Ford Madox Brown – Capturing the Atmosphere: Walton-on-the-Naze and The Hayfield

29 Aug

Ford Madox Brown, Walton-on-the-Naze (1860)

The final days of August are always tinged in melancholy. Summer is not yet gone, and autumn has not yet arrived. The rich and vibrant facade of summer is slightly cracking and a yearning for what once was fills the cracks, and even a sunny, warm day or the beauty of a blooming rose are haunted by a feeling of nostalgia for the passing summer. The first rain, or a gust of wind, the first sight of yellow leaves on a chestnut tree all seem ominous of what is to come. This mood inhabits some of the Pre-Raphaelite paintings and two of such examples are landscape scenes by Ford Madox Brown. His paintings “The Hayfield” and “Walton-on-the-Naze” both possess that rich yet wistful ambience. Most of the painting “The Hayfield” was painted slowly and patiently during a period of time from late July to early September and, following the Pre-Raphaelite philosophy of painting directly from nature, Brown would walk miles and miles from his house two times a week to a spot where the scenery was the most delightful. Waiting for the perfect light, he would start painting at 5 am. The twilight scene shows the end of a working day; the moon had just risen but there is still enough daylight to reveal the scene to our eyes. The farmers are slowly getting ready to go home, there are children sittin in the haycart and one man is gazing up at the moon. You can feel the chill in the air, the slightly damp, cold grass, children’s cheerful chatter… The colours of the painting proved to be controversial, just as was the case with John Constable’s landscape some years before, but Brown stated in the catalogue for the painting that: “the stacking of the second crop of hay had been much delayed by rain, which heightened the green of the remaining grass, together with the brown of the hay. The consequence was an effect of unusual beauty of colour, making the hay by contrast with the green grass, positively red or pink, under the glow of twilight”. This shows us that the Victorian audience had a perception of reality and nature different to what it really was and they didn’t want to see the reality in art, but rather their dreamy vision of the world around them.

The painting “Walton-on-the-Naze”, painted during Brown’s visit to this small coastal town in Essex in August 1859, again features the motif of a rising moon and the gorgeous effect of light. This might be his most beautiful landscape because the ephemeral light and the effect of depth are just mesmerising. The air seems soft, rosy and palpable and the rainbow in the sky adds a whole new dreamy dimension to the scene. I had had the luck of seeing the rainbow but a few weeks ago and its beauty still charms my memory. The male figure is the portrait of Brown himself and the female figure is Brown’s wife Emma. The little girl is their daughter Catherine. The beautiful visual rhythm of the stacks of wheat in the foreground may reminds us of the harvest time and the work that is to be done, but this painting isn’t the harvesting type like the previous one, but a touristy type because Brown and his family were on holiday in that coastal town when he painted it and this reflects the Victorian discovery of coastal towns and the sea as places for leisure, rest and fun. Londoners could have easily reached the coast via a steamer train and one is seen in the background of this painting. Even Elizabeth Siddal and Rossetti stayed on the sea for her health around the same time. The layers of depth in this painting are superb, I mean just look at the ship disappearing on the horizon, a pink sky behind it, how utterly dreamy.

Ford Madox Brown, The Hayfield, 1855-56

2 Responses to “Ford Madox Brown – Capturing the Atmosphere: Walton-on-the-Naze and The Hayfield”

  1. Gea Austen 30th Aug 2021 at 9:53 am #

    Beautifully written !

    Liked by 1 person

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