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The subtitle "and the Pre-Raphaelite Circle" seems to be an excuse to let the
narrative wander occasionally, and the book is also rather partisan in places.
Looking at a picture like 'Take your son,
Sir!' it's hard to disagree with Ruskin's view that there is much ugliness
in Ford Madox Brown's work; but this is not
really admitted, much less discussed. There is a good sense of atmosphere, and
of the immense problems -- technical, financial an social -- that Brown had to
overcome, particularly from his second marriage to the painting of 'Work', the account of which makes up
the middle section of the book.
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Locate a copy of this book at Alibris
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