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If you watch nothing else for the next fortnight, immerse yourself in this truly inspiring, beautiful unlayering in the stylistic evolution of one of illustration's earliest nascent masters.

Pete Beard is doing unmatched, simply incredible work at coalescing as much of what really matters in illustration on YT, and all artists should be fighting for a seat at his channel's lecture hall.

#german renaissance #albrecht durer #pete beard #woodcut #german master artist #Youtube

preraphaelitepaintings

Cordelia Parting from her Sisters

Artist: Ford Madox Brown (British, 1821–1893)

Date: 1854

Medium: Pen and oil on paper on panel

Collection: Cleveland Museum of Art, Cleveland, Ohio, United States

Cordelia Parting from her Sisters

King Lear begins as the Earl of Gloucester introduces his illegitimate son, Edmund, to the Earl of Kent. Lear, King of Britain, enters with his court. Now that he is an old man, Lear has decided to divide his kingdom between his three daughters. The division will depend on the quality of each princess' declarations of love for her father before the court. Goneril, Duchess of Albany, and Regan, Duchess of Cornwall, both speak enthusiastically and earn their father's praise. But Cordelia, the youngest, says nothing because she cannot voice her deep love for Lear. Misunderstanding his daughter, Lear disowns and banishes her from the kingdom. He also banishes the Earl of Kent, who had taken Cordelia's side against the King.

artemlegere

Lear and Cordelia

Artist: Ford Madox Brown (English, 1821–1893)

Date: 1849–1854

Medium: Oil paint on canvas

Collection: TATE Britain

Description

This is one of three paintings by Ford Madox Brown illustrating Shakespeare’s play King Lear. This scene shows Lear with his youngest daughter, Cordelia, on the right. Lear’s doctor orders the musicians to play more loudly and awaken him. But Cordelia is anxious that her ailing father should sleep and she speaks the lament inscribed on the painting’s frame. In the play Lear divides his kingdom between his other two daughters and their husbands. But, after a painful period of self-discovery, he realises that Cordelia is his only true loving child.

arinewman7

The Last of England (study)

Ford Madox Brown

Pencil, image edged with brown ink on paper, 1852

leatherandmossprints

‘The Last of England’ by Ford Madox Brown, c. 1855.

portrait-paintings

Self-Portrait

Artist: Ford Madox Brown (British, 1821 -1893)

Date: 1877

Medium: Oil on canvas

Collection: Harvard Art Museums, Cambridge, MA, United States

Description

Although never a member of the Pre-Raphaelite Brotherhood, Brown was closely associated with the group. He represents himself in painting garb, with palette in hand. The artist’s “severe” countenance was said to have softened as he grew older; he is fifty-six here. A friend wrote that “it would have been very difficult to find a face of happier character, and one more genially benign, than he habitually carried in later life; and at the same time, its grand lines and heroic character only seemed to increase with age.” The painted and embossed leather screen, with “oriental” motifs, is European, inspired by Chinese lacquer originals.

Brown was a founding member of the firm Morris, Marshall, Faulkner and Company, which specialized in high-style decorative arts. When William Morris reorganized the company in 1875, Brown was dismissed. This portrait was made for Brown’s friend Theodore Watts-Dunton, the lawyer who represented him in the legal proceedings that ensued.

classicdavinci

Ford Madox Brown, 1821–1893, British, The Irish Girl, 1860.

artemlegere

Romeo and Juliet (Romeo e Giulietta)

Artist: Ford Madox Brown (British, 1821–1893)

Date: 1869-1870

Medium: Watercolor

Collection: The University of Manchester, Manchester, England

Description

The work of Shakespeare was particularly revered by the Pre-Raphaelites. In this painting, Brown captures the romantic and poignant moment in the early dawn on Juliet’s balcony, when Romeo parts from his love for what will be the final time.

The composition has the dramatic awkwardness which is often present in Brown’s work, but which serves to allow his subjects a sense of realistic immediacy. This is countered by the wealth of “Pre-Raphaelite” detail, including the apple blossoms, an example of the emphasis on a close observation of the natural world.

papillon-de-mai

King René's Honeymoon, Ford Madox Brown, made by Morris, Marshall, Faulkner & Co, 1862

preraphaelitepaintings

King René‘s Honeymoon

Artist: Ford Madox Brown (British, 1821–1893)

Date: 1864

Medium: Graphite, watercolour, gouache and gum arabic on card

Collection: Tate Britain, London, United Kingdom

Description

This watercolour is a replica of the subject Brown painted to decorate a cabinet designed by John Pritchard Seddon, which was made by Morris, Marshall, Faulkner and Company, and is now in the Victoria and Albert Museum. At Brown's suggestion, the painted panels were based on imagined incidents in the honeymoon of King Rene of Anjou, as recounted by Walter Scott in his novel 'Anna von Geierstein'. The four panels on the front of the cabinet illustrate King Rene's renowned interest in the arts. Brown chose to evoke Architecture, showing the King considering the plans for his castle. The other three panels were painted by Rossetti (Music) and Burne-Jones (Painting and Sculpture).