Collection
Ford Madox Brown
Explore curated art prints selected for distinctive homes and considered interiors.
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Work - Ford Madox Brown
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Cordelia's Portion - Ford Madox Brown
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The Bromley Children (Ford Madox Brown) - Ford Madox Brown
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Dalton Collecting Marsh Fire Gas - Ford Madox Brown
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Crabtree watching the Transit of Venus in 1639 - Ford Madox Brown
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Stages of Cruelty - Ford Madox Brown
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Elijah restoring the Widow's Son - Ford Madox Brown
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Lear and Cordelia - Ford Madox Brown
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At the Grain Harvest - Ford Madox Brown
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Pretty Baa-Lambs - Ford Madox Brown
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Chaucer at the Court of Edward III - Ford Madox Brown
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The Finding of Don Juan by Haidée - Ford Madox Brown
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Portrait of William Michael Rossetti (1829-1919) by Lamplight - Ford Madox Brown
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John Wycliffe reading his translation of the Bible to John of Gaunt - Ford Madox Brown
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Madeline Scott (Ford Madox Brown) - Ford Madox Brown
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The Irish Girl - Ford Madox Brown
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Artist Biography
Ford Madox Brown
Brown spent thirteen years on a single painting. Work (1852 to 1865) attempted to catalogue the entire social structure of Victorian England in one canvas: navvies digging, gentlemen watching, a flower seller, a street preacher, intellectuals (Thomas Carlyle and F.D. Maurice are identifiable), and layers of commentary on who labours and who benefits.
He was born in Calais in 1821, trained across Europe, and settled in London. Though never an official member of the Pre-Raphaelite Brotherhood, he was their most important older ally and the teacher who most shaped their ambitions. His insistence on painting outdoors in natural light, often to the point of physical discomfort, and his dense, moralising compositions made him a bridge between the Nazarenes he had studied with in Rome and the young English radicals who followed.
He also designed stained glass and furniture for Morris and Co. He died in 1893, at seventy-two.
He was born in Calais in 1821, trained across Europe, and settled in London. Though never an official member of the Pre-Raphaelite Brotherhood, he was their most important older ally and the teacher who most shaped their ambitions. His insistence on painting outdoors in natural light, often to the point of physical discomfort, and his dense, moralising compositions made him a bridge between the Nazarenes he had studied with in Rome and the young English radicals who followed.
He also designed stained glass and furniture for Morris and Co. He died in 1893, at seventy-two.
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