xt7qjq0stw34_5284 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection Ford Madox Brown clipping text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. Ford Madox Brown clipping 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_61/Folder_45/Multipage28119.pdf undated section false xt7qjq0stw34_5284 xt7qjq0stw34 BROWN (FORD MADOX).
B. 1821. D. 1893.

Ford Madox Brown was born on the 16th of April 1821 at
Calais, where his father, Dr. John Brown, a retired commissary in
the British Navy, had gone to live. Young Brown, even in
early childhood, showed so much taste for drawing that his
father, after remofing to Bruges, placed him under the tuition
of Albert Gregorius, a portrait painter, and sometime director of
the Academy in that city. He subsequently studied under
Van Hanselaer of Ghent, and finally entered the Academy at
Antwerp, then directed by the leader of a new school of painting
in Belgium, viz., Baron Wappers, from whom Brown derived
valuable instruction in the technical practice of his art and the
use of various mediums.

While still a pupil of this distinguished master, the young painter
exhibited at a public gallery in Ghent his picture of “Job and his
Friends,” which attracted some notice.

In 1841 he sent to the Royal Academy another work entitled
“The Giaour’s Confession.” About twelve months afterwards he
removed to Paris, where he spent three years in drawing from the
life and studying in the Louvre. During the competition organised
about 50 years ago by the British Government with the object
of procuring designs for decorating the Houses of Parliament,
Brown sent two cartoons to the Exhibition held at Westminster
Hall in 1844, and three fresco paintings in 1845.

After a short stay in Italy, where he had gone in the vain hope
of restoring his first wife’s health (she died in Paris on the way
home), Brown came to settle in London, and occasionally ex-
hibited at the Royal Academy. A difference with that body
and his own artistic predilections might have led him to associate
himself with that youthful band of painters who, under the title
of the Pre-Raphaelite Brotherhood, at one time seemed likely to
revolutionise pictorial taste in this country and form a new school
of British Art. But Brown, though he took a great interest in
the rising genius of Rossetti, and even instructed him in the
technique of oil painting, in 1848 declined to be elected a Brother.
He had always been a man of independent action and he continued
to take his own course. 2 "