Dr. Leon Kolb William Hogarth Engravings Collection
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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. -
Copyright Statement
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 Dogs and Domesticity Reading the Dog in Victorian British Visual Culture Robson, Amy http://hdl.handle.net/10026.1/10097 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii Dogs and Domesticity Reading the Dog in Victorian British Visual Culture by Amy Robson A thesis submitted to Plymouth University in partial fulfilment for the degree of PhD Art History, 2017 Humanities and Performing Arts 2017 iii Acknowledgements I would like to express my deepest gratitude to my supervisors, Dr James Gregory and Dr Jenny Graham, for their ongoing support throughout this project. I would also like to extend immeasurable thanks to Dr Gemma Blackshaw, who was involved in the early and later stages of my research project. Each of these individuals brought with them insights, character, and wit which helped make the PhD process all the more enjoyable. -
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. -
Unconventionality in Thomas Gainsborough's Portrait Of
UNCONVENTIONALITY IN THOMAS GAINSBOROUGH’S PORTRAIT OF HENRY SCOTT: RETHINKING THE REPRESENTATION OF DOGS AS RATIONAL SUBJECTS IN EIGHTEENTH-CENTURY BRITISH PORTRAITURE A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts in Interdisciplinary Studies University of Regina By Luba Stephania Kozak Regina, Saskatchewan April 2019 © 2019: Luba Stephania Kozak UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Luba Stephania Kozak, candidate for the degree of Master of Arts in Interdisciplinary Studies, has presented a thesis titled, Unconventionality in Thomas Gainsborough’s Portrait of Henry Scott: Rethinking The Representation of Dogs as Rational Subjects in Eighteenth-Century British Portraiture, in an oral examination held on April 25, 2019. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: *Dr. Lianne McTavish, University of Alberta Co-Supervisor: Dr. Randal Rogers, Department of Visual Arts Co-Supervisor: Dr. Francesco Freddolini, Department of Visual Arts Committee Member: Dr. Darlene Juschka, Department of Religious Studies Committee Member: Dr. Sherry Farrell-Racette, Visual Arts Chair of Defense: Dr. Philip Charrier, Department of History *via Video Conferencing Abstract This thesis reconsiders the perception and status of pets in eighteenth-century Britain through an analysis of the unconventional modes of representation in Thomas Gainsborough’s portrait of Henry Scott, Third Duke of Buccleuch. By examining the social attitudes towards pets in eighteenth-century Britain, this thesis discusses the elevated status of dogs in Britain’s early modern visual culture, which offers new possibilities for understanding the complex and sympathetic relationship between owners and their pets. -
Dispelling the Myths Surrounding Nineteenth-Century British
• I will begin by briefly describing the social changes that took place during the period 1660 to 1800 as they form the background and influences on artists. • I will then summarise the eight talks that cover the major artists and art movements. • But first let us look at the entire period from 1500 to 1800... 1 • The period from 1500 to 1660 saw the country emerging from feudalism. Medieval practices were referenced allegorically in the sense that they were not being used as originally intended but to convey an idea. For example, the great hall was no longer where a noble would eat but was recreated to impress. Crenulations were no longer added to building as a form of defence but to suggest the building and the family had ancient origins. • 1400s. Revolution on the battlefield. Richard III (2 October 1452 – 22 August 1485) was the last king to die in battle, at the age of 32, in the Battle of Bosworth Field. He was the last king of the House of York and the last of the Plantagenet dynasty. It was the beginning of the Italian Renaissance but the changes taking place in Italy filtered into English art and architecture very slowly and it took place through Italian and Northern European artists visiting and sometimes remaining to work in England. • 1500s. Social revolution. Although earlier kings, such as Henry I, promoted competent men from lowly backgrounds it was not until the Tudor period that a new class of lawyers and administrators from lowly backgrounds achieved powerful positions and became wealthy. -
ON the SERIOUS SOCIAL IMPLICATIONS of HUMOROUS ART by ANNA MAGRIETA VAN TONDER Submitted in Fulfilment of the Requirements
ON THE SERIOUS SOCIAL IMPLICATIONS OF HUMOROUS ART by ANNA MAGRIETA VAN TONDER Submitted in fulfilment of the requirements for the degree of MASTER IN VISUAL ARTS at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: MR JP VAN DER WATT JOINT SUPERVISOR: DR FJ POTGIETER JANUARY 2007 DECLARATION Student number 0628-473-6 I declare that ON THE SERIOUS SOCIAL IMPLICATIONS OF HUMOROUS ART is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. ……………………… …………….. SIGNATURE DATE (MRS AM VAN TONDER) SUMMARY Title: On the serious social implications of humorous art Summary: Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new -
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. -
Arte Y Reproducción Hacia Una Prehistoria De La Imagen Digital
Arte y reproducción Hacia una prehistoria de la imagen digital Jordi Bielsa Mialet ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. -
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. -
A HISTORY of INTELLECTUAL PROPERTY in 50 OBJECTS Edited by CLAUDY OP DEN KAMP and DAN HUNTER 5 Hogarth Engraving Michael Punt
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Art, Design and Architecture 2019-05-31 Hogarth Engraving: William Hogarth the Man Who Copyrighted Himself Punt, M http://hdl.handle.net/10026.1/13721 10.1017/9781108325806.006 Cambridge University Press All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. A HISTORY OF INTELLECTUAL PROPERTY IN 50 OBJECTS Edited by CLAUDY OP DEN KAMP and DAN HUNTER 5 Hogarth Engraving Michael Punt ILLIAM HOGARTH (1697–1764) was, iniquity. It meant that those with the means Wlike Jonathan Swift (1667–1745) be- to propagate an English national style were fore him, an artist whose work represents besotted to the aesthetics and values of a set of ideas that are both indicative of the Italian Renaissance. To challenge his period and transferable to the present. this, Hogarth devoted his painting and Their significance is such that we describe image-making to important moral state- things as “Hogarthian” or “Swiftian,” ments. He made images that were power- and the periods in which they lived saw ful interventions in the disputes between dra matic social, economic, and political artists and their critics about taste; debates change, in which the power of art to ex- that had been conducted to this point only press and marshal political criticism has by prominent and wealthy individuals, in a rarely been matched.