British Art in the 18th Century British Art in the 18th Century The Glorious Revolution of 1688 was followed by a brief flowering of decorative painting under Sir James Thornhill, which was the closest that Britain ever approached to the developed Baroque style of the Continent. This process was in part due to the influx, following the end of the War of the Spanish Succession, of Italian painters, including the Venetians Giovanni Antonio Pellegrini and Jacopo Amigoni, and French ones, such as Charles de La Fosse. In the early 18th century there was a new freedom of design and an ambitious draughtsmanship under the influence of French conversation pieces by Philippe Mercier, Hubert Gravelot, Jean-Baptiste van Loo and others and of visiting Italian decorators (Verrio, Pellegrini, Bellucci, Sebastiano Ricci. ) The results are evident in the work of Joseph Highmore (1692-1780), best remembered for his series of twelve scenes from Richardson's Pamela (c.

1745), and of Francis Hayman (1708-1776), whose small portrait groups influenced the young Gainsborough (Mr and Mrs Kirby, National Portrait Gallery). Hayman's most famous works were the decorations for Vauxhall Gardens (1740s). Thornhill's son-in-law William Hogarth, the outstanding figure in English painting before Reynolds and Gainsborough, was, despite his chauvinism and virulently anti-French sentiments, heavily influenced by the continental Rococo style. Early in his career he succeeded in breaking away from the straitjacket of portraiture, and his moralizing paintings are superb evocations of life in the England of George I and George II. His rich, creamy paint handling and brilliant characterization of textures have a freshness and vitality unequaled in the work of any of his contemporaries. He invented a new form of secular narrative painting that imparts a moral. These paintings were often tragicomedies, although dependent upon no texts, and Hogarth's series of such works were always intended to be engraved for a large public as well as seen in a private picture gallery (just as plays were intended to be performed as well as read).

After an apprenticeship to a silversmith Hogarth began as an engraver of satirical prints for publishers (South Sea Bubble, c. 1721). By 1725 he was painting small conversation pieces; these he extended to full-scale portraits in Captain Coram (1740), the Painter's Servants (c. 1760), Self-portrait (1745), the Shrimp Girl (c. 1760) and The Actor Garrick and his Wife (1757). The Beggar's Opera (Tate Gallery) marked the transition from portraiture to his best known works, the series of moral subjects, influenced by Dutch models, in which he satirised the follies of the age: the Harlot's Progress (1732; burnt); the Rake's Progress (1735, Soane Museum, London); Marriage � la Mode (1745, National Gallery, London); Election series (1754, Soane Museum). In 1748 he went to France with Roubiliac (Calais Gate, Tate Gallery).

After Hogarth, the finest draughtsman and caricaturist of the manners of his time was Thomas Rowlandson. Robust humour, exuberance and flowing line are combined in his work, much of which was for the publisher of prints Ackermann. Despite Hogarth's considerable knowledge of and borrowings from continental old masters, he remained in the last analysis English through and through. This, however, was not the case with all the next generation of painters; and the Scottish-born Allan Ramsay (1713-1784) studied in Rome and Naples in 1736-38 before settling in London in 1739. Until the return of Joshua Reynolds from Italy in 1752, Ramsay held undisputed sway as the most successful portrait painter in London; and to him must be given the credit for the initial marriage of the Italian "grand style" to English portraiture. Ramsay visited Italy again in 1755-57, and on his return his portraits took on a new delicacy and elegance and a silvery tonality.

Ramsay and Thomas Hudson (1701-1779) were both superseded in popularity by Joshua Reynolds (1723-1792), historically the most important figure in British painting. He was a close friend of Johnson, Goldsmith, Burke and Garrick and was the first president of the Royal Academy and the author of Discourses on the Fine Arts, given to Royal Academy students (1769-1790); the essence of his portraiture is the appeal to the educated eye, above the needs of mere likeness. Born in Devon, he was a pupil of Hudson in London in 1740; he studied in Rome in 1750-1752, with the aim of reconciling the 'grand style' and portrait painting.

His portraits include Augustus Keppel (1753-54, Greenwich); Anne, Countess of Albemarle (1759, National Gallery, London); Nelly O'Brien (1760-62); Lady Elizabeth Keppel (1761-62, Duke of Bedford Collection); Lady Cockburn and her Children (1773); the Duke of Marlborough and his Family (1778); Mrs Siddons as the Tragic Muse (1784). In 1781 he visited the Low Countries; the influence of Rubens can be seen in the Duchess of Devonshire and her Daughter (1786) and in Lord Heathfield (1788). Reynolds possessed great ambitions and a more profound acquaintance with the old masters than any of his contemporaries. His colouring and handling can be compared with Rembrandt , Rubens, and Veronese, and his poses are indebted to the sculpture of antiquity and to Michelangelo.

The Discourses that he delivered to the Royal Academy (founded in 1768 with Reynolds as its first president) are the most impressive statement in English of the central ideas of European art theory from the time of Leon Battista Alberti 's treatise. Reynolds' own painting gained a genuine heroic power and elevated grace from his frustrated ambition to be a history painter, although for that very reason he occasionally tumbled into bathos. The third major British painter of the period to study in Italy was a Welshman, Richard Wilson, who worked there from 1750 to about 1757 before settling in London. His landscape style was formed on Claude, Gaspard Dughet, and Cuyp; but the clear golden lighting of his Italian landscapes carries the conviction of an artist saturated with the Mediterranean tradition. A cooler clarity and classical simplicity pervade his northern landscapes; and, despite the uneven quality of his work, Wilson was the first British painter to lift the pure landscape above mere decorative painting and topography.

Thomas Gainsborough (1727-1788), with his quality of rhythmic line, his gift of seizing a likeness and his love of landscape painting and music, was in every way the antithesis to Reynolds. Trained entirely in England, he had no wish to visit Italy. Instead of the 'grand style,' his tastes in portraiture lay in the delicate flickering brushwork and evanescent qualities of the Rococo. He preferred landscape painting to portraiture, and the strong Dutch influence in his earliest works later gave way to spontaneous landscapes composed from models. Gainsborough worked under Hubert Gravelot in London in 1740; from Hayman he adopted the type of small portrait group in a realistic landscape as in the Artist with his Wife and Child (c. 1751). His early landscapes reflect the influence of Wynants and Ruisdael (the Charterhouse; Cornard Wood). About 1750 he moved to Ipswich ( Mr and Mrs Andrews, National Gallery, London; the Painter's Daughters with a Cat, National Gallery, London (unfinished]).

In 1759-1774, in Bath, his works took on a larger scale and a new sense of fashionable elegance under the influence of the van Dyck s he saw in the neighbouring country houses; examples of this period are: Countess Howe (c. 1760, Kenwood, London); Blue Boy (c. 1779, San Marino, California). Under the influence of Rubens' work he painted landscapes which were more Arcadian in mood and were composed rather than observed: the Harvest Wagon (1771, Barber Institute, Birmingham); Watering Place (1777, National Gallery, London). In 1774-1788 he was in London, in a rivalry with Reynolds, but he was the favourite painter of the Royal Family. His best works have a poetic quality combined with rhythmic line and a personal technique, for example: Mrs S�ddons (1785, National Gallery, London); the Morning Walk (1785, National Gallery, London).

His late popular pictures are an extension of his interest in landscape (Girl feeding Pigs, 1782; the Cottage Door.) This aspect of picturesque rustic genre was carried on by George Morland (1763-1804), whose works were popularised through engravings. In the 1760s Francis Cotes was the most important fashionable London portrait painter after Reynolds and Gainsborough, a position succeeded to by George Romney (1734-1802), who, on returning to London from Italy in 1775, took over Cotes's studio. Born in Lancashire, he was in London by 1762 (Peter and James Romney, 1766; Sir George Warren and His Family, 1769; Mrs Carwardine and her Child, 1771). In 1773-1775 he was in Italy, where his admiration for the antique resulted in aspirations towards the 'grand style', for which he was ill equipped. He is best known for his studies of Lady Hamilton (as Circe, as a spinstress and as a bacchante).

Romney's portraits deteriorated sadly in quality during the 1780s when the young Sir Thomas Lawrence began to make his mark. Painting outside London were Joseph Wright and Raeburn. Joseph Wright of Derby (1734-1797) shows, in his candlelight pictures, affinities with the Utrecht school. His moonlit landscapes recall Vernet . Patronage by Wedgwood and Arkwright, pioneers of science allied to industry, resulted in new subjects (Orrery, 1766; Experiment with an Air Pump, 1768). Henry Raeburn (1756-1823) was the painter of the personalities of the great age of his native Edinburgh. In 1784 in London he came under the influence of Reynolds. In 1785-87 he was in Italy. His best works are marked by a vigorous and virtuoso handling of paint. Thomas Lawrence (1769-1830), born in Bristol, was a child prodigy and enjoyed a lifetime of success. In 1792 he was successor to Reynolds as court painter.

He was in London after 1786 ( Queen Charlotte, 1789; Nellie Farren, 1790). His European reputation came about through the Prince Regent's commission to paint the personalities of the struggle against Napoleon (Waterloo Chamber, Windsor, 1814-20); the finest of these anticipate Delacroix (Archduke Charles of Austria; Pius VII). Empty flashiness increasingly marred his later work (Calmady Children, 1824). Throughout the 18th century, portraiture remained the most important genre of British painting, despite the efforts of Reynolds and Gainsborough in their 'fancy pictures.' Even the taste for large-scale scenes illustrating Shakespeare and other themes - which were commissioned toward the end of the century from James Barry, James Northcote, and Edward Penny, among others - never spread far beyond a few patrons. Sporting and animal painting, however, took on an entirely new dimension in the work of George Stubbs. Johann Zoffany was born in Germany but moved to Britain about 1761 and became a founder-member of the Royal Academy, specializing in elaborate group portraits and theatrical scenes.

English landscape painting had its beginnings in the 18th century. Ultimately it was to have considerable influence on the Barbizon school and on the Impressionists. Samuel Scott (1700-1772) painted views along the Thames at London (Old London Bridge; Old Westminster Bridge ); Richard Wilson idealised the Roman countryside and painted evocative landscapes in England (Valley in Wales; Cader Idris ). Alexander Nasmyth, and George Barret also expressed the charm of the English countryside; John Crome (1768-1821), also known as Old Crome, exalted the sense of space and was a precursor of Romantic art. During the second half of the 18th century the evolution of British oil painting was to a great extent paralleled by the extraordinary flowering in watercolours. The early topographical drawings of Paul Sandby gave way to the delicate linear drawings of Francis Towne, with their patches of colour resembling maps, and, at the close of the century, to the atmospheric unity of the landscapes of John Robert Cozens.

British patrons in the 18th century sometimes collected paintings on religious or mythical themes by foreign artists, but at home they rarely commissioned anything other than portraits, landscapes, and marine paintings, although there was in the early 18th century a vogue for grand allegorical decorations in aristocratic houses. The Protestant church, however, did little to encourage painting. In fact, the preponderance of portraits is the most distinctive characteristic of old British collections. Sculpture Pieter Scheemaker (1691-1770) of Antwerp and Laurent Delvaux of Ghent carved a number of tombs in Westminster abbey, but it was not until John Michael Rysbrack from Antwerp settled in England in c. 1720, followed by the Frenchman Louis-Fran�ois Roubiliac in c. 1732, that two sculptors of European stature were active in England. The busts and tombs of Rysbrack and Roubiliac have a power and vitality previously unknown in English sculpture; they were responsible for the revival that took place in the 18th century.

The finest sculpture in England during the 18th century was done by Roubiliac. In 1737 he made his reputation with his statue of Handel for Vauxhall Gardens; towards 1750 he worked as a modeller at the Chelsea china factory (fine terra-cotta busts of Alexander Pope, Colly Cibber and Hogarth, and Martin Folkes (1749). His tombs in Westminster abbey include those of the 2nd Duke of Argyll (1748) and Lady Elizabeth Nightingale (1761). At the end of the century there was a return to the antique and a number of English sculptors went to Rome; among these Joseph Wilton (1722-1803), a pupil of Roubillac (monuments for General Wolfe, Stephen Hales and Admiral Holmes), showed originality. Thomas Banks (1735-1805) was more uneven ( Thetis and her Nymphs, tomb of Sir Eyre Coote, 1783).

Joseph Nollekens (1737-1823) produced competent portrait busts (bust of Dr Johnson in Westminster abbey) and executed a number of tombs of classical inspiration. The elder John Bacon (1740-1799) executed the Chatham monument in Westminster abbey and that of Dr Johnson in St Paul's. John Flaxman (1755-1826) enjoyed a European reputation in his own day as the finest sculptor after Canova. In 1775-1787 he worked for Wedgwood, who was popularising Neoclassical designs in his new `Etruscan' ware. Funerary sculpture formed the majority of his later work (Lord Mansfield, 1795, Westminster abbey).

10 Artworks By William Hogarth You Should Know 10 Artworks By William Hogarth You Should Know Updated: 8 December 2016 Hailed as the ‘grandfather of satire,’ English artist, engraver and satirist William Hogarth created a body of scathing commentary through his work, critiquing aspects of 18th century English society like corrupt politics, religion, and even the evils of gin-drinking. We explore ten of Hogarth’s major works, from his Marriage A-la-Mode to his self-portrait, The Painter and his Pug. Beer Street and Gin Lane A pair of prints created by Hogarth in 1751, Beer Street and Gin Lane were published in support of the Gin Act , a Parliamentary measure that sought to curb the consumption of spirits by raising the then very cheap costs of selling and buying gin.

In an apparent attempt to encourage viewers to choose ale over more intoxicating spirits, Beer Street depicts happy, healthy Londoners relaxing with a few brews after a hard day’s work, and by contrast, Gin Lane shows its citizens consumed by the evils of overindulgence – in the foreground, a gin-addled mother lets her child fall to its death, while an emaciated and inebriated ballad-seller ironically peddles pamphlets entitled ‘The Downfall of Mrs. Gin.’ Hogarth, Gin Lane, 374 x 318 mm, British Museum, 1751 | © Yomangani/WikiCommons A Harlot’s Progress The first of Hogarth’s ‘ modern moral subjects ,’ A Harlot’s Progress is a series of six paintings and engravings created in the early 1730s, during which a crackdown – mostly spearheaded by a zealous judge named Justice John Gonson – on prostitution was rolled out.

The series tells the cautionary tale of Moll Hackabout (possibly named after both Daniel Defoe’s heroine Moll Flanders and then-notorious real-life prostitute Kate Hackabout), a fresh-faced young woman who arrives in London and gradually falls from grace, becoming a kept woman and then a prostitute before being jailed for her crimes and eventually dying from syphilis. Hogarth, A Harlot’s Progress, Plate 6, 313 x 385 mm, British Museum, 1732 | © Yomangani/WikiCommons Marriage A-la-Mode It wasn’t only the lower echelons of society that Hogarth moralized and critiqued through his work – in Marriage A-la-Mode , the artist turns his eye to the upper classes in a series of paintings depicting the downfalls of marriages arranged for financial and social benefit rather than for love. In the first painting, the aptly named Earl of Squander and a wealthy merchant arrange for the marriage of their children, who appear indifferent in the background. Later paintings show their marriage quickly dissolving, with the husband visiting prostitutes and the wife having an affair, culminating in his murder and her suicide.

Hogarth, Marriage A-la-Mode: 1, The Marriage Settlement, 69.9 x 90.8 cm, The National Gallery, c. 1743 | © Crisco 1492/WikiCommons The Painter and his Pug A revealing painting within a painting, Hogarth’s 1745 self-portrait The Painter and his Pug was started in the 1730s and features the artist in informal garb, though X-rays have since shown that he originally painted himself in formalwear. In the foreground of the work, a palette bears the ‘ line of beauty and grace ‘ – a term coined by Hogarth referring to an aesthetically pleasing serpentine line outlined in his 1753 book The Analysis of Beauty – while books by Shakespeare, Jonathan Swift and John Milton point towards the artist’s inspirations. The dog, Hogarth’s pet pug Trump, is thought to have been included as a representation of the artist’s pugnacious character.

Hogarth, The Painter and his Pug, 900 x 699 mm, Tate Britain, 1745 | © MarmadukePercy/WikiCommons Four Times of the Day Hogarth’s Four Times of the Day is a series of four paintings – titled Morning, Noon, Night and Evening – which take a humorous look at urban life in early 18th century London. The second painting of the series, Noon , depicts the culture clash between the capital’s upper and lower echelons of society — on the right hand side of the work, the elegant French Huguenots exit a church outfitted in high fashion, and across the street, a group of English folk cavort outside a pie shop. While Hogarth portrays his French subjects in a more gainly manner, it is still suggested that his sympathies lay more with his fellow countrymen in their depiction as happy, healthy and rosy-cheeked – if a tad unkempt and lewd.

Hogarth, Four Times of the Day: Noon, 473 x 382 mm, British Museum, 1738 | © Cobaltcigs/WikiCommons An Election Today part of the Sir John Soane’s Museum collection in London, An Election (also known as Humours of an Election) is a series of four oil paintings created by Hogarth in the mid-1750s against a backdrop of political corruption in pre-Great Reform Act Britain . The second scene, The Polling , shows the election in full swing, with both Tories and Whigs resorting to unethical tactics to increase their chances of winning, as demonstrated by Tories dragging both a disabled man and a dying man to the polling station in an effort to gain more votes. In the background, a broken-down golden carriage represents Britannia and the corrupt state of the country’s politics.

Hogarth, An Election: The Polling, 102.2 x 131.1 cm, Sir John Soane’s Museum, 1754-55 | © Peteforsyth/WikiCommons The Four Stages of Cruelty In Hogarth’s 1751 engravings, The Four Stages of Cruelty, the artist depicts the various stages of the life of his fictional protagonist Tom Nero and his descent into vicious cruelty. First depicting Nero as young lad inflicting harm upon a dog, the series culminates in the murder of Nero’s lover by his own hand – as seen in the third stage, Cruelty in Perfection – and his subsequent execution. In his portrayal of Nero’s moral deterioration, Hogarth suggests his increasingly worse crimes were something of a natural progression, the overall moral lesson behind the series being that cruel behavior left unchecked by society will result in gradually more violent acts.

Hogarth, The Four Stages of Cruelty: Cruelty in Perfection, 385 x 318 mm, British Museum, 1751 | © Yomangani/WikiCommons The Graham Children A group portrait of the four young children of Daniel Graham, apothecary to the Royal Household, The Graham Children at first appears a scene full of gaiety and innocence, but several elements in the painting hint towards a much more sombre tone and reality. At the time of painting, the youngest of the Graham children (Thomas, on the far left) had died, and Hogarth includes many references to his mortality in the work, from the predatory cat stalking a caged bird in the foreground to the figure of Cupid standing beside an hourglass and carrying a scythe, which are both symbols of death.

Hogarth, The Graham Children, 160.5 x 181 cm, The National Gallery, 1742 | © Philafrenzy/WikiCommons The Shrimp Girl A noticeable departure from the majority of Hogarth’s oeuvre, in The Shrimp Girl , the artist experiments with a genre popular in 18th century Europe — specifically, portraits of hawkers and street-sellers, like a young woman selling shellfish on the streets of London – in a style that has been compared to the Rococo oriented works of French painter Jean-Honoré Fragonard and English artist Thomas Gainsborough . Technically an unfinished work, The Shrimp Girl remained in Hogarth’s own private collection until his death. Hogarth’s widow Jane is said to have remarked to guests visiting her home, ‘They say he could not paint flesh. There is flesh and blood for you,’ when showing them the work. Hogarth, The Shrimp Girl, 63.5 x 52.5 cm, The National Gallery, c.

1740-45 | © File Upload Bot (Eloquence)/WikiCommons O the Roast Beef of Old England (‘The Gate of Calais’) Inspired by an incident in France, during which Hogarth was arrested whilst sketching Calais ’ old city gate under suspicion of being a spy, O the Roast Beef of Old England (‘The Gate of Calais’) features some not so subtle hints as to the artist’s opinion of the French. Borrowing its name from a patriotic song at the time which hailed roast beef as a symbol of Britain’s powerful status, the titular beef joint takes centre stage in the painting, while around it, French soldiers are forced to consume watery soup. An emaciated Scottish man, who was exiled following the Jacobite rebellions, sits next to a paltry meal of raw onion and bread, while Hogarth himself is included in the left of the scene innocently sketching away. William Hogarth | Article about William Hogarth by The Free Dictionary William Hogarth | Article about William Hogarth by The Free Dictionary Also found in: Dictionary , Thesaurus , Wikipedia .

William Hogarth Painter, engraver, satirist Hogarth, William, 1697–1764, English painter, satirist, engraver, and art theorist, b. London. At the age of 15 he was apprenticed to a silver-plate engraver. He soon made engravings on copper for bookplates and illustrations—notably those for Butler's Hudibras (1726). He studied drawing with Thornhill, whose daughter he married in 1729. Hogarth tried to earn a living with small portraits and portrait groups, but his first real success came in 1732 with a series of six morality pictures, The Harlot's Progress. He first painted, then engraved them, selling subscriptions for the prints, which had great popularity. The Rake's Progress, a similar series, appeared in 1735. The series Marriage à la Mode (1745) is often considered his masterpiece. With a wealth of detail and brilliant characterization he depicts the profligate and inane existence of a fashionable young couple. Hogarth invented a sort of visual shorthand that enabled him to recall with perfect clarity whatever sight he wished to retain.

He became, by this means, an enormously learned artist possessing a profound visual understanding. His Analysis of Beauty (1753) is a brilliant formal exposition of the rococo rococo , style in architecture, especially in interiors and the decorative arts, which originated in France and was widely used in Europe in the 18th cent. The term may be derived from the French words rocaille and coquille ..... Click the link for more information. aesthetic. In such prints as Gin Lane and Four Stages of Cruelty Hogarth is very sincerely didactic, employing the weapons of satire against the cruelty, stupidity, and bombast that he observed in all levels of the society of his day. His portraits The Shrimp Girl (National Gall., London) and Captain Coram (1740) are two of the masterpieces of British painting. Hogarth's major works are in England. In New York City the Metropolitan Museum and the Frick Collection possess examples of his work. Bibliography See his Analysis of Beauty, ed. by J. Burke (1955); his graphic works, ed. by R. Paulson (rev. ed. 1970); biographies by P.

Quennell (1955), R. Paulson (1971), D. Bindman (1985), and J. Uglow (1997); studies by F. Antal (1962), G. C. Lichtenberg (tr. 1966), S. Shesgreen (1982), and L. S. Cowley (1988). Hogarth, William Born Nov. 10, 1697, in London; died there Oct. 25, 1764. British painter, graphic artist, and art theorist. Hogarth studied with the silversmith E. Gamble and at J. Thornhill’s academy (from 1720) in London. He worked in London and visited France in 1743 and 1748. Hogarth first gained fame from his satirical paintings and copper engravings, in which, in the spirit of the European Enlightenment, he ruthlessly exposed the evils of British life.

Examples of such works are the six pictures of A Harlot’s Progress (1730–31, not preserved; engraved in 1732), the eight pictures of A Rake’s Progress (1732–35, Sir John Soane’s museum, London; engraved 1735), the six pictures of Marriage à la Mode (1743–45, National Gallery, London; engraved 1745), and the engravings Gin Lane (1751) and Beer Street (1751). Hogarth’s portraits are marked by a democratic quality, sharp lifelike characterizations, and a full-blooded realistic technique. Examples are Captain Thomas Coram (1740, Foundling Hospital, London), Self-portrait (1745, Tate Gallery, London), and The Shrimp Girl (c. 1760, National Gallery, London). In the theoretical treatise Analysis of Beauty (1753), Hogarth called for the use of asymmetric forms (for example, serpentine lines) that would allow life to be reproduced in the diversity of its manifestations.

Hogarth’s theories and art greatly influenced 18th-century European culture. The artist’s influence is reflected in the work of L. Sterne in Great Britain and G. E. Lessing and G. C. Lichtenberg in Germany. WORKS INTRODUCTION TO ENGLISH PAINTING INTRODUCTION TO ENGLISH PAINTING DR RUTH FLEISCHMANN SUMMER 2005 Course Description You can attend this course if you are an MA student, if you are studying to be a teacher under the old system; you can do part of the Zwischenprüfung here. You can attend if you are a B.A. student doing part of Profile Module 3 (provided you have completed Basic Modules 1 and 4); you get 3 credit points for attendance, participation and end-of-term test, which will be graded. The course will offer you a survey of English painting from the Middle Ages to the present; in examining the paintings of the various periods, we will also be studying the history of these epochs, though that will not be the main focus.

We will study the work of the Elizabethan miniaturists, the portrait artists of the 17th century, the paintings of William Blake, the engravings of Hogarth, the classical portrait painters Gainsborough and Reynolds, the romantic landscape artist, Constable, and the forerunner of Impressionism, Turner, the pre-Raphaelite school, and the main painters and sculptors of the 20th century. The artists' work will be discussed in its historical and social context: in terms of the changing market for art, and how what painters see, how they see it and how they represent it reflects the society they live in. The picture series A Harlot's Progress is discussed by David Dabydeen cf. Reader p. 23-26. William Hogarth: A Harlot's Progress Etching and Engraving, 1732 Six plates, c. 12 ins x 15 ins. Picture Titles: 1. Ensnared by a Procuress 2. Quarrels with her Jew Protector 3. Apprehended by a Magistrate 4. Scene in Bridewell 5. She Expires while the Doctors are disputing 6.

The Funeral George Vertue, a contemporary of Hogarth, engraver and antiquary, wrote about this series: "The most remarkable Subject of painting that captivated the Minds of most persons of all ranks and conditions from the greatest Quality to the meanest was the Story painted and designed by Mr.Hogarth of the Harlots Progress and the prints engravd by him and publishd. He began a small picture of a common harlot supposed to dwell in drewry lane just riseing about noon out of bed and at breadfast with a bunter waiting on her. This whore's desabille was careless and she had a pretty Countenance and air. This thought pleasd many; some advisd him to make another to it as a pair which he did. Then other thoughts encres'd and multiplyd by his fruitfull invention till he made six different subjects which he painted so naturally that it drew every body to see them. He proposed to Engrave in six plates and to print them at one guinea each sett.

He had daily Subscriptions in fifty of a hundred pounds in a Week, there being no day but persons of fashion and Artists came to see these pictures, the story of them being related about how this Girl came to Town, how Mother Needham and Col. Charteris first deluded her, how a Jew kept her, how she lived in Drury lane, when she was sent to bridewell by Sr. John Gonson, a Justice, and her salvation and death. Before a twelve month came about whilst these plates were engraving, he had in his Subscription between 14 or fifteen hundred (by the printer I have been assured 1240 setts were printed) Subscribers. He publickly advertized that those that did not come in before a certain day should be excluded which he did, and all this without Courting or soliciting subscriptions, all comeing to a dwelling in common Garden where he livd with his father in Law Sr James Thornhill. And it is probable he might have had more. No Soonner were they publisht but several Copies were made by other hands and dispersd all over the Countries." Study the composition of the painting. How is this army officer characterised?

Compare the portrait with that of Captain Orme. George Clive and his Family with an Indian Maid. 1765, Oil on canvas Staatliche Museen, Berlin George Clive was an official of the British East India Company. His brother, Robert Clive, became governor of Bengal, having conquered the province. Comment on the relationship between the figures portrayed. Mrs Siddons as the Tragic Muse 1789, Oil on canvas Huntington Art Gallery, San Marino Sarah Kemble (1755-1831) married William Siddons. After a triumphant success at Drury Lane she became the leading tragic actress in the country. Mrs Siddons is represented as the Tragic Muse (Melpomene), whose attributes of a dagger and cup are held by allegorical figures of Pity and Terror. The treatment was possibly suggested by W. Russell's poem of 1783. The pose, which according to the actress's own account she struck spontaneously, appears to be based on Domenichino's Saint John the Evangelist. Describe the portrait. See below: also Mrs Sarah Siddons, portrayed by Gainsborough off-stage.

Romantic Realists: Constable, Turner John Constable: The Man and His Work John Constable is today recognised as the major English landscape painter of the 19th century, matched only by his contemporary, J.M.W. Turner (1775-1851). But he was not particularly successful during his lifetime. Born in East Bergholt, Sussex, on 11th June 1776, he was the second son of the six children of Golding Constable (a miller) and Ann Watts. He was educated at a private school in Lavenham and at the grammar school in Dedham. He was taught the technique of painting by John Dunthorne, a local plumber and glazier who was an amateur painter. Then in 1796, while staying with relatives at Edmonton, he met John Cranch (a mediocre artist whose style he emulated) and John Thomas Smith, an antiquarian draftsman, with whom he made drawings of picturesque cottages.

His family had hoped that young Constable would follow in his father's footsteps, but the art patron Sir George Beaumont (1753-1827) persuaded them to allow their son to join the Royal Academy Schools in London. Here he was encouraged by Benjamin West (1738-1820), the history and portrait painter, and began to study nature, devoting himself almost exclusively to painting landscapes. He also exhibited his first picture there in 1802. In 1809 he met and fell in love with Maria Bicknell, but was unable to marry her until 1816, owing to the hostility of Maria's grandfather. Following the marriage the couple lived in London. The marriage, which was the prelude to Constable's finest work, was an intensely happy one, and produced seven children, to whom he was completely devoted. Maria was never particularly healthy and died in 1828. Constable never fully recovered from the shock.

Initially, Constable worked in the manner of Gainsborough (1727-88) but gradually developed his own unique style of painting humble subjects and nature without pretention or what he was fond of calling "fal-de-lal" or "fiddle-de-dee". Although this gained him little recognition in England, the French were impressed with his work and his reputation grew rapidly in the Paris salons. Indeed, one of his most famous paintings, The Hay Wain (1821), had an enormous influence on the modern school of landscape painters and he was admired by Delacroix and Bonington among others. In spite of this, Constable never ventured abroad, producing his finest works in the places he knew best. After his marriage he returned to Suffolk less often, but became more familiar with the south of England, visiting Salisbury, Brighton, Arundel, and Petworth on numerous occasions between 1824 and 1835. When his father-in-law died in 1828, Constable inherited £20,000 (a considerable sum in those days), which allowed him to devote himself entirely to his work.

From then on he was able to fully express his intense love for the countryside and experiment with changing light and the movement of clouds across the sky. Although his latter years were dogged by bereavements, poor health and depression, he continued to work steadily - even though his landscapes were often unsold - and was finally elected a full member of the Royal Academy in 1829. He died in Hampstead on 31 March 1837. Today many of his finest landscapes, such as The Valley Farm and The Hay Wain, hang in London's National Gallery, while others can be viewed in the Tate and the Victoria and Albert Museum.The Stour valley in his native Sussex is now known as 'Constable Country'. You will find a short text by Constable in the Reader p 49 - a letter about his work to the archdeacon of Salisbury Cathedral. c.

1860, Oil on canvas Tate Gallery, London The picture illustrates a scene from a ballad by the romantic poet Alfred Lord Tennyson The Lady of Shalott This lady lives near King Arthur's court; she is under a curse and must weave a tapestry of the view from her castle window which she is only allowed to look at through her mirror. When the handsome knight Sir Lancelot passes by, she looks at him directly: the curse descends on her. She dies in a boat which takes her body to Camelot. The topic and the execution of the painting are typical of the Pre-Raphaelite painters with their interest in the mediaeval period, which they perceived as a better one than their own, and their scrupulous attention to detail. Private collection Merry-Go-round was painted after the Battle of the Somme. It shows a group of military and civilian figures caught on the vicious circle of the roundabout. One gallery refused to show the painting because Gertler was a conscientious objector. St Michaels Victory over the Devil 1952, Bronze Outside wall of Coventry Cathedral Revolting against ornate, pretty art, Epstein made bold, often harsh and massive forms of bronze or stone.

His sculpture is distinguished by its vigorous rough-hewn realism. Avant-garde in concept and style, his works often shocked the general public. He used expressively distorted figures, drawing more on non-Western art than the classical ideal. Please answer t w o of the three following questions (time = one hour): 1. Compare the Elizabethan miniature Young Man among the Roses by Nicholas Hilliard (1547-1619) with Lucian Freud's Interior at Paddington of 1951. (Freud was born in 1922 and is still alive). Discuss the portraits in the context of their time. 2. Compare Salisbury Cathedral by John Constable (1776-1837) with The Fighting Temeraire Tugged to her last Berth to be Broken up by William Turner (1775-1851). Discuss the paintings in the context of their time. 3. Compare a 17th century baroque portrait with a Pre-Raphaelite one of your choice, discussing the paintings in the context of their time. R.

Myers: Art in late mediaeval England 4 Kenneth Clarke: 17th century art and science 6 Oliver Miller: Baroque art: van Dyck 10 Ellis Waterhouse on William Hogarth 16 David Dabydeen on Hogarth 22 Giuseppe Gatt on Thomas Gainsborough 28 Ellis Waterhouse on Joshua Reynolds 36 David Piper on William Blake 44 Tate Millenium Blake exhibition 47 John Constable on painting 49 William Gaunt on William Turner 50 William Gaunt on the Pre-Raffaelite painters 56 Jerrold Morris: On the Enjoyment of Modern Art 63 Brian Fallon on Stanley Spencer 79 Aidan Dunne on Francis Bacon 81 Bacon in Paris 86 Aidan Dunne on Lucian Freud 88 Bibliography: Books on the Reserved Reading Shelf ACTON, MARY: Learning to Look at Paintings, 1997, Routledge BRYANT, MARK & HENEAGE, SIMON: Dictionary of British Cartoonists and Caricaturists 1730-1980, 1994 CHADWICK, WHITNEY: Women,

 Art and Society, 1990, Thames and Hudson CHADWICK, WHITNEY: Women artists and the Surrealist Movement, 1985 COMPTON, SUSAN: British Art in the 20th Century, Royal Academy of Art, 1987 CONSTABLE: World of Art, 1987, Thames and Hudson DUBY, G.: Power and Beauty, 1992 GAUNT, WILLIAM: English Painting, A Concise History, London, 1983 GEORGE, MARY DOROTHY: Hogarth to Cruikshank, 1968 GORDON, CATHERINE: British Paintings: Hogarth to Turner, 1981 HASKELL, FRANCIS: History and its Images, Yale, 1993 HASKELL, FRANCIS: Patrons and Painters, 1980 HERRMANN, LUKE: British Landscape Paintings in the 18th Century, London, 1973 HOBSBAWM, ERIC, Industry and Empire, 1999 HOGARTH, WILLIAM: Hogarth, the Complete Engrav

ings, 1974 JANSON, H.W.

& ANTON: History of Art for Young People, Abrams, 1997 JARRETT, DEREK: England in the Age of Hogarth, 1974 LICHTENBERG, GEORG CHRISTOPH: Ausführliche Erklärung der Hogarthischen Kupferstiche, 1782/1999 LEVITT, MORTON P.: The Modernist Masters, 2002 MORTON, A.

L.: A People's History of England, 1938/1976 MURDOCH, JOHN: The English Miniature, Yale, 1981 OAKES, C.: The Mediaeval Artist and his World, 1986 THE OXFORD HISTORY OF ENGLISH ART PAULSON, RONALD: The Art of Hogarth, 1975 PEVSNER, NIKOLAUS: The Englishness of English Art, 1976 READ, HERBERT, A Concise History of Modern Painting, London, 1988 ROTHENSTEIN, JOHN: An Introduction to English Painting, 2002, Tauris Parke STRONG, ROY: Art and Power 1984 STRONG, ROY: The Cult of Elizabeth, 1977 STRONG, ROY: Van Dyck, 1972 UGLOW, JENNY: Hogarth - A Life and a World, 1997, Faber and Faber 1000+ images about Rococo ~ William Hogarth on Pinterest | Metropolitan museum, William hogarth and Opera William Hogarth ~ Marriage à

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De dood van de dame ~ 1743 ~ Olieverf op doek ~ 69,9 x 90,8 cm. ~ The National Gallery, Londen heart Hogarthean | Article about Hogarthean by The Free Dictionary Hogarthean | Article about Hogarthean by The Free Dictionary Also found in: Dictionary , Thesaurus , Wikipedia . William Hogarth Painter, engraver, satirist Hogarth, William, 1697–1764, English painter, satirist, engraver, and art theorist, b. London. At the age of 15 he was apprenticed to a silver-plate engraver. He soon made engravings on copper for bookplates and illustrations—notably those for Butler's Hudibras (1726). He studied drawing with Thornhill, whose daughter he married in 1729. Hogarth tried to earn a living with small portraits and portrait groups, but his first real success came in 1732 with a series of six morality pictures, The Harlot's Progress. He first painted, then engraved them, selling subscriptions for the prints, which had great popularity.

The Rake's Progress, a similar series, appeared in 1735. The series Marriage à la Mode (1745) is often considered his masterpiece. With a wealth of detail and brilliant characterization he depicts the profligate and inane existence of a fashionable young couple. Hogarth invented a sort of visual shorthand that enabled him to recall with perfect clarity whatever sight he wished to retain. He became, by this means, an enormously learned artist possessing a profound visual understanding. His Analysis of Beauty (1753) is a brilliant formal exposition of the rococo rococo , style in architecture, especially in interiors and the decorative arts, which originated in France and was widely used in Europe in the 18th cent. The term may be derived from the French words rocaille and coquille ..... Click the link for more information. aesthetic. In such prints as Gin Lane and Four Stages of Cruelty Hogarth is very sincerely didactic, employing the weapons of satire against the cruelty, stupidity, and bombast that he observed in all levels of the society of his day.

His portraits The Shrimp Girl (National Gall., London) and Captain Coram (1740) are two of the masterpieces of British painting. Hogarth's major works are in England. In New York City the Metropolitan Museum and the Frick Collection possess examples of his work. Bibliography See his Analysis of Beauty, ed. by J. Burke (1955); his graphic works, ed. by R. Paulson (rev. ed. 1970); biographies by P. Quennell (1955), R. Paulson (1971), D. Bindman (1985), and J. Uglow (1997); studies by F. Antal (1962), G. C. Lichtenberg (tr. 1966), S. Shesgreen (1982), and L. S. Cowley (1988). Hogarth, William Born Nov. 10, 1697, in London; died there Oct. 25, 1764. British painter, graphic artist, and art theorist. Hogarth studied with the silversmith E.

Gamble and at J. Thornhill’s academy (from 1720) in London. He worked in London and visited France in 1743 and 1748. Hogarth first gained fame from his satirical paintings and copper engravings, in which, in the spirit of the European Enlightenment, he ruthlessly exposed the evils of British life. Examples of such works are the six pictures of A Harlot’s Progress (1730–31, not preserved; engraved in 1732), the eight pictures of A Rake’s Progress (1732–35, Sir John Soane’s museum, London; engraved 1735), the six pictures of Marriage à la Mode (1743–45, National Gallery, London; engraved 1745), and the engravings Gin Lane (1751) and Beer Street (1751). Hogarth’s portraits are marked by a democratic quality, sharp lifelike characterizations, and a full-blooded realistic technique.

Examples are Captain Thomas Coram (1740, Foundling Hospital, London), Self-portrait (1745, Tate Gallery, London), and The Shrimp Girl (c. 1760, National Gallery, London). In the theoretical treatise Analysis of Beauty (1753), Hogarth called for the use of asymmetric forms (for example, serpentine lines) that would allow life to be reproduced in the diversity of its manifestations. Hogarth’s theories and art greatly influenced 18th-century European culture. The artist’s influence is reflected in the work of L. Sterne in Great Britain and G. E. Lessing and G. C. Lichtenberg in Germany. WORKS Famous William Hogarth Paintings | List of Popular William Hogarth Paintings Famous William Hogarth Paintings 1.2k views 8 items tags f t p @ List of famous William Hogarth paintings, listed alphabetically with pictures of the art when available. A celebrated artist around the world, William Hogarth has created some of the most historic paintings of all time. These popular William Hogarth paintings fetch insane amounts of money at art auctions, so if you want to buy one then start saving your money now.

Going to museums can be expensive and time consuming, so scroll through this list to see paintings that William Hogarth created from the comfort of your own home. You can find additional information for these renowned William Hogarth paintings by clicking the names of the pieces. Guernica and Mona Lisa are included on this list. This list answers the questions, "What are the most famous William Hogarth paintings?" and "What are examples of William Hogarth paintings?" List Photo: Freebase /Public domain Z G Options B Comments & Embed 1

Question: Which 18th century English artist and engraver painted "The Shrimp Girl", held in The National Gallery in London?
Answer: WILLIAM HOGARTH