Posted by Martin Myrone on June 27th, 2022.
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“This Journal already published a fine review on this exhibition when it ran in Manchester from 21 September 2011 until 29 January 2012. In it Simon Poe focused on how curator Julian Treuherz demonstrates that without Ford Madox Brown, there probably would not have been a Pre-Raphaelite Brotherhood as we have come to know it. Treuherz states that when Brown first met Rossetti, Hunt and Millais his first-hand knowledge of early Italian art (particularly Giotto, Masaccio and Fra Angelico) was a shaping factor in the development of the Pre-Raphaelite style. In his introduction to the Belgian edition of the show’s catalogue Robert Hoozee also adds Brown’s familiarity with early Flemish art (he had probably seen work by van Eyck, Memling and others in the flesh), which left its traces on the style of the young BrethrenThe Ghent version had been enriched with an entire room of paintings by artists Brown knew during his Belgian period (Nic Peeters in The British Art Journal, 13: 2 (2012).
For Belgian TV coverage, see here.