very good at taking on female students," adds MacCulloch.
The pre-raphaelites are also there with four studies by Burne Jones and Ford Madox Brown's dramatic work Cordelia's Potion.
Going back to Ford Madox Brown, we can at least encourage Cannadine and the others behind these ideas to keep digging.
Rossetti's relations with William Morris, for example, take up four columns, with Ford Madox Brown more than eight, and with Charles Augustus Howell about seven.