William Hogarth (1697-1764)

1. William Hogarth (1697-1764)

2. Contents • Introduction • Periods Career Rise (engravings) Career Pinnacle (paintings) Career Eclipse (historical paintings, literature) • Subject-matter & philosophy • Palette • Technique • Summary

3. William Hogarth, the son of Richard Hogarth, a Latin teacher, was born in Smithfield, London, in 1697. He was an English painter, printmaker and social critic. • He was one of the leading British artists of the first half of the 18th century.

4. When Hogarth was sixteen he was apprenticed to Ellis Gamble, a silverplate engraver. He learned to engrave trade cards and similar products. Young Hogarth 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. By April 1720 Hogarth was an engraver in his own right, at first engraving coats of arms, shop bills, and designing plates for booksellers.

5. EmblematicalPrintontheSouthSeaScheme

6. 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. The people are scattered around the picture with a real sense of disorder, which represented the confusion.

7. Other early works include The Lottery (1724)

8. A Just View of the British Stage (1724)

9. some book illustrations; and the small print, Masquerades and Operas (1724)

10. Among his works in oil between 1728 and 1732 were A Scene from the beggar’s opera

11. Harlot's and Rake's Progresses 3 1 2 6 4 5 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 ceremony. He loathed symmetry and put his faith in the beauty of a composed intricacy of form that leads the eye along a serpentine line through three dimensions – his famous s-line, especially it enlivens these series.

12. 1 — The Heir 2 — The Levée 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 are currently in the collection of the Soane Museum in London.

13. 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 piece of his serially-planned story cycles.

14. - 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. Слайд 14 - 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. Слайд 15 Hogarth was also a popular portrait painter. In 1746 a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success. Слайд 16 - Hogarth's truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram, and his unfinished oil sketch of The Shrimp Girl (National Gallery, London) may be called masterpieces of British painting. The painting is a relatively late work by Hogarth, when he experimented with an increasingly loose, almost impressionistic, style comparable in style to the work of Frans Hals. It is based on the prints of hawkers and traders popular in Hogarth's day. Слайд 17 Subject-matter & philosophy: Derision of the society he lived in Moralizing of life and art, Historical paintings, Biblical plots Слайд 18–Palette: In the beginning of creative work he modeled in black-and-white tone. Later on he developed richness of colours by contrasting and aerial perspective techniques. He avoided using of green colour and its tints due to personal dislike. Слайд 19 – Technique: He used contrasting. He created special S-line technique. He used symmetry and put his faith in the “beauty of composed intricacy of form” that leads the eye along a serpentine line through three dimensions Слайд 20- 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. His method of suggesting depth through receding structures and lighting effects is artificial and deliberate, he emphasizes the dramatic action of his figures. 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.

15. Hogarth was also a popular portrait painter. In 1746 a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success.

16. Hogarth's truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram, and his unfinished oil sketch of The Shrimp Girl (National Gallery, London) may be called masterpieces of British painting. The painting is a relatively late work by Hogarth, when he experimented with an increasingly loose, almost impressionistic, style comparable in style to the work of Frans Hals. It is based on the prints of hawkers and traders popular in Hogarth's day.

17. Subject-matter & philosophy • Derision of the society he lived in • Moralizing of life and art • Historical paintings • Biblical plots

18. Palette • In the beginning of creative work he modeled in black-and-white tone • Later on he developed richness of colours by contrasting and aerial perspective techniques • He avoided using of green colour and its tints due to personal dislike

19. Technique • He used contrasting • He created special S-line technique: • He used symmetry and put his faith in the “beauty of composed intricacy of form” that leads the eye along a serpentine line through three dimensions

20. Summary • Hogarthlivedinanagewhenartworkbecameincreasinglycommercializedandviewedinshopwindows, tavernsandpublicbuildingsandsoldinprintshops. Oldhierarchiesbrokedown, andnewformsbegantoflourish: theballadopera, thebourgeoistragedy, andespecially, anewformoffictioncalledthenovelwithwhichauthorssuchasHenryFieldinghadgreatsuccess. Therefore, bythattime, Hogarthhitonanewidea: "paintingandengravingmodernmoralsubjects ... totreatmysubjectsasadramaticwriter; mypicturewasmystage", ashehimselfremarkedinhismanuscriptnotes. His method of suggesting depth through receding structures and lighting effects is artificial and deliberate, he emphasizes the dramatic action of his figures.