William Hogarth (November 10, 1697 –
October 26,1764) was a major English painter, printmaker, pictorial
satirist, and editorial cartoonist who has been credited as a
pioneer in western sequential art. His work ranged from excellent realistic portraiture to comic strip-like series of pictures
called “modern moral subjects.” Much of his work, though at times vicious, poked fun at contemporary politics and customs.
Illustrations in such style are often referred to as Hogarthian.
Life
The son of a poor school teacher and textbook writer, William Hogarth was born at Bartholomew Close in London on November 10, 1697. In
his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and the
like. Young William also took a lively interest in the street life of the metropolis and the London fairs, and amused himself by sketching the characters he saw. At around the same time, his father, who had opened
an unsuccessful Latin-speaking coffee house at St John's Gate, was imprisoned for debt in Fleet
Prison for five years. Hogarth never talked about the fact. By April 1720 he was engraver on his own account, at first engraving coats of arms, shop bills, and designing plates for
booksellers.
In 1727, he was hired by Joshua Morris, a tapestry worker, to prepare a design for the Element of Earth. Morris,
however, having heard that he was "an engraver, and no painter", declined the work when completed, and Hogarth accordingly sued
him for the money in the Westminster Court, where, on the May 28, 1728, the case was decided in Hogarth's favour.
On March 23, 1729 he was married to Jane Thornhill, daughter
of artist Sir James Thornhill.
In 1757, he was appointed Serjeant Painter to the King.
Hogarth died in London on October 26,
1764 and was buried at St. Nicholas's Churchyard, Chiswick Mall, Chiswick, London. His friend the actor David Garrick wrote the
inscription on his tombstone.
Works
Early works
An early print by William Hogarth entitled
A Just View of the British Stage from 1724, depicting
Robert Wilks,
Colley Cibber, and
Barton Booth rehearsing a
pantomime play with
puppets enacting a prison break down a
privy, based on the escape of a felon from
Newgate. The "play" is comprised of nothing but special effects, and the scripts for
Hamlet,
inter al., are toilet paper.
Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock
market crash of 1720 known as the South Sea Bubble, in which many English people
lost a great deal of money. In the bottom left corner, he shows Protestant,
Catholic, and Jewish figures gambling, while in the middle there
is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride"
and this shows the stupidity of people in following the crowd in buying stock in The
South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture
with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the
middle shows how foolish some people could be, which is not entirely their own fault.
Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724);
A Just View of the British Stage (1724); False Perspective; some book
illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as
the masquerades of the Swiss impresario John
James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and
last not least, the exaggerated popularity of Lord Burlington's
protégé, the architect and painter William Kent. He continued that theme in 1727, with the
Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly,
and are among his best book illustrations.
In the following years he turned his attention to the production of small "conversation
pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and
1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining
Bambridge, and several pictures of the chief actors in John Gay's popular
The Beggar's Opera.
The Beggar's Opera VI, 1731, Tate Britain's version (22.5 x 30 ins.)
One of his masterpieces of this period is the depiction of an amateur performance of John
Dryden's The Indian Emperor, or The Conquest of Mexico (1732–1735) at the home of John
Conduitt, master of the mint, in St George's Street, Hanover Square.
Hogarth's other prints in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The
Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of
Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and
Strolling Actresses dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by
Alexander Pope's Epistle to Lord
Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some
modern authorities, however, no longer attribute this to Hogarth).
Moralizing art
Harlot's and Rake's Progresses
In 1731, he completed the earliest of the series of moral works which first gave him recognition as a great and original
genius. This was A Harlot's Progress, first as paintings, (now lost), and
then published as engravings. In its six scenes, the miserable fate of a country girl who began a prostitution career in town is
traced out remorselessly from its starting point, the meeting of a bawd, to its shameful and degraded end, the whore's death of
venereal disease and the following merciless funeral ceremonial. The series was an immediate success, and was followed in 1735 by
the sequel A Rake's Progress showing in eight pictures the reckless life of Tom
Rakewell, the son of a rich merchant, who wastes all his money on luxurious living, whoring, and gambling, and ultimately
finishes his life in Bedlam. The original paintings of A Harlot's Progress
were destroyed in the fire at Fonthill Abbey in 1755; A Rake's Progress is
displayed in the gallery room at Sir John Soane's Museum, London.
Marriage à-la-mode
In 1743–1745 Hogarth painted the six pictures of Marriage à-la-mode
(National Gallery, London), a pointed skewering of upper class 18th century
society. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This is regarded by many as
his finest project, certainly the best example of his serially-planned story cycles.
Marital ethics were the topic of much debate in 18th century Britain. Frequent marriages of convenience and their attendant
unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for
marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage
within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The
series, which are set in a Classical interior, shows the story of the fashionable marriage of the son of bankrupt Earl
Squanderfield to the daughter of a wealthy but miserly city merchant, starting with the signing of
a marriage contract at the Earl's mansion and ending with the murder of the son by his wife's
lover and the suicide of the daughter after her lover is hanged at Tyburn for murdering her husband.
Industry and Idleness
In the twelve prints of Industry and Idleness (1747) Hogarth shows the
progression in the lives of two apprentices, one who is dedicated and hard working, the other idle
which leads to crime and his execution. This shows the
work ethic of Protestant England, where those who work
hard get rewarded, such as the industrious apprentice who becomes Sheriff
(plate 8), Alderman (plate 10), and finally the Lord Mayor
of London in the last plate in the series. The idle apprentice, who begins with being
"at play in the church yard" (plate 3), holes up "in a Garrett with a Common Prostitute" after
turning highwayman (plate 7) and "executed at Tyburn"
(plate 11). The idle apprentice is sent to the gallows by the industrious apprentice
himself.
Beer Street and Gin Lane
Later important prints include his pictorial warning of the unpleasant consequences of alcoholism in Beer Street and Gin
Lane (1751) Hogarth engraved Beer Street to show a happy city drinking the 'good' beverage of English beer, versus Gin Lane which showed what would happen if people started drinking gin which, as a harder liquor, would cause more problems for society. People are shown as healthy, happy and hard
working in Beer Street, while in Gin Lane they are scrawny, lazy and acting carelessly. The woman at the front echoes the tale of
a woman released from prison who, crazed for gin, rips off her baby's clothes to sell for gin money and then abandons the child
to die. The prints were published partly to support the 1751 Gin Act.
The magistrate, Henry Fielding, supposedly informed Hogarth of these proceedings, to help with propaganda for a Gin Act, which
his work An Enquiry into the Causes of the Late Increase of Robbers, and Related Writings hoped to achieve.
The Four Stages of Cruelty
Other prints were his outcry against inhumanity in The Four Stages of
Cruelty (1751); a series which Hogarth intended to show some of the terrible habits of criminals. In the first picture
there are scenes of torture of dogs, cats and other animals. In the second it shows one of the characters from the first
painting, Tom Nero, has now become a coach driver, and his cruelty to his horse caused it to break its leg. In the third painting
Tom is shown as a murderer, with the woman he killed lying on the ground, while in the fourth, titled Reward of Cruelty, the
murderer is shown being dissected by scientists after his execution. Hogarth is thus using the series to say what will happen to
people who carry on in this manner. This shows what crimes people were concerned with in this time, the method of execution, and
the dissection reflects upon the 1752 Act of Parliament which had just being passed
allowing for the dissection of executed criminals who had been convicted for murder. It shows his reaction against the cruel
treatment of animals which he saw around him, that he wished could be stopped.
Portraits
Hogarth was also a popular portrait painter. In 1746 he painted actor
David Garrick as Richard III, for which he was
paid £200, “which was more,” he wrote, “than any English artist ever received for a single portrait.” In the same year a sketch
of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had
an exceptional success. Hogarth's truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram
(1740; formerly Thomas Coram Foundation for Children, now
Foundling Museum), and his unfinished oil sketch of The Shrimp Girl (National Gallery, London) may be
called masterpieces of British painting.
Historical subjects
During a long period of his life, Hogarth tried to achieve the status of history
painter, but had no great success in this field.
Biblical scenes
Examples of his history pictures are The Pool of Bethesda and The Good Samaritan, executed in 1736–1737 for
St Bartholomew's Hospital; Moses brought before Pharaoh's Daughter,
painted for the Foundling Hospital (1747, formerly at the Thomas Coram Foundation for Children, now in the Foundling Museum); Paul before Felix (1748) at Lincoln's
Inn; and his altarpiece for St. Mary Redcliffe, Bristol (1756).
The Gate of Calais
The Gate of Calais (1748; now in Tate
Britain) was produced soon after his return from a visit to France. Horace Walpole wrote that Hogarth had run a great risk to go there since the
peace of Aix-la-Chapelle,
he went to France, and was so imprudent as to be taking a sketch of the drawbridge at Calais.
He was seized and carried to the governor, where he was forced to prove his vocation by producing several caricatures of the French; particularly a scene of the shore, with an immense piece of beef landing for the
lion d'argent, the English inn at Calais, and several hungry friars following it. They were much diverted with his drawings, and
dismissed him.
Back home, he immediately executed a painting of the subject in which he unkindly represented his enemies, the
Frenchmen, as cringing, emaciated and superstitious people, while an enormous sirloin of
beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself
into the picture in the corner, with the solder running him in.[1]
Other later works
March of the Guards to Finchley (1750), a satirical depiction of troops mustered to defend London from the 1745
Jacobite rebellion.
A late painting by Hogarth entitled
Hogarth's Servants, mid-1750s.
Notable Hogarth engravings in the 1740s included The Enraged Musician (1741), the six prints of Marriage
à-la-mode (1745; executed by French artists under Hogarth's inspection), The Stage Coach or The Country Inn Yard
(1747),
Self-portrait, painting
Thalia, the
muse of comedy and pastoral
poetry, 1757–1758
William Hogarth: The Bench, 1758
In 1745 Hogarth painted a self-portrait with his dog (now also in Tate Britain), which
shows him as a learned artist supported by volumes of Shakespeare, Milton and Swift. In 1749, he represented the somewhat disorderly
English troops on their March of the Guards to Finchley (formerly Thomas Coram Foundation for Children, now Foundling Museum).
Others were his satire on canvassing in his Election series (1755–1758;
now in Sir John Soane's Museum); his ridicule of the English passion for
cockfighting in The Cockpit (1759); his attack on Methodism in Credulity, Superstition, and Fanaticism (1762); his political anti-war satire in The
Times, plate I (1762); and his pessimistic view of all things in Tailpiece, or The Bathos (1764).
Writing
Hogarth also wrote and published his ideas of artistic design in his book The
Analysis of Beauty (1753). In it, he professes to define the principles of beauty and grace which he, a real child of
Rococo, saw realized in serpentine lines (the Line of
Beauty).
Analysis
Painter and engraver of modern moral subjects
Hogarth lived in an age when artwork became increasingly commercialized and viewed in shop windows, taverns and public buildings and sold in printshops. Old hierarchies
broke down, and new forms began to flourish: the ballad opera, the bourgeois tragedy, and especially, a new form of fiction called the
novel with which authors such as Henry Fielding had great
success. Therefore, by that time, Hogarth hit on a new idea: "painting and engraving modern moral subjects ... to treat my
subjects as a dramatic writer; my picture was my stage", as he himself remarked in his manuscript notes.
He drew from the highly moralizing Protestant tradition of Dutch genre painting, and the very vigorous satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before
Hogarth. His prints were expensive, and remained so until early nineteenth-century reprints brought them to a wider audience.
Parodic borrowings from the Old Masters
Hogarth's satirical engraving of the radical politician
John Wilkes.
When analyzing the work of the artist as a whole, Ronald Paulson, the modern authority
on Hogarth, sees an accomplished parodist at work, and a subversive. He says, "In A Harlot's Progress, every single plate
but one is based on Dürer's images of the story of the Virgin and the story of the Passion." In other
works, he parodies Leonardo da Vinci's Last Supper. According to Paulson, Hogarth is subverting the religious establishment and the
orthodox belief in an immanent God who intervenes in the lives of people and
produces miracles. Indeed, Hogarth was a Deist, a believer in a
God who created the universe but takes no direct hand in the lives of his creations. Thus, as a "comic history painter", he often
poked fun at the old-fashioned, "beaten" subjects of religious art in his paintings and prints. Hogarth also rejected Lord
Shaftesbury's then current ideal of the classical
Greek male in favor of the living, breathing female. He said, "Who but a bigot, even to the antiques, will say that he has not seen faces and necks, hands and arms in living women, that even the Grecian
Venus doth but coarsely imitate."
Influence and Reputation
His satirical engravings are often considered an important ancestor of the comic
strip.[citation needed]
Hogarth's paintings and prints have provided the subject matter for several other works. For example, Igor Stravinsky's opera The
Rake's Progress, with libretto by W. H. Auden, was inspired by Hogarth's series
of paintings of that title. Russell Banks's short story, "Indisposed," is a fictional
account of Hogarth's infidelity as told from the viewpoint of his long-suffering wife, Jane.
Hogarth's House in Chiswick, West London, is now a museum (free entry); it abuts one
of London's best known road junctions – the Hogarth
Roundabout.
References
- ^ [http://books.google.com/books?id=nwgIAAAAMAAJ&pg=PA1&dq=%22William+Hogarth%22&as_brr=1&ie=ISO-8859-1#PPA63,M1
Anecdotes of William Hogarth, Written by Himself. Page 63
Bibliography
- Fort, Bernadette, and Angela Rosenthal, The Other Hogarth:
Aesthetics of Difference. Princeton: Princeton UP, 2003.
- Peter Quennell, Hogarth's Progress (London, New York 1955)
- Frederick Antal, Hogarth and His Place in European Art (London 1962)
- David Bindman, Hogarth (London 1981)
- Ronald Paulson, Hogarth's Graphic Works (3rd edn, London 1989)
- Ronald Paulson, Hogarth, 3 vols. (New Brunswick 1991-93)
- Jenny Uglow, Hogarth: A Life and a World (London 1997)
- Frédéric Ogée and Peter Wagner, eds., William
Hogarth: Theater and the Theater of Life (Los Angeles, 1997)
Shesgreen, Sean. Hogarth 101 Prints. New York: Dover, 1973. Shesgreen, Sean. Hogarth and the Times of the Day Tradition.
Ithca: Cornell UP.
- Hans-Peter Wagner, William Hogarth: Das graphische Werk (Saarbrücken, 1998)
- David Bindman, Frédéric Ogée and Peter Wagner, eds. Hogarth: Representing Nature's Machines (Manchester, 2001)
- Christine Riding and Mark Hallet, "Hogarth" (Tate Publishing,
London, 2006)
See also
External links
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