_and_Maria_walking_-_1906P796_-_Birmingham_Museums_Trust.jpg&width=1200)
Sterne's 'Sentimental Journey' - Yorick (Laurence Sterne) and Maria walking
Ford Madox Brown·1842
Historical Context
Painted in 1842, this early work by Ford Madox Brown illustrates a celebrated episode from Laurence Sterne's 'A Sentimental Journey Through France and Italy' (1768), depicting the narrator Yorick accompanying the melancholy peasant girl Maria. Sterne's novel had been a touchstone of sensibility culture since the eighteenth century, and Victorian artists frequently returned to its scenes of refined feeling and sympathetic encounter. For the young Brown, working before his direct contact with the Pre-Raphaelites, the painting represents his formation under the influence of both German Nazarene painters he had encountered in Antwerp and Rome and the broader British tradition of literary illustration. The Birmingham Museums Trust holds the oil on canvas as evidence of Brown's early technical ambitions and his sensitivity to mood and narrative atmosphere. The composition reflects the period's broader fascination with Sterne's worldly, emotionally complex brand of sentimentalism — neither saccharine nor cynical, but somewhere in between.
Technical Analysis
The 1842 oil on canvas reveals Brown at an early stage of development, with modelling indebted to academic Flemish and German sources he absorbed during his continental training. The palette is darker and more conventionally atmospheric than his later Pre-Raphaelite work, with a tendency to unify the scene through warm brown-gold undertones rather than the high-key naturalism he would later pursue.
Look Closer
- ◆Maria's posture suggests psychological fragility — her body curves slightly inward in a pose that signals vulnerability without melodrama
- ◆Yorick's stance and inclined head communicate attentive sympathy, the emotional keynote of Sterne's entire novel
- ◆The landscape background, though not the primary focus, provides a melancholy pastoral setting consistent with the scene's mood
- ◆Brown's early brushwork is more blended and less angular than his mature style — this is a work of formation rather than the finished Pre-Raphaelite idiom


.jpg&width=600)




.jpg&width=600)