Ford Madox Brown

1821–1893

Ford Madox Brown, ‘The Last of England’ 1864–6
The Last of England 1864–6
License this image
In Tate Britain

Walk Through British Art: 1840

Free entry
In Tate Britain

Prints and Drawings Rooms

View by Appointment

Biography

Ford Madox Brown (16 April 1821 – 6 October 1893) was a French-born British painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. Arguably, his most notable painting was Work (1852–1865). Brown spent the latter years of his life painting the twelve works known as The Manchester Murals, depicting Mancunian history, for Manchester Town Hall.

This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License. Spotted a problem? Let us know.

Read full Wikipedia entry
Pre-Raphaelite

Artworks

Ford Madox Brown, ‘The Last of England’ 1864–6

Ford Madox Brown The Last of England

1864–6
N03064
Ford Madox Brown, ‘Jesus Washing Peter’s Feet’ 1852–6

Ford Madox Brown Jesus Washing Peter’s Feet

1852–6
N01394
Ford Madox Brown, ‘Lear and Cordelia’ 1849–54

Ford Madox Brown Lear and Cordelia

1849–54
On display at Tate Britain part of Walk Through British Art N03065
Ford Madox Brown, ‘‘Take your Son, Sir’’ ?1851–92

Ford Madox Brown ‘Take your Son, Sir’

?1851–92
N04429
Ford Madox Brown, ‘The Hayfield’ 1855–6

Ford Madox Brown The Hayfield

1855–6
On display at Tate Britain part of Walk Through British Art T01920
Ford Madox Brown, ‘Chaucer at the Court of Edward III’ 1856–68

Ford Madox Brown Chaucer at the Court of Edward III

1856–68
On display at Tate Britain part of Walk Through British Art N02063
Ford Madox Brown, ‘The Coat of Many Colours’ 1867

Ford Madox Brown The Coat of Many Colours

1867
N04584
Ford Madox Brown, ‘Our Lady of Good Children’ 1847–61

Ford Madox Brown Our Lady of Good Children

1847–61
N02684
See all 39

Artist as subject

Ford Madox Brown, ‘The Last of England’ 1864–6

Ford Madox Brown The Last of England

1864–6
N03064
Ford Madox Brown, ‘The Hayfield’ 1855–6

Ford Madox Brown The Hayfield

1855–6
On display at Tate Britain part of Walk Through British Art T01920
Sir Max Beerbohm, ‘Ford Madox Brown being Patronized by Holman Hunt’ 1916

Sir Max Beerbohm Ford Madox Brown being Patronized by Holman Hunt

1916
A01043
Sir Max Beerbohm, ‘Mr William Bell Scott Wondering What It is Those Fellows Seem to See in Gabriel’ 1916

Sir Max Beerbohm Mr William Bell Scott Wondering What It is Those Fellows Seem to See in Gabriel

1916
View by appointment A01056
Hampstead Artists Council (London, UK), ‘Hampstead Artists’ Council souvenir exhibition catalogue titled ‘Hampstead Artists Past and Present’’ 1946

Hampstead Artists Council (London, UK) Hampstead Artists’ Council souvenir exhibition catalogue titled ‘Hampstead Artists Past and Present’

1946
TGA 20052/2/15/5

Film and audio

MixTate: FaltyDL on Ford Madox Brown

For the fourth in our series, New York-based producer FaltyDL takes inspiration from Ford Madox Brown’s Take Your Son, Sir ...

Features

William Dyce, ‘Madonna and Child’ c.1827–30
Art Term

Nazarenes

The Nazarenes were a group of German artists founded in 1809. Their aim was to regenerate German painting by returning ...

William Morris, ‘Guinevere and Iseult: Cartoon for Stained Glass’ 1862
Art Term

Arts and Crafts

Arts and Crafts was a design movement initiated by William Morris in 1861 which aimed to improve the quality of ...

John Everett Millais Lorenzo and Isabella 1848–9
Tate Papers

Sugar, Salt and Curdled Milk: Millais and the Synthetic Subject

Carol Jacobi

This article examines the sexual imagery of particular paintings by the Pre-Raphaelite painter John Everett Millais. It argues that criticism ...

William Blake Detail of Plate 10 from 'The First Book of Urizen'
Tate Etc

MicroTate 19

Kenneth Stephens , Steve James , Rachel Hedley , John Purkis , Petina Gappah , Mary Bennett and Nathan Dunne

Individual reflections on a work in the Tate collection

A 150 year-old primed canvas which has never been painted displays all the basic deterioration characteristics of a finished painting on a stretched canvas
Tate Papers

Paintings on Canvas: Lining and Alternatives

Stephen Hackney

This paper catalogues major changes in attitude during the last thirty years to conservation practice for the treatment of degraded ...

Turner’s ‘Chelsea’ palette, used at the end of his life
Tate Papers

The Materials Used by British Oil Painters in the Nineteenth Century

Joyce H. Townsend

This paper reviews existing literature on nineteenth-century British artists’ materials. Sources of information, such as colourmen’s archives, artists’ diaries ...

You might like

William Holman Hunt, ‘The Awakening Conscience’ 1853

William Holman Hunt

1827–1910
Sir John Everett Millais, Bt, ‘Ophelia’ 1851–2

Sir John Everett Millais, Bt

1829–1896
Dante Gabriel Rossetti, ‘Proserpine’ 1874

Dante Gabriel Rossetti

1828–1882
Walter Howell Deverell, ‘A Pet’ exhibited 1853

Walter Howell Deverell

1827–1854
Frederick Sandys, ‘Oriana’ 1861

Frederick Sandys

1829–1904
Charles Samuel Keene, ‘Two Artists Working by Lamplight in a Studio’ c.1860

Charles Samuel Keene

1823–1891
Sir Edwin Henry Landseer, ‘Dignity and Impudence’ 1839

Sir Edwin Henry Landseer

1802–1873
Sir Edward Coley Burne-Jones, Bt, ‘King Cophetua and the Beggar Maid’ 1884

Sir Edward Coley Burne-Jones, Bt

1833–1898
Simeon Solomon, ‘Sappho and Erinna in a Garden at Mytilene’ 1864

Simeon Solomon

1840–1905
Alfred Stevens, ‘John Morris Moore’ c.1840

Alfred Stevens

1817–1875
James Smetham, ‘The Eve of St Agnes’ 1858

James Smetham

1821–1889
Charles Allston Collins, ‘May, in the Regent’s Park’ 1851

Charles Allston Collins

1828–1873
John William Inchbold, ‘The Moorland (Dewar-stone, Dartmoor)’ 1854

John William Inchbold

1830–1888
Henry Wallis, ‘Chatterton’ 1856

Henry Wallis

1830–1916
James Tissot, ‘Holyday’ c.1876

James Tissot

1836–1902

In the shop

Browse the shop