Hogarth's Marriage A-La-Mode: the Dialectic Between Precision And
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Hogarth in British North America
PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. -
Dairy Culture: Industry, Nature and Liminality in the Eighteenth- Century English Ornamental Dairy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-02-01 Dairy Culture: Industry, Nature and Liminality in the Eighteenth- Century English Ornamental Dairy Ashlee Whitaker Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Whitaker, Ashlee, "Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy" (2008). Theses and Dissertations. 1327. https://scholarsarchive.byu.edu/etd/1327 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. DAIRY CULTURE: INDUSTRY, NATURE AND LIMINALITY IN THE EIGHTEENTH- CENTURY ENGLISH ORNAMENTAL DAIRY by Ashlee Whitaker A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of Visual Arts Brigham Young University April 2008 Copyright © 2008 Ashlee Whitaker All Rights Reserved ABSTRACT DAIRY CULTURE: INDUSTRY, NATURE AND LIMINALITY IN THE EIGHTEENTH- CENTURY ENGLISH ORNAMENTAL DAIRY Ashlee Whitaker Department of Visual Arts Master of Arts The vogue for installing dairies, often termed “fancy” or “polite” dairies, within the gardens of wealthy English estates arose during the latter half of the eighteenth century. These polite dairies were functional spaces in which aristocratic women engaged, to varying degrees, in bucolic tasks of skimming milk, churning and molding butter, and preparing crèmes. As dairy work became a mode of genteel activity, dairies were constructed and renovated in the stylish architectural modes of the day and expanded to serve as spaces of leisure and recreation. -
William Hogarth; His Original Engrauiljp
CORNELL UNIVERSITY LIBRARY ExLiBRis EvgeneAMO^h^avann JR WITHDRAWN Cornell UnlvWstty Ubrary NE 642.H71H66 William Hogarth; his original engraUilJP 3 1924 014 301 737 \ Cornell University J Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014301737 GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND PORTRAIT PE WILLIAM HOGARTH. Engraved by himself 1749 The original painting oj 1745 is in the National Gallery BOOKS OF REFERENCE (later editions Trusler, J. Hogarth moralised. London 1768 1821, 1831, ^ 1833, and 1841) Nichols, John. Biographical Anecdotes of William Hogarth, and a Catalogue of his Works (written by Nichols the publisher, George Steevens, and others). London 178 1 (later editions 1782, 1785) Ireland, John. Hogarth Illustrated. 2 vols. London 1 79 1 (later editions .,: 1793, 1798. 1806, 1 812) ' '— Samuel. Graphic Illustrations of Hogarth. 2 vols. London 1794. Cook, Thomas. Hogarth Restored. The whole works of Hogarth as originally published. Now re-engraved by T. C. Accompanied with Anecdotes . and Explanatory Descriptions. London 1802 The Works of William Hogarth, from the Original Plates restored by James Heath, to which are prefixed a Biographical Essay . ; . and Explanations of the Subjects of the Plates, by John Nichols. Printed for Baldwin, Cradock, and Joy, by John Nichols & Son. London 1822. Fol. Also a later edition, printed for Baldwin and Cradock, by G. Woodfall, n.d. (1835-37 ?) WICH01.S, John Bowyer. Anecdotes of William Hogarth, written by himself, with Essays on His Life and Genius, selected from Walpole, Phillips, Gilpin, J. -
A Review of William Hogarth's Marriage À La Mode with Particular
A Review of William Hogarth's Marriage ~ la Mode -with Particular Reference to Character and Setting by Robert L. S. Cowley VOLUME· I THE THESIS Submitted in fulfilment of the requirements for the degree of Dootor of Philosophy of the University of Birmingham Shakespeare Institute May, 1977 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ANY IMAGES MISSING FROM THIS DIGITAL COpy HAVE BEEN EXCLUDED AT THE REQUEST OF THE UNIVERSITY SYNOPSIS The thesis has been prepared on the assumption that Hogarth's pioture series are essentially narrative works. They are oonsidered in the Introduotion in the light of reoent definitions of the narrative strip, a medium in whioh Hogarth was a oonsiderable innovator. The first six ~hapters oonsist of an analysis of each of the pic- tures in Marriage ~ la Mode. The analysis was undertaken as a means of exploring the nature of Hogarth's imagination and to disoover how ooherent a work the series is. There is an emphasis on oharaoterization and setting because Hogarth himself chose to isolate character as a feature in the subscription ticket to Marriage ~ la Mode. -
William Hogarth's Pregnant Ballad Sellers and the Engraver's Matrix
© Copyrighted Material Chapter 13 William Hogarth’s Pregnant Ballad Sellers and the Engraver’s Matrix Elizabeth Kathleen Mitchell The printmaker and painter William Hogarth (1697–1764) always identified himself as part of the English artisan tradition. He considered his engravings original art at a time when printmaking was regarded as a mechanical art, a trade dependent on physical work and repetitious exercises in rote imitation. Influential connoisseurs such as Jonathan Richardson the Elder increasingly privileged oil painting over engraving. The connoisseurs defined art as emanating from genius demonstrated by the fabrication of a singular object, and cited Old Master paintings and classical statues as evidence. Richardson characterized prints as “works done in such a manner as is not so proper as that whereby paintings or drawings are performed,” which meant “that thereby great numbers are produced instead of one, so that the thing comes into many hands: and that at an easy price.”1 The connoisseurs strove to recast the mechanical art of painting as a liberal art that expresses the intellect and exists untainted by labor and commerce in hope of securing royal patronage for an English painting academy to rival those in France and Italy. Their rhetoric marginalized contemporary art as well as the values of craft and skill that traditionally guided printmaking.ashgate.com To Hogarth, ashgate.com however, ashgate.com the recycling ashgate.com of ancient motifs and Old Master styles recommended by the connoisseurs were truly mechanical and discouraged real creativity. Against the backdrop of this ongoing debate over originality and professional status, Hogarth’s images consistently feature detailed depictions of artisans at work, their tools and instruments,ashgate.com and their creations. -
Dr. Leon Kolb William Hogarth Engravings Collection
http://oac.cdlib.org/findaid/ark:/13030/c8377bvv No online items Guide to the Dr. Leon Kolb William Hogarth Engravings Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Dr. Leon Kolb SC.LKH 1 William Hogarth Engravings Collection Contributing Institution: Special Collections & Archives Title: Dr. Leon Kolb William Hogarth Engravings Collection Creator: Hogarth, William, 1697-1764 Identifier/Call Number: SC.LKH Extent: 1.39 linear feet Date (inclusive): 1721-1837 Abstract: William Hogarth was a famous English painter, printmaker, satirist and editorial cartoonist who lived during the early 18 th century. The collection consists of a number of engravings by or in the style of Hogarth. Language of Material: English Biographical Information: William Hogarth was an 18th century artist who was widely known for his painting, engravings, and satirical works commenting on morality and modern society. Scope and Contents The Dr. Leon Kolb William Hogarth Engravings Collection consists of a number of engravings by Hogarth or engraved by others after Hogarth paintings.The collection is divided into two series: Engravings by Hogarth and Apprentices (1721-1764), and Engravings After Hogarth (1732-1837). Series I, Engravings by Hogarth and Apprentices, consists of works done by Hogarth himself, or works designed by Hogarth and engraved by his apprentice, Luke Sullivan. Series II, Engravings After Hogarth, consists of works engraved by other artists after plates and paintings originally done by Hogarth. -
Hogarth His Life and Society
• The 18th century was the great age for satire and caricature. • Hogarth • Gillray, Rowlandson, Cruikshank 1 2 Leonardo da Vinci (1452-1519), grotesque faces, c. 1492 Annibale Carracci (1560-1609), grotesque heads, 1590 Annibale Carracci, The Bean Eater, 1580-90, 57 × 68 cm, Galleria Colonna, Rome • Leonardo da Vinci (1452-1519) drew some of the earliest examples of caricature (exaggeration of the physical features of a face or body) but they do not have a satirical intent. These faces by Leonardo are exploring the limits of human physiognomy. • The Italian artist Annibale Carracci (1560-1609) was know for and was one of the first artists in Italy to explore the appearance of everyday life. Here are some heads he sketched and a well-known painting called The Bean Eater. He is in the middle of a simple meal of beans, bread, and pig's feet. He is not shown as a caricature or as a comical or lewd figure but as a working man with clean clothes. The ‘snapshot’ effect is entirely unprecedented in Western art and he shows dirt under the fingernails before Caravaggio. Food suitable for peasants was considered to be dark and to grow close to the ground. Aristocrats would only least light coloured food that grew a long way from the ground. It is assumed that this painting was not commissioned but was painted as an exercise. The painting owes much to similar genre painting in Flanders and Holland but in Italy it was unprecedented for its naturalism and careful, objective study from life. • The Carracci were a Bolognese family that helped introduce the Baroque. -
William Hogarth Images, Engraved by Riepenhausen) PF EC7.H6786.750F Finding Aid Prepared by Ellen Williams
Sammlung Hogarthischer Kupferstiche (William Hogarth images, engraved by Riepenhausen) PF EC7.H6786.750f Finding aid prepared by Ellen Williams. Last updated on July 14, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2012 Sammlung Hogarthischer Kupferstiche (William Hogarth images, engraved by Riepenhausen) Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 6 Controlled Access Headings..........................................................................................................................6 Bibliography...................................................................................................................................................7 Collection Inventory...................................................................................................................................... 8 Volume 1..................................................................................................................................................8 -
WASHINGTON, DC January 27, 1971. an Exhibition of 28 Paintings by the Eighteenth-Century British Artist, William Hogarth
SIXTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215 extension 224 HOGARTH PAINTINGS FROM MELLON COLLECTION EXHIBITED AT NATIONAL GALLERY WASHINGTON, D.C. January 27, 1971. An exhibition of 28 paintings by the eighteenth-century British artist, William Hogarth (1697-1764), lent by Mr. and Mrs. Paul Mellon, will be shown at the National Gal lery of Art from February 12 through May 300 With the exception of the Tate Gallery's holding in London, the Mellon collection of Hogarth paintings is the most comprehensive anywhere in the world0 This will be the fourth in a series of exhibitions of works by British artists in the collection of Mr, and Mrs. Mellon, the first three having been devoted to J.M0 W«, Turner, John Constable and Joseph Wright of Derby. A fully-illustrated catalog of the exhibition ($2.50) has been prepared and annotated by Ross Watson of the Gallery's staff. Mr 0 Watson was responsible for the three previous exhibitions of British paintings from the Mellon Collection. Hogarth is considered the greatest illustrator of English social history of the eighteenth century., In recording various aspects of the people and the places of his time, he also satirized customs and manners in which he saw folly or corruption. Two characteristics of Hogarth's art, Mr. Watson writes, are part of a long tradition in (more) HOGARTH PAINTINGS FROM MELLON COLLECTION ON VIEW AT GALLERY -2 English painting: the necessity that a picture have a story 3 and that it point to a moral. The most important picture in the Mellon exhibition depicts a scene from act three of The Beggar's Opera (1729). -
Sequential Art and Narrative in the Prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge
Sequential Art and Narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge Candidate Natalie Fossey 204512328 Supervisor Professor I. Calder 80107 Dissertation submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Fine Art in the College of Humanities, School of Arts: Centre for Visual Art, University of KwaZulu-Natal: Pietermaritzburg November 2012 ii ‘Just absolutely accept that this was history, and this was the time that you were coming from.’ Malcolm Christian at Caversham Press, 2010 iii DECLARATION As MAFA candidate, I state that this is my own work, and that other sources are duly acknowledged in the text. This dissertation has not been presented in any form for examination at another institution. ……………………………………. …………………….. Natalie Fossey Date As supervisor, I state that this MAFA dissertation is ready for examination. ……………………………………. …………………….. Ian Calder, Professor Date iv ACKNOWLEDGEMENTS I would like to thank my mother, Professor Annabel Fossey, and my Oumie and my Oupie, Lucille and Hoffie Hofmeyer for all their help, support, love, interest and good food. I would like to thank Ian Calder my supervisor, for his support, knowledge, and understanding. My thanks also go to Malcolm Christian, who willingly spent hours vividly relating the details of the artists and the art work discussed in my dissertation. And lastly special thanks to all my friends whom have supported me in various ways throughout my Masters from a supportive word to a bed to sleep on and a healthy meal, thank you Marcelle, Megan, Megan, Ivan, Hannah, Cath, Dan, Clint, Mat, Moray and André Comrie, Jane and all those whom I have not mentioned specifically (but you know who you are). -
Introduction
Introduction William Hogarth (1697-1764) has received so much critical attention of late1 that another book on his work seems hardly liable to break new ground. Yet in the Hogarth Code the approach is original in so far as it gives a coherency to fragmented explanations that make sense in a hitherto neglected, or underestimated, hermeneutic framework. A brief survey of the criticism devoted to the artist’s work from his own times to nowadays evidences the growing awareness of his technical excellence.2 The famous eighteenth-century painter and engraver’s interest in the society he lived in is undeniable and the analyses of his social realism have been many and brilliant.3 A staunch promoter of English art and values, Hogarth has been described as a moralist although the ambiguity of his two-fold satire was resented by many, notably in the Victorian age. True enough, his series of engravings are peopled with erring characters but society is clearly held partly responsible for their shortcomings. As with Defoe, irony cuts both ways – Colonel Charteris, the “Rape Master of the Kingdom” who awaits Mary (in the series A Harlot’s Progress 1732) on her arrival in the wagon from York, is a debauchee, yet the harlot is not long in taking a young lover when she becomes the kept mistress of a rich Jew. If one sticks to the surfaceSAMPLE interpretation, she is, like Moll Flanders, both sinned against and sinning. The artist’s irony uses such an ambivalence to develop and multiply its targets. This is probably why the issue of his libertinism has been hotly debated, together with his latitudinarian proclivities. -
James Gillray's Hogarthian Progresses
James Gillray’s Hogarthian Progresses 1 James Gillray’s Hogarthian Progresses An exhibition At the Lewis WalpoLe LibrAry, Yale University, ApriL 6 to september 16, 2016 Curated by Cynthia Roman Sequential narration in satiric prints is most closely associated with the famous “modern moral subjects” of William Hogarth (1697–1764): A Harlot’s Progress (1732), A Rake’s Progress (1735), Marriage A-la-mode (1745), and Industry and Idleness (1747) among others. Hogarth’s enormous commercial and aesthetic success inspired a broad spectrum of legacy “progresses” across subsequent generations of printmakers. James Gillray (1756– 1815) was among the most accomplished printmakers to adopt Hogarthian narrative strategies even as he transformed them. Gillray engaged with the possibilities of sequential narra- tives from the very earliest stages of his career as a satirical artist. Although there is a long history of sequential narration in popular prints, Hogarth’s example provided the most immediate foundation for Gillray’s work. Wife & No Wife, or A Trip to the Continent (1786) and The Morning after Marriage, or A Scene on the Continent (1788) depict two stages of the morganatic marriage of the Prince of Wales and Mrs. Fitzherbert. Although published separately, these two prints reveal the artist’s movement toward the format of companion prints, not only in the narration of sequential events across the two images but also in the common James Gillray, Wife & No Wife, or A Trip to the Continent, 1786 James Gillray, The Morning after Marriage, or A Scene on the Continent, 1788 3 language of the titles that links them.