A Rake's Progress | artble.com A Rake's Progress A Rake's Progress Story / Theme Plate 3: Cavorting with prostitutes Plate 5: Marrying an old maid In A Rake's Progress Hogarth depicts the story of Tom Rakewell, a young man who inherits money from his late father and squanders it on expensive clothes, prostitutes and gambling. Although Tom is not portrayed as an evil character, he is certainly out of his depth, thrown into a life trying to emulate the aristocracy without the knowledge or the funds to sustain it. Over eight plates Hogarth illustrates the life of Tom Rakewell; after losing his father and his fortune, he indulging in orgies and drunkenly cavorting with prostitutes. Having squandered his fortune Tom is forced to marry an older, wealthy woman in order to pay his debts. However, his attention is directed at the maid rather than his new wife. He then loses his second fortune and is sent to the debtor's jail and eventually ends up in the notorious Bedlam Hospital for the insane which is full of a range of characters. Tom is comforted by the ever present Sarah Young, the maid he so greatly admires.

A Rake's Progress Inspirations for the Work Plate 6: A gambling den at Soho's White Club Plate 7: The notorious Fleet debtor's prison Plate 8: Bedlam Debtors' prison: Hogarth's father was detained in Fleet debtor's prison for most of his childhood. Although the artist never talked about this in any of his biographical writings it must have had a profound effect on him. Certainly the conditions which Tom Rakewell found himself in must have been very similar to that of Hogarth's father. Bedlam: Bedlam was an infamous mental hospital in the 18th century and was open for viewing by the public for a small fee. Run by the infamous Baron Henry Brougham, there were many accounts of inmates being badly treated and abused. Hogarth's use of this setting reflects the 18th century view that madness was a result of moral weakness. Local scandals: The social scandals of the day can only have been inspirations for this satirical attack on the upper classes. Wealthy young men were often seen frequenting the drinking holes and brothels of London. Gambling and drinking were so popular that it's very likely Hogarth had read about or knew men in similar positions.

It was certainly very common for a poor young man to marry an older woman for her money. Hogarth's Moral Values: In all of Hogarth's paintings his strong moral code is very evident and he uses his work almost as an excuse to preach to society. A Presbyterian upbringing and strong moral standing meant that Hogarth was keen to use art as a way to shock the general public into action, concerning the vices and addictions that he felt were ruining English society. A Rake's Progress Analysis William Hogarth Composition: In A Rake's Progress Hogarth uses his theories on the analysis of beauty by including numerous characters within the scene and using symbolism to create an overcrowded composition in which the narrative is very clear. The artist also uses his serpentine curves and his lighting techniques highlight various characters and aspects, while lesser characters are in the shadowy parts of the painting. Painting style: These works were later made into engravings and became publically available, being displayed in public buildings as well as private houses. Hogarth's style of painting is reminiscent to that of the Rococo fashion where loose lines and free hand movement dominate the work.

Color palette: A rich color palette is also used in bright and muted tones as Hogarth makes red his primary color to accentuate the characters in the smoky tavern and dingy buildings. He uses many brown tones in these works and overall warm colors dominate, with numerous chiaroscuro techniques. A Rake's Progress Critical Reception Brian Sewell Industry and Idleness , 1747: Produced later than A Rake's Progress, this series is darker and although still satirical, has a shocking quality to it which is not present in Hogarth's earlier offerings. These plates illustrate the story of two apprentices who start training at the same time; one works hard and lives a good life, the other works little and descends into a life of debt, prostitution and gambling. A Rake's Progress Locations Through Time - Notable Sales Sir John Soane's Museum London There were many copies of the prints of A Rake's Progress and although many of them have been lost or destroyed, numerous copies still exist in private collections and galleries. In an advertisement published in 1734 Hogarth invited anyone wishing to buy prints of A Rake's Progress to visit his studio in Leicester Fields to see the original paintings.

The original paintings for A Rake's Progress were sold to the Soane Museum in London in 1802 for 570 guineas. They were originally hung at the Soane family's country villa, Pitzhanger Manor, Ealing, but were moved back to London in 1810. A Rake's Progress Artist Hudibras Sallies Forth William Hogarth Hogarth art mainly focused on the moral codes which he and most of society recognized. Codes that were being flouted by people from all walks of life on a regular basis and the artist felt should be brought back to the attention of ordinary people. Hogarth produced A Rake's Progress in 1735 and the series was to be one of Hogarth first successes in the new genre of modern morality paintings. This set was created as male alternative to 'A Harlot's Progress' which Hogarth created a few years previously. It shows the deterioration of mankind when moral codes are abandoned and people give in to consumerism, a major problem for the upper classes of the 18th century. The artist was heavily influenced by 18th century life, culture and his middle-class upbringing.

He believed that art should have moral as well as aesthetic qualities and tried to bring this into all of the work he produced. Having lived in debtors' lodging for five years as a very young boy, Hogarth had seen the harder side of life and brought a sense of gritty realism to all his paintings. What he believed to be the deterioration of British morals particularly concerned him and his satirical engravings illustrate his concerns for his fellow countrymen. As Hogarth became a prominent figure in the London art scene he was influenced by a number of things. These included politics, art, literature and the theatre. William Hogarth will be remembered as the father of satirical caricatures and moral paintings, a genre which would later develop into cartoons. His determination and stout middle-class values made him one of the most innovative artists of his generation and he brought art to the common man for the first time in history. A Rake's Progress Art Period Dante Gabriel Rossetti London Hogarth lived and worked during the Rococo period in 18th century London. The Rococo style was popular in both England and France at this time and was embodied by flowing lines and intricate decoration.

The London social scene that features in so much of Hogarth's work ranged from super-rich aristocrats living flamboyant lifestyles to the incredibly poor working-classes with no money and little hope for a better life. Rather than be influenced by many of the artists who had gone before him, Hogarth, a true innovator, tried to create a new school of English painting to rival the Old Masters of the Renaissance. In fact, rather than be influenced by their work it has been suggested that he often ridiculed them. Far from being a positive influence, this style of painting pushed Hogarth to produce work of a completely different genre. Technological advances were very influential in Hogarth's success and without the further development of the printing press his work would not have been anywhere near as lucrative, as it wouldn't have been accessible to people from the middle and lower classes. Although Hogarth was a skilled portrait painter he became famous for his engravings which were sold in large numbers to people who would not have been able to previously afford art. His series of moral paintings, such as A Harlot's Progress and A Rake's Progress took a satirical look at the government and social scene of the day, and highlighted the best and worst parts of English culture.

As one of the first British artists to be recognized throughout Europe, Hogarth became a major source of inspiration to other artists. During his lifetime artists and satirists such as John Collier emulated his satire and reflections of everyday life. In the 19th century the Pre-Raphaelite brotherhood, whose members included Dante Gabriel Rossetti, was inspired by Hogarth's use of symbolism and text to convey a moral message. However it is possibly the biggest testament to the artist's skill and wit that the new medium of the comic strip arose from his work, a genre which is still popular today. A Rake's Progress Bibliography William Hogarth, Posters and Prints at eu.art.com William Hogarth (850 Items) SWITCH TO VISUAL MODE What's this?You are browsing art in Classic Mode. To try our new experience where you can expore categories visually and discover art using advanced color searching, switch to Visual Mode.

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276,AvailableInOtherSizes:'true',ItemDisplayTypeID:43,Source:'GalleryPage'} Marriage a La Mode Starting from 35,99 € From 35,99 € 27,29 € Add to Cart Frame It {ImageUrl:' €',ArtistName:'William Hogarth',ArtistId:25243,Title:'Marriage a La Mode',PODConfigID:8880730,APNum:14851275,AvailableInOtherSizes:'true',ItemDisplayTypeID:43,Source:'GalleryPage'} Ship TimeShip time indicates the typical number of business days it takes for your item(s) to leave our facilities but does not include transit time from our facilities to the final destination.Orders that contain multiple items with different ship times will be shipped out based on the item with the longest ship time.Please note: Ship time is determined based on the method of payment chosen.This item cannot be framed Add to Cart William Hogarth | artble.com William Hogarth The Lottery William Hogarth William Hogarth will be remembered as the father of satirical caricatures and moral paintings, a genre which would later develop into cartoons.

His determination and stout middle-class values made him one of the most innovative artists of his generation and he brought art to the common man for the first time in history. Hogarth gained popularity for his morality paintings and the prints that were made from them though he also produced work in a variety of other genres including portraiture and biblical/historical pieces. The artist was heavily influenced by 18th century life, culture and his middle-class upbringing. He believed that art should have moral as well as aesthetic qualities and tried to bring this into all the work he produced. Having lived in debtors' lodging for five years as a very young boy, Hogarth had seen the harder side of life and brought a sense of gritty realism to all his paintings. What he believed to be the deterioration of British morals particularly concerned him and his satirical engravings illustrate his concerns for his fellow countrymen. As Hogarth became a prominent figure in the London art scene he was influenced by a number of things. These included politics, art, literature and the theatre. William Hogarth Artistic Context A Rake's Progress William Hogarth Hogarth lived and worked during the Rococo period in 18th century London.

The Rococo style was popular in both England and France at this time and was embodied by flowing lines and intricate decoration. The London social scene that features in so much of Hogarth's work ranged from super-rich aristocrats living flamboyant lifestyles to the incredibly poor working-classes with no money and little hope for a better life. Rather than be influenced by many of the artists who had gone before him, Hogarth, a true innovator, tried to create a new school of English painting to rival the Old Masters of the Renaissance. In fact, rather than be influenced by their work it has been suggested that he often ridiculed them. Far from being a positive influence, this style of painting pushed Hogarth to produce work of a completely different genre. Technological advances were very influential in Hogarth's success and without the further development of the printing press his work would not have been anywhere near as lucrative, as it wouldn't have been accessible to people from the middle and lower classes. Although Hogarth was a skilled portrait painter he became famous for his engravings which were sold in large numbers to people who would not have been able to previously afford art.

His series of moral paintings, such as A Harlot's Progress and A Rake's Progress took a satirical look at the government and social scene of the day, and highlighted the best and worst parts of English culture. As one of the first British artists to be recognized throughout Europe, Hogarth became a major source of inspiration to other artists. During his lifetime artists and satirists such as John Collier emulated his satire and reflections of everyday life. In the 19th century the Pre-Raphaelite brotherhood was inspired by Hogarth's use of symbolism and text to convey a moral message. However it is possibly the biggest testament to the artist's skill and wit that the new medium of the comic strip arose from his work, a genre which is still popular today. William Hogarth Biography William Hogarth Early Years: William Hogarth was born in 1697, a time of social and moral depravity. At the turn of the 18th century, however, London began to bloom creatively and William Hogarth was at the heart of it. Born into a poor, middle-class family, Hogarth started work as an apprentice of Ellis Gamble, a plate engraver, at the age of 16.

He developed his artistic skills by later attending Sir James Thornhill's Academy of art in London's Covent Garden. During the 1720s Hogarth continued to make a series of engravings of scenes from popular theatre shows, demonstrating the earliest signs of the satirical work to come. Middle Years: From 1731 onwards, Hogarth produced what was to become known as his 'modern morality' paintings. These were specifically designed to be copied in large numbers and sold as prints to members of the public. Between 1740 and 1745 Hogarth focused on portraits and received commissions from the rich and influential elite of London society. In 1748 Hogarth created The Roast Beef of Old England after an eventful trip to the French port of Calais. After entering the port as a tourist the artist began sketching the fortifications. This drew the attention of the French police who accused him of being a spy. On his return to England Hogarth painted less than flattering political paintings about the French, perhaps reaffirming his distaste for the continent. Hogarth was at the height of his career at this point and was making a good living from his printed works and portraiture.

He then tried his hand at historical painting but this venture wasn't very successful and he received a lot of criticism for attempting something which many of his contemporaries believed was above him. Later Years: In 1762 Hogarth published an anti-war satire 'The Times' which caused outrage from one prominent MP in particular, John Wilkes. He published a scathing article dismissing Hogarth's work in his newspaper The North Briton. In response Hogarth created an engraving, John Wilkes Esq. showing the MP wearing a symbolic cap of liberty in such a way that it appears to be a halo along with a wig shaped like horns. In July 1673, not long after printing the John Wilkes Esq. engraving, Hogarth suffered from a paralytic seizure and became seriously ill. He passed away in London in 1764 at the age of 67 and is buried in Chiswick cemetery. He left no children. Captain Coram William Hogarth Hogarth was a trained engraver in the Rococo fashion and his art contained strong remnants of the Rococo style.

Themes: Hogarth's work often focused on what was happening in 18th century London and the foibles, scandal and political events of the day. Color: Hogarth's use of color is usually confined to a warm palette featuring reds, yellows and ochre. The artist often used large amounts of brown and dark blues in order create shadow and movement within the piece. Composition: Frequently creating busy canvases, Hogarth used a range of different characters to display a narrative within the painting. Technique: Hogarth's technique could be described as the embodiment of the Rococo style. In his portraits and historical paintings he uses lose, flowing strokes. The Analysis of Beauty: In 1753 Hogarth wrote The Analysis of Beauty a book designed to illustrate his theories surrounding the definition of beauty in his time. The book had six main principals; • Fitness • Simplicity • Quantity The principals of this work also relied heavily on what Hogarth described as 'the Line of Beauty', the serpentine line which was incorporated into much of his work. Beer Street and Gin Lane William Hogarth During his youth, Hogarth was heavily influenced by his father's classical education and the teaching he received from it.

He also used to visit an artistic neighbor and sketched there regularly. His family's Puritan religious beliefs relayed a heavy sense of moral duty on Hogarth at a young age and although he was not very religious himself his moral grounding did not leave him and is very apparent in his work. Debtor's lodgings: Having lived in debtors' lodgings whilst his father resided in jail, Hogarth had seen the harder side of life and brought a sense of gritty realism to all his paintings. What he believed to be the deterioration of British morals particularly concerned him and his satirical engravings in particular show his concerns for his fellow countrymen, presented in a humorous light. Ellis Gamble: Hogarth's time as an apprentice with Ellis Gamble gave him a good grounding in the Rococo style which was very popular at the time. This decorative form came to epitomize Hogarth's work and he wrote about its importance in his published works, Analysis of Beauty. Flemish Artists (17th Century): Hogarth was influenced by Flemish artists such as David Teniers and Ryckaert who often painted home interiors and galleries to demonstrate the patron's wealth.

This was especially prevalent in the Rococo period as many of the European countries were attaining an abundance of wealth from their new colonies across the globe and many more people wanted to express their wealth through their possessions. Theatre and Literature: Hogarth had a passion for art in all forms and would frequently portray the various scenes of well-known plays of the day through his painting series or engravings, making a visual spectacle and in the process redefining the concept of the visual narrative to the cartoon. The first works that earned Hogarth recognition were his series of painting of Samuel Butler's Hudibras poems. This collection was noted for its excellent expression, the fine detail in the scenes and the symbolism that accentuated the narrative. Politics: Henry Fielding was a satirist and is thought to have influenced Hogarth's Beer Street and Gin Lane . Fielding is thought to have enlisted Hogarth to produce these pictures as propaganda to raise support for the Gin Act of 1751, limiting the selling of spirits. Hogarth's paintings were used in publications in support of the act, showing the ill effects of liquor such as gin. William Hogarth Works A series of eight paintings depicting the rise ...

Date of Creation1733 This work is based upon Shakespeare's text but ... Date of Creationcirca 1735 Hogarth considered this image of one of Georgia... Date of Creation1740 A series of four paintings depicting different ... Date of Creation1736 One of the artist's most celebrated works, this... Date of Creation1740 A personal and compassionate portrayal of Hogar... Date of Creationcirca 1755 The first of Hogarth's satirical moralizing ser... Date of Creationcirca 1743 Hogarth's portraiture works contain strong remn... Date of Creation1741 This painting marked Hogarth's last attempt to ... Date of Creation1759 Hogarth's art focused heavily on the moral code... Date of Creation1737 One of Hogarth's largest group portraits, this ... Date of Creation1742 Based on the New Testament. Hogarth focuses on ... Date of Creation1736 A side of beef is transported from the harbor t... Date of Creation1748 Alternative NamesThe Gate of Calais Height (cm)78.50 This work was created at a time when Hogarth wa...

Date of Creationcirca 1745 Two separate prints depicting the evils of drin... Date of Creation1751 Each of these prints depicts a different stage ... Date of Creation1751 The Plum Pudding in Danger James Gillray During life: John Collier: Collier, sometimes known as the Lancashire Hogarth, fashioned his career along the same lines as Hogarth, producing satires and poems of everyday life with strong moral and social values. Like Hogarth, Collier also had numerous etchings reprinted and some were so popular that they were put onto tiles for indoor decorations. After death: Pre-Raphaelite: The Pre-Raphaelite artists of the 19th Century were greatly influenced by the symbolism which Hogarth brought to his work. In work such as William Holman Hunts' The Awakening Conscience, Hogarth's influence is very apparent, with both artists using similar artistic practices to convey a moral message.

Many Pre-Raphaelite painters gained most of their profit from engraved work and cartoons that were reprinted and sold and thanks to Hogarth's work pushing the copyrighting act of 1735 through Parliament, they could earn a good living from it rather than relying on the patronage of the elite as other artists had done before them. The Pre-Raphaelites also hoped to expand the ways in which the viewer interpreted art and expand an artist's subject matter in order to bring a wider range of issues to public attention. In this respect their work mirrors Hogarth's, as he produced work based on every day observance. Realism: Realism is easily detectable in Hogarth's work and the scenes he portrays are often based on real-life events or places and have gritty, sometimes ugly aspects to them. Although such scenes were often exaggerated, people living in the 18th Century would undoubtedly have recognized problems and social vices from their own neighborhoods. As with later realism painters, Hogarth expressed his discern for the plight of people in everyday society, through his works. In 1931 Honore Daumier published the lithograph Gargantua which depicted King Louis-Philippe of France as a fat, greedy ruler.

Daumier was actually imprisoned for publishing this work and although he never cited Hogarth as an inspiration , his work mirrors the satirical and moral justifications which Hogarth included in his prints, almost a hundred years before. Followers Today: The Comic Strip: Hogarth's satirical works were most popular and can be seen as the first form of pop art that went on to inspire James Gillray, the political satirist and cartoonist who emerged in the latter part of the 18th century. Gillray defined the comic strip template more acutely and used the medium to satirize the political situation in England at that time. The comic strip has become an important part of popular culture, the visual narrative accompanied by small amounts of text helping to make it accessible and comprehensive to all. By creating a visual and text media such as the cartoon as a form of satire, Hogarth took free speech to a whole new level. Even serious matters could be discussed openly in a humorous way. William Hogarth Critical Reception William Hogarth | English artist | Britannica.com William Hogarth Hans Baldung William Hogarth, (born Nov. 10, 1697, London, Eng.—died Oct.

26, 1764, London), the first great English-born artist to attract admiration abroad, best known for his moral and satirical engravings and paintings —e.g., A Rake’s Progress (eight scenes, begun 1732). His attempts to build a reputation as a history painter and portraitist, however, met with financial disappointment, and his aesthetic theories had more influence in Romantic literature than in painting. The Painter and His Pug, self-portrait by William Hogarth, oil on … Courtesy of the trustees of the Tate Gallery, London Youth and early career Hogarth—the only son of Richard Hogarth, a minor classical scholar and schoolmaster—grew up with two sisters, Mary and Ann, in the heart of the teeming city . Richard’s evident abilities as a classicist brought him scant reward but provided an educated and industrious, if not prosperous, home. Later, looking back on this period, Hogarth dwelt almost exclusively on his father’s shabby treatment at the hands of printers, booksellers, and wealthy patrons. Apart from confirming his distrust of learning, his resentment at his father’s disappointing experiences fostered the boy’s self-assertiveness and independence of character.

As a boy with little inclination to scholarship but gifted with a lively perception of the world around him, he enjoyed mimicking and drawing characters, interests that were encouraged by visits to a local painter’s workshop. While not discouraging his artistic inclinations, his father, Hogarth later complained, could do little more “than put me in a way of shifting for myself.” He consequently sought the security of a solid craftsman’s training and became apprenticed, at about the age of 15, to a silversmith. Hogarth presumably moved to his master’s house, where he learned to engrave gold and silver work with armorial designs —in his own phrase, the “monsters of heraldry.” Valuable years lost on what the engraver George Vertue aptly termed “low-shrubb instructions” had crucial bearing on Hogarth’s subsequent development. Apart from the insecurity they bred, Hogarth’s frustration with his training led him to exploit unorthodox methods of self-instruction in order to make up for lost time. His originality and flexibility as an artist owed much to this pragmatic and unconventional approach to his career. Hogarth’s years of apprenticeship were by no means devoted exclusively to hard work, however.

Sociable and fond of fun, a keen and humorous observer of human behaviour, with a special love of the theatre and shows of all kinds, he was evidently a convivial companion. Never prudish, he knew the exuberant life of the London streets, bawdy houses, fairs, and theatres firsthand and derived from them a fertile appreciation of the vitality of popular tradition. At the same time, he felt drawn to the coffeehouses and taverns frequented by writers, musicians, actors, and liberal professionals, forming lasting friendships in such lively intellectual circles. His sympathies rested with the middle classes and, specifically, with the critical, enlightened element—rational, tolerant, and humanitarian—that played such a prominent role in the cultural life of Hanoverian England . Britannica Stories Editor Picks: Exploring 10 Types of Basketball Movies A lawsuit he brought in 1728 against Joshua Morris, a tapestry weaver, throws eloquent light on his susceptibilities. The details of the case reveal that, by the age of 30, Hogarth felt sufficiently confident of his abilities to embark on a painting career.

Morris failed to share this confidence and rejected a painting he had ordered on grounds that it was not finished. Hogarth indignantly sought and obtained public vindication with the help of professional witnesses, including Thornhill. Their testimony was amply justified by his first dated painting, The Beggar’s Opera (1728), a scene from John Gay ’s popular farce, which emphasized Hogarth’s prevailing interests: his involvement with the theatre and with down-to-earth, comic subjects. Closely attentive to realistic detail, he recorded the scene exactly as it appeared to the audience and included portraits of the principal actors and spectators. He thus anticipated both his later narrative paintings and the small, informal group portraits, or “conversation pieces,” that occupied him in the years immediately after this auspicious debut. The Wedding of Stephen Beckingham and Mary Cox, oil on canvas by William Hogarth, 1729; in … Photograph by AlkaliSoaps. The Metropolitan Museum of Art, New York City, Marquand Fund, 1936 (36.111) Reputation and success Facebook Twitter YouTube Instagram Pinterest Hogarth eloped in March 1729 with Thornhill’s daughter Jane.

The marriage proved stable and contented, though childless. A few months later Vertue remarked on his public success with “conversations,” and in the next few years these small paintings, which acknowledged a great debt to the early 18th-century painter Antoine Watteau and the elegance of French Rococo art , brought Hogarth an appreciative and wealthy clientele . Though he displayed remarkable energy at the time, Hogarth quickly tired of these little works, which involved numerous portraits for relatively poor remuneration. For his own enjoyment he began to record humorous scenes from everyday life. The crowded canvas of Southwark Fair (1733) captures the noisy and exuberant vigour of a popular festival and shows Hogarth feeling his way toward a completely new kind of narrative art based on vivid appreciation of contemporary life. Friends he made in the theatrical world, the actor-manager David Garrick and writer Henry Fielding , shared his enthusiasm for honest naturalism in art. Like his great predecessor, the 16th-century Flemish painter Pieter Bruegel the Elder , Hogarth wanted to extract entertaining and instructive incidents from life.

In telling the story of a young country girl’s corruption in London and her consequent miseries, he not only ridiculed the viciousness and follies of society but painted an obvious moral. The engravings were aimed at a wide public, and their tremendous success immediately established Hogarth’s financial and artistic independence. He was henceforth free, unlike most of his colleagues, to follow his own creative inclinations. To safeguard his livelihood from unscrupulously pirated editions, he fought to obtain legislation protecting artist’s copyright and held back the eight-part Rake’s Progress until a law of that nature, known as the Hogarth Act, was passed in 1735. In the following year Hogarth moved into the house in Leicester Fields that he was to occupy until his death. Historical and portrait painting Eyjafjallajökull volcano After Thornhill’s death, in 1734, Hogarth reestablished his drawing school on a cooperative basis, and it became an important arena for artistic discussion and experiment. In 1735, in line with the humanitarian concern that occupied enlightened opinion of the day, he was elected a governor of St.

Bartholomew’s Hospital, and he seized this opportunity to decorate the main staircase with two large religious works, Pool of Bethesda and The Good Samaritan. In abandoning comic narrative and genre for history painting, he was generally held to have overreached himself, however, and modern critics have tended to endorse this opinion. Art & Architecture: Fact or Fiction? About 1740 he turned once again to painting portraits, chiefly of middle-class sitters. He derived special enjoyment from painting the full-length, seated portrait of his friend, the philanthropist Captain Thomas Coram—a compelling and deeply sympathetic image that injected the dead aristocratic tradition with forthright realism and carried far-reaching implications for European portraiture. Hogarth, well aware of its importance, judiciously placed it on semipublic display at the Foundling Hospital, a benevolent institution for orphan children established by Coram in 1739. From the start Hogarth played an active role in the affairs of this charitable venture, and when the buildings were completed in 1745 he persuaded a group of fellow artists to join him in contributing paintings as edifying decoration.

Their cooperative effort produced the first public exhibition of contemporary art in England and was a vital step toward the foundation of the Royal Academy in 1768. The famous self-portrait of 1745, a year that marked, in many ways, the high point of Hogarth’s career, was also an artistic manifesto . He mischievously juxtaposed his own blunt and intelligent features with those of his sturdy pug dog, Trump, and placed volumes of the great English writers William Shakespeare , John Milton , and Jonathan Swift beside a palette inscribed with the sinuous “line of beauty,” his shorthand symbol for the variety, intricacy, and expressiveness of Nature. In the same year he published the long-announced prints of Marriage à la Mode , censuring the marriage customs of the upper classes, for which he had completed the paintings in May 1743.

The Painter and His Pug, self-portrait by William Hogarth, oil on … Courtesy of the trustees of the Tate Gallery, London Morning, oil painting, part of the Marriage à la Mode series by William … National Gallery, London/SuperStock Return to prints Apart from a gratifying commission for a large history piece, which he won from the lawyers of Lincoln’s Inn (one of the four legal societies and schools in London), Hogarth concentrated for the next few years on simple, didactic prints executed from drawings, not paintings, and aimed at an unrefined public. Beer Street, Gin Lane, and Four Stages of Cruelty (1751) he cut deliberately crudely on wood blocks to make them cheaper and facilitate a wide distribution. Industry and Idleness (1747) contains, in addition to its obvious moral message, a good deal of self-dramatization, depicting the virtuous apprentice made good in a hostile world. In these years Hogarth’s uncertainty and frustration expressed themselves in a number of unfinished paintings.

In several spontaneous sketches, succeeding where he had failed in his heroic pictures, he synthesized dynamic elements of the 17th-century Baroque style with an uncompromising realism and fully expressive handling of the paint. These sketches were ignored in his lifetime, and it was only in the wake of the 19th-century Impressionist movement that such sketches received serious attention. In 1745 and again in 1751 Hogarth organized auctions of his work. Both fetched extremely low prices, and Hogarth, in anger and mortification, retreated into aggrieved isolation, pursuing his philanthropic interests but adopting, in public, a defiant and defensive pose that involved him in increasingly rancorous debate on artistic matters. He expounded his own theories in The Analysis of Beauty (1753), combining practical advice on painting with criticism of the art establishment. He expressed his belief in the “beauty of a composed intricacy of form,” which “leads the eye a kind of chace” and advocated variety, irregularity, movement, and exaggeration in the interests of greater expressiveness. Though his ideas were respectfully received, especially on the Continent, the book inspired much adverse comment from his opponents.

His large Election series (1754–58), painted with elaborate care, was a last attempt to prove the dignity of “comic history painting,” and thereafter he painted little of importance. His appointment as sergeant painter to George III , contrived in 1757, revived some interest in portraiture, but his last years, when he probably suffered considerable ill health, were dominated by the acrimony induced by a patron’s rejection of his painting Sigismunda (1759) and the outraged public opinion over his satiric political print The Times, I (1762). Obsessive to the last, a few months before his death he executed an engraving sardonically titled Tail-Piece, or The Bathos, in which he sombrely depicted the demise of his own artistic world.

In a sense it was prophetic, for, as the 19th-century English painter John Constable rightly remarked, “Hogarth has no school, nor has he ever been imitated with tolerable success.” His immediate influence had been more strongly felt in literature than in painting, and after his death it was significantly the Romantics , many of whose ideas Hogarth had anticipated, who first recognized his greatness. Though never neglected, Hogarth was chiefly remembered for his satiric engravings, and, as with that other lonely pioneer, the 19th-century painter J.M.W. Turner , the implications of his work were better understood on the Continent than in England.

Question: How many paintings make up William Hogarth’s ‘A Rake’s Progress’?
Answer: Eight