Ford Madox Brown (1821 - 1893). Ford Madox Brown was a 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. Brown spent the latter years of his life painting the twelve works known as The Manchester Murals, depicting Mancunian history, for Manchester Town Hall. Brown was the grandson of the medical theorist John Brown, founder of the Brunonian system of medicine. His great grandfather was a Scottish labourer. His father Ford Brown served as a purser in the Royal Navy, including a period serving under Sir Isaac Coffin and a period on HMS Arethusa. He left the Navy after the end of the Napoleonic Wars. In 1818, Ford Brown married Caroline Madox, of an old Kentish family, from which his middle name was taken. Brown's parents had limited financial resources, and they moved to Calais to seek cheaper lodgings, where their daughter Elizabeth Coffin was born in 1819 and their son Ford Madox Brown in 1821. Brown's education was limited, as the family frequently moved between lodgings in the Pas-de-Calais and relatives in Kent, but he showed artistic talent in copying of old master prints. His father initially sought a naval career for his son, writing to his former captain Sir Isaac Coffin. The family moved to Bruges in 1835 so Brown could study at the academy under Albert Gregorius. Brown moved to Ghent in 1836 to continue his studies under Pieter van Hanselaere. He moved to Antwerp in 1837 to study under Gustaf Wappers. He continued to study in Antwerp after his mother's death in 1839. His sister died in 1840, and then his father in 1842. The Tate Gallery holds an early example of Brown's work, a portrait of his father. He first exhibited at the Royal Academy in 1840, a work inspired by Lord Byron's poem The Giaour and then completed a version of The Execution of Mary, Queen of Scots, with his cousin and future wife Elisabeth Bromley as one of his models. He lived in Montmartre with his new wife and aging father in 1841. He painted Manfred on the Jungfrau, inspired by Lord Byron's poem Manfred while he was in Paris. In 1843 he submitted work to the Westminster Cartoon Competition, for compositions to decorate the new Palace of Westminster. His entry, The Body of Harold Brought before William, was not successful. His early works were, however, greatly admired by the young Dante Gabriel Rossetti, who asked him to become his tutor. Through Rossetti, Brown came into contact with the artists who went on to form the Pre-Raphaelite Brotherhood. Though closely linked to them, he was never actually a member of the brotherhood itself, but adopted the bright colours and realistic style of William Holman Hunt and John Everett Millais. He was also influenced by the works of Holbein that he saw in Basel in 1845, and by Friedrich Overbeck and Peter Cornelius, whom he met in Rome in 1845-46. Brown struggled to make his mark in the 1850s, with his paintings failing to find buyers, and he considered emigrating to India. In 1852 he started work on two of his most significant works. One of his most famous images is The Last of England, painted from 1852 to 1855, which was sold in March 1859 for 325 Guineas. It depicts a pair of stricken emigrants as they sail away on the ship that will take them from England forever. It was inspired by the departure of the Pre-Raphaelite sculptor Thomas Woolner, who had left for Australia. In an unusual tondo format, the painting is structured with Brown's characteristic linear energy, and emphasis on apparently grotesque and banal details, such as the cabbages hanging from the ship's side. The husband and wife are portraits of Brown and his second wife Emma. Brown's most important painting was Work, begun in Hampstead in 1852 and which he showed at his retrospective exhibition in 1865. Thomas Plint advanced funds to enable Brown to complete the work, in anticipation of obtaining the finished painting, but died in 1861 before the painting had been completed. In this painting, Brown attempted to depict the totality of the mid-Victorian social experience in a single image, depicting 'navvies' digging up a road and disrupting the old social hierarchies as they did so. The image erupts into proliferating details from the dynamic centre of the action, as the workers tear a hole in the road-and, symbolically, in the social fabric. Each character represents a particular social class and role in the modern urban environment. Brown wrote a catalogue to accompany the special exhibition of Work. This publication included an extensive explanation of Work that nevertheless leaves many questions unanswered.