Ford Madox Brown

1821–1893

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

Walk Through British Art: 1840

Free entry
In Tate Britain

Prints and Drawings Rooms

17 artworks by Ford Madox Brown
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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.

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Pre-Raphaelite

Artworks

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

Ford Madox Brown The Last of England

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

Ford Madox Brown Jesus Washing Peter’s Feet

1852–6
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
Ford Madox Brown, ‘‘Take your Son, Sir’’ ?1851–92

Ford Madox Brown ‘Take your Son, Sir’

?1851–92
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
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
Ford Madox Brown, ‘The Coat of Many Colours’ 1867

Ford Madox Brown The Coat of Many Colours

1867
Ford Madox Brown, ‘Mauvais Sujet’ 1863

Ford Madox Brown Mauvais Sujet

1863
See all 39

Artist as subject

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

Ford Madox Brown The Last of England

1864–6
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
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
Sir Max Beerbohm, ‘Ford Madox Brown being Patronized by Holman Hunt’ 1916

Sir Max Beerbohm Ford Madox Brown being Patronized by Holman Hunt

1916
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

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

Left Right
Tate Etc

Details, Details: Ford Madox Brown’s Mauvais Sujet 1863

Devorah Baum

English professor Devorah Baum reflects on Ford Madox Brown’s watercolour

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 ...

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Left Right
William Holman Hunt, ‘The Awakening Conscience’ 1853

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

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1829–1896
Dante Gabriel Rossetti, ‘Ecce Ancilla Domini! (The Annunciation)’ 1849–50

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

Walter Howell Deverell

1827–1854
Frederick Sandys, ‘Oriana’ 1861

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1829–1904
Sir Edwin Henry Landseer, ‘Dignity and Impudence’ 1839

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1802–1873
Charles Samuel Keene, ‘Two Artists Working by Lamplight in a Studio’ c.1860

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1823–1891
Simeon Solomon, ‘Sappho and Erinna in a Garden at Mytilene’ 1864

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1840–1905
Sir Edward Coley Burne-Jones, Bt, ‘King Cophetua and the Beggar Maid’ 1884

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1833–1898
James Smetham, ‘Naboth in his Vineyard’ 1856

James Smetham

1821–1889
Alfred Stevens, ‘John Morris Moore’ c.1840

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1817–1875
Charles Allston Collins, ‘May, in the Regent’s Park’ 1851

Charles Allston Collins

1828–1873
John William Inchbold, ‘Tintagel’ 1862

John William Inchbold

1830–1888
Henry Wallis, ‘Chatterton’ 1856

Henry Wallis

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

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1836–1902

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