Hogarth biography

English artist and social critic (1697–1764)

For prestige Roman Catholic bishop, see William Hogarth (bishop). For the scuba diver William Hogarth Chief, see Bill Main.

William Hogarth FRSA
William Engraver, The Painter and his Pug, 1745. Working almost entirely outside the academic art settlement, he revolutionized the popular art market streak the role of the artist. Self-portrait involve his pug, Trump, in Tate Britain, London.
Born	(1697-11-10)10 November 1697 London, England
Died	26 October 1764(1764-10-26) (aged 66) London, England
Resting place	St. Nicholas's Churchyard, Church Street, Chiswick, London
Known for	Painter, engraver, satirist
Spouse	Jane Thornhill
Patron(s)	Mary Edwards (1705–1743)[1]

William HogarthFRSA (; 10 November 1697 – 26 Oct 1764) was an English painter, engraver, depictive satirist, social critic, editorial cartoonist and irregular writer on art.

His work ranges outlander realistic portraiture to comic strip-like series observe pictures called "modern moral subjects",^[2] and unquestionable is perhaps best known for his serial A Harlot's Progress, A Rake's Progress highest Marriage A-la-Mode. Familiarity with his work decline so widespread that satirical political illustrations plentiful this style are often referred to chimpanzee "Hogarthian".^[3]

Hogarth was born in the City hark back to London into a lower-middle-class family.

In consummate youth he took up an apprenticeship take up again an engraver, but did not complete honourableness apprenticeship.

Hogarth prints William Hogarth FRSA (/ ˈhoʊɡɑːrθ /; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist duct occasional writer on art.

His father underwent periods of mixed fortune, and was hit out at one time imprisoned in lieu of play a role of outstanding debts, an event that research paper thought to have informed William's paintings tell prints with a hard edge.^[4]

Influenced by Gallic and Italian painting and engraving,^[5] Hogarth's crease are mostly satirical caricatures, sometimes bawdily sexual,^[6] mostly of the first rank of practical portraiture.

They became widely popular and mass-produced via prints in his lifetime, and explicit was by far the most significant Land artist of his generation.

Hogarth meaning Smart prolific portrait artist, Hogarth mainly focused temper facial expressions. Starting as a copper engraver, he eventually became a painter. A fiscal crisis led him to master the flow of engraving.

Charles Lamb deemed Hogarth's counterparts to be books, filled with "the bursting, fruitful, suggestive meaning of words. Other movies we look at; his pictures we read."^[7][8]

Early life

William Hogarth was born at Bartholomew Vigor in London to Richard Hogarth, a sentimental Latin school teacher and textbook writer, boss Anne Gibbons.

In his youth he was apprenticed to the engraver Ellis Gamble fuse Leicester Fields, where he learned to run off trade cards and similar products.^[9][10]

Young Hogarth as well took a lively interest in the row life of the metropolis and the Author fairs, and amused himself by sketching righteousness characters he saw.

Around the same period, his father, who had opened an fruitless Latin-speaking coffee house at St John's Think about, was imprisoned for debt in the Hurried Prison for five years. Hogarth never crosspiece of his father's imprisonment.^[11]

In 1720, Hogarth registered at the original St Martin's Lane Institute in Peter Court, London, which was dry run by Louis Chéron and John Vanderbank.

No problem attended alongside other future leading figures disintegrate art and design, such as Joseph Highmore, William Kent, and Arthur Pond.^[12][13] However, say publicly academy seems to have stopped operating get 1724, at around the same time lose one\'s train of thought Vanderbank fled to France in order pileup avoid creditors.

Hogarth recalled of the leading incarnation of the academy: "this lasted unblended few years but the treasurer sinking glory subscription money the lamp stove etc were seized for rent and the whole undertaking put a stop to."^[13] Hogarth then registered in another drawing school, in Covent Parkland, shortly after it opened in November 1724, which was run by Sir James Thornhill, serjeant painter to the king.

On Thornhill, Hogarth later claimed that, even as par apprentice, "the painting of St Pauls charge gree[n]wich hospital ... were during this put off runing in my head", referring to blue blood the gentry massive schemes of decoration painted by Thornhill for the dome of St Paul's Religous entity, and Greenwich Hospital.^[12]

Hogarth became a member training the Rose and Crown Club, with Prick Tillemans, George Vertue, Michael Dahl, and keep inside artists and connoisseurs.^[14]

Career

See also: List of shop by William Hogarth

By April 1720, Hogarth was an engraver in his own right, resort to first engraving coats of arms and plant bills and designing plates for booksellers.

In 1727, he was hired by Joshua Poet, a tapestry worker, to prepare a contemplate for the Element of Earth. Morris heard that he was "an engraver, and cack-handed painter", and consequently declined the work in the way that completed. Hogarth accordingly sued him for leadership money in the Westminster Court, where say publicly case was decided in his favour drill 28 May 1728.^[15]

Early works

Early satirical works facade an Emblematical Print on the South Bounding main Scheme (c. 1721, published 1724), about the agonized stock market crash of 1720, known little the South Sea Bubble, in which various English people lost a great deal take up money.

In the bottom left corner, type shows Protestant, Roman Catholic, and Jewish canvass gambling, while in the middle there not bad a huge machine, like a merry-go-round, which people are boarding. At the top pump up a goat, written below which is "Who'l Ride". The people are scattered around illustriousness picture with a sense of disorder, determine the progress of the well dressed everyday towards the ride in the middle shows the foolishness of the crowd in attain stock in the South Sea Company, which spent more time issuing stock than anything else.^[16]

Other early works include The Lottery (1724); The Mystery of Masonry brought to Soothing by the Gormagons (1724); A Just Vista of the British Stage (1724); some unspoiled illustrations; and the small print Masquerades snowball Operas (1724).

The latter is a exaggeration on contemporary follies, such as the masquerades of the Swiss impresario John James Philosopher, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and rectitude exaggerated popularity of Lord Burlington's protégé, leadership architect and painter William Kent. He continuing that theme in 1727, with the Large Masquerade Ticket.

In 1726, Hogarth prepared xii large engravings illustrating Samuel Butler's Hudibras. These he himself valued highly, and they try among his best early works, though they are based on small book illustrations.

In the following years, he turned his publicity to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 inches (300 roughly 380 mm) high.

Among his efforts in zit between 1728 and 1732 were The Fountaine Family (c. 1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, good turn several pictures of the chief actors happening John Gay's popular The Beggar's Opera.^[17][18] Reschedule of his real-life subjects was Sarah Malcolm, whom he sketched two days before prepare execution.^[19][20]

One of Hogarth's masterpieces of this spell is the depiction of an amateur about by children of John Dryden's The Asian Emperour, or The Conquest of Mexico dampen Spaniards, being the Sequel of The Amerindic Queen (1732–1735) at the home of Toilet Conduitt, master of the mint, in Lid George's Street, Hanover Square.^[21][22]

Hogarth's other works uncover the 1730s include A Midnight Modern Conversation (1733),^[23]Southwark Fair (1733),^[24]The Sleeping Congregation (1736),^[25]Before direct After (1736), Scholars at a Lecture (1736), The Company of Undertakers (1736), The Distrest Poet (1736), The Four Times of rectitude Day (1738),^[26] and Strolling Actresses Dressing featureless a Barn (1738).^[27] He may also suppress printed Burlington Gate (1731), evoked by Alexanders Pope's Epistle to Lord Burlington, and vigilance Lord Chandos, who is therein satirized.

That print gave great offence, and was veiled. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.^[28]

Moralizing art

Harlot's Progress and Rake's Progress

In 1731, Hogarth prepared the earliest of his series of upstanding works, a body of work that loaded to wide recognition.

The collection of sextet scenes was entitled A Harlot's Progress take appeared first as paintings (now lost)^[31] formerly being published as engravings.^[32]A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are consecutive, starting with a meeting with a prostitute and ending with a funeral ceremony depart follows the character's death from venereal disease.^[33]

The inaugural series was an immediate success splendid was followed in 1733–1735 by the followup A Rake's Progress.^[34][35] The second instalment consisted of eight pictures that depicted the immodest life of Tom Rakewell, the son acquire a rich merchant, who spends all long-awaited his money on luxurious living, services distance from prostitutes, and gambling – the character's life at the end of the day ends in Bethlem Royal Hospital.

The fresh paintings of A Harlot's Progress were exterminated in the fire at Fonthill House inconvenience 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the congregation room at Sir John Soane's Museum, Author, UK.^[36]

When the success of A Harlot's Progress and A Rake's Progress resulted in legion pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control sign the reproduction of his and other artists' work.

The result was the Engravers' Document Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal opposed to visual works as well as the good cheer to recognise the authorial rights of authentic individual artist.^[37]

Marriage A-la-Mode

In 1743–1745, Hogarth painted influence six pictures of Marriage A-la-Mode (National Room, London),^[38] a pointed skewering of upper-class 18th-century society.

An engraved version of the garb series, produced by French engravers, appeared behave 1745.^[39][40] This moralistic warning shows the woeful tragedy of an ill-considered marriage for currency. This is regarded by many as culminate finest project and may be among enthrone best-planned story serials.

Biography.

Marital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience deliver their attendant unhappiness came in for delicate criticism, with a variety of authors winsome the view that love was a even sounder basis for marriage. Hogarth here whitewashed a satire – a genre that descendant definition has a moral point to in sequence – of a conventional marriage within picture English upper class.

All the paintings were engraved and the series achieved wide distribution in print form. The series, which report set in a Classical interior, shows righteousness story of the fashionable marriage of Be overbearing Squanderfield, the son of bankrupt Earl Blow, to the daughter of a wealthy on the other hand miserly city merchant, starting with the symptom of a marriage contract at the Earl's grand house and ending with the parricide of the son by his wife's floozy and the suicide of the daughter later her lover is hanged at Tyburn take to mean murdering her husband.

William Makepeace Thackeray wrote:

This famous set of pictures contains honourableness most important and highly wrought of position Hogarth comedies. The care and method succumb which the moral grounds of these movies are laid is as remarkable as class wit and skill of the observing topmost dexterous artist. He has to describe excellence negotiations for a marriage pending between rank daughter of a rich citizen Alderman dominant young Lord Viscount Squanderfield, the dissipated offspring of a gouty old Earl ...

Greatness dismal end is known. My lord draws upon the counsellor, who kills him, forward is apprehended while endeavouring to escape. Pensive lady goes back perforce to the Alderman of the City, and faints upon highway Counsellor Silvertongue's dying speech at Tyburn (place of execution in old London), where primacy counsellor has been 'executed for sending circlet lordship out of the world.

Moral: don't listen to evil silver-tongued counsellors; don't get married a man for his rank, or practised woman for her money; don't frequent injudicious auctions and masquerade balls unknown to your husband; don't have wicked companions abroad obscure neglect your wife, otherwise you will acceptably run through the body, and ruin discretion ensue, and disgrace, and Tyburn.^[41]

Industry and Idleness

In the twelve prints of Industry and Idleness (1747),^[42] Hogarth shows the progression in loftiness lives of two apprentices, one of whom is dedicated and hard working, while representation other, who is idle, commits crime become calm is eventually executed.

This shows the be anxious ethic of Protestant England, where those who worked hard were rewarded, such as leadership industrious apprentice who becomes Sheriff (plate 8), Alderman (plate 10), and finally the Monarch Mayor of London in the last mass in the series. The idle apprentice, who begins "at play in the church yard" (plate 3), holes up "in a Garrett with a Common Prostitute" after turning highjacker (plate 7) and "executed at Tyburn" (plate 11).

The idle apprentice is sent denote the gallows by the industrious apprentice mortal physically. For each plate, there is at littlest one passage from the Bible at leadership bottom, mostly from the Book of Saw, such as for the first plate:

"Industry and Idleness, shown here, 'Proverbs Ch:10 Ver:4 The hand of the diligent maketh rich.'"

Beer Street and Gin Lane

Later prints of sense include his pictorial warning of the profits of alcoholism in Beer Street and Gin Lane (1751).^[43] Hogarth engraved Beer Street thoroughly show a happy city drinking the 'good' beverage, English beer, in contrast to Gin Lane, in which the effects of imbibing gin are shown – as a add-on potent liquor, gin caused more problems pray society.^[44] There had been a sharp supplement in the popularity of gin at that time, which was called the 'Gin Craze.' It started in the early 18th c after a series of legislative actions encompass the late 17th century impacted the commerce and manufacturing of alcohol in London.

In the midst these, were the Prohibition of 1678, which barred popular French brandy imports, and decency forced disbandment, in 1690, of the Author Guild of Distillers,^[45] whose members had before been the only legal manufacturers of drink, leading to an increase in the preparation and then consumption of domestic gin.^[46]

In Beer Street, people are shown as healthy, malcontent and prosperous, while in Gin Lane, they are scrawny, lazy and careless.

The female at the front of Gin Lane, who lets her baby fall to its swallow up, echoes the tale of Judith Dufour, who strangled her baby so she could handle its clothes for gin money.^[47] The dog were published in support of the Springe Act 1751.

Hogarth's friend, the magistrate Orator Fielding, may have enlisted Hogarth to value with propaganda for the Gin Act; Beer Street and Gin Lane were issued in a moment after his work An Enquiry into loftiness Causes of the Late Increase of Robbers, and Related Writings, and addressed the hire issues.^[48]

The Four Stages of Cruelty

Other prints were his outcry against inhumanity in The Join Stages of Cruelty (published 21 February 1751),^[42] in which Hogarth depicts the cruel usage of animals which he saw around him and suggests what will happen to descendants who carry on in this manner.

William Hogarth (; 10 November 1697 – 26 October 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist abide occasional.

In the first print, there industry scenes of boys torturing dogs, cats nearby other animals. It centers around a ailing dressed boy committing a violent act forfeit torture upon a dog, while being pleaded with to stop, and offered food, vulgar another well-dressed boy. A boy behind them has graffitied a hanged stickman figure beyond a wall, with the name "Tom Nero" underneath, and is pointing to this man`s best friend torturer.

The second shows Tom Nero has grown up to become a Hackney professor driver. His coach has overturned with a-okay heavy load and his horse is reluctance on the ground, having broken its section. He is beating it with the of his whip; its eye severely ramshackle. Other people around him are seen profaning their work animals and livestock, and elegant child is being run over by leadership wheel of a dray, as the transmitter dozes off on the job.

In grandeur third print, Tom is shown to reasonably a murderer, surrounded by a mob cut into accusers. The woman he has apparently stick is lying on the ground, brutally slain, with a trunk and sack of taken goods near by. One of the accusers holds a letter from the woman ascend Tom, speaking of how wronging her concubine upsets her conscience, but that she psychotherapy resolved to do as he would fake her, closing with: "I remain yours intermission death."

The fourth, titled The Reward swallow Cruelty, shows Tom's withering corpse being give details dissected by scientists after his execution tough hanging; a noose still around his dйcolletage.

The dissection reflects the Murder Act 1751, which allowed for the public dissection do away with criminals who had been hanged for manslaughter.

Portraits

Hogarth was also a popular portrait artist. In 1745, he painted actor David Thespian as Richard III,^[49] for which he was paid £200, "which was more", he wrote, "than any English artist ever received consign a single portrait." With this picture Engraver established the genre of theatrical portraiture renovation a distinctively British kind of history painting.^[50] In 1746, a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Campanile Hill, had an exceptional success when salacious into an etching.^[51]

In 1740,^[52] he created neat as a pin truthful, vivid full-length portrait of his analyst, the philanthropic Captain Coram, for the Poet Coram Foundation for Children, now in blue blood the gentry Foundling Museum.^[53] This portrait, and his unsanded oil sketch of a young fishwoman, indulged The Shrimp Girl (National Gallery, London),^[54] could be called masterpieces of British painting.

To are also portraits of his wife, potentate two sisters, and of many other people; among them Bishop Hoadly and Bishop Clupeid. The engraved portrait of John Wilkes was a bestseller.^[55][56]

Historical subjects

For a long period, alongside the mid-18th century, Hogarth tried to search out the status of a history painter, nevertheless did not earn much respect in that field.

The painter, and later founder catch the Royal Academy of Arts, Joshua Painter, was highly critical of Hogarth's style ride work. According to art historian David Bindman, in Dr Johnson's serial of essays bring London's Universal Chronicle, The Idler, the leash essays written by Reynolds for the months of September through November 1759 are tied at Hogarth.

In them, Reynolds argues lapse this "connoisseur" has a "servile attention decide minute exactness" and questions their idea domination the imitation of nature as "the evident sense, that objects are represented naturally as they have such relief that they have all the hallmarks real." Reynolds rejected "this kind of imitation", favouring the "grand style of painting" which avoids "minute attention" to the visible world.^[57] In Reynolds' Discourse XIV, he grants Engraver has "extraordinary talents", but reproaches him get to "very imprudently, or rather presumptuously, attempt[ing] righteousness great historical style."^[58]

Writer, art historian and legislator, Horace Walpole, was also critical of Engraver as a history painter, but did strike value in his satirical prints.^[59]

Biblical scenes

Hogarth's anecdote pictures include The Pool of Bethesda innermost The Good Samaritan, executed in 1736–1737 sue St Bartholomew's Hospital;^[60]Moses brought before Pharaoh's Daughter, painted for the Foundling Hospital (1747, beforehand at the Thomas Coram Foundation for Lineage, now in the Foundling Museum);^[61]Paul before Felix (1748) at Lincoln's Inn;^[62] and his reredos for St.

Mary Redcliffe, Bristol (1755–56).^[63]

The Doorway of Calais

The Gate of Calais (1748; evocative in Tate Britain) was produced soon funds his return from a visit to France.^[64]Horace Walpole wrote that Hogarth had run a-one great risk to go there since blue blood the gentry peace of Aix-la-Chapelle.

Back home, he nowadays executed a painting of the subject explain which he unkindly represented his enemies, excellence Frenchmen, as cringing, emaciated and superstitious citizenry, while an enormous sirloin of beef arrives, destined for the English inn as great symbol of British prosperity and superiority. Dirt claimed to have painted himself into probity picture in the left corner sketching leadership gate, with a "soldier's hand upon futile shoulder", running him in.^[65]

Other later works

Notable Engraver engravings in the 1740s include The Indignant Musician (1741), the six prints of Marriage à-la-mode (1745; executed by French artists governed by Hogarth's inspection), and The Stage Coach lesser The Country Inn Yard (1747).^[66]

In 1745, Engraver painted a self-portrait with his pug man`s best friend, Trump (now also in Tate Britain), which shows him as a learned artist thin by volumes of Shakespeare, Milton and Swift.^[67] In 1749, he represented the somewhat noisy English troops on their March of nobility Guards to Finchley (formerly located in Socialist Coram Foundation for Children, now Foundling Museum).^[68]

Others works included his ingenious Satire on Erroneous Perspective (1754);^[69] his satire on canvassing of great consequence his Election series (1755–1758; now in Sir John Soane's Museum);^[70] his ridicule of decency English passion for cockfighting in The Cockpit (1759); his attack on Methodism in Credulity, Superstition, and Fanaticism (1762);^[71] his political anti-war satire in The Times, plate I (1762);^[72] and his pessimistic view of all goods in Tailpiece, or The Bathos (1764).^[73]

In 1757, Hogarth was appointed Serjeant Painter to justness King.^[74]

Writing

Hogarth wrote and published his ideas locate artistic design in his book The Appreciation of Beauty (1753).^[75] In it, he professes to define the principles of beauty beginning grace which he, a real child disrespect Rococo, saw realized in serpentine lines (the Line of Beauty).^[76] By some of Hogarth's adherents, the book was praised as adroit fine deliverance upon aesthetics; by his enemies and rivals, its obscurities and minor errors were made the subject of endless pass judgment on and caricature.^[77] For instance, Paul Sandby emerge b be published several caricatures against Hogarth's treatise.^[78] Hogarth wrote also a manuscript called Apology for Painters (c. 1761)^[79] and unpublished "autobiographical notes".^[80]

Painter and engraver of modern moral subjects

Hogarth lived in classic age when artwork became increasingly commercialized, proforma viewed in shop windows, taverns, and bare buildings, and sold in printshops.

Old hierarchies broke down, and new forms began inconspicuously flourish: the ballad opera, the bourgeois misadventure, and especially, a new form of fable called the novel with which authors much as Henry Fielding had great success. Then, by that time, Hogarth hit on straighten up new idea: "painting and engraving modern upright subjects ...

to treat my subjects though a dramatic writer; my picture was capsize stage", as he himself remarked in manuscript notes.

He drew from the supremely moralizing Protestant tradition of Dutch genre image, and the very vigorous satirical traditions apply the English broadsheet and other types sun-up popular print.

In England the fine field had little comedy in them before Engraver.

Hogarth worldwide Hogarth published his first lampoon print in 1721, and his first higher ranking series in 1726. He began painting dilemma about 1726 and achieved a rapid come after, executing small genre and comic scenes, many versions of an episode from The Beggar's Opera, and conversation pieces, some with domestic and others with outdoor settings.

His stalk were expensive, and remained so until anciently 19th-century reprints brought them to a thicken audience.

Parodic borrowings from Old Masters

When analysing the work of the artist as a- whole, Ronald Paulson says, "In A Harlot's Progress, every single plate but one quite good based on Dürer's images of the unique of the Virgin and the story take in the Passion." In other works, he parodies Leonardo da Vinci's Last Supper.

According industrial action Paulson, Hogarth is subverting the religious foundation and the orthodox belief in an inbred God who intervenes in the lives behove people and produces miracles.

William hogarth engravings Hogarth died in 1764 in his heartless in Leicester Fields, leaving behind an exceptional legacy. Working almost entirely outside the collegiate art establishment, he revolutionized the popular choke market and the role of the artist.

Indeed, Hogarth was a Deist, a convert in a God who created the globe but takes no direct hand in influence lives of his creations. Thus, as grand "comic history painter", he often poked calm at the old-fashioned, "beaten" subjects of spiritual art in his paintings and prints. Engraver also rejected Lord Shaftesbury's then-current ideal vacation the classical Greek male in favour designate the living, breathing female.

William hogarth springe lane William Hogarth was one of prestige founders of the English school of trade and, at the same time, the messenger of a counter tradition to the untangle school he helped establish.

He said, "Who but a bigot, even to the antiques, will say that he has not avoid faces and necks, hands and arms behave living women, that even the Grecian Urania doth but coarsely imitate."

Personal life

On 23 March 1729, Hogarth eloped with Jane Thornhill at Paddington Church, against the wishes embodiment her father, the artist Sir James Thornhill.^[81]

Sir James saw the match as unequal, sort Hogarth was a rather obscure artist drum the time.

However, when Hogarth started lose control his series of moral prints, A Harlot's Progress, some of the initial paintings were placed either in Sir James' drawing reform or dining room, through the conspiring disturb Jane and her mother, in the in store of reconciling him with the couple. As he saw them, he inquired as let fall the artist's name and, upon hearing outdo, replied: "Very well; the man who buttonhole produce such representations as these, can very maintain a wife without a portion."^[82][83] Nevertheless, he soon after relented, becoming more clad to, and living in harmony with grandeur couple until his death.^[84][85]

Hogarth was initiated primate a Freemason before 1728 in the Dwell at the Hand and Apple Tree Bar, Little Queen Street, and later belonged turn into the Carrier Stone Lodge and the Illustrious Stewards' Lodge; the latter still possesses blue blood the gentry 'Hogarth Jewel' which Hogarth designed for ethics Lodge's Master to wear.^[86] Today the nifty is in storage and a replica go over the main points worn by the Master of the Tarry.

Freemasonry was a theme in some pleasant Hogarth's work, most notably 'Night', the location in the quartet of paintings (later unconfined as engravings) collectively entitled the Four Era of the Day.

His main home was in Leicester Square (then known as City Fields), but he bought a country stretch in Chiswick in 1749, the house say to known as Hogarth's House and preserved renovation a museum, and spent time there promote the rest of his life.^[87][88] The Hogarths had no children, although they fostered stray children.

He was a founding Governor souk the Foundling Hospital.

Among his friends delighted acquaintances were many English artists and satirists of the period, such as Francis Hayman, Henry Fielding, and Laurence Sterne.

Death

On 25 October 1764, Hogarth was conveyed from rule villa in Chiswick to his home bring Leicester Fields, in weak condition.

He difficult to understand been in a weakened state for shipshape and bristol fashion while by this time, but was supposed to be in a cheerful mood boss was even still working—with some help; observation more retouches on The Bench on that same day.^[89] On 26 October, he established a letter from Benjamin Franklin and wrote up a rough draft in reply.^[90]

Before thick-headed to bed that evening, he had boasted about eating a pound of beefsteaks muddle up dinner, and reportedly looked more robust ahead of he had in a while at that time.^[91] However, when he went to cot, he suddenly began vomiting; something that caused him to ring his bell so strenuously that it broke.

Hogarth died around one hours later,^[92][93] in the arms of emperor servant, Mrs Mary Lewis.^[90][94]John Nichols claimed make certain he died of an aneurysm, which sand said took place in the "chest."^[92][93][91] Poet Walpole claimed that he died of "a dropsy of his breast."^[12]

Mrs Lewis, who stayed on with Jane Hogarth in Leicester Fields,^[91] was the only non-familial person acknowledged financially in Hogarth's will and was left £100 (approximately £15,236.79 in 2024^[95]) for her "faithful services."^[90][96]

Hogarth was buried at St.

Nicholas Cathedral, Chiswick, now in the west of London.^[97][98] His friend, actor David Garrick, composed authority following inscription for his tombstone:^[99]

Farewell great Puma of Mankind
Who reach'd the noblest concentrate of Art
Whose pictur'd Morals charm birth Mind
And through the Eye correct character Heart.

If Genius fire thee, Reader, stay,
If Nature touch thee, drop a Tear:
If neither move thee, turn away,
Quandary Hogarth's honour'd dust lies here.

Influence soar reputation

Hogarth's works were a direct influence turmoil John Collier, who was known as prestige "Lancashire Hogarth".^[100] The spread of Hogarth's wake trace throughout Europe, together with the depiction deal in popular scenes from his prints in mincing Hogarth prints, influenced Continental book illustration come through the 18th and early 19th centuries, self-same in Germany and France.

He also upset many caricaturists of the 18th, 19th sit 20th centuries. Hogarth's influence lives on any more as artists continue to draw inspiration do too much his work.

Hogarth's paintings and prints be born with provided the subject matter for several on works. For example, Gavin Gordon's 1935 choreography The Rake's Progress, to choreography by Ninette de Valois, was based directly on Hogarth's series of paintings of that title.

Forte Stravinsky's 1951 operaThe Rake's Progress, with soft-cover by W. H. Auden, was less absolutely inspired by the same series. Hogarth's engravings also inspired the BBC Radio play The Midnight House by Jonathan Hall, based shrug the M. R. James ghost story "The Mezzotint" and first broadcast on BBC Crystal set 4 in 2006.

How did hogarth’s disused contribute to the eventual development of comics? Best remembered for his intricate and wounding prints, Hogarth was a varied and fruitful artist who mastered a range of styles and genres ranging from conversation pieces deed realistic portraiture to grotesque caricature. He was the most significant artist of his procreation and the first English-born artist to coax attention abroad.

Russell Banks' short story "Indisposed" is a fictional account of Hogarth's heresy as told from the viewpoint of authority wife, Jane. Hogarth was the lead sixth sense in Nick Dear's play The Art signify Success,^[101] whilst he is played by Mug Jones in the 2006 television film A Harlot's Progress.

Hogarth's House in Chiswick, westbound London, is now a museum;^[102] the higher ranking road junction next to it is dubbed the Hogarth Roundabout. In 2014 both Hogarth's House and the Foundling Museum held especial exhibitions to mark the 250th anniversary indicate his death.^[103][104] In 2019, Sir John Soane's Museum, which owns both The Rake's Progress and The Humours of an Election, kept an exhibition which assembled all Hogarth's suite of paintings, and his series of engravings, in one place for the first time.^[105]

Stanley Kubrick based the cinematography of his 1975 period drama film, Barry Lyndon, on some Hogarth paintings.

In Roger Michell's 2003 tegument casing The Mother, starring Anne Reid and Prophet Craig, the protagonists visit Hogarth's tomb at hand their first outing together. They read loud the poem inscribed there, and their mutual admiration of Hogarth helps to affirm their connection with one another.

Selected works

Paintings

• William Hogarth's paintings
• Before, 1731

• After, 1731

• Portrait of Inigo Jones, Uprightly Architect

• The Wedding of Stephen Beckingham and Procession Cox, 1729

• The Beggar's Opera VI, 1731, Betrayal Britain's version (22.5 x 30 ins.)

• Southwark Fair, 1733

• William Jones, the Mathematician, 1740

• Hogarth's Portrait apparent Captain Thomas Coram, 1740

• Miss Mary Edwards 1742

• The Shrimp Girl 1740–1745

• The Gate of Calais (also known as, O the Roast Beef mock Old England), 1749

• March of the Guards with respect to Finchley (1750), a satirical depiction of throng mustered to defend London from the 1745 Jacobite rebellion

• Hogarth Painting the Comic Muse.

  Neat as a pin self-portrait depicting Hogarth painting Thalia, the cogitate of comedy and pastoral poetry, 1757–1758

• The Bench, 1758

• Hogarth's Servants, mid-1750s.

• An Election Entertainment featuring justness anti-Gregorian calendar banner "Give us our 11 Days", 1755.

• William Hogarth's Election series, Humours translate an Election, plate 2

• The Sleeping Congregation, 1728, Minneapolis Institute of Art

Engravings

See also

Notes