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“... paintings … No one nowadays is skilful or laborious enough to forge a Meissonier or a FordMadox Brown that would deceive even a professional expert.’ He was wrong about the skill: look at the Giunti Botticelli, which could have been on the easel when he wrote. But slight ...”

“... of accounts with Constable and Turner, and Blake and Palmer, and Crome and the watercolourists and FordMadox Brown, was at all compatible with being a painter ‘in the 20th century’. The pressure of this last question – or indeed of all three – is not to be collapsed into shorthand ...”

“... exclusively to Dadd’s madness, for the compositional congestion is not so different from FordMadox Brown’s Work, and may perhaps also be compared to Dickens’s plots. A more important influence than photography, generally speaking, was that of book illustration, in which ...”

“... and election, the operations of inscrutable, perhaps divine, plots. Theodore Dreiser, reviewing FordMadox Ford’s The Good Soldier, said that if he’d had a chance to advise ...”

“... Elizabeth Prettejohn’s​ book opens with a discussion of The Last of England by FordMadox Brown, made in 1852-55 and now in Birmingham Museum and Art Gallery. The painting shows a couple leaving England for Australia on a crowded boat. It is insistent in its sharp focus, and brilliant, even strident, in its modern palette: the purple and green of cabbages hanging from the ship’s railing, the bright rose of a windswept silk bonnet ribbon cutting across the centre of the picture, and the mauve fingers of an otherwise concealed infant ...”

“... of gas and water main excavations, swarming with sweating workmen, are placed side by side with FordMadox Brown’s celebrated painting Work, which shows a crew laying a water main in Heath Street, Hampstead. Scharf’s drawings are sharp-eyed reportage, pure and simple. Brown’s ...”

“... Russia so he could put Lenin straight. In Paris he works as a road digger, an artist’s model and FordMadox Ford’s assistant at the Transatlantic Review, a job Ezra Pound managed to find him after helping Bunting get out of jail, a very old jail ...”

“... through the force of his ideas and personality, which everyone at the time – even those, like FordMadox Brown and Holman Hunt, who were teaching him how to paint – could not stay or resist. The Germ was his brainchild, and he placed in its first number one of his most remarkable ...”

“... or disturbing, peopled with characters who seem fearful or haunted. Like the flower-seller in FordMadox Brown’s Work or the potboy in the same picture; or the young John the Baptist in Millais’s Christ in the Carpenter’s Shop. They all look as if something dreadful is about to ...”

“... an accomplished if slightly bland narrative with a marked Edwardian flavour. Starne, like Groby in FordMadox Ford’s Last Post, has its ‘great tree’, diseased elm whose death is emblematic of the death of a family and of a political ...”

“... or so, that gives more leeway.’ Thus the opening of Ghosts. It could be the first paragraph of FordMadox Ford’s The Good Soldier. Better for whom, one wonders? And leeway for what, exactly? Why, for more such calculated inexactness. ‘Tell ...”

“... Shelley, Frankenstein (not sure about that); and then on to Samuel Palmer to Wuthering Heights to FordMadox Brown to George Eliot to Whistler to Edwin Drood (I think) and to Wilkie Collins. The effect is like an unseen examination for Joint Honours in English Art and Literature, except ...”

“... however. If it’s set beside the best 20th-century literary representation of the privy seal – FordMadox Ford’s The Fifth Queen of just over a century ago (1906-8) – there are immediate contrasts. ...”

“... dressed as a clergyman to perform bogus weddings and was known as the ‘Bishop of Hell’. From FordMadox Ford’s The Soul of London, Ackroyd quotes a description of an inveterate urbanite sighing on his deathbed for one last sight and smell of ...”

“... themselves out of the political arena, and were therefore entirely uninterested in him. FordMadox Brown’s sentimental portrait of Fawcett, shielded against his disability by a devoted wife, appears on the cover of the book and leads one to expect the worst. Yet the cover is ...”