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This edition makes available for the first time complete and accurate transcriptions of certain manuscripts written by Ford Madox Brown: those of forty-eight autograph letters written between 1851 and 1870 and that of his diary for the years 1856 to 1868. The transcriptions are accompanied by detailed annotation which identifies references in the texts and makes considerable use of unpublished manuscript material. Material has been gathered from public and private collections and archives in Great Britain, Europe and North America. The exhibiting practices of Ford Madox Brown and his circle during the 1850s and 1860s and Ford Madox Brown's income for the years 1861 to 1870 are investigated in the appendices.

This thesis argues that late Sickert was as significant and complex as the Sickert of Camden Town, and explores the richness of the historically specific ways a major British artist’s hitherto neglected corpus functioned. In particular, I investigate the mediation of time and material memory in Sickert's paintings of 1927-42. These works mix responses to contemporary press photography with Victorian imagery from a century earlier at a time when both were loaded with problematic political and cultural meanings. Late Sickert appropriated both past and contemporary mass culture, but I stress the importance of the material conversion of memory. The thesis argues that in his work 'time' is played with in various material ways – from speed to delay and from the time of historiography to the time of painting itself. Spectacle and remembrance were critically negotiated in the space where the materiality of paint meets the different temporal qualities of its source images. These paintings used the material thingness of paint to reflect sceptically on narratives of Englishness in the 1930s.

The object of this study is to provide a detailed account of the life of the artist Clarkson Stanfield, with particular reference to his career as a theatrical and panoramic scene-painter. This is attempted taking three related approaches. The first aims to provide a personal biography, covering Stanfield's background and early life in particular, and also showing his family connection with the stage. The second approach aims to establish the professional context in which he worked; who his contemporaries, associates and rivals were and the nature of the theatrical and artistic fields in which he and they were involved. The third area of the study is broadly technical; it examines, *as far as possible, the physical structures of examples of Stanfield's scenery and looks at his artistic style and methods, again with particular reference to his capacities as a stage painter. Much of the work is based on unpublished MS material and on the collated evidence of printed ephemera. There are two volumes; the first comprises seven chapters in a broadly chronological division, each subdivided to cover particular aspects of Stanfield's life and work within the wider period. Chapter 6 discusses his artistic style independently of this sequence. Six appendices reproduce source material related to the text, including a classified inventory of Stanfield's total scenic output. The second volume contains seventy-nine plates illustrating the main text, with descriptive notes.

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This thesis explores the development and promotion of the theory and practice of Neo-Realism by Harold Gilman and Charles Ginner. Published during 1914, Neo-Realism presented a reactionary response to recent developments in European art, particularly Cubism which was heavily censured. The Neo-Realists rejected 'Post-Impressionism' as the 'enemy' of progress in contemporary British art, dismissing the theories put forward by Roger Fry and Clive Bell and warning that British artists were in danger of sacrificing national identity in favour of a narrow dependence on European, particularly French, art. During the years immediately following publication of Neo-Realism, the theory underwent a decisive reconstruction, incorporating greater attention to design in terms of colour, form and composition. The Neo-Realists' involvement in the London Group, which brought them into contact with the Vorticists, and the influence of the critical writings of I. E. Hulme, contributed significantly to this development; it was in this sense that Neo-Realism played an important role in the debate been abstraction and realism which characterised this period in British art. During 1917 Ginner published a second article, Modern Painting and Teaching, which called for the creation of a 'great national art' through the combination of a commitment to representation with a greater attention to elements of design which played a significant role in the work of those artists, including Vorticists, who employed abstract or semi-abstract forms. Coinciding with a rejection of abstract art by a number of British artists, this perception of a dialectical approach, encompassing a commitment to representation allied to the strong sense of design which was the legacy of Vorticism, ensured Neo-Realism's significance in vividly encapsulating the spirit and consciousness of a range of artists at a crucial moment in the development of modem British art.

This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth-century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. Considering the mirror as a stand-alone entity in their works, it not only gives a modern, contemporary relevancy to their images regardless of the subject matter depicted, it also functions as a metaphor for their specific approach to realism mediated through visions in glass.

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