Later Victorian Portraits Catalogue
Ford Madox Brown (1821-1893), Painter and designer
Brown painted in the technique of the Pre-Raphaelites but was never a member of the Brotherhood. He found many patrons in the Midlands and North of England.
What struck us at first more than his personal aspect was his slow, deliberate, uniform voice, slow but in no way hesitating, nor wanting in copiousness of discourse.
He was a vigorous-looking young man, with a face full of insight and purpose; thick straight brown hair, fair skin, well-coloured visage, blueish eyes, broad brow, square and rather high shoulders, slow and distinct articulation. His face was good-looking as well as fine; but less decidedly handsome, I think, than it became towards the age of forty. As an old man […] he had a grand patriarchal aspect; his hair, of a pure white, being fully as abundant as when first I knew him, supplemented now by a long beard.
Footnotesback to top
Referencesback to topAngeli 1949
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Barringer, T., ‘Brown, Ford Madox (1821–1893)’, ODNB, Oxford, 2004; online ed., May 2005.
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Beerbohm, M., Rossetti and His Circle, [London, 1922] repr. with additions, New Haven and London, 1987.
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Bennett, M., Ford Madox Brown: A Catalogue Raisonné, 2 vols, New Haven and London, 2010.
Bills & Webb 2007
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Hueffer, F.M., Ford Madox Brown: A Record of His Life and Works, London, 1896.
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Reeve & Walford 1863–7
Reeve, L., and E. Walford, eds, Portraits of Men of Eminence in literature, science and art, with biographical memoirs. The photographs from life, by E. Edwards, 6 vols, London, 1863–7.
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Rossetti, W.M., Dante Gabriel Rossetti: His Family-Letters with a Memoir, 2 vols, London, 1895.
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Thirlwell, A., ‘From Paint to Print: Grandfather’s Legacy’ in L. Colombino, ed., Ford Madox Ford and Visual Culture, Amsterdam and New York, 2009.
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Wolohojian, S., and A. Tahinci, eds, A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthop Collection, Harvard University, Metropolitan Museum of Art, New York, 2003.