- Art/work. // Workforce (10928332);Jul97, Vol. 76 Issue 7, p96
Features painter Ford Madox Brown and his painting `Work,' done on 1852-1865. Painting medium; Place of birth of Brown; Brown's relationship with pre-Raphaelite Brotherhood, a group of avant-garde artists and writers.
- Ford Madox Brown's Work: An iconographic analysis. Curtis, Gerard // Art Bulletin;Dec92, Vol. 74 Issue 4, p623
Explores the complex visual and iconographic content in his paintings of the 1852-65, particularly the work in `Work' and the relationship between its differing narrative and iconographic threads. Symbolism; Narrativity; Specific urban semiotica that had developed concerning water supply in...
- 'Ford Madox Brown: Pre-Raphaelite Pioneer'. Peeters, Nic // British Art Journal;Autumn2012, Vol. 13 Issue 2, p93
The article reviews the exhibition "Ford Madox Brown: Pre-Raphaelite Pioneer," on view at the Museum of Fine Arts (MSKG) in Ghent, Belgium from February 25 - June 3, 2012 and Manchester City Art Gallery in Manchester, England from September 21, 2011 - January 29, 2012.
- "No Originals, Only Copies": Pre-Raphaelite Images of Belatedness and Innovation. Gilbert, Elliot L. // Victorian Newsletter;Spring1992, Issue 81, p1
The article focuses on pre-Raphaelite paintings. The author suggests that their works convey the progression of past, present and future. He also mentions the portrayal of general cultural movement from belatedness to innovation. Some paintings are analyzed including "Take Your Son, Sir," by...
- Masterpieces. // American Artist;May1948, Vol. 12 Issue 5, p35
The article presents a biography of contemporary painter John Copley. Copley was born in 1875 in Manchester, England and is a descendant of the famous colonial painter John Singleton Copley. The works of pre-Raphaelite painter Ford Madox Brown inspired him to become an artist. His works entitled...
- For Want of a Magisterium: Modernist art and the Church of England. Brighton, Andrew // Art & Christianity;Autumn2013, Issue 75, p14
In an essay, the author argues that Christianity is important to modernist art. More specifically, the author makes the argument that Christianity is important as an enemy rather than as a friend of modernism. The author makes his case by comparing two paintings: "The Painterâ€™s Studio:...
- The idea of emigration: Ford Madox Brown's The Last of England. Hardy, Pat // British Art Journal;Spring/Summer2012, Vol. 13 Issue 1, p7
The article discusses the 1852-1855 painting "The Last of England," by British painter Ford Madox Brown, focusing on the depiction of emigration. The author analyzes the direction of the people in the painting and discusses Brown's role in the Pre-Raphaelite movement. The author discusses public...
- 'KING LEAR' IN THE ART OF FORD MADOX BROWN. Borowitz, Helen O. // Victorian Studies;Spring78, Vol. 21 Issue 3, p309
Focuses on how painter Ford Madox Brown works on the theme of the play 'King Lear,' written by William Shakespeare. Discussion on the artistic influences of the painter; Information on the paintings of Brown; Details of the concepts and themes of the paintings created by Brown.
- FORD'S PROVENCE: A PRE-RAPHAELITE VISION. Thirlwell, Angela // International Ford Madox Ford Studies;2011, Vol. 10, p193
Whenever Ford thought about his grandfather, Ford Madox Brown, the great Victorian artist closely associated with the Pre-Raphaelites, he thought about France. And whenever he thought about France, he thought about his grandfather: an exaggeration in the spirit of Ford himself. His notions of...