From Yale UP:
Elizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings (London: The Paul Mellon Centre for Studies in British Art, 2016), 432 pages, ISBN: 978 030 0221749, £95 / $150.
William Hogarth (1697–1764) was among the first British-born artists to rise to international recognition and acclaim and to this day he is considered one of the country’s most celebrated and innovative masters. His output encompassed engravings, paintings, prints, and editorial cartoons that presaged western sequential art.
This comprehensive catalogue of his paintings brings together over twenty years of scholarly research and expertise on the artist and serves to highlight the remarkable diversity of his accomplishments in this medium. Portraits, history paintings, theater pictures, and genre pieces are lavishly reproduced alongside detailed entries on each painting, including much previously unpublished material relating to his oeuvre. This deeply informed publication affirms Hogarth’s legacy and testifies to the artist’s enduring reputation.
Elizabeth Einberg is a senior research fellow at the Paul Mellon Centre for Studies in British Art and former curator at Tate Britain.
William Hogarth, The Christening, ca. 1728.
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Press release (16 November 2016) from Gov.UK’s Department for Culture, Media & Sport:
Culture Minister Matt Hancock has placed a temporary export bar on a satirical painting by William Hogarth to provide an opportunity to keep it in the country. The Christening by William Hogarth is at risk of being exported from the UK unless a buyer can be found to match the asking price of £1,223,100.
William Hogarth is considered to be one of the most important figures in eighteenth-century British art and culture. He was known for his satirical artwork, and The Christening was his first painted comical scene. It shows a christening taking place in a wealthy but disorderly home. From the little girl about to knock over the christening bowl, to the dog about to rip apart the hat on the ground, the painting is a satirical scene of contemporary life in the eighteenth century. The painting marks Hogarth’s beginning as a satirical artist and demonstrates his development into comical artwork.
Culture Minister Matt Hancock said: “Hogarth is known as one of our greatest ever satirists, and this is a significant early example of his work. The painting provides a valuable insight into eighteenth-century life. Satire is an important part of our cultural heritage, and as a fan of Hogarth’s work I hope it can remain in the UK for the public to enjoy.”
The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council. The RCEWA made its recommendation on the grounds of its outstanding significance for the study of William Hogarth, as well as for the study of the cultural, literary, and historical life of the eighteenth century.
RCEWA member Lowell Libson said: “Hogarth’s importance in imbuing art and artists with a sense of a national character at a time when England was consolidating its international position as the dominant economic and political power cannot be underestimated. This important painting demonstrates Hogarth’s concern with the effects that this new affluence had on all sectors of society. Hogarth himself noted that “my picture was my stage,” and The Christening, a small, beautifully executed painting, is a deceptively charming and significant early precursor of the great cycles of modern moral paintings and their related engravings. Its retention in this country would considerably add to the story we can tell of a painter who helped define our national identity.”
The decision on the export licence application for the painting will be deferred until February 15, 2017. This may be extended until May 15, 2017, if a serious intention to raise funds to purchase it is made at the recommended price of £1,223,100. Offers from public bodies for less than the recommended price through the private treaty sale arrangements, where appropriate, may also be considered by Matt Hancock. Such purchases frequently offer substantial financial benefit to a public institution wishing to acquire the item.
Distributed by Yale UP:
Cynthia Roman, ed., Hogarth’s Legacy (New Haven: Yale University Press, 2016), 272 pages, ISBN: 978-0300215618, $80.
The legacy of graphic artist William Hogarth (1697–1764) remains so emphatic that even his last name has evolved into a common vernacular term referring to his characteristically scathing form of satire. Featuring rarely seen images and written contributions from leading scholars, this book showcases a collection of the artist’s works gathered from the Lewis Walpole Library at Yale University and other repositories. It attests to the idiosyncratic nature of his style and its international influence, which continues to incite aesthetic and moral debate among critics. The eight essays by eminent Hogarth experts help to further contextualize the artist’s unique narrative strategies, embedding the work within German philosophical debates and the moral confusion of the Victorian period and emphasizing the social and political dimensions that are part and parcel of its profound impact. Endlessly parodied and emulated, Hogarth’s distinctive satire persists in its influence throughout the centuries and this publication provides the necessary lens through which to view it.
Cynthia Roman is curator of prints, drawings, and paintings at the Lewis Walpole Library.
William Hogarth, A Harlot’s Progress, Plate 6, 1732, 364 × 440 mm
(Copenhagen: SMK – The National Gallery of Denmark)
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Press release (22 February 2016) from the National Gallery of Denmark:
William Hogarth: A Harlot’s Progress and Other Stories r
William Hogarth: En skøges liv og andre historier
Statens Museum for Kunst, Copenhagen, 14 April — 7 August 2016
Curated by Vibeke Vibolt Knudsen
A young country girl arrives in London in search of work. Instead she ends up a prostitute, and her life spirals steadily downwards, bringing stints in prison and venereal disease. With the exhibition William Hogarth: A Harlot’s Progress and Other Stories, the SMK turns back time to visit eighteenth-century city life in London. The exhibition presents work by the British artist and satirist William Hogarth (1697–1764), who invented a new kind of narrative picture series that served up satirical and moral points with acerbic wit. His style of social critique was unique for the time, focusing on many highly topical subjects: Prostitution, poverty, violence, drunkenness, deceit, self-aggrandisement and desire.
Three series hold a particularly prominent position in Hogarth’s oeuvre: A Harlot’s Progress (1732), A Rake’s Progress (1735), and Marriage à-la-mode (1745). Each series describes a main protagonist who strives to climb the rungs of the class ladder, but loses their way in debauchery, heading directly for self-destruction and death.
In his autobiographical notes Hogarth states that his pictures are scenes from a play and his subjects are actors strutting soundlessly on the stage. His stories became highly successful, attracting a large audience that included the lower echelons of society as well as the elite. Hogarth insisted that a picture must capture the viewer’s attention by entertaining and pleasing the eye, thereby allowing the serious aspects of its subject to gradually sink in as the narrative progresses towards its tragic climax.
Hogarth’s art is closely linked to London and city life. Around the year 1700 the city had swelled to a population of 600,000, making it the largest city in Europe. He made daily records of the chaotic urban crowds, of all the many and varied forms of life unfolding in the city’s streets and houses; he had a particularly keen eye for the contrasts between different social strata and how they met and clashed.
William Hogarth: A Harlot’s Progress and Other Stories is an exhibition of works from The Royal Collection of Graphic Arts, which is one of the oldest collections of prints and drawings in the world. Housing more than 240,000 works, the collection has roots that date back to the sixteenth century. In 1843 the collection was opened to the public, and in 1896 it was relocated to the new National Gallery of Denmark alongside The Royal Collection of Paintings and The Royal Cast Collection.
The catalogue is available from Arnold Busck:
Vibeke Vibolt Knudsen, William Hogarth: En skøges liv og andre historier (Odder: Narayana Press, 2016), 96 pages, ISBN 978-8792023971, 128KR.
James Gillray’s Hogarthian Progresses
The Lewis Walpole Library, Farmington, CT, 6 April — 16 September 2016
Curated by Cynthia Roman
Sequential narration in satiric prints is most famously associated with the ‘modern moral subjects’ of William Hogarth (1697–1764): Harlot’s Progress (1732), A Rake’s Progress (1735), Marriage A-la-Mode (1745), and Industry and Idleness (1747) among others. Less well-known is the broad spectrum of legacy ‘progresses’ produced by subsequent generations drawing both on Hogarth’s narrative strategies and his iconic motifs. James Gillray (1756–1815), celebrated for his innovative single-plate satires, was also among the most accomplished printmakers to adopt Hogarthian sequential narration even as he transformed it according to his unique vision. This exhibition presents a number of Gillray’s Hogarthian progresses alongside some selected prints by Hogarth himself.
P R O G R A M S
James Gillray’s Experimental Printmaking
Organized by Esther Chadwick, History of Art, Yale University and Cynthia Roman, The Lewis Walpole Library, Yale University, 10 June 2016
Graduate Student Seminar
Collecting the Graphic Work of William Hogarth
Sheila O’Connell, Former Curator of Prints, British Museum, 14 June 2016
Graduate Student Seminar
Connoisseurship: Graphic Satire from William Hogarth to James Gillray
Andrew Edmunds, Collector and Dealer, 15 June 2016
Master Class for Graduate Students
A Contest of Two Genres: Graphic Satire and British History Painting in the Long Eighteenth Century
Mark Salber Phillips, Professor of History at Carleton University, Ottawa, and Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library, 22–26 August 2016
Master Class for Graduate Students
The Comic Image 1800–1850: Narrative and Caricature
Brian Maidment, Professor of the History of Print, Liverpool John Moores University
Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library, 14—16 September 2016
William Hogarth, After (detail), 1736, etching and engraving, 41 x 33 cm
(Städel Museum, Frankfurt am Main)
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Vices of Life: The Prints of William Hogarth
Laster des Lebens: Druckgrafik von William Hogarth
Frankfurt’s Städel Museum, Frankfurt, 10 June — 6 September 2015
Schloss Neuhardenberg, Brandenburg, TBA
Curated by Annett Gerlach
From 10 June to 6 September 2015—in its bicentennial year ‘200 Years Städel’—Frankfurt’s Städel Museum will be presenting prints by the English painter, engraver and etcher William Hogarth (1697‒1764). Altogether seventy works including the famous printmaking series A Harlot’s Progress (1732), A Rake’s Progress (1735) and Marriage à la Mode (1745) will be on view in the exhibition hall of the Department of Prints and Drawings. These visual novels from the Städel holdings take the fashions, vices and downsides of modern life in the London metropolis as their themes. Hogarth conceived of his artworks as printed theatre of his times and with them he laid the cornerstone for socio-critical caricature in England. The prints owe their special quality to the keen powers of perception and caustic humour of an artist who contributed so greatly to shaping the image of his era that it is still referred to as ‘Hogarth’s England’ today. Executed during Johann Friedrich Städel’s lifetime, the engravings are among the Städel’s oldest holdings and mirror the critical spirit inherent to this institution since its founding.
William Hogarth was born in London in 1697. In keeping with an early eighteenth-century fashion, his father Richard opened a coffee house at which only Latin was spoken. The business failed, and Richard Hogarth had to serve five years in London’s notorious Fleet Prison for failure to pay his debts. As was usual at the time, his wife and children had to accompany him. In 1713, after his father’s release, William Hogarth began an apprenticeship as a silver engraver where he also learned the rudiments of the complex techniques of intaglio printing—engraving and etching. Following his seven-year training, he went into business for himself as an engraver and attended the privately run St Martin’s Lane Academy, an art school in London, to acquire the art of painting. In 1724 he also became a member of the academy of royal court painter James Thornhill (1675‒1734), whose daughter Jane he married in 1729. It was not with his paintings, however, that Hogarth achieved a breakthrough with the public, but with the prints made after his works on canvas. With the series A Harlot’s Progress, produced in the early 1730s, he founded a new genre he later dubbed modern moral subjects. Hogarth conceived of these subjects as contemporary, moral-didactic history scenes. He thus took a stand against the hierarchization of the visual arts, a firmly entrenched principle of academy doctrine which granted classical history painting pride of place. With his printmaking works, he succeeded in creating a new, up-to-date genre based on the keen observation of reality. In 1755 Hogarth was elected to the Royal Society of Arts, which he quit again just two years later on account of artistic and personal differences. His appointment as royal court painter followed in 1757, but never led to any commissions. The final years of the artist’s life were overshadowed by bitter disputes between himself and his critics. A stroke in 1763 left Hogarth severely handicapped and he died the following year in his home in Leicester Fields, a district of London.
The presentation in the exhibition gallery of the Department of Prints and Drawings focuses primarily on those of William Hogarth’s printmaking series that earned him international fame: A Harlot’s Progress, A Rake’s Progress und Marriage à la Mode. There is a very simple reason for the fact that his works on paper secured him a place in art history: prints can be circulated far better than paintings. It was by these means that the artist reached the enlightened and educated public of his day in large numbers. Already the first edition of A Harlot’s Progress (1732) comprised 1,240 sold copies. In six episodes, this series describes the rise and fall of a young woman who has come from the country to the city to find work. To earn a living she ends up as a prostitute and lands in prison as a result. The final scene shows the wretched funeral of the protagonist, whose life has already come to an end at the age of twenty-three. Hogarth had numerous real and literary models to look to for his creation of this figure. Inspired by his great interest in the social characterization of his time, he directed his critical, ironical gaze to all strata of society, from the highest nobility to the most abject circumstances. The sick and needy of all generations formed the downside of the economic boom enjoyed by the colonial and commercial metropolis and its many profiteers.
In his second series, A Rake’s Progress (1735), consisting of eight prints, Hogarth tells the story of the social decline of Tom Rakewell, who brainlessly squanders his inheritance and is thrown first into debtors’ prison and then the madhouse. Rakewell’s incarceration on grounds of indebtedness is reminiscent of the artist’s own biography. Entirely unlike his father, however, William Hogarth was an excellent businessman and very clever at taking advantage of the London press—which was flourishing in his day—and its public impact for his own purposes. In newspapers such as the London Daily Post, the General Advertiser or the London Journal he published announcements of his prints and advertised them for subscription.
Hogarth borrowed the title of his third major series, published in 1745, from a comedy by John Dryden (1631‒1700). Marriage à la Mode is about an espousal arranged by the two spouses’ fathers. Neither the bride nor the groom is the least bit interested in the other, both amuse themselves on the side, and the situation comes to a dramatic conclusion. Hogarth’s protagonists feign innocence and practise deception, abandon themselves to their passions and founder on their false ideals. Looking to true stories for orientation and integrating well-known persons and recognizable sites, he warned his public of the dangers of modern life—dangers still very real today. In 1751, with his popular prints Beer Street and Gin Lane, he supported a public campaign against the excessive consumption of gin. The former scene presents the enjoyment of beer as healthy and beneficial in contrast to the destructive effects of gin portrayed in the latter.
From mid century onward, in addition to socio-critical themes Hogarth also devoted himself to matters of national and political relevance, which represent a further focus of the exhibition. In several works, the artist addressed the relationship between France and England, which were at war. The Gate of Calais (1748) was his response to his arrest on suspicion of espionage during one of his trips to France. In 1756, in The Invasion, he again caricatured the French as grotesque, haggard figures who are after the tasty beer and luscious roast beef of the English. Some fifteen years later, in the print The Times, Plate 1 (1762), Hogarth made an urgent appeal for the cessation of the Seven Years’ War.
In 1753, Hogarth published his own art-theoretical deliberations in the book The Analysis of Beauty. In it he concerned himself with the foundations of visual-artistic production and particularly the matter of how to achieve beauty and grace. Hogarth considered the study of nature to be the key to beauty. He called upon his readers to perceive the objects of nature with their own eyes and judge them according to rational criteria. The German writer Christlob Mylius (1722–1754) was in London when Hogarth’s Analysis came out, and he translated it into German the very next year. Johann Friedrich Städel had a copy of this translation in his library, and it will be on display in the show.
In conjunction with the exhibition, the Städel Museum is publishing a catalogue by Annett Gerlach with approximately 50 pages, 10€. Following its presentation at the Städel Museum, the show will be on view at Neuhardenberg Castle. The exhibition is being sponsored by the Hessische Kulturstiftung.
Installation view of the exhibition Vices of Life: The Prints of William Hogarth at Frankfurt’s Städel Museum (June 2015)
Now on view at Tate Britain:
William Hogarth, 1697–1764
Tate Britain, London, 27 October 2014 — 26 April 2015
Bristol Museum & Art Gallery, Summer 2015
This display marks the 250th anniversary of the death of Hogarth. It includes almost all of his paintings in the Tate Collection, as well as prints, drawings and rarely seen items from the Tate Library and Archive.
The story of art in this country often begins with William Hogarth, who died in late October 1764. Satirist, printmaker, portraitist, history painter and art theorist, in the two hundred and fifty years since his death Hogarth has regularly been positioned as the founding father of British art. This persistent notion was reflected in the early years of Tate’s displays: for decades his was the earliest British work on show at Tate.
Hogarth first gained recognition painting scenes from the theatre. He went on to make his name with his darkly humorous ‘modern moral’ series depicting the declining fortunes of foolish or ignoble characters, and brought similar vivacity to the polite interiors of his ‘conversation piece’ portraits. In 1735 he founded an academy for artists and later wrote a treatise on the aesthetic theories he developed over the course of his career. Whether painting, printmaking or writing, he was concerned with forging and defending a distinctly British art.
In 1951 Tate mounted the first major exhibition of Hogarth’s work since 1814. Tate gained independence from the National Gallery in 1955 and started acquiring works in its own right, and further exhibitions and displays followed reflecting research into Hogarth’s life and art. From the early 1950s Tate also acquired work by earlier British artists, allowing Hogarth to be seen in the context of his predecessors: an innovative champion of British art, but by no means the first British artist.
Read more about Hogarth at the Tate
The online materials are useful, particularly Tim Batchelor’s account of the “Exhibitions and Displays” of Hogarth’s work at Tate (11 November 2014). –CH
From the museum:
Hogarth, Reynolds, Turner: Pittura inglese verso la modernità
The Dawn of Modernity: Painting in Britain in the 18th Century
Fondazione Roma Museo, Palazzo Sciarra, Rome, 15 April — 20 June 2014
Curated by Carolina Brook and Valter Curzi
The exhibition offers the public a comprehensive overview of the social and artistic development that took place during the XVIII century in step with the hegemony gained by Great Britain at the historical, political, and economic level. For this purpose a corpus of over one hundred works belonging to prestigious institutions such as the British Museum, the Tate Gallery, the Victoria & Albert Museum, the Royal Academy, the National Portrait Gallery, the Museum of London, and the Uffizi Gallery has been formed and is accompanied by a nucleus of works from the important American collection belonging to the Yale Center for British Art.
During the eighteenth century England became an authentic international power, leader of the Industrial Revolution and of the domination of the sea routes, and thus raised the issue of establishing its own artistic school for the first time. The economic development lead by Great Britain created a new middle-class which included professionals, industrialists, merchants, scientists and philosophers who, having found that visible arts considerably affirmed their new social status, became patrons of those masters who over the century contributed to the definition of a domestic school.
The exhibition is divided into seven sections featuring a selection of works by the most significant English painters, for the purpose of documenting the portrait and landscape genres that found more fortune during this century, creating a figurative language capable of interpreting modernity which, in the nineteenth century, became a reference throughout Europe. Visitors may admire artists such as Hogarth, Reynolds, Gainsborough, Wright of Derby, Stubbs, Füssli, Constable, and Turner. Their works offer a significant cross-section of the peculiarity and originality of English art, an exhibition of which has not been held in Rome since 1966.
Update (added 19 April 2014) — The exhibition press release, which details the seven sections, is available as a PDF file here».
The catalogue is available from Skira:
Carolina Brook and Valter Curzi, Hogarth, Reynolds, Turner: Pittura inglese verso la modernità (Rome: Skira, 2014), 304 pages, ISBN: 8857222707, €40.
From the exhibition website:
Sin and the City: William Hogarth’s London
Firestone Library, Princeton University, 26 August 2011 — 29 January 2012
This fall the Princeton University Library will celebrate eighteenth-century London as seen through engravings by one of its most popular storytellers. Sin and the City: William Hogarth’s London, on view 26 August 2011 to 29 January 2012, presents Hogarth’s unflinching chronicle of the city’s development from a medieval town to a swirling modern metropolis.
Whether examining scenes along the impoverished roads of St. Giles parish, peering into the dark cellars of Blood Bowl Alley, or accompanying a procession to the Tyburn gallows, Hogarth’s engravings plunge us into a city that is not only grand and powerful but also chaotic, crime-ridden, and sometimes even heartbreaking.
The exhibition includes 70 engravings by Hogarth, along with the work of his contemporaries, such as Jonathan Swift, John Gay, and Henry Fielding, among others. Period maps and original documents from the first production of The Beggar’s Opera will also be on view.
A full exhibition checklist is available here»
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Afternoon Roundtable Discussion: A Midnight Modern Conversation
Princeton University, 7 October 2011
Linda Colley, Shelby M.C. Davis 1958 Professor of History, Princeton University;
Mark Hallett, Professor of History of Art, University of York;
Tim Hitchcock, Professor of Eighteenth-Century History, University of Hertfordshire; and
Claude Rawson, Maynard Mack Professor of English, Yale University.
James Steward, Director of the Princeton University Art Museum will moderate.
A reception will follow.
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Out this month, as noted at the publisher’s website:
Bernd W. Krysmanski, Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (Hildesheim, Zürich and New York: Georg Olms Verlag, 2010), ISBN: 9783487144719, EUR 48.
If you think of William Hogarth as a moralist who gave charitable support to foundlings and provided ethical guidance through his pictorial satires, then it is high time you changed your mind. This challenging, thoroughly researched and thought-provoking book reveals many new findings on Hogarth, showing us a different, hidden and immoral English artist: a carouser, a debauchee, and a spiteful joker who mercilessly attacked his contemporaries. Although a pictorial satirist and a successful print-dealer, Hogarth nevertheless wallowed in obscene amusement, frequented prostitutes, possibly had paedophilic tendencies, and seemingly died from the lingering effects of syphilis. Hogarth the popular painter and engraver is shown here as a dark humorist who dealt primarily in sexual double entendre and produced blasphemous motifs that satirically lambasted “high” religious art and debunked the eighteenth-century taste for Old Master work. This book ought to change the way we think about Hogarth.