Dalton Collecting Marsh Fire Gas - Ford Madox Brown
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Description
This painting by Ford Madox Brown depicts John Dalton collecting methane gas from a marsh, part of a series of murals for Manchester Town Hall. The work combines scientific subject matter with a narrative approach.
Ford Madox Brown's painting, *Dalton Collecting Marsh Fire Gas*, is part of a series of murals commissioned for Manchester Town Hall, depicting scenes from the history of the city. Brown, associated with the Pre-Raphaelite movement, aimed for historical accuracy and moral instruction in his work. This particular panel represents the scientist John Dalton, known for his work on atomic theory, collecting methane gas from a marsh. The scene shows Dalton in the centre, using a long pole to gather the gas, while a group of children and other figures observe him. The setting is a marshy area, with a village visible in the background. The composition is carefully arranged, with attention to detail in the figures' clothing and the surrounding environment. The colour palette is muted, with earthy tones dominating the scene, reflecting the natural environment. The painting combines scientific subject matter with a narrative approach, typical of history painting, and reflects the Victorian interest in science and progress.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Dalton Collecting Marsh Fire Gas - Ford Madox Brown
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Ford Madox Brown
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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