Question: The following article contains an answer for the question: What was the full name of the person who stated that they wished The Four Stages of Cruelty had never been painted? , can you please find it? Hogarth was pleased with the results. European Magazine reported that he commented to a bookseller from Cornhill (a Mr. Sewell): there is no part of my works of which I am so proud, and in which I now feel so happy, as in the series of The Four Stages of Cruelty because I believe the publication of theme has checked the diabolical spirit of barbarity to the brute creation which, I am sorry to say, was once so prevalent in this country. In his unfinished Apology for Painters he commented further: I had rather, if cruelty has been prevented by the four prints, be the maker of them than the [Raphael] cartoons, unless I lived in a Roman Catholic country. In his 1817 book Shakespeare and His Times, Nathan Drake credits the representation of "throwing at cocks" in the first plate for changing public opinion about the practice, which was common at the time, and prompting magistrates to take a harder line on offenders. In his "Lectures on Ethics" Immanuel Kant refers to the engravings as an example of how cruelty towards animals leads indirectly to failing duties towards humans as Hogarth "brings home to us the terrible rewards of cruelty, and this should be an impressive lesson to children." Others found the series less to their liking. Charles Lamb dismissed the series as mere caricature, not worthy to be included alongside Hogarth's other work, but rather something produced as the result of a "wayward humour" outside of his normal habits. Art historian Allan Cunningham also had strong feelings about the series: I wish it had never been painted. There is indeed great skill in the grouping, and profound knowledge of character; but the whole effect is gross, brutal and revolting. A savage boy grows into a savage man, and concludes a career of cruelty and outrage by an atrocious murder, for which he is hanged and dissected. The Anatomy Act 1832 ended the dissection of murderers, and most of the animal tortures depicted were outlawed by the Cruelty to Animals Act 1835, so by the 1850s The Four Stages of Cruelty had...
Answer: Allan Cunningham

Question: The following article contains an answer for the question: What is the name of the person who poses as a family man? , can you please find it? Holland is a former CIA assassin who lives quietly and peacefully on the Cayman Islands. He is persuaded out of retirement by the death of Jorge Hidalgo, a friend and dissident journalist. Hidalgo was murdered by Clement Molloch, a Welsh doctor who lives in Guatemala. Molloch is an expert in the science of torture and sells his knowledge and skills to any government that can pay his price. He lives under government protection in Guatemala. Holland is hired by Hector Lomelin, a professor and friend of Hidalgo. He poses as a family man and is accompanied to Guatemala by Hidalgo's widow Rhiana and daughter Sarah. Holland kills several of Molloch's men, and then kidnaps his sister Claire, allegedly for ransom. She is killed during a chase by thugs hired by the US ambassador, who has used Molloch for his own purposes in the past. Molloch, believing his sister is still alive, meets Holland at a remote location to pay the ransom. He's kidnapped Hidalgo's daughter Sarah and holds her in exchange for his sister. Local miners know that Molloch has tortured their family members and attack him with pick and shovel. Sarah, her mother Rhiana, and Holland leave his death in the hands of the local people.
Answer: Holland

Question: The following article contains an answer for the question: What is the last name of the person who would often approach his canvas "in a bad mood of drinking? , can you please find it? The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velazquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velazquez masterpieces,...
Answer:
Bacon