John Brett, ‘Some Fell on Stony Ground’, 1890, Doyle
John Brett, ‘Some Fell on Stony Ground’, 1890, Doyle

Signature: Signed John Brett and dated 1890 (ll); inscribed by the artist on the canvas overlap Begun 7th day 90/ There is "a time to cast away stones"/Eccles 3/ some fell on stony ground, where it had not much earth.../"no end of Stones"; inscribed John Brett/Putney/London on the stretcher

London, The Royal Academy of Arts, 123rd Exhibition, 1891, no. 600, exhibited in Gallery VII
Birmingham, England, The Royal Birmingham Society of Artists (RBSA), 1891, no. 110
Manchester, 1892, no. 283
Chicago, The World's Columbian Exposition, 1893, The British Section, no. 98

The Academy Notes, 1901, London, May 1901, no. 647
Christiana Payne and Charles Brett, John Brett: Pre-Raphaelite Landscape Painter, New Haven/London, 2010, no. 1344. p. 236

Sale: Sotheby Parke-Bernet, New York, Oct. 30, 1990, lot 119
Anderson Galleries, Chicago
Sale: Christie's East, New York, Oct. 29, 1985, lot 169
Berry-Hill Galleries, Inc., New York

About John Brett

Associated with the artists of the Pre-Raphaelite movement, English painter John Brett rejected the mechanistic style of mid-19th century art in a return to the sincerity of the Early Renaissance. Brett became a student of the Royal Academy at age 22, although he was ultimately more influenced by the ideas of the Pre-Raphaelites (who opposed the tradition of the school), with whom he became involved with after meeting a founder, William Holman Hunt. In addition, Brett followed the ideas of the art critic John Ruskin, whose “Modern Painters” essay championed the central focus of the artist as “truth to nature” and had a dramatic impact on his work. Brett is known for his marine paintings—panoramic scenes likened to Italian seascapes—that depict the ocean and surrounding formations of rock with meticulous accuracy and luminosity.

English, December 8, 1831 - January 7, 1902, Surrey, United Kingdom, based in London, United Kingdom