CONTENTS OF WEBSITE 1. Publications on Hogarth by Bernd Krysmanski 2. Books and Catalogues on Hogarth by other Authors 3. Online Articles; Biographies; Book and Exhibition Reviews; Educational Sites 4. Some Excerpts from the forthcoming Hogarth Bibliography 5. Further Online Resources: Special Search Engines; Innumerable Image Archives; Links to other Hogarth Sites 6. The Noticeboard

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Bernd Krysmanski, "Hagarty, not Hogarth? The True Defender of English 'Wit and Humour'", in The Dumb show: Image and society in the works of William Hogarth, ed. Frédéric Ogée, Oxford: Voltaire Foundation, 1997 [Studies on Voltaire and the Eighteenth Century, 357], 141-59.

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Bernd Krysmanski, "O the Roast Beef of Old England: Hogarth in BSEfreier Zeit vor dem Tor von Calais", Lichtenberg-Jahrbuch 1997 [Saarbrücken: SDV, 1998], 29-52, 115, 178, 195, 217.

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Bernd Krysmanski, "Hogarth's A Rake's Progress: An 'Anti-Passion' in Disguise", 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era, 4 (1998), 137-82.

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Bernd Krysmanski, "We see a Ghost: Hogarth's Satire on Methodists and Connoisseurs", Art Bulletin, 80 (June 1998), 292-310.

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Bernd Krysmanski, "Lust in Hogarth's Sleeping Congregation - Or, How to Waste Time in Post-Puritan England", Art History, 21, no. 3 (September 1998), 393-408.

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Bernd Krysmanski, "Hogarth's 'A Rake's Progress' als 'Anti-Passion' Christi (Teil 1)", Lichtenberg-Jahrbuch 1998 [Saarbrücken: SDV, 1999], 204-42.

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Bernd Krysmanski, "Patriotisches Rindfleisch, Pariser Pantinen und eine jakobitische Krähe: Ein auf Erkenntnissen von Katharina Braum fußender Nachtrag zu Hogarths 'Gate of Calais' nebst einer ergänzenden Hypothese von Elizabeth Einberg", Lichtenberg-Jahrbuch 1998 [Saarbrücken: SDV, 1999], 286-92.

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Bernd Krysmanski, "Hans-Georg von Arburg, Kunst-Wissenschaft um 1800. Studien zu Georg Christoph Lichtenbergs Hogarth-Kommentaren. Göttingen: Wallstein-Verlag, 1998 (Lichtenberg-Studien. Herausgegeben von Stefan Brüdermann und Ulrich Joost. Band XI)", Lichtenberg-Jahrbuch 1998 [Saarbrücken: SDV, 1999], 347-53. [Book review.]

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Bernd Krysmanski, "Joachim Möller, ed. Hogarth in Context: Ten Essays and a Bibliography (Marburg: Jonas Verlag, 1996); Peter Wagner, Reading Iconotexts: From Swift to the French Revolution (London: Reaktion Books Ltd, 1995)", Eighteenth-Century Studies, 33, no. 1 (Fall 1999), 139-41. [Book reviews.]

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Bernd Krysmanski, "Hogarths 'A Rake's Progress' als 'Anti-Passion' Christi: Ein Erklärungsversuch (Teil 2)", Lichtenberg-Jahrbuch 1999 [Saarbrücken: SDV, 2000], 113-60.

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Bernd Krysmanski, "Lichtenbergs Hogarth. Die Kalender-Erklärungen von Georg Christoph Lichtenberg mit den Nachstichen von Ernst Ludwig Riepenhausen zu den Kupferstich-Tafeln von William Hogarth. Herausgegeben von Wolfgang Promies, München; Wien: Carl Hanser Verlag 1999", Lichtenberg-Jahrbuch 1999 [Saarbrücken: SDV, 2000], 257-68. [Book review.]

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Bernd Krysmanski, "Benjamin Ralph's School of Raphael (1759): Praise for Hogarth and a Direct Source for Reynolds", British Journal for Eighteenth-Century Studies, 24 (Spring 2001), 15-32.

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Bernd Krysmanski, "William Hogarths Kritik an der Balance des Peintres: Roger de Piles, Jonathan Richardson, Mark Akenside und Joseph Spence im Fadenkreuz der englischen Satire", in Joachim Möller (ed.), Sister Arts: Englische Literatur im Grenzland der Kunstgebiete, Marburg: Jonas Verlag, 2001, 51-75.

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Bernd Krysmanski, "Zum Millennium: ein kurzer Blick auf die vorherrschenden Trends der Hogarth-Forschung", Lichtenberg-Jahrbuch 2001 [Saarbrücken: SDV, 2002], 194-206.

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Bernd Krysmanski, Hogarth's Hidden Parts. [Book in preparation. Text based on a paper read on 29 July 1999 at the Tenth International Congress on the Enlightenment, University College, Dublin, 25-31 July 1999.]

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Bernd Krysmanski, "Hogarth and Dürer" [paper in preparation].

MORE DETAILED INFORMATION ON THE AUTHOR'S PUBLICATIONS:

Bernd Krysmanski, Hogarth's Enthusiasm Delineated: Nachahmung als Kritik am Kennertum. Eine Werkanalyse. Zugleich ein Einblick in das sarkastisch-aufgeklärte Denken eines "Künstlerrebellen" im englischen 18. Jahrhundert.

English title: Hogarth's Enthusiasm Delineated: Borrowing from the Old Masters as a Weapon in the War between an English Artist and self-styled Connoisseurs. A detailed study in iconology against a background of religion, society and culture in mid-eighteenth-century England. Based primarily on primary sources.

2 volumes, Hildesheim, Zurich, New York: Georg Olms, 1996.

ISBN: 3-487-10233-1 and 3-487-10234-X.

Volume 1: main text. Volume 2: summary for English readers, appendix including quotations from contemporary sources, bibliography and index. XVII/1469 pages. 446 illustrations.

Enlarged and slightly revised version of the author's PhD thesis of 1994, now containing, in volume 2, apart from the contemporary sources and the 446 illustrations, a summary for English readers and a comprehensive index. See also the German abstract by the Forschungsdatenbank, Marburg and the English review by Thomas Krämer, Eighteenth-Century Studies, 33, no. 1 (1999), 143-45.

ABSTRACT

William Hogarth's Enthusiasm Delineated (1761) is an artist's manifesto which could well be renamed "Hogarth Delineated". Its imagery, borrowed - ironically - from "high" art (e.g. from works by Raphael, Dürer, Michelangelo, Correggio, Rubens, Rembrandt or Charles Le Brun), provides the key to a new understanding of the purpose behind Hogarth's taking single motifs from the works of highly reputed Old Masters and using them in new, topical, but often "low" contexts. The author's interdisciplinary study interprets this borrowing method as a cleverly contrived "anti-iconography" with which Hogarth ridicules the English self-styled connoisseurs of his time. A novelty in Hogarth research, the study also contains a thorough formal analysis of the print.

In addition to Enthusiasm Delineated, numerous other Hogarth works are reassessed in detail. A seventy-page excursus deals with the pulpiteer as an artistic motif through the ages. The text includes a great number of original quotations from contemporary periodicals, pamphlets and treatises, concerning the theory of art (eclecticism, picture auctions, criticism of connoisseurship, the profane and blasphemy in art), the history of religion and religious tradition (English Puritanism, deism, Methodism [particularly George Whitefield], antipapism, witchcraft and demonology, iconoclasm, anti-Semitism, antitrinitarianism, the debate on transubstantiation), as well as social, cultural and medical history (the anatomy of the brain, the maltreatment of dogs, physiognomy, eroticism, sex murder, eighteenth-century melancholy, madness, and enthusiasm). Some of these sources are reprinted for the first time and may be of interest not only to art historians, but also to theologians, members of the Methodist Church, general historians, philologists or other scholars working on eighteenth-century England.

Although the book focuses on Enthusiasm Delineated, it invariably leads to new readings of numerous other works by Hogarth. Literature on Methodism (rather than on Hogarth), for example, allows the preacher sitting next to Tom Idle in the prisoner's cart in Industry and Idleness, Pl. 11 (1747) to be identified as Silas Told (1711-1778). The same print, as a whole, may allude to a traditional Massacre of the Innocents. The study also shows the extent to which Hogarth's Sigismunda (1759) was influenced by the English Melancholy portrait tradition. A woodcut in Johannes de Ketham's Fasciculo di medicina (1493), depicting an anatomical lesson by Mondino de'Luzzi, can be identified as a direct model for The Reward of Cruelty (Pl. 4 of Hogarth's series The Four Stages of Cruelty; 1751). Fra Angelico's St. Stephen preaching and the Dispute before the Council (1447/50; Vatican, Cappella di Niccolo V) seems to be the model for both Paul before Felix (1748) and Paul before Felix Burlesqued (1751). Hogarth's early print, Masquerades and Operas (1724) has borrowed some motifs from a woodcut by Urs Graf (?) in Hans Heinrich Freiermut's Triumphus veritatis (1524). Hudibras catechized from Hogarth's Twelve Large Illustrations for Samuel Butler's 'Hudibras' (1726) may be a play on Lucas Cranach's Martyrdom of St. Jude Thaddaeus (c. 1512) or Poussin's Massacre of the Innocents (1628/30; Chantilly, Musée Condé). Cruelty in Perfection (1751) probably alludes to Anthony van Dyck's Capture of Christ (c. 1621; Madrid, Prado; repetition, c. 1629, Corsham Court, Bristol Museum and Art Gallery). Chairing the Members from Hogarth's Election series (c. 1754; Sir John Soane's Museum, London) may allude to some details in Raphael's Expulsion of Heliodorus (c. 1512; Stanza d'Eliodoro, Vatican). Dürer's Young Woman attacked by Death (Der Gewalttätige; c. 1494) is the model for Before (1736). Chapter 4.8.3 includes detailed comments on the iconographic backgound of the Harlot and the Rake series.

It should be noted that the study also touches upon a number of other aspects of Hogarth's art. Chapter 4.10.7 looks at dogs in Hogarth's oeuvre, and particularly at the howling Irish Setter in Enthusiasm Delineated. Chapter 4.10.8 explores the Sacrifice of Isaac theme in Hogarth's art, and chapter 6.5 Hogarth's church interiors. It is proposed, for example, that Plate 2 of Industry and Idleness (1747) depicts the interior of St. Peter's, Vere Street (formerly Marybone Chapel), and not of St. Martin-in-the-Fields whose box pews were not introduced into the body of the church until 1799. Apart from questions of content, the book also contains detailed formal analyses of Hogarth's art. Chapter 4.8.4 is about how Hogarth quite deliberately employed his "Line of Beauty (and Grace)" in several of his paintings. General remarks on the formal structure of Hogarth's paintings and engravings can be found in chapter 7. The use of linear perspective is touched upon here, as well as Hogarth's understanding of light and shadow. This chapter also goes into Hogarth's ironic use of the triangle motif.
All in all, the book is a social and cultural history of mid-eighteenth-century London rather than a monograph on a single Hogarth print.

ENGLISH TABLE OF CONTENTS Volume One PRELIMINARY NOTES 1 1. FACING THE PROBLEM 22 1.1. A Preacher Mocked 22 1.2. "A Timeless Print?" 23 1.3. The First Impression 24 1.4. The Grotesque in Enthusiasm Delineated 26 1.5. Hogarth's "Advertisement": A First Glance at the Artist's View 29 2. THE ANGLICAN CHURCH FROM HOGARTH'S POINT OF VIEW 30 2.1. Hogarth and the English Clergy 30 2.2. Excursion 1: The Eighteenth-Century Anglican Church 34 2.3. The Sleeping Congregation 42 3. THE PRINT'S FIRST LAYER OF MEANING: RELIGIOUS FANATICISM MOCKED 60 3.1. The Minister as Enthusiast 60 3.2. Excursion 2: George Whitefield and the Methodists 62 3.3. Enthusiasm Delineated: An Anti-Methodist Satire 83 3.3.1. Is that Whitefield in the Print? 83 3.3.2. The Preacher as a Fool 86 3.3.3. The World turned into Hell 93 3.3.4. The Meeting-Place: A Madhouse, a Prison or a "Tabernacle" Scene?104 3.3.5. The Lustful Congregation 120 3.3.6. The Nobleman and Whitefield 144 3.3.7. The Preacher as a Disguised Jesuit 149 3.3.8. The "Poor's Box": just a Mousetrap 154 3.3.9. Hogarth's Early Views on Methodism 158 3.3.10. "Humbly Dedicated to His Grace the Archbishop of Canterbury" 161 3.3.11. "A Methodist's Brain" 167 3.3.12. A Mohammedan as Observer 176 3.4. Short Summary 185 3.5. The Point of View has Slightly Changed: Credulity, Superstition and Fanaticism 187 3.6. A Question Thrown In 219 4. THE HIDDEN MEANING OF THE PRINT: A CUTTING PARODY OF HIGH RELIGIOUS ART 222 4.1. Anti-Christian Motifs 222 4.2. Hogarth as Opponent of Sacred Art? 227 4.3. Hogarth versus the Old Masters: The Puppets of the Clergyman 231 4.3.1. God no longer the Almighty? 233 4.3.2. The Devil as the True Ruler of the World 237 4.3.3. Peter 242 4.3.4. Paul 244 4.3.5. Adam and Eve 246 4.3.6. Moses 252 4.3.7. Aaron 258 4.3.8. The Meaning of the Puppets 260 4.3.8.1. A Satire on Puppet-Shows of Old? 260 4.3.8.2. A Play on Baroque Pulpit Ornaments? 263 4.4. Excursion 3: The Eclectic Theory of Art 268 4.4.1. The Origin of the Eclectic Theory in Italy 269 4.4.2. The Movement of the Theories of "Imitation" from Italy to France 271 4.4.3. Eclecticism in Eighteenth-Century England 275 4.5. Eclecticism from Hogarth's Point of View: Borrowing from the Old Masters as an English artist's weapon against the false and antiquated doctrines of self-styled connoisseurs 286 4.6. Contemporary Public Opposition to Connoisseurs and Art Dealers 302 4.6.1. Essays and Plays in 1761 302 4.6.2. A Satire on Picture Auctions: The Real but Disguised Meaning of the Print 319 4.7. The Burlesque Tendency in Hogarth's Art 329 4.7.1. Reynolds's Idler: Forbidden Mixture of the High and Low in Art! 329 4.7.2. Hogarth's England and Dutch Art 333 4.7.3. The Dutch or "Vulgar" Element in Hogarth's Art 338 4.7.4. The "Test of Ridicule" 347 4.8. The Critics' Action and the Artist's Re-Action: Hogarth's Failure in High Art and his Revenge 352 4.8.1. Hogarth's Turn Away from the "Sublime": the Creation of his "Modern Moral Subjects" 352 4.8.2. Hogarth's Ploy: Borrowing from the Old Masters to Exalt Low Art? 361 4.8.3. Some Examples of Hogarth's Borrowing from the "Sublime" 364 4.8.4. Hogarth's "Anti-Iconography" as a Method of Exposing "Connoisseurs" 387 4.9. Excursion 4: English Iconoclastic Tradition 411 4.9.1. Three Principal Reformers from the Continent 414 4.9.2. Iconoclasm in Pre-Reformation England 417 4.9.3. The Iconoclastic Attitude of English Reformers 422 4.9.4. The Roman Catholic Reaction at the Council of Trent 428 4.9.5. Puritan Radicalism and the Oppression of Archbishop Laud's Conservatism 430 4.9.6. After the Restoration 438 4.9.7. The Question of "Images" in Hogarth's England 445 4.9.7.1. "Grand Tourists" and Continental Idolatry 445 4.9.7.2. Anglican Churchmen as Advocates of Pictures 449 4.9.7.3. The Opinion of British Artists, Critics, and Connoisseurs 452 4.9.7.4. The Pros and Cons of Representing God as an Old Man 464 4.9.7.5. Contemporary Discussion of Religious Art: The Ornaments of Churches Considered (1761) 470 4.10. Enthusiasm Delineated: The Motifs Parodied in the Lower Half of the Print 476 4.10.1. The Cherubim 477 4.10.2. The "Fallen Lady" 484 4.10.3. The Cowering Dark Woman Sitting in the Shade of the Clerk's Lectern 517 4.10.4. The Turk and the "Blessed Virgin" 531 4.10.5. The Jew 539 4.10.6. The "Mob" in the Back Pews 553 4.10.7. The Dog 561 4.10.8. Abraham's Sacrifice of Isaac 575 4.10.9. Enthusiasm Delineated as an Anti-Eucharistic Demonstration 586 4.10.10. The Holy Spirit appearing in a Murderer's Brain 615 4.10.11. The Weeping Criminal: A Portrait of the Artist Theodore Gardelle 620 4.10.12. The Holy Ghost as a "mighty rushing Wind" 636 4.10.13. A Paradox: Sex, Crime and Protestant Religious Art 643 4.10.14. Enthusiasm Delineated as an Antitrinitarian, Polytheistic Work of Art 655 4.11. Short Summary 673 4.12. Who is the Clerk? 676 5. "ENTHUSIASM" AS "LEITMOTIF" 688 5.1. Eighteenth-Century "Enthusiasms" 688 5.2. The "Mental Thermometer" - A Scale of "Enthusiasm"? 708 5.3. Fine Arts Enthusiasm 728 5.4. A Call for Pulpit Enthusiasts 743 6. THE PULPITEER AS MOTIF IN ART: AN ICONOGRAPHIC SURVEY 755 6.1. Preacher-Motifs from Earliest Times to the End of Early Renaissance Art 755 6.2. Sixteenth-Century Preachers in anti-papist, didactic, genre and satirical Contexts 767 6.3. The Image of the Preacher in Seventeenth and Early Eighteenth-Century Art: Mainly Ecstatic? 783 6.4. Preachers in Eighteenth-Century English (and French) Art 800 6.5. Hogarth's Views of Church Interiors 805 6.6. Satires on Orator John Henley as Models for Hogarth's Preacher? 812 6.7. Short Summary 823 7. FORMAL ANALYSIS 825 7.1. The Pictorial Space 825 7.2. Brute, compulsive Vulgarity amidst angular Austerity 831 7.3. A Piercing Light: Hogarth's Playful Juxtaposition of Classical and Baroque Devices 840 7.4. The Total Negation of Classical Composition 853 7.5. Roger de Piles' Balance as Puppet-Show 873 7.6. Short Summary 877 8. CONCLUSION 879 Volume Two 9. SUMMARY FOR ENGLISH READERS 895 10. APPENDIX 905 10.1. Contemporary Sources 907 10.1.1. "Of Connoisseurs in Painting" 907 10.1.2. "Of Connoisseurs in Painting, Letter II" 912 10.1.3. "On the Exhibition of the Artists" 916 10.1.4. "Projected Exhibition of the Sign Painters" 919 10.1.5. The Life of Theodore Gardelle, Limner and Enameller 921 10.2. Bibliography 933 10.3. List of Illustrations 1011 10.4. Illustrations 1026 10.5. Index 1241-1469

For a revised and extended English version of chapter 7.5 of the book, see the online essay, "Upsetting the Balance: Hogarth and Roger de Piles".

This essay proposes the hypothesis that the Irish artist James Hagarty (fl. 1762-1783), not Hogarth, was the leading artistic force behind Bonnell Thornton's parodic Sign Painters' Exhibition of 1762, and that Hogarth's involvements in court art and his turning away from "modern moral subjects" at the end of his life seems to have been one of the targets of the satirical exhibits presented at that show.

Bernd Krysmanski, "'O the Roast Beef of Old England': Hogarth in BSEfreier Zeit vor dem Tor von Calais", Lichtenberg-Jahrbuch 1997 [Saarbrücken: SDV, 1998], 29-52, 115, 178, 195, 217.

This is an extended version of a paper first read on 6 July, 1997 at the twentieth annual meeting of the Lichtenberg-Gesellschaft in Ober-Ramstadt (the birthplace of the famous German Hogarth commentator Georg Christoph Lichtenberg) on the occasion of Hogarth's tercentenary. It explains the nationalist implications of the English taste for roast beef and the Francophobe and antipapist sideswipes and puns in Hogarth's The Gate of Calais. The paper compares, in addition, the gate as shown in the picture with a traditional Gate of Hell and the contrasting motifs of a fat monk and meager French soldiers with Bosch's Gula and Bruegel's Poor and Rich Kitchen. It also includes a brief discussion of Steve Bell's political caricature of 1996 after Hogarth's print.

Bernd Krysmanski, "Patriotisches Rindfleisch, Pariser Pantinen und eine jakobitische Krähe: Ein auf Erkenntnissen von Katharina Braum fußender Nachtrag zu Hogarths 'Gate of Calais' nebst einer ergänzenden Hypothese von Elizabeth Einberg", Lichtenberg-Jahrbuch 1998 [Saarbrücken: SDV, 1999], 286-92.

Additional remarks on the foregoing essay, focusing on the Francophobe motif of wooden shoes and the crow sitting on the cross of the gate in Hogarth's painting of The Gate of Calais, and including a hitherto unpublished hypothesis by Elizabeth Einberg on the motif of the crow.

Bernd Krysmanski, "Hogarth's A Rake's Progress: An 'Anti-Passion' in Disguise", 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era, 4 (1998), 137-82.

This is an enlarged version of a paper first delivered in September, 1993 at the Paul Mellon Centre for Studies in British Art, London, on the occasion of a colloquium on English eighteenth and nineteenth-century art in recent German scholarship. The essay interprets the eight-picture Rake's Progress series as an allusion to the life of Christ. According to this reading, the first scene is the Raising of the Cross; the second the Flagellation; followed in Plate 3 by the Washing of the Feet at a rather "obscene" Last Supper. Scene 4 alludes to Hans Holbein's Noli me tangere and to the Soldiers drawing Lots for Jesus' Cloak; Plate 5 to a Florentine Marriage of the Virgin; followed in Plate 6 by a parody of Raphael's Transfiguration. The seventh scene may play on either the Repose of Christ or Christ's Imprisonment, with some details perhaps borrowed from a Temptation of St Antony or a Harrowing of Hell. The pictorial drama closes with the Lamentation of Scene 8.

Bernd Krysmanski, "Hogarth's 'A Rake's Progress' als 'Anti-Passion' Christi (Teil 1)", Lichtenberg-Jahrbuch 1998 [Saarbrücken: SDV, 1999], 204-42; and "Hogarths 'A Rake's Progress' als 'Anti-Passion' Christi: Ein Erklärungsversuch (Teil 2)", Lichtenberg-Jahrbuch 1999 [Saarbrücken: SDV, 2000], 113-60.

An extended and reorganized German version of the foregoing English essay, now published in two parts. Includes additional material in order to support the view that the whole Rake series alludes to the life of Christ. The second part evaluates in detail Hogarth's blasphemous tendency to profane traditional subjects of Christian iconography in his works, thereby interpreting this negative secularisation as deistic satire tinged with black humour, and as a "test of ridicule" aimed at the self-styled English connoisseurs.

Bernd Krysmanski, "We see a Ghost: Hogarth's Satire on Methodists and Connoisseurs", Art Bulletin, 80 (June 1998), 292-310.

This paper compares the Hogarth print, Credulity, Superstition, and Fanaticism (1762) with its rather different, unpublished first state, Enthusiasm Delineated (1761). The published version of the engraving is discussed as a satire on Methodist fanaticism. However, the first state, which is obscured by the second, is revealed as a polemic on shopworn academic French art theory and on a misplaced, even erotically passionate, enthusiasm for the Old Masters. For an online version of the text, see We see a ghost: Hogarth's satire on Methodists and Connoisseurs.

Bernd Krysmanski, "Lust in Hogarth's Sleeping Congregation - Or, How to Waste Time in Post-Puritan England", Art History, 21, no. 3 (September 1998), 393-408.

This contribution suggests that the overriding theme of the engraved version of The Sleeping Congregation is Hogarth's post-Puritan view of the old vice of Acedia (indolence or sloth). The essay shows that the print, in Hogarth's typical irony, updates a long pictorial and literary tradition of sleeping during a sermon; sleep, the characteristic signifier of indolence combined with lustful thoughts, a vice that a hard working and ambitious member of the rising middle-class such as Hogarth would have had little patience with.

Bernd Krysmanski, "Lichtenbergs Hogarth. Die Kalender-Erklärungen von Georg Christoph Lichtenberg mit den Nachstichen von Ernst Ludwig Riepenhausen zu den Kupferstich-Tafeln von William Hogarth. Herausgegeben von Wolfgang Promies, München; Wien: Carl Hanser Verlag 1999", Lichtenberg-Jahrbuch 1999 [Saarbrücken: SDV, 2000], 257-68.

Lengthy review of Wolfgang Promies's annotated new edition of Georg Christoph Lichtenberg's early Hogarth commentaries which first appeared between 1784 and 1796 in the Göttinger Taschen Calender. These interesting descriptions of Hogarth's satirical prints are not identical with Lichtenberg's famous Ausführliche Erklärung der Hogarthischen Kupferstiche (1794-1799) and have never been translated into English. There is also a short, modified online version of this review essay.

Extended and elaborated version of a paper read on 26 July 1999 at the Tenth International Congress on the Enlightenment, University College, Dublin, 25-31 July 1999. The essay reconsiders the origin of one of Sir Joshua Reynolds's earliest published articles, which appeared in Samuel Johnson's Idler magazine in 1759 and parodied the self-styled "Connoisseur". Eager to find faults in Raphael's Cartoons, Reynolds's "Connoisseur" uses them to air his familiarity with academic rules and modern art theory, citing the "Line of Beauty and Grace", the need for variety, and the virtues of pyramidal design. To date, scholars have therefore presumed the essay to have been a direct response to the theories promoted by Hogarth in his Analysis of Beauty (1753).
The present study challenges this, with the examination of a less known book which appeared only four months before the Idler essay - Benjamin Ralph's The School of Raphael, or the Student's Guide to Expression in Historical Painting. The book was written for the use of all, like Hogarth's Analysis, and teaches skill and good taste by examples engraved after the Raphael Cartoons. It combines older academic ideas and "modern" theories promoted by Hogarth, dealing with contrast and variety in pictures, the pyramidal composition, and repeating Hogarth's exhortation to study nature and the "Line of Beauty".
It is unknown how well, if at all, Benjamin Ralph was acquainted with Hogarth. However, an etching of Four Heads from the Raphael Cartoons at Hampton Court, allegedly part of Hogarth's personal estate and released posthumously by his widow in 1781, hints at a direct contact between the two men, as these Heads resemble the illustrations in the second part of the School of Raphael.
Ralph's book promotes an unusual fusion of academic and Hogarthian terms. To Reynolds, such theories were an anathema. They were flawed and could not subsist together. Thus, it is suggested that Reynolds responded by parodying the new ideas in the dilettantish posturing of his "Connoisseur" in the Idler.

Bernd Krysmanski, "William Hogarths Kritik an der Balance des Peintres: Roger de Piles, Jonathan Richardson, Mark Akenside und Joseph Spence im Fadenkreuz der englischen Satire", in Joachim Möller (ed.), Sister Arts: Englische Literatur im Grenzland der Kunstgebiete, Marburg: Jonas Verlag, 2001, 51-75.

This paper further argues a point made in the author's book on Hogarth's Enthusiasm Delineated and the "We see a Ghost" essay. It interprets the preacher in Hogarth's Enthusiasm Delineated primarily as an art dealer, and, as he is weighing works by Raphael and Rubens, the favourite painters of Roger de Piles, reads the whole scene as an ironic allusion to de Piles's Balance des Peintres, the notorious "hit parade" guide for eighteenth-century connoisseurs of painting. This Balance, much admired by Jonathan Richardson, Mark Akenside and Joseph Spence, was ridiculed in mid-eighteenth-century England by Allan Ramsay and satirists like Laurence Sterne. The essay also includes a new interpretation of the two cherubim depicted in Hogarth's Enthusiasm Delineated.

RECENTLY PUBLISHED

Survey of the major trends in modern Hogarth scholarship. Shows that many writers are ceding to the new historicism and socio-critical interpretations of Hogarth's life and art, or that they concentrate either on gender-specific standpoints or the text-image interrelationships.

WORK IN PROGRESS

Abstract of a paper read on 29 July 1999 at the Tenth International Congress on the Enlightenment, University College, Dublin, 25-31 July 1999:

The patient eye will discover, slipped as incidentals into some of the most unlikely scenes, Hogarth's satirical scope reaching the proverbial parts that decorum would avoid. True, Hogarth never depicted the human genitalia openly, as pornographic prints of the time did; but it seems that he had a malicious delight in lampooning via the genital, the priapic and privy in allusive form - not only in sexual contexts. In The March to Finchley, The Enraged Musician, in two of his Hudibras illustrations, or in Chairing the Members he depicted urinating boys or men. Such smutty motifs were expected only in "low" Dutch genre pictures at that time, and it is possible that in Hogarth's paintings and prints these motifs serve to characterize the low social milieu of his contemporaries.
In other cases animals' sex organs served Hogarth to reflect on human mores, as in the second scene of Marriage A-la-Mode, where a dog at the side of the rather worn-out Viscount ironically recalls his sexual activity of the previous night, or in The Sleeping Congregation, where the lustful thoughts of the whole congregation seem embodied in the shamelessly huge member of the lion of the royal arms emblazoned on the wall of the church.
Other objects could serve as well. In Enthusiasm Delineated the edging of a pulpit cushion alludes to the preacher's exhibitionist tendency. In the Emblematical Print of the South Sea Scheme the wooden horses of a merry-go-round are shaped like grotesque phalluses. In A Harlot's Progress a toppling pile of buckets (in the first scene) and the spilling of a glass of brandy (in the last scene) are close to an orgasmic match. In Noon a stone post of a London street, on top of which a little boy has broken a dish, insinuates a giant erect penis, the broken dish a symbol of defloration. In Evening the walking cane a little boy rides also looks like a phallus and symbolises infantile sexuality. In the first scene of Marriage A-la-Mode, the cannon shot shown in a Baroque portrait of an English Lord refers to the aristocrat's past potency. And the wooden sceptre of a naked masturbating mad "king" in the Bedlam scene of A Rake's Progress gives us to understand that sexual potency has taken the place of regal power.
We can also detect allusions to the female pudenda in some of Hogarth's prints, for instance, in Cunicularii in the curtains of a four-poster bed on which a woman lies in labour, or even in the mocked symbol of the Holy Trinity, which is shown turned upside down in The Sleeping Congregation.
Such hidden motifs suggest that the artist, apparently no child of sorrow, deliberately concealed ambiguous details in his pictures, not only with a moral purpose in mind, but also for his own and his viewers' titillation.

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A revised 259-page version of Hallett's PhD thesis (Courtauld Institute, London, 1996). "This book is not so much interested in historically resurrecting Hogarth as an individual artist as with historically resurrecting the early eighteenth-century satirical engraving as an art form, and demonstrating that it was an ambitious, experimental and multi-faceted branch of graphic culture produced by numerous artists living and working in the English capital, of whom Hogarth was only one." The study combines close readings of individual satirical prints with a broader history of the genre and shows how contemporary graphic satirists like Hogarth, John Sturt, Anthony Walker, John June, Hubert François Gravelot or the two George Bickhams mixed constructs of high and low art to create hybrid and provocative images that dealt with a broad range of controversial issues, including alcoholism, the excesses of fashion, financial collapse, freemasonry, political corruption, and prostitution. Contains "Select Bibliography" (pp. 246-53) and Index (pp. 254-59). See the review by W[illiam] A[rthur] Speck, H-Albion, H-Net Reviews, May, 2000.

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Elizabeth Kathleen Mitchell, Death by Hogarth, exh. cat., Harvard University Art Museums, Cambridge, Mass., 8 May-18 July 1999.

72-page catalogue focusing on print narratives with references to criminal culture and the melodramatic rituals that accompanied executions, particularly hangings. The author examines Hogarth's prints that deal with the theme of execution - The Idle 'Prentice Executed at Tyburn, A Just View of the British Stage, The Reward of Cruelty, etc. - as one of many unfortunate wordly ends as a result of a life of crime. The catalogue also discusses many other prints from Hogarth's picture series. Contents: Foreword by James Cuno; Introduction, pp. 11-13; "Execution in the Round", pp. 15-28; "Execution Proper", pp. 29-50; "Predetermined Sexuality and 'Feminine' Crimes", pp. 51-68; Bibliography, pp. 69-70; and Index, pp. 71-72.

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Marcia Pointon, Hogarth's 'Sigismunda' in focus, With a technical essay by Rica Jones, exh. cat., Tate Britain, London, 24 July-4 November 2000.

This 40-page catalogue throws new light upon Hogarth's Sigismunda, considering the painting in the context of contemporary debates about female sexual desire, luxury consumption, and the modernity of English art. Includes essays by Marcia Pointon ("Virtue, Excess and Danger", pp. 7-29) and Rica Jones ("Technical Examination of the Alterations in Sigismunda", pp. 30-34), and lists "Works in the Display" (p. 35). See also the contra-critical review by Richard Dorment in The Daily Telegraph, 23 August 2000.

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Matthew Craske, William Hogarth, Princeton: Princeton University Press; London: Tate Gallery Publishing Ltd, 2000.

80-page introduction to Hogarth's varied artistic production, including a survey of his engravings, portraits, and his famous picture series from a socio-historical point of view. The author in desiring not to write a chronological life-story of Hogarth has chosen a series of thematic essays "each devoted to an aspect of the social and cultural history of the period". The book reveals Hogarth as an English nationalist and as a figure who reinvented the very idea of what it is to be an artist. It also sees him as a humourist who brilliantly invented a means of reproducing wit for wider public consumption. The study shows that Hogarth's works were aimed at fostering self-improvement, whereby vice can ruin the aristocrat as swiftly as the harlot, but does so with great humour. We meet an artist emblematic of his time who is ultimately innovative and long-sighted. Contents: Introduction (pp. 6-10); 1. The Freedom of the Times (pp. 11-13); 2. The Ideals and Realities of Self-Improvement (pp. 14-24); 3. 'Britophil' (pp. 25-40); 4. Liberty and Libertinism (pp. 41-57); 5. Hogarth's Sympathy for, and Affinity with, the 'Nobodies' of Society (pp. 58-74).

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Mark Hallett, Hogarth, London: Phaidon Press Limited, 2000.

This well illustrated survey of the artist's life and work shows that Hogarth's art celebrates the benefits of commerce, politeness and patriotism, while simultaneously focusing on the corruption, hypocricy and prejudice they brought in their wake. It provides an account of the full range of his work - from aristocratic portraits, to satiric prints commenting on the darker side of contemporary society. His work is situated within the context of the times, from the contrasing lifestyles of the rich and poor, to crime, fashion, scandal, politics and economics. Contents: 1. Ink: Carving out a Career (pp. 9-38); 2. Paint: Talking Pictures (pp. 39-70); 3. Sex, Disease and Pity: A Harlot's Progress (pp. 71-96); 4. Satire and the City: The Painter of Modern London (pp. 97-132); 5. Charity and Community: Hospital Painting (pp. 133-64); 6. Foreign Affairs: Marriage à la Mode (pp. 165-96); 7. Black and White: A Tale of Two Cities (pp. 197-234); 8. Design for Life: The Analysis of Beauty (pp. 235-60); 9. Faction: Art, Politics and Propaganda (pp. 261-92); 10. Exposure and Retreat: The Final Years (pp. 293-316); 11. Afterlife: Reinventing Hogarth (pp. 317-28); miscellaneous appendices (pp. 329-49).

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Bernadette Fort / Angela Rosenthal (eds.), The Other Hogarth: Aesthetics of Difference, Princeton: Princeton University Press, 2001.

Trendy collection of fifteen essays by international art historians and cultural theorists who investigate an overlooked dimension of Hogarth's art and aesthetics: the staging of otherness and difference. It shows that, whether Hogarth depicts a harlot; a wealthy patroness; a gouty earl; a dissolute rake; a black servant; an "effeminate parasite"; issues of class; gender; and race, reverberate throughout his paintings and prints and deeply inform his unique innovation, the "modern moral subject". Contents: James Grantham Turner ("'A Wanton Kind of Chace': Display as Procurement in A Harlot's Progress and its Reception"); Frédéric Ogée ("The Flesh of Theory: The Erotics of Hogarth's Lines"); Christina Kiaer ("Professional Femininity in Strolling Actresses Dressing in a Barn"); Peter Wagner ("Spotting the Symptoms: Hogarthian Bodies as Sites/Sights of Semantic Ambiguity"); Angela Rosenthal ("Unfolding Gender: Women and the 'Secret' Sign Language of Fans in Hogarth's Work"); Mark Hallett ("Manly Satire: William Hogarth's A Rake's Progress"); Richard Meyer (" 'Nature Rever'd': Satire and Sexual Difference in Hogarth's London"); David H. Solkin ("The Fetish Over the Fireplace: Disease as genius loci in Marriage A-la-Mode"); Sarah Maza and Sean Shesgreen ("Marriage in the French and English Manners: Hogarth and Abraham Bosse"); Nadia Tscherny ("An Un-Married Woman: Mary Edwards, William Hogarth, and a Case of Eighteenth-Century British Patronage"); Patricia Crown ("Hogarth's Working Women: Commerce and Consumption"); Amelia Rauser ("Embodied Liberty: Why Hogarth's Caricature of John Wilkes Backfired"); David Bindman (" 'A Voluptuous Alliance Between Africa and Europe': Hogarth's Africans"); Lubaina Himid ("A Fashionable Marriage"); and Bernadette Fort (Lubaina Himid's A Fashionable Marriage: A Postcolonial Hogarthian "Dumbshow").

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David Bindman / Frédéric Ogée / Peter Wagner (eds.), Hogarth: Representing nature's machines, Manchester and New York: Manchester University Press, 2001.

A collection of twelve tercentenary papers by some of the leading authorities on Hogarth. Reveals the artist to have been remarkably aware of the important intellectual issues of his time, for instance, eighteenth-century philosophy and science. The essays are thematically arranged according to three parts: "I: Hogarth's Empiricism", "II: Observing Modern Life"; and "III: Hogarth and Christian Typology". The volume includes contributions by David Bindman (Preface); Frédéric Ogée ("From text to image: William Hogarth and the emergence of a visual culture in eighteenth-century England"; "Je-sais-quoi: William Hogarth and the representation of the forms of life"); Peter Wagner ("Hogarthian frames: The 'new' eighteenth-century aesthetics'"; "Representations of time in Hogarth's paintings and engravings"); John Bender ("Matters of fact: virtual witnessing and the public in Hogarth's narratives"); Michel Baridon ("Hogarth's 'living machines of nature' and the theorisation of aesthetics"); Sean Shesgreen ("William Hogarth's Enraged Musician and the Cries of London"); Mark Hallett ("The view across the city: William Hogarth and the visual culture of eighteenth-century London"); Diana Donald ("This truly natural and faithful painter': Hogarth's depiction of modern life"); Werner Busch ("Hogarth's Marriage A-la-Mode: the dialectic between precision and ambiguity"); David H. Solkin ("The excessive Jew in A Harlot's Progress"); and Ronald Paulson ("Some thoughts on Hogarth's Jew: issues in current Hogarth scholarship").

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Hogarth's Election Entertainment: Artists at the Hustings, ed. David Bindman, David Ekserdjian and Will Palin, exh. cat., Sir John Soane's Museum, London, 23 March-25 August 2001.

Well illustrated 34-page APOLLO Magazine publication on Hogarth's Election series and its influence. Includes short articles by David Bindman, Elizabeth Einberg, Emma Baudey, Eva Pol, Tamatha Blair and Stephanie Eu together with a catalogue of the works exhibited.

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Ronald Paulson, Hogarth's Harlot: Sacred Parody in Enlightenment England, Baltimore and London: Johns Hopkins University Press, November 2003.

Includes a detailed examination of the parameters of blasphemy in eighteenth-century England and the changing attitudes toward the central tenets of the Christian Church among artists in this period. Explores engravings by Hogarth; poems by John Milton, Alexander Pope, Christopher Smart, William Cowper, and William Blake; plays by Nicholas Rowe and George Lillo; paintings and sculptures by Benjamin West, John Zoffany, Joseph Wright of Derby, and Louis-François Roubiliac; and oratorios by George Frederic Handel. Contents: Introduction: The Sacrament of the Eucharist; I. The Atonement; II. Incarnation; III. Redemption; IV. Mediation; and V. Grace.

The author, a specialist in seventeenth and eighteenth-century English popular music, has written a reference tool for art historians seeking music related information on Hogarth. The book contains information on Hogarth and London's musical scene, the contexts for his musical imagery, his musical accuracy, including a detailed analysis of his representations of particular instruments and a discussion of his realistic and symbolic uses of musical imagery. Later chapters deal with the skimmington or 'rough music' procession in Hogarth's prints for Samuel Butler's Hudibras and the influence this had on his subsequent satirical use of musical imagery; eighteenth-century uses of burlesque music to mock the act of music-making; Hogarth's eight afflicted and humiliated solo fiddlers from Hudibras to The Bruiser; his abject ballad sellers; and The Beggar's Opera as a satire of Italian opera on the one hand and society on the other. The final chapter, on Hogarth's The Enraged Musician print itself, draws together the uses of musical imagery discussed in previous chapters. An exploration of commentary on the print since its publication is followed by an analysis from a musical perspective. In addition, the book contains five appendices: 1. eighteenth-century commentaries on The Enraged Musician, including music of the street cries; 2. ballad texts and tunes related to Hogarth's ballad titles; 3. the complete text of Bonnell Thornton's Burlesque Ode on St Cecilia's Day; 4. text and tunes of the scene in The Beggar's Opera painted by Hogarth; and 5. other musical examples indicated in the text.

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Mark Hallett and Christine Riding, Hogarth, With an essay by Frédéric Ogée and Olivier Meslay and additional catalogue contributions by Tim Batchelor, exh. cat., Musée du Louvre, Paris, 18 October 2006-7 January 2007; Tate Britain, London, 7 February-29 April 2007; La Caixa, Madrid, 29 May-26 August 2007. London: Tate Publishing, 2006.

Catalogue of one of the most comprehensive exhibitions of Hogarth's paintings and prints ever held, examining the whole of his life and work, showing nearly every aspect of Hogarth's multi-faceted career and highlighting his unique contribution to the development of modern British art. The exhibition includes a large number of major loans from private and public collections around the world. The catalogue text discusses "Hogarth's variety", his modernity, the "Pictorial Theatre" of the 1720s, Hogarth's conversation pieces, his moral series, his portraiture, his patriotism and politics, and his depiction of crime and punishment. There are also French and Spanish editions of this catalogue.

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Robin Simon, Hogarth, France and British Art: The rise of the arts in eighteenth-century Britain, London: Hogarth Arts Ltd., Distributed by Paul Holberton Publishing, 2007.

400-page reappraisal of the art and achievement of Hogarth by the Editor of The British Art Journal and previous Editor of Apollo magazine. It is argued that Hogarth's effective invention of British art was founded upon a profound knowledge of contemporary French art and theory, as British culture in Hogarth's time habitually defined itself in relation to the art and aesthetic theories of France. Therefore, the author conjures up the French and wider European context within which Hogarth's art was formed. The study examines the ways in which Hogarth interacted with and influenced his contemporaries not only in painting and print-making, but also in sculpture, poetry, the novel, the theatre, public life, art education, copyright law, music and opera.

VALUABLE RESOURCES NOT TO BE IGNORED

This is the definitive work on Hogarth's life, based on archival research, which uses almost all the hitherto published and unpublished sources, e.g. Hogarth's manuscripts, baptismal and burial registers, rate books, records of banks and insurance companies, memoirs and letters of contemporaries, and notices in periodicals, including Hogarth's own advertisements. The study sets out, in addition, to show "how Hogarth's background, milieu, personal life, and aesthetic ideas contributed to produce and define his unique kind of art". The author realises, in the context of Augustan literature, that Hogarth's art is based on parodic allusions to specific images as a vehicle of satire. The first edition also contains important appendices in volume 2, not to be found in the revised version of 1991-1993. On the other hand, the new edition deals with several new aspects of Hogarth and his art, e.g. his politics, aesthetics and deistic attitudes, thus correcting a great many small errors of the former edition.

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Jenny Uglow, Hogarth: A Life and a World, London: Faber and Faber Limited, 1997.

Another modern comprehensive, well written and well reviewed 794-page biography in one volume. The book links Hogarth's achievement to his times, placing his fierce nationalism and his philanthropic interests within the competitive world of the artists and the profound eighteenth-century re-thinking of culture and 'politeness'. See also the review by Michael Kimmelman, The New York Times, November 30, 1997.

First serious and complete catalogue raisonné of Hogarth's engravings, which systematises, corrects, and augments the lists of John Bowyer Nichols (1833) and Austin Dobson (1907). The extensive commentary gives circumstances of the various states of the prints, their publication and contemporary references, and informs the modern reader of their meaning. All prints are reproduced from the originals.

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Joseph Burke / Colin Caldwell, Hogarth: The Complete Engravings, London: Thames and Hudson, 1968. Repr. London: Alpine Fine Arts Collection (U.K.) Ltd., n.d.

Contains a good introduction to Hogarth in general and brief commentaries on the engravings with, however, captionless reproductions of all prints. The text on the prints is an abridged catalogue based on Paulson's Hogarth's Graphic Works. There are also French and German translations of this catalogue.

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Sean Shesgreen (ed.), Engravings by Hogarth: 101 Prints, New York: Dover Publications, Inc., 1973.

Selection of all the major engravings with an introduction on Hogarth's "world" plus commentaries of variable length that stress social class in the prints. Includes, however, among the many good large-size reproductions after the Hogarth originals, a few after plates re-tooled in the nineteenth century.

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Berthold Hinz / Hartmut Krug, et al., William Hogarth 1697-1764: Das vollständige graphische Werk, 2nd edn, Gießen: Anabas-Verlag Günter Kämpf KG, 1986.

German catalogue containing detailed commentaries on the engravings, often paraphrasing the English comments by Ronald Paulson. However, includes some new research.

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William Hogarth: Der Kupferstich als moralische Schaubühne, exh. cat., Wilhelm-Busch-Museum Hannover, Deutsches Museum für Karikatur und kritische Grafik, 15 March - 17 May 1987, Stuttgart: Verlag Gerd Hatje, 1987.

German 248-page catalogue based on the former Lichtenberg collection of Hogarth's engravings, now kept at the Niedersächsische Staats- und Universitätsbibliothek, Göttingen, and on Lichtenberg's commentaries on Hogarth. Does not include, however, the minor prints.

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David Bindman, Hogarth and His Times: Serious Comedy, exh. cat., The British Museum, London, 26 September 1997-4 January 1998.

Catalogue of an exhibition of Hogarth's engravings, published to mark the tercentenary of Hogarth's birth. It looks at the varied reactions to Hogarth's prints and the different identities imposed upon the artist over the centuries: witty satirist; stern moralist; libertine; aggressive self-promoter; detached observer; and man of the people. Includes many illustrations also of other contemporary satirical prints. The exhibition was also shown in the USA. See the review by Thomas W. Rieger, The Tübingen Review of English Studies, 2 February 2000.

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William Hogarth: Conciencia y crítica de una época: 1697-1764, exh. cat., ed. José Manuel Matilla and José Miguel Medrano, Centro Cultural del Conde Duque, Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Calcografía Nacional, Ayuntamiento de Madrid, Cuarta Tenencia de Alcaldía, Concejalía de Cultura, Educación, Juventud y Deportes, January-March 1998.

Detailed 350-page catalogue of Hogarth's engravings in Spanish, also including essays on Hogarth's "edifying comic histories" and his aesthetics. For some Spanish conference papers on the occasion of this exhibition, see "La pintura de Hogarth proporciona un testimonio excepcional de la sociedad británica del siglo XVIII", asegura Pilar de Miguel; Ramón Maruri diserta mañana sobre la obra de Hogarth y la realidad social de su tiempo, en el ciclo de conferencias de la exposición sobre el pintor inglés and Tomás Mantecón, "La obra de Hogarth es fruto de su capacidad de observación y de que en aquella época Londres era el mejor laboratorio social del continente".

To date, the best critical appreciation of Hogarth's drawings. Contains, in the introduction, a good account of Hogarth's artistic character, which is bound up with his private character.

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Michael Ayrton (ed.), Hogarth's Drawings, Notes on the Plates by Bernard Denvir, London: Avalon Press, 1948.

Reproduces 80 drawings, some of which are obviously not by Hogarth.

Pioneering, perceptive and well illustrated, critical study, posthumously published, which places Hogarth for the first time firmly in the mainstream of European art. Discusses, from a sociological, and liberal Marxist, point of view, "Hogarth's relationship both with English and foreign art, past and contemporary, his premises and parallels, his similarities and even his borrowings".

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David Kunzle, History of the Comic Strip, Volume I: The Early Comic Strip: Narrative Strips and Picture Stories in the European Broadsheet from c.1450 to 1825, Berkeley, Los Angeles, London: University of California Press, 1973.

Collects, and comments upon, a vast amount of traditional picture stories taken from different countries and periods, including Hogarth's narrative series.

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Werner Busch, Nachahmung als bürgerliches Kunstprinzip: Ikonographische Zitate bei Hogarth und in seiner Nachfolge, Hildesheim and New York: Georg Olms, 1977.

Though not widely known among Anglo-American scholars, this is an illuminating German study on Hogarth's borrowings in the context of eighteenth-century theories of art. Contains many new insights.

Scholarly edition of the Analysis of Beauty (1753). Also incorporates important Hogarth manuscripts: the "Autobiographical Notes" of c. 1763 and unpublished parts of the Analysis text.

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Ronald Paulson (ed.), William Hogarth, The Analysis of Beauty, New Haven and London: Yale University Press, 1997.

A new edition of the complete text of the Analysis of Beauty with Paulson's notes and introduction, supplying a good deal more annotation than Burke. Has also an appendix with illuminating manuscript passages that Hogarth omitted from the final version. Does not, however, include Hogarth's "Autobiographical Notes". The introduction places the Analysis of Beauty in the British empiricist and aesthetic traditions of Locke, Addison and Shaftesbury and concludes with a useful account of the reception of Hogarth's book.

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For a digital version of The Analysis of Beauty, see the first phase of Professor William Vaughan's project, 18th Century Writings on Art: A Virtual Library. It should be noted that there are also recent Russian, French, German, Spanish and Italian translations of the Analysis of Beauty. The German edition includes an interesting postscript by Peter Bexte. See also G. Sertoli's review of the modern Italian translation by C. Maria Laudando. There is also a critical Italian study of Hogarth's Analysis of Beauty by Filiberto Menna (Salerno, 1988).

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Michael Kitson, "Hogarth's 'Apology for Painters'", Walpole Society, 41 (1966-1968), Oxford, 1968, 46-111.

Modern critical and well-annotated edition of an important Hogarth manuscript of c. 1761 - here for the first time transribed in Hogarth's original wording. Includes an excellent introduction. For some corrections of, and additions to, Kitson's reading of Hogarth's handwritten notes, see Bernd W. Krysmanski, Hogarth's 'Enthusiasm Delineated': Nachahmung als Kritik am Kennertum, Hildesheim, Zurich, New York: Georg Olms, 1996, I: 227-228n570, 288n736, 310n766, 741n1848.

Key study showing the links between literary and visual satire in Hogarth's work. The book is devoted largely to Hogarth's influence upon Tobias Smollett and particularly Henry Fielding.

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Peter Jan de Voogd, Henry Fielding and William Hogarth: The Correspondences of the Arts, Amsterdam: Rodopi, 1981 [Costerus, new ser., 30].

A study of the parallel careers of Hogarth and Fielding which analyses the extent to which the work of each influenced the other.

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Murray Roston, Changing Perspectives in Literature and the Visual Arts, 1650-1820, Princeton: Princeton University Press, 1990.

Includes, pp. 170-89, a section that deals with Hogarth and Fielding.

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C. Maria Laudando, Parody, Paratext, Palimpsest: A Study of Intertextual Strategies in the Writings of Laurence Sterne, PhD thesis, Istituto Universitario Orientale, Naples, 1995.

Interesting study on Laurence Sterne's writings, overlooked by most scholars. Chapter Four, "From Stage to Page to Frame: A Binocular Reading of Hogarth's and Sterne's Narrative Artifacts", pp. 193-282, is devoted to Sterne and Hogarth.

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Jerry C. Beasley, Tobias Smollett, Novelist, Athens, GA: University of Georgia Press, 1998.

Views Tobias Smollett's novels as exercises of a visual imagination and seeks to demonstrate intersections between the graphic and verbal arts. Like Hogarth, Smollett was both chronicler and interpreter of what he saw.

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Ronald Paulson, The Life of Henry Fielding: A Critical Biography, Oxford: Blackwell Publishers, 2000.

New critical biography demonstrating how Fielding's life and writings evolved according to his experiments with different professions (playwright and theater-manager; journalist; barrister; magistrate). The study also situates Fielding's writings within contemporary political, aesthetic, and philosophical controversies. Chapter 2 ("Playwright, 1730-1737") includes, pp. 78-92, a subchapter on Hogarth. The English artist is a recurrent point of reference in most other chapters.

Good brief and well illustrated study of Hogarth the artist.

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John Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century, New York: Farrar Straus Giroux, 1997.

Focusing on Johnson and Boswell, Reynolds, Garrick, Handel and some lesser-known figures of the eighteenth century, this 721-page study sets out to show how literature, painting, music, and the theatre related to an increased public interest; how artists used, or were used by, publishers, plagiarists, impresarios, managers, art dealers and connoisseurs; and how contemporary ideas on taste combined with patriotic fervour and shrewdly managed commerce to create a vibrant, dynamic culture. Several sections deal with Hogarth. See the review by Michael Dirda in the Washington Post, 9 November 1997.

Werner Busch, Das sentimentalische Bild: Die Krise der Kunst im 18. Jahrhundert und die Geburt der Moderne, Munich: C. H. Beck, 1993.

Through a discussion of many examples of history, genre and landscape painting, as well as work of portraiture and caricature, this important German study shows that eighteenth-century artists' views of the world were no longer bound to traditional art theories, but were equally individual, sentimental and subjective. Chapter two, on "Genre", deals with Hogarth's "modern moral subjects" and offers a new and a surprising interpretation of Beer Street and Gin Lane.

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Vincent Carretta, 'The Snarling Muse': Verbal and Visual Political Satire from Pope to Churchill, Philadelphia: University of Pennsylvania Press, 1983.

Survey of the great period of English verbal and pictorial satire from 1714 to 1764, including an extended discussion of Hogarth's Emblematical Print of the South Sea Scheme (1721) and its sources. The author further sees Hogarth's political prints from the 1740s on as representative of the development of caricature.

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Vincent Carretta, George III and the Satirists from Hogarth to Byron, Athens and London: University of Georgia Press, 1990.

Discusses the part played by Hogarth's satires during the 1760s on the opponents of George III and the contemporary debate over the role of the monarchy in the British constitution. Also makes reference to the possible influences Hogarth's images had on later satirists, including William Blake and James Gillray.

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Robert L. S. Cowley, Marriage A-la-Mode: a re-view of Hogarth's narrative art, Manchester: Manchester University Press, 1983. American edition as Hogarth's 'Marriage A-la-Mode', Ithaca, NY: Cornell University Press, 1983.

Doubtless one of the best monographs on Hogarth, and, to date, the most comprehensive study of the content and formal structure of the six Marriage A-la-Mode pictures.

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David Dabydeen, Hogarth's Blacks: Images of Blacks in Eighteenth Century English Art, Mundelstrup [Denmark] and Kingston-upon-Thames, Surrey: Dangaroo Press, 1985. Further editions: Manchester, 1987, and Athens, Georgia, 1987.

Study on Hogarth's representations of black people: original; illuminating; well-researched; and well-written.

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David Dabydeen, Hogarth, Walpole and Commercial Britain, London: Hansib Publishing Limited, 1987.

Political reading of Hogarth's South Sea Scheme, A Harlot's Progress and A Rake's Progress as satires on Walpole. Additionally traces South Sea motifs in other early works by Hogarth.

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Javier Docampo / Francisco Calvo Serraller, William Hogarth en la Biblioteca Nacional, exh. cat., Bilboko Arte Eder Museoa [Museo de Bellas Artes de Bilbao], Bilbao, 1997.

149-page Spanish catalogue of Hogarth's engravings. Includes, apart from the extensively annotated "Cat�logo", an introduction by Javier Docampo ("Introducci�n: William Hogarth regresa a Bilbao", pp. 13-24) and an essay by Francisco Calvo Serraller ("Hogarth: Pionero de la modernizaci�n del arte europeo", pp. 25-37). For another Spanish exhibition of Hogarth's prints at the Biblioteca National, curated by Javier Docampo, see British Satirical Prints: Hogarth and His Age.

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Johannes Dobai, Die Kunstliteratur des Klassizismus und der Romantik in England, 4 vols., Bern: Benteli, 1974-1984.

Though often disregarded by Anglo-American scholars, these four very large volumes include, to date, the best and most comprehensive compilation of, and comment on, aesthetic theories and literature on art in eighteenth and early nineteenth-century Britain. Contains, in volume II, an extensive chapter on Hogarth's writings and detailed bibliographical references.

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Jürgen Döring, Eine Kunstgeschichte der frühen englischen Karikatur, Hildesheim: Gerstenberg Verlag, 1991 [Schriften zur Karikatur und kritischen Grafik, ed. Herwig Guratzsch, Wilhelm-Busch-Museum Hannover, vol. 1].

Thorough and well-illustrated study placing Hogarth and his prints in the context of the life and work of other pictorial satirists of the period. Includes excellent sections on caricature as an art form and on the print trade in London.

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Judy Egerton, Hogarth's 'Marriage A-la-Mode', exh. cat., The National Gallery, London, 15 October 1997-18 January 1998.

Well-illustrated scene-by-scene account of the Marriage A-la-Mode paintings "whose colour is continually inventive and subtle". Describes the "innumerable details which contribute to the story's meaning" and which "are to be found not only in the faces, gestures and manners of the characters (...), but also in the furniture, objets d'art, and above all the 'pictures within the pictures' ". See also the review by Richard Dorment.

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Elizabeth Einberg (introduction and catalogue), Manners & Morals, Hogarth and British Painting 1700-1760, exh. cat., The Tate Gallery, London, 1987.

Charts the emergence of a British School of painting from its exclusive and foreign-dominated status in the reign of Queen Anne, up to the establishment of a true native school by the end of the reign of George II. Hogarth is shown in the context of his fore-runners, rivals and contemporaries such as Kneller, Thornhill, Highmore and Hayman, as well as of the "new men" like Ramsay, Gainsborough, Romney and Reynolds.

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Elizabeth Einberg, Hogarth the Painter, exh. cat., Tate Gallery, London, 4 March-8 June 1997.

56-page catalogue accompanying the tercentenary of Hogarth's birth, offering a survey of 31 of his paintings from the late 1720s to 1759.

* * *

Elizabeth Einberg / Judy Egerton, The Age of Hogarth: British Painters Born 1675-1709, London, 1988 [The Tate Gallery Collections, II].

Includes thorough descriptions by Elizabeth Einberg of all of Hogarth's pictures in the Tate Gallery, London.

* * *

Lawrence Gowing, William Hogarth, exh. cat., The Tate Gallery, London, 2 December 1971-16 February 1972.

Excellent survey of Hogarth's art, covering the full range of his paintings, drawings and engravings. Catalogue and commentary by Lawrence Gowing; introductory essay on Hogarth's life by Ronald Paulson.

* * *

Rhian Harris / Robin Simon (eds.), Enlightened Self-interest: The Foundling Hospital and Hogarth, An exhibition at the Thomas Coram Foundation for Children, 40 Brunswick Square, London WC1N 1AZ, 5-29 November 1997.

Well-illustrated 48-page exhibition catalogue examining "William Hogarth's relationship with the Foundling Hospital in terms of what Edmund Burke called 'Enlightened Self Interest': both his altruism and artistic professionalism". Includes essays by Brian Allen, Roy Porter, Jacqueline Riding, Martin Postle, Steven Parissien, Elizabeth Einberg and Mike Bowles.

* * *

Fiona Haslam, From Hogarth to Rowlandson: Medicine in Art in Eighteenth-Century Britain, Liverpool: Liverpool University Press, 1996.

Comprehensive study, placing "the art of medicine" of the eighteenth century in its social, medical, historical and political context. Considers in detail medical images in Hogarth's satires. See the review by J. H. Baron in the British Medical Journal, 314 (22 March 1997), 911.

* * *

Berthold Hinz, William Hogarth, 'Beer Street' and 'Gin Lane': Lehrtafeln zur britischen Volkswohlfahrt, Frankfurt/M.: Fischer Taschenbuch Verlag, 1984.

Handy 74-page monograph on Beer Street and Gin Lane. Part of the German "kunststück" series.

* * *

Derek Jarrett, The Ingenious Mr. Hogarth, London: Michael Joseph, 1976.

Popular account of Hogarth's career in its historical and political context, based on Hogarth's unpublished manuscript, the "Autobiographical Notes", and Ronald Paulson's Hogarth: His Life, Art, and Times. Occasionally offers new information and correctives to Paulson's scholarship.

* * *

Ulrich Joost / Gerd Unverfehrt (eds.), Hogarth und die Nachwelt: Von Lichtenberg bis Hrdlicka, exh. cat., Kunstsammlung der Universität Göttingen im Auditorium, 13 November-18 December 1988.

108-page catalogue focusing on the reception of Hogarth's work in eighteenth-century England, Germany and Russia, and on later artists influenced by Hogarth. Includes worthwhile papers by Jürgen Döring ("Kritik an Hogarth im 18. Jahrhundert", pp. 23-31) and Marina Peltzer ("Hogarth in Rußland", pp. 32-37).

* * *

Jack Lindsay, Hogarth: His Art and His World, London: Hart-Davis & MacGibbon, 1977; New York: Taplinger Publishing Co., 1979.

Good 277-page study on Hogarth, which intends to bring out what the author feels "to be the significance of the 'Analysis' in relation to Hogarth's own work, the art of his world, and art in general".

* * *

Neil McWilliam, Hogarth, London: Studio Editions, 1993. Reprint: London: Studio Editions, 1994.

General introduction to the work of Hogarth, focusing on the paintings and organised thematically rather than as a biographical narrative. Includes good colour reproductions of the paintings.

* * *

'Marriage A-la-Mode' - Hogarth und seine deutschen Bewunderer, exh. cat., ed. Martina Dillmann and Claude Keisch, Staatliche Museen zu Berlin, Nationalgalerie - Altes Museum, Berlin, 18 December 1998 - 28 February 1999, Städelsches Kunstinstitut und Städtische Galerie Frankfurt am Main, 25 March - 20 June 1999.

Well illustrated 160-page catalogue including, apart from a German translation of Judy Egerton's account of Hogarth's Marriage A-la-Mode, contributions by several German scholars, among them essays by Werner Busch and Karl Arndt.

* * *

Charles Mitchell (ed.), Hogarth's Peregrination, Oxford: Clarendon Press, 1952.

54-page publication on Hogarth's tour through Kent, including many particulars about the events and the men who accompanied him.

* * *

Joachim Möller (ed.), Hogarth in Context: Ten Essays and a Bibliography, Marburg: Jonas, 1996.

Presents American, British and German essays by prominent Hogarthian scholars who hold different literary and art historical perspectives, thereby demonstrating that Hogarth's work is not solely the province of the visual arts, but is at a borderline between "sister arts". Contains contributions by Werner Busch, Ronald Paulson, Stephen C. Behrendt, Robert L. S. Cowley, Mary Klinger Lindberg, Vincent Carretta, Jeanne K. Welcher, Walter T. Rix, Barry Wind and Joachim Möller. The volume includes a remarkable bibliography on Hogarth.

* * *

Frédéric Ogée (ed.), The Dumb show: Image and society in the works of William Hogarth, Oxford: Voltaire Foundation, 1997 [Studies on Voltaire and the Eighteenth Century, 357]

Extended English edition of some papers delivered on the occasion of a French conference on Hogarth in 1992. The contributions (by Michel Baridon, David Bindman, Jacques Carré, Pierre Georgel, Bernd Krysmanski, Marie-Madeleine Martinet, Frédéric Ogée, Roy Porter and Peter Wagner) deal with Hogarth's eccentricity; his ambiguous position as an artist; and the ambivalence of his pictures, which "result from his boldest artistic originality: his adoption of a polycentric stage, on which the 'dumb show' exhibited by his 'players' offers concomitant areas of meaning".

* * *

Frédéric Ogée / Hans-Peter Wagner / Peter Hanns Reill (eds.), William Hogarth: Theater and the Theater of Life, An exhibition drawn from the collection of Gerald and Suzanne Labiner, 16 March to 6 April 1997, Grunwald Center for the Graphic Arts, UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles, 1997.

Brief catalogue, putting together a selected number of prints by Hogarth that show the influence of the theatre on his art.

Ronald Paulson, The Art of Hogarth, London: Phaidon; New York: Praeger, 1975.

A thoroughly illustrated volume and an attempt to deal primarily with the paintings, being "a general critical introduction to the enjoyment of Hogarth's art" emphasising the "difference in the reading of a Hogarth print and the seeing of a Hogarth painting".

* * *

Ronald Paulson, Popular and Polite Art in the Age of Hogarth and Fielding, Notre Dame, Indiana and London: University of Notre Dame Press, 1979 [Ward-Phillips Lectures in English Language and Literature, 10]

Links modes of expression to social structures, circumstances and settings from c. 1730 to 1750. Refers to alphabet books, decks of cards, signboards, engravings and novels.

* * *

Ronald Paulson, The Beautiful, Novel, and Strange: Aesthetics and Heterodoxy, Baltimore and London: The Johns Hopkins University Press, 1996.

Includes a revisionist interpretation of Hogarth's aesthetics, building on his deist-Freemason connections (first explored in Hogarth, Volume 2 and 3).

* * *

Ronald Paulson, Don Quixote in England: The Aesthetics of Laughter, Baltimore and London: Johns Hopkins University Press, 1998.

This study of the reception of Cervantes' comic novel in England includes a discussion of Hogarth's Don Quixote illustrations. For more details, see the reviews by Laura J. Gorfkle, Cervantes: Bulletin of the Cervantes Society of America, 19, no. 1 (1999), 145-49; Peter M. Briggs, Bryn Mawr Review of Comparative Literature, 1, no. 1 (Summer 1999).

* * *

Iain Pears, The Discovery of Painting: The Growth of Interest in the Arts in England, 1680-1768, New Haven and London: Yale University Press, 1988.

Though there is little on Hogarth in this book, it deals with the contemporary art market; the London artists' societies; the tastes, habits, and patronage of the eighteenth-century aristocracy and bourgeoisie. Includes, however, some misdatings.

* * *

Marcia Pointon, Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England, New Haven and London: Yale University Press, 1993; paperback edition: 1997.

Hogarth is a recurrent point of reference in this book, which includes, for instance, interesting readings of some of Hogarth's conversation pieces.

* * *

Peter Quennell, Hogarth's Progress, London: Collins; New York: Viking Press, 1955. Reprinted 1977.

According to his own statement in the preface, the author has tried "to draw a portrait of the artist, and to relate an account of his works to the description of the period in which he lived".

* * *

Michael Rosenthal, Hogarth, London: Jupiter Books, 1980.

Provides a brief survey of what we can discover about Hogarth's art by looking closely at his pictures. The book is divided into two parts: a 22-page introduction and 86 annotated illustrations of different quality.

* * *

Christina Scull, The Soane Hogarths, Sir John Soane's Museum, London, 1991.

This 48-page booklet tells the story of the Rake's Progress and Election paintings in the Soane's Museum and discusses their narrative and content.

* * *

Sean Shesgreen, Hogarth and the Times-of-the-Day Tradition, Ithaca and London: Cornell University Press, 1983.

A major study demonstrating how Hogarth transforms an important graphic theme, the points du jour of sixteenth and seventeenth-century Dutch and Flemish art, in his own Morning, Noon, Evening, and Night. Deals also with the Strolling Actresses Dressing in a Barn.

* * *

Robin Simon / Christopher Woodward (eds.), 'A Rake's Progress': From Hogarth to Hockney, exh. cat., Sir John Soane's Museum, London, 26 March-31 August 1997.

Well illustrated 40-page catalogue of an exhibition focusing on the precedents and influence of Hogarth's Rake's Progress series. It particularly compares the eight Rake pictures with "the later works of art by artists such as Rex Whistler, David Low, Jörg Immendorff, Peter Howson and David Hockney who have all been inspired by Hogarth's radical approach to art and life". Includes brief essays by David Bindman, Christopher Woodward, Frances Rustin, Richard Pound, Natalie E. Smith and Verena Bertmaring.

* * *

David H. Solkin, Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven and London: Yale University Press, 1993.

In focusing on portraiture; the English conversation piece; and an examination of the spaces of public life, this study concentrates "on those artists and writers about art who embraced the realities of a burgeoning market economy, instead of bemoaning its arrival as a sign of social and spiritual degeneration", attempting to show "how a visual culture came to be shaped by and for the purposes of commerce".

* * *

Andrew Stevens, Hogarth and the Shows of London, exh. cat., Elvehjem Museum of Art, University of Wisconsin-Madison, 1996.

Explores the close relationship between Hogarth's prints and the various shows that he and his audiences would have had access to in London. On performances of The Beggar's Opera and a lecture accompanying the exhibition when shown at The Douglas F. Cooley Memorial Art Gallery at Reed College in Portland, Oregon, 7 November 1996-1 January 1997, see also "18th-Century Hogarth Theater Prints Come to Reed", Reed College Press Release, 8 October 1996.

* * *

William Vaughan, British Painting: The Golden Age from Hogarth to Turner, London: Thames and Hudson, 1999.

Survey of the 120 years of British painting that divide Hogarth's early works around 1730 from the death of Turner in 1851. The four parts of this book are devoted to: "Portraiture and Society" (pp. 24-97, including a chapter on Hogarth); "High Art and High Life" (pp. 98-149); "Low Art and Low Life" (pp. 150-81); and "The Nature of Landscape" (pp. 182-249). There is also an introduction, "Painting and the Hanoverian Era" (pp. 6-23).

Peter Wagner, Reading Iconotexts: From Swift to the French Revolution, London: Reaktion Books, 1995.

Provocative study presenting a modern intertextual, post-structuralist view of Hogarth's art, influenced by French theory. Promotes new strategies for decoding the ambiguous sign systems that create "iconotexts", i.e. constructs mingling images and words and "appealing to the observer to activate his/her knowledge of both media". See also the reviews by Martin Heusser, Interactions - The Bulletin of I.A.W.I.S., No. 16 (April 1996); Leonard Rifas, TCJ [The Comics Journal], No. 188 (July 1996).

* * *

Hans-Peter Wagner, William Hogarth, 1697-1764: Das graphische Werk, exh. cat., Saarland Museum, Saarbrücken, 5 March-30 April 1998.

67-page catalogue of a German exhibition on Hogarth, offering a good survey of the main prints. The introduction discusses traditional Hogarth scholarship from a poststructuralist's point of view.

* * *

Mary Webster, Hogarth, London: Studio Vista, 1979.

Solid and well-illustrated account of Hogarth's life and work, focusing on the paintings.

William Hogarth: Dipinti, disegni, incisioni, exh. cat., Fondazione Giorgio Cini, San Giorgio Maggiore, Venice, 26 August-12 November 1989, Vicenza: Neri Pozza Editore, 1989.

Catalogue of an important Italian exhibition on Hogarth organised by Mary Webster. Includes a biographical essay, many illustrations and detailed Italian commentaries on Hogarth's works.

* * *

William Hogarth: Nationalism, Mass Media and the Artist, exh. cat., The Vancouver Art Gallery, November 29, 1980-January 4, 1981.

58-page catalogue of a selection of Hogarth's engravings, including lesser known works on the subjects of taste, connoisseurship, nationalism in art and the importation of foreign artistic models. Contains two articles, the main one by Ilaria Bignamini.

* * *

Barry Wind, Wit and Vitriol: Hogarth and the Politics of His Time, exh. cat., UWM Museum, Art History Museum, University of Wisconsin-Milwaukee, Milwaukee, 2 October-5 November 1988.

Interpretation of Hogarth's main graphic works in the context of political themes of the time. The short introduction stresses Hogarth's politics.

* * *

Shaun Wourm, "Ambiguities and Paradoxes in Hogarth's Industry & Idleness, MA thesis, Université Lumière Lyon II, 1997.

Looks "at the two apprentices' story by studying the different graphic references and codes that the artist has slyly inserted within the plates". See the online version of this MA dissertation: William Hogarth's Realm: http://hogarth.chez.tiscali.fr/memoire/dissertation01.htm

Definitive revision of Nichols's eighteenth-century editions of his Anecdotes of William Hogarth (1781, 1782 and 1785), fairly summarising all that was known about Hogarth's life and art up to that time. Includes many quotations from contemporary sources and a detailed Index. An third volume with additional material appeared in 1817.

J[ohn] B[owyer] Nichols, Anecdotes of William Hogarth, Written by Himself: With Essays on his Life and Genius, and Criticisms of his Works, Selected from Walpole, Gilpin, J. Ireland, Lamb, Phillips, and Others, To which are added a Catalogue of his Prints, Account of their Variations, and Principal Copies, List of Paintings, Drawings, &c., London: J. B. Nichols and Son, 1833. Facsimile reprint with a short introduction by R[onald] W. Lightbown: London: Cornmarket Press, 1970.

This book contains, apart from the many quotations from John Ireland and others, the then most complete catalogues of Hogarth's work, particularly, a "Chronological Catalogue of Hogarth's Prints; with an Account of the Variations and Principal Copies".

* * *

John Ireland, Hogarth Illustrated, 2 vols., London: J. & J. Boydell, 1791. Second edition: 1793.

John Ireland, A Supplement to Hogarth Illustrated, Compiled from his Original Manuscripts, in the Possession of John Ireland, London: For the Author, Mr. Nicol, and Messrs. Boydell, 1798 [Hogarth Illustrated, III].

There are also early nineteenth-century editions of these three volumes. They contain accurate descriptions of Hogarth's prints, which are still useful to the modern reader. The supplement volume includes Ireland's transcription of Hogarth's manuscript notes, which disclose a great deal about the artist's life and thought.

* * *

G[eorg] C[hristoph] Lichtenberg's ausführliche Erklärung der Hogarthischen Kupferstiche, mit verkleinerten aber vollständigen Copien derselben von E[rnst Ludwig] Riepenhausen, 14 vols., Göttingen, 1794-1835; new edition, 1850-54.

Certainly the most brilliant of the early commentators. Considers almost every detail in Hogarth's engravings. Distinguishes between a prosaic and a poetic method of interpretation. Though often wandering from the subject, the verbal and semantic ambiguity in the commentaries corresponds well to the ambiguity in Hogarth's prints. The modern English translations, which appeared in 1966 and 1970, are not as good as the German original. From the 14 Lieferungen only the first four are by Lichtenberg himself. For modern German editions of Lichtenberg's commentaries, see Wolfgang Promies (ed.), Georg Christoph Lichtenberg, Schriften und Briefe, III: Aufsätze, Entwürfe, Gedichte, Erklärung der Hogarthischen Kupferstiche, Munich: Carl Hanser, 1972, 657-1060; Wolfgang Promies (ed.), Lichtenbergs Hogarth: Die Kalender-Erklärungen von Georg Christoph Lichtenberg mit den Nachstichen von Ernst Ludwig Riepenhausen zu den Kupferstich-Tafeln von William Hogarth, Munich, Vienna: Carl Hanser, 1999. For a modern critical discussion of Lichtenberg's Hogarth commentaries, see Hans-Georg von Arburg, Kunst-Wissenschaft um 1800: Studien zu Georg Christoph Lichtenbergs Hogarth-Kommentaren, Göttingen: Wallstein-Verlag, 1998. For a feminist study on Hogarth and Lichtenberg, see, in addition, Jutta Pivecka, Malen, Schreiben, Drucken: Zum Verhältnis von Autorschaft und Öffentlichkeit im 18. Jahrhundert aus Sicht der Geschlechterforschung, Studien zu William Hogarth (1697-1764) und Georg Christoph Lichtenberg (1742-1799), Königstein/Taunus: Ulrike Helmer Verlag, 1999.

* * *

Frederic George Stephens / Edward Hawkins, Catalogue of Prints and Drawings in the British Museum, Division I: Political and Personal Satires, I-IV, London: British Museum, Printed by Order of the Trustees, 1870, 1873, 1877 and 1883.

Though not so well known as they deserve to be, these volumes contain, to date, the most important and thorough descriptions of Hogarth's satirical prints, written by the art critic and former Pre-Raphaelite painter, Frederic George Stephens (1828-1907). The detailed commentaries offer the reader further background information on Hogarth and his motifs, the vast amount of other related contemporary satirical prints and the literature of the time.

SOME EARLIER TWENTIETH-CENTURY PUBLICATIONS STILL OF USE

This volume is one of the series of the Illustrated Biographies of the Great Artists. It contains an annotated "Bibliography of the Principal Books, Pamphlets, etc., Relating to Hogarth and his Works", which is still very useful, and uncritical lists of Hogarth's paintings and prints.

* * *

Henry B[enjamin] Wheatley, Hogarth's London: Pictures of the Manners of the Eighteenth Century, London: Constable and Company Ltd., 1909.

Easily readable volume not only on eighteenth-century London, but also on Hogarth's life, works and contemporaries, based on the then most important sources on Hogarth, which are often quoted in the text.

* * *

William T[homas] Whitley, Artists and their Friends in England 1700-1799, 2 vols., New York and London: Benjamin Blom, 1928. Reissued 1968.

Notable study which exploits George Vertue's manuscript notebooks and throws new light on the English artists of the eighteenth century and their contemporaries.

• Online Biographies

• Online Essays

• Online Exhibitions and Reviews of Museum Exhibitions

• Book Reviews

• Course Descriptions, Lecture Resources, and some other Educational Sites

• Miscellaneous

• Other Areas of Interest

Article paying tribute to Ronald Paulson's pioneering work on Hogarth. At the same time an easily readable introduction to Hogarth's life and art.

* * *

Oxford Dictionary of National Biography: Hogarth, William.

Comprehensive biography written by David Bindman. Contents: Early career: the 1720s---Beginnings as a painter---The first 'modern moral subjects': A Harlot's Progress and A Rake's Progress---After the Rake: new challenges---Portrait painting: an English grand manner---'Comic history painting' and Marriage a-la-mode---Contrasting directions: history painting and the lower Class of People---The state of the nation: The March to Finchley and the Election series---Reflecting on art: The Analysis of Beauty---Hogarth under attack: Sandby and Reynolds---The artist embattled: the Sigismunda affair---The wrong politics: Hogarth on the defensive---A feeling mind: retaliation, despair, and death---Posthumous reputation and afterlife---Sources.

* * *

Hogarth, William.

Austin Dobson's article on Hogarth in the 1911 edition of the Encyclopedia, which, in its original online version, contains several OCR errors (typos).

* * *

Mary Webster, "Hogarth 'pittore dell'umanità' ".

Extensive biographical essay, written in Italian. Excerpt from the Italian exhibition catalogue, William Hogarth: Dipinti, Disegni, Incisioni (1989).

* * *

William Hogarth.

Biography of some length. Part of a Humanities Web site on William Hogarth.

* * *

Shaun Wourm: William Hogarth's Realm: Biography.

Comprehensive chronology from the birth of the artist's father, Richard Hogarth, in 1663 or 1664, to the death of William Hogarth in 1764.

* * *

Powell & Wood: Hogarth, William.

Detailed chronology, chiefly borrowed from Shaun Wourm. Formerly part of a commercial project management consultants' Web site.

* * *

William Hogarth (1697-1764).

Biography primarily borrowed from the first volume of John Nichols / George Steevens, The Genuine Works of William Hogarth, published in 1808.

* * *

Wikipedia.org: William Hogarth.

Essay on Hogarth from Wikipedia, the free Internet encyclopedia, gathering paragraphs written by many different contributors.

* * *

ART "4" "2"-DAY: Born on 10 November 1697: William Hogarth.

Survey of Hogarth's life and work, including several hyperlinks.

* * *

William Hogarth: Peintre et graveur anglais.

French discussion of Hogarth's careers as an engraver, painter, satirist, and author of The Analysis of Beauty.

* * *

Shorter Biographies:

• Olga's Gallery: William Hogarth (1697-1764).

• Spartacus Educational: William Hogarth.

• CGFA: William Hogarth (1697-1764).

• Artworks: William Hogarth (1697-1764).

• National Gallery of Art, Washington, D.C.: William Hogarth, British, 1697-1764.

• Island of Freedom: William Hogarth (1697-1764).

• Microsoft Encarta Online: Hogarth, William.

• William Hogarth.

• The Dorset Page: William Hogarth (1697-1764).

• Wikipedia.de: William Hogarth.

• artelino.de: William Hogarth.

• Robert Morten: Hogarth, William (1697-1764).

• Hogarth, William.

• Biografias: William Hogarth

• Lodace, Histoire: Personnages célèbres: William Hogarth.

ONLINE ESSAYS:

Online version of the author's M.A. dissertation, Université Lumière Lyon II, 1997. Offers an in-depth interpretation of the twelve prints of Hogarth's Industry and Idleness series. The study is divided into two parts: I: An iconological Reading of Industry and Idleness; II: Inversion and Paradoxes: the hidden discourse of Industry and Idleness.

* * *

John Trusler, The Works of William Hogarth: In a Series of Engravings, With Descriptions, and a Comment on Their Moral Tendency (1833).

Project Gutenberg Ebook including the full text of Trusler's book.

* * *

Werner Busch, "Die englische Kunst des 18. Jahrhunderts: Teil 1: William Hogarth".

Detailed analyses of the first scenes of A Rake's Progress and Marriage A-la-Mode. Part of a German online course offered by the faculty of the History of Art Department at the Freie Universität Berlin.

* * *

Diana Francocci, "The Graham Children and Painting Related to Childhood" (1997).

Interesting article on the children depicted in Hogarth's works.

* * *

Bernd Krysmanski, "We see a ghost: Hogarth's satire on Methodists and Connoisseurs".

Text of an article first published in the Art Bulletin, 80 (June 1998). It compares Hogarth's anti-Methodist print Credulity, Superstition, and Fanaticism (1762) with its rather different, unpublished first state, Enthusiasm Delineated (1761). The latter is revealed as a polemic on shopworn French academic art theory and on misplaced, even erotically passionate enthusiasm for the old masters.

* * *

Bernd Krysmanski, "Upsetting the Balance: Hogarth and Roger de Piles".

Excerpt from the author's study of Hogarth's Enthusiasm Delineated. An extended German version of this online essay, dealing with the contemporary literary background at some length, can be found in Joachim Möller's Sister Arts volume.

* * *

Benjamin N. Ungar, "Take Me to the Southwark Fair: William Hogarth's Snapshot of the Life and Times of England's Migrating Early 18th Century Poor".

Discusses Hogarth's Southwark Fair as a pictorial account of the social and cultural state of the lower urban class in early eighteenth century England.

* * *

Valentines Mansion: Southwark Fair.

Includes some remarks on the provenance of Hogarth's painting of Southwark Fair. States that Sir Charles Raymond gave 200 guineas for the painting. As Raymond was the owner of Valentines, it seems that the picture may have hung in Valentines from the 1760s until it was sold in 1797 after the death of Donald Cameron.

* * *

Göttinger Taschen Calender 1787: Georg Christoph Lichtenberg, Leichtgläubigkeit, Aberglauben und Fanatismus. Eine gemischte Gesellschaft. Mit der Unterschrift aus I. Joh. IV. cap., v. 13 von W. Hogarth.

Online version of Georg Christoph Lichtenberg's German eighteenth-century commentary on Hogarth's Credulity, Superstition, and Fanaticism. PDF document scholarly annotated by the late Professor Wolfgang Promies.

* * *

Antony Clayton, "Credulity, Superstition and Fanaticism: who believed in ghosts in Hogarth's England?".

Online essay which attempts to unravel the intriguing iconography of Hogarth's print Credulity, Superstition, and Fanaticism. The author identifies the characters and events in order to illuminate the beliefs and attitudes toward ghosts and the supernatural in the middle of the eighteenth century.

* * *

The Literary Encyclopedia: I. R. F. Gordon, "A Rake's Progress (1735)".

On the origin and content of the eight plates of Hogarth's Rake's Progress series in which Tom Rakewell "represents urban bourgeois innocence, brought to ruin by aristocratic pretension".

* * *

The Cultural and Technical Importance of Hogarth in the History of Artistic Forms.

Interesting remarks by Shaun Wourm on Thornhill's "Grand Manner", Hogarth's moral series and his breaking the codes, particularly his graphic puzzles in the tradition of allegories and emblems, his parodic subversion of the "Grand Manner", and the influence of the stage on him.

* * *

Jenny Uglow, "Smithfield Muses".

Excerpt (pp. 3-21) from the first chapter of the author's Hogarth: A Life and a World (1997).

* * *

Alain Lauzanne, "Réflexions sur l'espace et Londres dans l'oeuvre de William Hogarth", Arob@se: Journal des lettres & sciences humaines, 2, no. 2 (winter 1996).

French article on Hogarth's London as seen in his works, focusing on pictorial space as a signifier of modified social conditions.

* * *

The Analysis of Beauty.

Digital version of Hogarth's Analysis of Beauty (1753). First phase of Professor William Vaughan's project, 18th Century Writings on Art: A Virtual Library, which aims to provide enhanced digital versions of a key set of publications on art produced in Britain in the eighteenth century.

* * *

E-Texts: William Hogarth, The Analysis of Beauty.

Another online version of Hogarth's treatise of 1753.

* * *

UBC Fine Arts Library Displays: Hogarth's Analysis of Beauty, 1753.

Some notes on Hogarth's book including short explanations of some of its ideas and a bibliography.

* * *

Peter Bexte, "Die Schönheit der Analyse".

Afterword to the modern German edition of Hogarth's Analysis of Beauty (Dresden: Verlag der Kunst, 1995).

* * *

>, Gotthold Ephraim Lessing, "Hogarth, Zergliederung der Schönheit", "Hogarth, Zergliederung der Schönheit (II)", "Hogarth, Zergliederung der Schönheit (III)".

Online versions of Lessing's reviews of the contemporary German translation of Hogarth's treatise.

* * *

Frédéric Ogée: Présentation de l'Analyse de la beauté (3 May 1999).

Abstract of a paper delivered at a French meeting on "L'échange et la beauté: Hogarth et quelques théoriciens du beau dans l'Angleterre du XVIIIe siècle". Explains central terms of Hogarth's Analysis of Beauty. Also puts Hogarth's treatise within the context of other aesthetic theories of the time (Shaftesbury, Addison, Jonathan Richardson).

* * *

Werner Oechslin, Buch des Monats November 2000: William Hogarth: The Analysis of Beauty.

German thoughts on a passage in Lomazzo's treatise on art (1584-85) which, in its inexact English translation by Richard Haydocke, had some influence upon Hogarth and the contemporary Italian and German translations of The Analysis of Beauty.

* * *

EARLY C18th AESTHETICS

Some notes on Hogarth's Analysis of Beauty. Shows that the serpentine line applies rather easily to many of the waves depicted by Peter Monamy, painter of marine subjects.

* * *

Charles Lamb, On the Genius and Character of Hogarth (1811).

Online version of Charles Lamb's famous essay, "On the Genius and Character of Hogarth; With Some Remarks on a Passage in the Writings of the Late Mr. Barry." Includes some illustrations. For the same essay (without illustrations), see also The Project Gutenberg eBook, The Works of Charles Lamb in Four Volumes, Volume 4.

* * *

Caricature: Hogarth

Excerpt from The Cambridge History of English and American Literature in 18 Volumes (1907-21), Volume XIV: The Victorian Age.

* * *

Henry Fielding's Debt to William Hogarth.

Excerpt from V[ivian] de S[ola] Pinto, 'William Hogarth', in The New Pelican Guide to English Literature: 4. From Dryden to Johnson (1997). On Hogarth and Fielding, see also the Preface to Joseph Andrews (1742).

* * *

History of the 19th Century in Political Cartoons. By Arthur Bartlett Maurice and Frederic Taber Cooper. Edited by Jim Zwick. Chapter II: Hogarth and His Times.

On the development of English caricature which was destined to be guided by the "giant genius" of Hogarth. However, his best work was done on the social rather than on the political side.

* * *

John D. Tatter, "Satiric and Social Painting: Hogarth, Watteau, and Fragonard".

Illustrations of, and commentaries on, Hogarth's Self Portrait with Pug and the Marriage A-la-Mode paintings. Click on the small images to enlarge.

* * *

National Gallery, London: Hogarth, William.

Some brief remarks on Hogarth's life plus illustrations of, and commentaries on, The Graham Children; The Shrimp Girl; and the six paintings of the Marriage A-la-Mode series.

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Tate Britain: William Hogarth and the Theatre of Life.

Some remarks by Martin Postle on Hogarth's art and British portraiture plus short commentaries on Hogarth's works in London's Tate Britain.

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George P. Landow: "The Influence of William Hogarth on Pre-Raphaelite Integrated Symbolism."

Shows that both William Holman Hunt and Hogarth successfully combined realism with elaborate iconography and the use of the written word to clarify the meaning of their images. See also Parallels between Hunt and Hogarth.

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Terence Bowers, "Hogarth's Peregrination, Chorography, and the Representation of England."

Abstract of a paper read at Writing the Journey: A Conference on American, British and Anglophone Travel Writers and Writing, University of Pennsylvania, Philadelphia, PA, 10-13 June 1999.

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Annie Richardson, "Hogarth and the aesthetics of dance".

Abstract of a paper read at the Dance Symposium, "So Publick an Approbation": Attitudes to dance in eighteenth-century England, New College, Oxford, 26 April 2000.

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The Norton Anthology of English Literature: A Day in Eighteenth-Century London: Texts and Contexts: William Hogarth, The Enraged Musician.

Part of The Restoration and the Eighteenth Century: Topics, an excellent site prepared by Lawrence Lipking.

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A Harlot's Progress.

Commentary on Hogarth's Harlot series by Neil McWilliam.

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An Election Series 1753-1754.

Commentary on Hogarth's Election series by Neil McWilliam.

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William Hogarth: A brief history of William Hogarth's paintings at St. Bartholomew's Hospital (by Marion Hill, Archivist, Barts) and diagnosis of the sick depicted in the Pool of Bethesda (by Prof David Lowe).

Short information on Hogarth's paintings for the Grand Staircase in the North Wing of St. Bartholomew's Hospital, London, focusing on The Pool of Bethesda. You can click on the figures in the painting to reveal the possible diagnosis of their ailment.

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Jonathan Jones, "Hogarth's The Shrimp Girl (c1745)", Guardian Unlimited, 15 September 2001.

Interprets the unknown street-seller in Hogarth's oil sketch as a lively personification of London.

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William Hogarth, Beer Street and Gin Lane, two prints.

Part of a British Museum site providing short commentaries on, and images of, Hogarth's prints. Related pages include information on William Hogarth's gold admission ticket to Vauxhall Pleasure Gardens; The Bad Taste of the Town; A Rake's Progress, plate 8; Characters and Caricaturas; an unfinished proof engraving of Gulielmus Hogarth; and The Idle 'Prentice betrayed by his Whore and taken in a night cellar with his accomplice, illustrating different stages in the creative process involved in making one of the twelve prints in Hogarth's series, Industry and Idleness.

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Beer Street (1750-1751), Gin Lane (1750-1751); The Analysis of Beauty, Plate I (1753).

Commentaries on these prints by Neil McWilliam.

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Ernest L. Abel, "Gin Lane: did Hogarth know about fetal alcohol syndrome?"

Online version of an article first published in Alcohol and Alcoholism, 36, No. 2 (2001), 131-34. Demonstrates that claims about Hogarth's awareness of the stigmata of the fetal alcohol syndrome (FAS) in his print Gin Lane are unfounded, though the 'gin epidemic' in eighteenth-century London undoubtedly resulted in the increased birth of weak and sickly children.

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daily LUSH: Gin Lane by William Hogarth.

Brief discussion of England's Gin Fever depicted in Gin Lane.

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The Marriage Contract (1733); The Pool of Bethesda (1736); The Country Dance (1745); Moses Brought before Pharaoh's Daughter (1746); Calais Gate, or O The Roast Beef of Old England (1748); The March to Finchley (1749-50); Sigismunda (1759); The Lady's Last Stake (1758-59); Paul before Felix (1748).

Brief analyses of all these paintings by Neil McWilliam.

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Portraits: Miss Mary Edwards (1742).

Commentaries by Neil McWilliam on this portrait and Hogarth's Captain Coram. See also the commentaries on other portraits, such as Sarah Malcolm (1732), David Garrick in the Character of Richard III (1745) and David Garrick and his Wife (1757); or Hogarth's Servants and Francis Matthew Schutz in his Bed.

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Family portraits and Conversation Pieces.

Commentaries by Neil McWilliam and David Bindman on The Graham Children (1742); The Cholmondeley Family (1732); The Woodes Rogers Family (1729); and The Wollaston Family (1730). See also the commentaries on The Christening; The Denunciation; Lord Hervey and his Friends; The Fountaine Family; The Wedding of Stephen Beckingham and Mary Cox; and The House of Cards; or An Assembly at Wanstead House and A Scene from 'The Conquest of Mexico'.

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Reason and Fantasy in an age of enlightenment: William Hogarth: A Harlot's Progress.

Brief commentaries on the six prints of A Harlot's Progress. Part of a Web site by the Ackland Art Museum, The University of North Carolina at Chapel Hill.

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Allen Memorial Art Museum: Collection: William Hogarth, Portrait of Theodore Jacobsen.

Detailed information on Hogarth's portrait of Theodore Jacobsen, a successful merchant and amateur architect who was, like Hogarth, a staunch supporter of the Foundling Hospital in London.

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William Hogarth, Portrait of Daniel Lock (1762).

Brief information about this specific portrait. From A Handbook of the Collection, The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY.

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Oxford Dictionary of National Biography: Hogarth: behind the portraits.

Presents the biographies of some of Hogarth's sitters, associates, and well-known figures from the period. "Read the lives behind the portraits for a glimpse of Hogarth's world."

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"Election Campaigning Now and Then", The Web of Time: Pages from the American Past, Volume 3, Number 1.

Short article from the magazine of American history, archaeology, antique collecting, museum exhibits, and related travel destinations. Offers brief descriptions of the Election pictures and demonstrates how far we have come since Hogarth recorded the British parliamentary election at Oxford in 1754.

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Caroline Parkes, "Art as a Representation of Resistance", in Slave Resistance: A Caribbean Study, section "Art Representations of Resistance."

Part of a Web site by the University of Miami students who took the Spring 2000 edition of History 300: Caribbean: Slavery and Resistance. Deals with William Blake's portrayals of punished slaves and Hogarth's depiction of blacks in plates 2 and 4 of A Harlot's Progress and in Morning. Concludes, in line with David Dabydeen's Hogarth's Blacks, that "Hogarth used the African to call into question the foundation of British and colonial society. He highlighted the moral corruption, that took place under the establishment of the colonies and slavery - and the consequences this new found wealth had on British society." Click on the essay, "Art as a Representation of Resistance".

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Audrey Shafer: Hogarth, William, Marriage à la Mode (3): The Visit to the Quack Doctor.

Deals with the third scene of Marriage A-la-Mode from a medical point of view.

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William Hogarth.

Short commentaries on A Harlot's Progress, A Rake's Progress, Marriage A-la-Mode, Noon, Enthusiasm Delineated and Credulity, Superstition, and Fanaticism, and The Times, Plate I, all borrowed from other Internet sources.

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The British Museum illuminating world cultures: factsheet: William Hogarth (1697-1764).

Short account of Hogarth's career as a painter and engraver. Also includes some notes on the British Museum collection of Hogarth's drawings and prints.

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William Hogarth, British, 1697-1764, A Scene from The Beggar's Opera, 1728/1729.

Notes on Hogarth's picture presented by the National Gallery of Art, Washington, D.C. From the Tour: British and American History Paintings of the 1700s. See also Biography, Bibliography and Exhibition History.

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Charles Harrison Wallace, "Hogarth, Monamy, and The Connoisseur".

On the picture, Monamy the Painter showing a Sea-piece to Mr Walker, painted by Hogarth and Peter Monamy. Part of a site which gives a full account of the life and work of Peter Monamy (1681-1749), painter of marine subjects.

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The Art Fund: Art saved search results: Artworks by William Hogarth.

"Art Saved" page, listing several paintings by Hogarth. The Art Fund is the UK's largest arts charity. Its mission is to save art that would otherwise disappear from public museums and galleries in the UK.

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John Johnson Collection Exhibition 2001: Ellis Gamble. [Goldsmith]. (William Hogarth) (c. 1724 or 1728).

Brief information on Hogarth's trade card for Ellis Gamble. See also the commentaries on the forgery or (rejected) proof of Hogarth's own trade card from the same collection.

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William Hogarth's Night.

Masonic page presenting a copy after Hogarth's Night, engraved by Charles Spooner. Says that "George W. Speth suggests that the picture is of Hartshorn Lane, Charing Cross".

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Hogarth and marine painters.

Part of a Web site by the National Maritime Museum, Greenwich. Shows that Hogarth, Governor of the Foundling Hospital and a friend of sea captain Thomas Coram, certainly knew the new generation of British marine painters.

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Joe Jeskiewicz, "It Is Sublime and Grotesque". Suite101.com (15 June 2001).

Thoughts about a passage by Hogarth on the sublime and grotesque.

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Michael Skasa, "25.10.1764: William Hogarth gestorben".

German notes on Hogarth from a socio-critical point of view.

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Antiques of the Orient: William Hogarth.

Short remarks on Hogarth's life and work. Part of a Singapore antiquarian's site.

ONLINE EXHIBITIONS AND REVIEWS OF MUSEUM EXHIBITIONS:

Online exhibition critically reassessing the satirical graphic work of Hogarth by highlighting a variety of eighteenth-century themes, e.g. Hogarth's deep concern with the ills of the modern city, the dignity of and the dangers faced by professional women, and issues of theatricality, race, class, and taste. For the accompanying programmes and events, see also Hogarth and 18th-Century Print Culture Exhibition Events.

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James Christen Steward (curator), Hogarth and His Times: Serious Comedy, Berkeley Art Museum, University of California, 1998.

Survey of the exhibition organised to celebrate the 300th anniversary of Hogarth's birth.

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Haley & Steele presents: William Hogarth (1697-1764).

American printseller's site on Hogarth, focusing on the prints. However, this site is now closed. It included illustrations and descriptions of many plates and information about the different states and editions of Hogarth's engravings. The commentaries were provided by Edward Hammonds. For a cached version, see Haley & Steele presents: William Hogarth (cached version).

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Richard Dorment, "Finding the fun and frolics in Hogarth," Daily Telegraph, 6 February 2007.

Article dealing with Tate Britain's comprehensive exhibition of Hogarth's paintings and prints, giving a brief review of his life and work. The author sees Hogarth as "a high-spirited chronicler of extraordinary times," who was able "to recall a scene at will" and "painted straight on to the canvas so that nothing stood between him and the fluent, spontaneous application of paint."

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Brian Sewell, "Hogarth the Ham-Fisted," Evening Standard, 9 February 2007.

Overly critical analysis of Hogarth's art on the occasion of the major exhibition at the Tate Britain, London. The author abandons his former "view of Hogarth as 'a painter's painter' ... who lifted English art out of the rut of portraiture, set it on the course of history painting based on Shakespeare and Milton (...) and determined that every painting should tell a moral story of some sort, ... that Hogarth was a man who understood the nature of oil paint as a material of virtue in itself, ... that he let the paint flow from the brush in such a way that throughout his work there was a spontaneity of touch, a painterliness that was as customary and masterly as the touch of Watteau, Lancret and Pater." Actually, with his superficial common sense rooted in blind anger rather than reason, Hogarth "was a propagandist who could not discern the causes of those aspects of society against which he raged. Concerned only with the consequences of all that he condemned, his oratorical preaching - for that is what it was - immediately became an over-emphatic rant in his crude insistence on excessive and repetitive detail to reinforce a point."

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Adrian Searle, "The fun of filth," Guardian Unlimited, Tuesday February 6, 2007.

On Tate Britain's new exhibition, recently shown at the Louvre, which "brings the printmaker and the painter together, covering the entirety of Hogarth's career." According to the author, Hogarth's world "is rich, rude, teeming with life - and wonderfully familiar."

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Jonathan Jones, "Tunnel vision," Guardian Unlimited, Tuesday January 23, 2007.

On Hogarth's Francophobic imaginings and on the Louvre's decision "to display British art with the respect it gets in American museums or at Russia's Hermitage."

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24 Hour Museum: Graham Spice, "FIRST MAJOR HOGARTH DISPLAY FOR 30 YEARS COMES TO TATE BRITAIN".

On the darkly satirical world of Hogarth's London at Tate Britain. The show brings together "a wide and cleverly displayed range of his works from all periods of his 40-year career, many borrowed from collections around the world."

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Martin Gayford, "Hogarth's Harlots, Libertines Parade in London."

Another review of Tate Britain's Hogarth exhibition showing "that Hogarth -- if not 'burlesque' -- was an extremely humorous artist" and that he "was a good representative of the brutal, shrewd, energetic and upwardly mobile society from which he came."

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Jorg von Uthmann, "Harlots, Rakes Meet Sticky Ends in Paris's First Hogarth Show."

On the Hogarth exhibition at the Louvre which was "the first one-man show England's best known satirical painter has ever had in France."

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RAPHAEL G. SATTER, "Hogarth's Satire on Show at Tate."

On the world of Hogarth at Tate Britain, which "was not a pretty one, yet it continues to delight art lovers."

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About Tate: Press Office: Press Releases: Hogarth.

Commentary on the major exhibition of Hogarth's work which opened at Tate Britain on 7 February 2007. This exhibition includes over 200 works and showcases every aspect of Hogarth's multi-faceted career: his remarkable paintings, ranging from elegant conversation pieces to salacious brothel scenes.

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York art historian puts Hogarth in the spotlight.

On Mark Hallett's major role in conceiving and organising the layout of the "most comprehensive exhibition of Hogarth's work for a generation" at Tate Britain.

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Richard Dorment, "A fascinating failure", Daily Telegraph, 23 August 2000.

Overly critical review of Marcia Pointon's exhibition, Hogarth's 'Sigismunda' in focus, Tate Britain, London, 24 July-4 November 2000. "Despite Tate Britain's irritatingly glib presentation of the work, Richard Dorment discovers an illuminating story behind one of Hogarth's least successful paintings."

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Richard Dorment, Hogarth's Marriage A-la-Mode, National Gallery, 15 October 1997 - 18 January 1998.

Perceptive review of the National Gallery exhibition curated by Judy Egerton. Emphasises Hogarth's maturity as a painter in creating the six Marriage A-la-Mode paintings.

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Harvard University Art Museums Press Releases: Fogg Exhibition Examines Printmaker William Hogarth's Treatment of Execution.

Review of Elizabeth Kathleen Mitchell's exhibition, Death by Hogarth, which was on display at the Fogg Art Museum from 8 May through 18 July, 1999. It examined the execution theme in Hogarth's prints from three points of view: as performance, as death sentenced on official order, and as the process of following a plan through to its natural end - with an emphasis on images related to hanging. For more details, see the catalogue of this exhibition.

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Chandra Speeth, "Subversion and wit, 18th-century style", The Yale Herald Online, 1997.

Review of the exhibition, Among the Whores and Thieves: William Hogarth and "The Beggar's Opera", Yale Center for British Art, 1997. See also Yale Bulletin & Calendar News Stories. There is also a catalogue of this exhibition, edited by David Bindman.

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Janaki Ranpura, "Art Review BAC exhibit explores England's darker side" (7 February 1997).

Another review of the Yale Center exhibition, Among the Whores and Thieves.

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Jonathan Jones, "Artists at the Hustings", Sir John Soane's Museum, London. Guardian Unlimited, 4 April 2001.

Review of the exhibition, Hogarth's Election Entertainment: Artists at the Hustings (Sir John Soane's Museum, 23 March - 25 August 2001), based on the four paintings of Hogarth's Election series. The same exhibition was shown at the Laing Art Gallery, Newcastle, 6 October 2001 - 6 January 2002.

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William Hogarth: Conversation Piece, Pallant House Gallery, 18 January - 9 March 2003.

This exhibition considered Hogarth's bawdy print series An Election in relation to his The Beggar's Opera Act III, the 'conversation' painting that made his reputation.

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The British Museum: London 1753.

Exhibition held to celebrate the 250th anniversary of the British Museum, which was founded in 1753. "Objects include watercolours by Paul and Thomas Sandby, drawings and prints by Hogarth and London drawings by Canaletto. There are watches, jewellery and medals, coins, Spitalfields silk, spurs for fighting cocks, shop signs and a first edition of Samuel Johnson's Dictionary of the English Language." There is also a catalogue by Sheila O'Connell on this exhibition.

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Jonathan Heawood, "London, city of sin and gin...", The Observer, 1 June, 2003.

Review of the British Museum exhibition on mid-eighteenth-century London. Hogarth's images are central to this exhibition. They show protagonists such as the "prostitutes, fops, apprentices and artists" who where "repeatedly swung over the wheel of fate, falling from the bright lights of the West End to the dark cells of Newgate and Bedlam."

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Art Critic London: "Streets of shame: 'London 1753'. British Museum, 020 7323 8299, until Nov 23".

Another review of the British Museum exhibition depicting London in 1753 and dominated by Hogarth's horrifying, squalor-filled images.

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Javier Docampo, "British Satirical Prints: Hogarth and His Age".

Survey of the Spanish exhibition, La estampa satírica británica: Hogarth y su tiempo, Biblioteca Nacional, 1 February - 1 April 2001.

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Rafael Sierra, "William Hogarth, el abuelo de los 'Spitting Image'": La Biblioteca Nacional reúne en una exposición a los artistas británicos más mordaces y los enfrenta a Goya, El Mundo, 13, No. 4082 (1 February 2001).

Spanish review of the exhibition of British satirical prints at the Biblioteca Nacional, curated by Javier Docampo (see above).

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William Hogarth - Dirne, Wüstling und eine moderne Ehe.

Commentary on a German exhibition at the Hamburger Kunsthalle which closed in January 2003. Prints from four series were shown: A Harlot's Progress, A Rake's Progress, Marriage A-la-Mode and The Four Times of the Day.

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Fanny Gonella / Christoph Heinrich, "William Hogarth: Dirne, Wüstling und eine moderne Ehe, bis 17. November 2002, Hegewisch-Kabinett".

Notes on the German exhibition of Hogarth's engravings at the Hamburger Kunsthalle.

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Maike Schiller, "Kunstvolle Sticheleien: AUSSTELLUNG. William Hogarths Kupferstiche im Hegewisch-Kabinett der Kunsthalle", Hamburger Abendblatt, 19 August 2002.

Review of the exhibition of Hogarth's works at the Hamburger Kunsthalle.

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Jens Bisky, "Eine häßliche Welt in schönen Formen: Die Berliner Nationalgalerie zeigt Hogarths 'Marriage à-la-mode' und Werke seiner Bewunderer", Berliner Zeitung, 19 December 1998.

German review of the exhibition, Marriage A-la-Mode: Hogarth und seine deutschen Bewunderer, Altes Museum, Berlin, 18 December 1998-28 February 1999, which was also shown at the Städel, Frankfurt. There is a well-illustrated catalogue of this exhibition, including essays by Judy Egerton, Werner Busch, Karl Arndt, Claude Keisch, Martina Dillmann, and others.

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Christina Tilmann, Lob des Lasters: Erstmals kompletter Hogarth-Zyklus "Marriage �-la-mode" im Alten Museum Berlin, Der Tagesspiegel, 18 December 1998.

Another review of the Berlin Marriage A-la-Mode exhibition.

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Thomas Kuhtz, "Und die Moral von der Geschicht' ...: Die berühmten Kupferstiche von William Hogarth im Saarland Museum."

Short review of Hans-Peter Wagner's German Hogarth exhibition at the Saarland Museum, Saarbrücken, 1998.

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Künstler - Kämpfer - Kritiker: Druckgraphik von William Hogarth (1697-1764), Neue Sonderausstellung im Rathaus am Delft.

Notes on a German exhibition of Hogarth's prints at the Ostfriesisches Landesmuseum, Emder Rüstkammer, 19 May - 21 July 2002.

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"On Campus: Exhibition Looks at Hogarth Prints of the 18th Century London Stage", News@UW-Madison, 15 April 1997.

Brief review of Andrew Stevens's exhibition, Hogarth an the Shows of London, Elvehjem Museum of Art, University of Wisconsin-Madison, Brittingham Gallery VII, 26 April-29 June 1997. On performances of The Beggar's Opera and a lecture accompanying the exhibition when shown at The Douglas F. Cooley Memorial Art Gallery at Reed College in Portland, Oregon, 7 November 1996-1 January 1997, see also "18th-Century Hogarth Theater Prints Come to Reed", Reed College Press Release, 8 October 1996.

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TWO EXHIBITIONS, 270 YEARS APART, TAKE ON THE EIGHTEENTH CENTURY AT THE CROCKER ART MUSEUM.

Scroll down on their page to read a commentary on The London Observer: Engravings by William Hogarth, an exhibition of over 50 prints by Hogarth shown at the Crocker Art Museum, 12 July - 22 September 2002.

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Veit Heinrich, "Urvater des Comic strip: Das Kupferstichkabinett Dresden zeigt Grafik von William Hogarth", Berliner Zeitung, 14 December 1995.

Brief review of the German exhibition, Von Wüstlingen und anderen Zeitgenossen, Kupferstichkabinett Dresden, 9 November 1995 - 2 February 1996.

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Simon Barker-Benfield, "William Hogarth's satirical vision of 18th-century England" (The Florida Times-Union, 4 May 2000).

Some remarks on Hogarth and particularly the first scene of Marriage A-la-Mode which forms part of the exhibition, Parody and Politics: The World of William Hogarth (1697-1764) at the Cummer Museum of Art & Gardens.

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William Hogarth: Printmaker.

Some remarks on a Courtauld Gallery exhibition, 23 February - 13 May 2001.

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Kunsthaus Zürich: Karikaturen: Von Hogarth bis Daumier.

Brief information on an exhibition of works by Hogarth, some Swiss caricaturists, and Daumier in the Kunsthaus Zurich, 16 February-22 April 2001.

BOOK REVIEWS:

Calls Jenny Uglow's book a "vivid and enthralling biography" of Hogarth and "a vibrant portrait of the age in which he lived".

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Bruce Cook, "Artist a la Mode", Washington Post, 9 November 1997.

Review of Jenny Uglow's Hogarth. Says that the book "welcomes the reader; it is thoroughly researched, yet written with great enthusiasm for that mad, crude, besotted age and a great affection for the man who pictured it so well in all its grim glory".

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Michael Kimmelman, "An 18th-Century Paparazzo: A biography of Hogarth examines the art and times of the engraver and painter", The New York Times, 30 November 1997.

Another review of Jenny Uglow, Hogarth: A Life and a World (1997).

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Paint job: Hogarth, by Jenny Uglow (Faber, �20), Guardian Unlimited, 29 June, 2002.

Review by Veronica Horwell.

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Thomas W. Rieger, "David Bindman, Hogarth and his Times: Serious Comedy. Exhibition catalogue. London, British Museum, Sept, 26, 1997 - Jan, 4, 1998; Berkeley Art Museum, University of California, Jan - Apr, 1998; Ottawa, National Gallery of Canada, June - Aug, 1998; New York, Wallach Art Gallery, Columbia University, Sept - Nov, 1998. Berkeley, Los Angeles: University of California Press, 1997. Prolepsis: The Tübingen Review of English Studies, 2 February 1999.

Review of David Bindman's British Museum catalogue of 1997.

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W[illiam] A[rthur] Speck, "Prints in Perspective", H-Albion, H-Net Reviews, May 2000.

Review of Mark Hallett, The Spectacle of Difference: Graphic Satire in the Age of Hogarth, New Haven and London: Yale University Press, 1999.

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J. H. Baron, "From Hogarth to Rowlandson: Medicine in Art in Eighteenth Century Britain", British Medical Journal, 314 (22 March 1997).

Review of Fiona Haslam, From Hogarth to Rowlandson: Medicine in Art in Eighteenth-Century Britain, Liverpool: Liverpool University Press, 1996.

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Helmut Hirsch, "Zerklärungen und skandaleuse Excursionen", Berliner LeseZeichen, 4 (2000).

Review of Wolfgang Promies (ed.), Lichtenbergs Hogarth: Die Kalender-Erklärungen von Georg Christoph Lichtenberg mit den Nachstichen von Ernst Ludwig Riepenhausen zu den Kupferstich-Tafeln von William Hogarth, Munich: Carl Hanser, 1999. It should be noted that these early Hogarth commentaries by Lichtenberg are not identical with the better known, and more detailed, descriptions in his Ausführliche Erklärung der Hogarthischen Kupferstiche.

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Bernd Krysmanski, "Lichtenbergs Hogarth. Die Kalender-Erklärungen von Georg Christoph Lichtenberg mit den Nachstichen von Ernst Ludwig Riepenhausen zu den Kupferstich-Tafeln von William Hogarth. Herausgegeben von Wolfgang Promies, München; Wien: Carl Hanser Verlag 1999." Server Frühe Neuzeit / KUNSTFORM, 2 (1 December 2000).

Short, revised Online version of a lengthy review which appeared in the Lichtenberg-Jahrbuch 1999, 257-68.

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G. Sertoli, "L'analisi della bellezza", L'Indice del 1999, n. 06

Review of C. Maria Laudando's modern Italian translation of Hogarth's Analysis of Beauty.

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Martin Heusser, "Re-reading 18th-century Prints", Interactions - The Bulletin of I.A.W.I.S., No. 16 (April 1996).

Review of Peter Wagner, Reading Iconotexts: From Swift to the French Revolution, London: Reaktion Books, 1995.

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Reading Iconotexts, Peter Wagner, Reviewed by Leonard Rifas, TCJ [The Comics Journal], No. 188 (July 1996).

Another review of Wagner's book. Scroll down a bit to read the second contribution on the TCJ Reviews page.

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Angela Rosenthal, "Robert W. Jones, Gender and the Formation of Taste in Eighteenth-Century Britain: The Analysis of Beauty, Cambridge and New York: Cambridge University Press, 1998," CAA [College Art Association] Reviews, 2000.

Review of a book which deals with eighteenth-century theories of beauty, among them Hogarth's aesthetics.

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Laura J. Gorfkle, "Paulson, Ronald, Don Quixote in England: The Aesthetics of Laughter, Baltimore and London: The Johns Hopkins University Press, 1998", Cervantes: Bulletin of the Cervantes Society of America, 19, no. 1 (1999), 145-49.

Review of Paulson's book which includes a chapter on Hogarth's Don Quixote illustrations and also discusses some other of his works.

* * *

Peter M. Briggs, "Paulson, Ronald, Don Quixote in England: The Aesthetics of Laughter", Bryn Mawr Review of Comparative Literature, 1, no. 1 (Summer 1999).

Another review of Paulson's Don Quixote book.

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Michael Dirda, "Beyond Lace and Frills", Washington Post, 9 November 1997.

Review of John Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century, New York: Farrar Straus Giroux, 1997. See also the Online version of Chapter One of Brewer's book.

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James Hopkin, "Mungo the master", Guardian Unlimited, 22 May 1999.

Review of David Dabydeen's novel, A Harlot's Progress.

COURSE DESCRIPTIONS, LECTURE RESOURCES, AND SOME OTHER EDUCATIONAL SITES:

Brief outline of a course on Hogarth which may furnish some ideas for preparing similar academic courses. For a descriptive paragraph of course content, see the author's other Web page of Course Offerings and scroll down.

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Michael Rosenthal (tutor), Hogarth and the British School: MA Option Course - Autumn Term.

Course at the History of Art Department at the University of Warwick, acquainting students with the historical and extremely rapid formation and development of painting and other arts in Britain 1700-1760, focussing on William Hogarth's role in innovating, and in creating a corporate identity for his peers.

* * *

Maureen Harkin, Literary and Visual Culture in Eighteenth-Century Britain (incorporating a special unit on Women and the Visual Arts in Eighteenth-Century Britain).

Detailed description of an ASECS course which began "with Hogarth's prints, focusing on his visual style, his sense of his own and a general British ambivalence in relation to continental painterly traditions, and the way the prints 'read' ".

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Christina Payne and Harry Mount: British Art from Hogarth to Turner.

Student research at the School of Humanities, Oxford Brookes University, in order to write "an in-depth, 2500-word, essay on a single picture of your choice".

* * *

Tradition and Modernity.

Course at the Department of Art History and Theory, University of Essex, introducing to the study of art history at university level through an examination of the visual arts of 18th century England, France and Spain. Course supervisor: Professor Peter Vergo.

* * *

Viktoria Schmidt-Linsenhoff, William Hogarth.

Brief information about a German seminar on Hogarth at the University of Trier (Summer 1999).

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Sabine Mainberger: Medienwechsel und Kulturtransfer: Hogarth - Lichtenberg.

Reference to a German seminar on Hogarth and Lichtenberg at the Freie Universität Berlin (Summer 2001).

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National Portrait Gallery: Education: Distance Learning: Canvas & Stretcher: William Hogarth's self-portrait.

Interesting educational site on the measurements of Hogarth's self-portrait of c. 1757 in the National Portrait Gallery, London.

* * *

Hogarth and His Times: Serious Comedy: A Guide for Students Recommended for grades 7-12.

Site created by the University of California, Berkeley Art Museum. Looks at some of Hogarth's prints showing alcoholic abuse, poverty, mental illness, and political corruption. Encourages the viewer to consider how Hogarth's perspective compares with the ways we look at the same things nowadays.

* * *

Perspective: Hogarth: Beer Street and Gin Lane.

Shows that "Beer Street puts into practice the rules of perspective", whereas in Gin Lane "two conflicting perspective schemes regulate the middle distance in a criss-cross pattern".

* * *

Hogarth Description.

Professor Richard Parker's instructions in writing a substantial paragraph on Hogarth's Strolling Actresses Dressing in a Barn. Part of an educational site on Advanced Composition for students of English at Lock Haven University of Pennsylvania.

* * *

SBL Forum: Frank Ritchel Ames, "Critical Methods and Guarded Minds".

Article using Hogarth's The Graham Children to introduce critical methods of "biblical criticism".

* * *

William Warner, Lecture Resources: Hogarth and the Market.

Part of "Enlightenment Communications in England and America" (University of California, Santa Barbara, Winter 2000). Images of A Harlot's Progress and Marriage A-la-Mode plus three keys to Hogarth's success with his Progress pieces in very brief outlines. Gives additional information about the moral rhetoric of Hogarth's Progresses according to Henry Fielding.

* * *

Hogarth's Print Sequences.

Some Web pages and books on Hogarth recommended for students of English. Resource list by Professor Richard Davies, Acadia University, Canada.

* * *

Franck Loiseau, Documents pour la classe: Marriage à la Mode (1743-45) - William Hogarth.

French remarks on Hogarth's Marriage A-la-Mode series plus some questions in English for use in schools.

* * *

Primary Teachers' Notes: 'The Graham Children' by William Hogarth (1697-1764).

PDF file including useful background information about the The Graham Children and the artist as well as some suggestions on using the painting in the primary classroom, ideas for activities and cross-curricular links. See also the same teachers' notes with illustrations.

* * *

Take One Picture: An Exhibition of Work by Primary Schools Based on Hogarth's 'The Graham Children'.

Exhibition of children's work based on Hogarth's The Graham Children, National Gallery, London, 5 May - 12 August 2001. See also "Press release archive: April 2001: Take One Picture 2001: An exhibition of work by primary schools, based on Hogarth's The Graham Children", National Gallery, London, 5 May - 12 August 2001.

MISCELLANEOUS:

Excerpts from a very extensive Web page by Jean-Louis Claret on English literature and painting. Includes chapters on the eighteenth century. The latter contains an interesting section on Hogarth. Text in English.

* * *

Reading Hogarth. By Ronald Paulson. Reply by Richard Dorment. New York Review of Books, 7 October 1993.

Letters in response to "An Exchange on Hogarth", New York Review of Books, 12 August 1993.

* * *

artelino - The Magic of Art: William Hogarth 1697-1764.

Short account of the artist's life and work plus some remarks on "Collecting William Hogarth Prints". There is also a German version of the same page.

* * *

Austin Dobson, De Libris: Prose and Verse (1908).

The Project Gutenberg EBook of Dobson's De Libris: Prose and Verse. Includes many details on Hogarth and some of his contemporaries, such as John Wilkes, Alexander Pope and Jean André Rouquet, in the chapters "On Some Books And Their Associations", "Bramston's 'Man Of Taste' " and "M. Rouquet On The Arts", etc.

* * *

Catherine Imperatore, "Femininity, Materialism and Class in Eighteenth Century England".

Includes an interpretation of the disintegration and moral depravity of the materialistic couple in Hogarth's Marriage A-la-Mode.

* * *

Henry Fielding, Preface to Joseph Andrews (1742).

Identifies Hogarth as a comic history painter and argues that the low genre of caricature is greatly inferior to the true comedy of manners, to which both Fielding and Hogarth aspired.

* * *

Apocalypse Press: William Hogarth.

Printseller's commentaries on Hogarth's Enthusiasm Delineated, Credulity, Superstition, and Fanaticism, The Four Times of the Day, and the Distressed Poet.

* * *

Lüder H. Niemeyer, "Here even the End comes to an End: Indestructible though the two Cones for the "Analysis of Beauty": One of these here for the first Time."

Part of a German art dealer's commercial Web site. Includes some commentaries on Hogarth's Tail Piece, or The Bathos (1764) and an annotated list of copies after this print. There is also a German version of the same page.

* * *

Neil Emmerson, "I Lost my Ass: Jeff Gibson, KUNST Gallery, Sydney, Nov-Dec, 1995."

Compares Hogarth's Rake's Progress series with Jeff Gibson's show of a series of 10, 3-coloured screen prints, 3 short video pieces and another 3 larger format, multi-coloured screen prints. Both artists reflect contemporary constructions of masculinity, "share ideas about popular culture, marketability and both use didactic strategies; albeit Hogarth's intention was to instruct while Gibson's is to confound".

* * *

William Hogarth, 1697-1764.

Part of the Spiritual Growth Resource, John Wesley: Holiness of Heart and Life. Deals with Hogarth's attitudes towards Methodism from a modern Wesleyan point of view. Includes some brief remarks on Credulity, Superstition, and Fanaticism.

* * *

Artists' Papers Register: William Hogarth (1697-1764).

List of museums and libraries holding important manuscript papers written by, or concerning, Hogarth. Part of a location register of the papers of artists, designers and craftsmen held in publicly accessible collections in the United Kingdom.

* * *

The British Library: Manuscripts' Catalogue: Search the Index.

Enter the name, "Hogarth (William)" and click on the "Search" button. Then you will see a list of British Library manuscripts written by, or relating to, Hogarth.

* * *

Hogarth's Marriage Licence Allegation from the Vicar-General's Office.

Presents the original marriage licence allegation dated 20 March 1728 for William Hogarth and Jane Thornhill plus some additional commentary.

* * *

The Columbia World of Quotations: Hogarth's closing words of a letter to his wife, 6 June, 1749.

Quoted in A.M. Broadley, Chats on Autographs (1910).

* * *

National Gallery of Art: the collection: William Hogarth, British, 1697-1764.

List of 111 Hogarth works, chiefly prints, in the collection of the National Gallery of Art, Washington, D.C. Unfortunately, just one or two small images of these are shown.

* * *

University of Delaware Library: Special Collections Department: William Hogarth Engravings, 1732-1808.

List of thirteen engravings by, or after, Hogarth, plus a very short biographical note. Each of the prints in this collection "is crudely hand-colored using a bright palette. Because of the poor quality of the coloring, it is possible that the coloring was not comtemporary with the prints, but was done later."

* * *

A2A database: William Hogarth.

Search result from the Access to Archives database which contains catalogues describing archives held throughout England and dating from the 900s to the present day. Type in "William Hogarth" and click on the red "search" button.

* * *

Professor Dr Hans Weder, "Die sogenannte 'Line of Beauty and Grace'": Eine Überlegung zum Leben und zur Wissenschaft [Dies Academicus 2000].

Lengthy academic speech by the rector of the University of Zurich on the importance of the "Line of Beauty and Grace" and the Kairos to nature, scientific research and human culture.

* * *

Peter Forbes, "Beauty lies in an eye of scientific curves", The Age, 15 August 2002.

Article first published in the Guardian, 11 July, 2002, as "The beauty of curves". Briefly discusses whether there is a science of beauty. Also deals with the importance of curves in visual art. Includes some remarks on Hogarth's "Line of Beauty".

* * *

18. u. 19. Jahrhundert.

Web page for the Vienna Academy, written in German. Deals with eighteenth and nineteenth-century graffiti. Includes remarks on Hogarth's The Invasion and on a caricature by Steve Bell based on Hogarth's O the Roast Beef of Old England.

* * *

Museum of London: Creative Quarters: William Hogarth.

Short information on Hogarth's London dwellings.

* * *

Hogarth's House, Hogarth Lane, Great West Road, W4.

Brief information on Hogarth's House, a beautiful relic of his era. Damaged by bombing during the war, it was carefully restored by the local council.

* * *

The Museum of St. Bartholomew's Hospital.

Traces the history of St. Bartholomew's Hospital from 1123 until the present day. Includes some remarks on Hogarth's two stunning murals on the walls of the staircase of the hospital, one depicting the Good Samaritan and the other Christ healing the lame man at the pool of Bethesda.

* * *

Hogarth Court EC3.

Page 16 of a Geocities Web site on the history of the streets of London. Scroll down to Hogarth Court, a relative newcomer to the London street scene. It used to be called Fishmonger Alley until 1936 when the authorities seized on a little piece of history connecting William Hogarth with the adjacent Elephant Tavern. Includes some additional remarks on Hogarth's London life.

* * *

Hogarth, William: painter, graphical artist: England.

Some short biographical notes plus an image of William Hogarth's tomb at St. Nicholas' Churchyard, Chiswick Mall, Chiswick, London.

* * *

Hogarth's Grave, St. Nicholas' Churchyard, Chiswick Mall, W4.

Another view of Hogarth's tomb.

* * *

Museum of London: BEDLAM.

Some remarks on Hogarth's image of Bedlam. Part of the online exhibition "Bedlam: Custody Care and Cure 1247-1997".

* * *

Roast Beef of Old England.

On the song The Roast Beef of Old England. Words and music by Richard Leveridge, 1735.

* * *

History Of The Pug.

On the long, dignified history of the pug. Hogarth's depiction of pugs is mentioned in passing.

* * *

Jessica Richard, Arts of Play: The Culture of Gambling in Eighteenth-Century Britain.

Dissertation abstract. Includes some remarks on Hogarth's A Rake's Progress, plate 6, his Assembly at Wanstead House, and The Lady's Last Stake.

* * *

Martin Wainwright, "Britons take to the bottle". Guardian Unlimited, 1 April 1999.

Summary of Professor John Chartres's remarks on the history of spirit drinking. "The artist William Hogarth was enlisted to etch the equivalent of Department of Health posters comparing the nightmare world of Gin Lane to cheery Beer Street, where only the pawnbrokers shop is falling down."

* * *

Mother Needham.

Newspaper reports on Mother Needham, the notorious bawd who, in the first scene of Hogarth's Harlot's Progress, recruits a country girl for her brothel.

* * *

Witchcraft and the Occult, 1400-1700: Mere imaginings?.

Includes some remarks on Hogarth's anti-Methodist print, Credulity, Superstition, and Fanaticism.

* * *

The Rabbit Woman.

Contemporary newspaper articles on Mary Toft, the "pretended rabbit breeder" whom Hogarth satirized in his print Cunicularii.

* * *

Dennis Todd, "New Evidence for Dr. Arbuthnot's Authorship of 'The Rabbit-Man-Midwife'", Studies in Bibliography, 41 (1988), 247-67.

On the authorship of The Rabbit-Man-Midwife, a short poem poking fun at some of the men involved in the affair of Mary Toft.

* * *

Dirk Puehl, "Über John Bullishness - Oh, the Roastbeef of Old England".

German paper on eating and drinking in eighteenth-century London. Includes subchapters on Gin Lane and Beer Street.

* * *

Quelques caricaturistes étrangers: Hogarth - Cruikshank - Goya - Pinelli - Brueghel.

French page on foreign caricaturists. Starts with a brief analysis of Hogarth's art.

* * *

Eighteenth Century England: A Site Created by and for Literature Students at the University of Michigan.

In-depth information on several aspects of the eighteenth century. Includes illustrations by Hogarth and other eighteenth-century artists. See Title Index of Student Projects and particularly the sites, Exploring Eighteenth Century England with William Hogarth and Comic Art in Eighteenth-Century England.

* * *

The Trial of 2 centuries: Public Execution - A Tale of Two Centuries.

Includes a short note on, and reproductions of, Hogarth's Four Stages of Cruelty.

* * *

Carl Heinrich Rahl (1779-1843): Der Weg eines Liederlichen (um 1818).

German notes on Carl Heinrich Rahl's 62 etchings after Hogarth's prints, particularly the first scene of A Rake's Progress, kept at the Ostfriesisches Landesmuseum, Emder Rüstkammer.

* * *

Jonathan Jones, "Take the ego out of art: Simon Rattle is right - Britain has a lot to learn from the high seriousness of Germany's cultural life", Guardian Unlimited, 26 August, 2002.

Compares Simon Rattle, the British conductor, with Hogarth's Enraged Musician.

* * *

Jonathan Jones, "Tate Modern gets a million visitors in just six weeks. Meanwhile, at poor old Tate Britain...", Guardian Unlimited, 28 June 2000.

Article on the unfashionable national collection of British art shown at the Tate Britain. Includes brief remarks on some of Hogarth's paintings.

* * *

Rhian Harris, "The Foundling Hospital", BBC: Society & Economy, May 2001.

Short notes on Hogarth and the Foundling Hospital.

* * *

Coram Family - Heritage.

Web site on one of England's oldest children's charities which was supported by Hogarth and became a centre of eighteenth-century philanthropy.

* * *

Maev Kennedy, "Grant saves Hogarth's take on The Tempest", Guardian Unlimited, 14 November, 2002.

Reports that A Scene from 'The Tempest' by Hogarth, under threat of being sold from the walls of the Yorkshire house, has been saved by a grant from the Art Fund charity.

* * *

Maev Kennedy, "Art victory secures charity collections", Guardian Unlimited, 14 June, 2002.

Reports that Hogarth's painting of The March to Finchley was acquired for the new Foundling Museum, London, for �4m.

* * *

Alison Benjamin, "A brush with history: Tate unveils painting celebrating Coram children's charity", Guardian Unlimited, 16 October, 2002.

On the Tate's unveiling of the large, montage-style painting, donated to the Coram Family by artist Rosa Branson, which shows the establishment of the London Foundling Hospital in 1739.

* * *

Roy Porter, "The Body Politic Diseases and Discourses", History Today, 51, no. 10 (October 2001), 23 ff.

One of the last papers written by the late Professor Roy Porter. Shows how eighteenth-century satirical images of the medical profession spilled over into the work of political caricaturists. Explains, for instance, that the medical profession was seen as quackery - a point William Hogarth epitomised in The Company of Undertakers - and medicine as a theatre of cruelty, which is is supremely expressed in The Reward of Cruelty.

* * *

Max Stafford-Clark, "The man who saved the stage", Guardian Unlimited, 5 October, 2002.

Tells how the first modern actor David Garrick put theatre at the heart of culture. Contains some passages on Hogarth.

* * *

Wikipedia: James Thornhill.

Short account of the life and art of Sir James Thornhill, Hogarth's father-in-law.

* * *

Dorset magazine: In the Footsteps of ..... James Thornhill.

More detailed account of the life and work of the Dorset-born artist, Sir James Thornhill.

* * *

David Brown, "Statues effaced by acid clean", Guardian Unlimited, 23 October, 2002.

On the bad condition of the busts of Isaac Newton, William Hogarth, Joshua Reynolds, and the surgeon John Hunter, which have maintained a distinguished watch over Leicester Square in central London for almost 130 years and have now succumbed to a cleaner's brush.

* * *

William Hogarth and his Pug Dog: Hogarth statue to be provided with canine companion.

Reports that Hogarth will be commemorated in a fine statue by Jim Mathieson. It will be un-veiled in Chiswick High Road, "a short walk from the artist's summer home, which is now a museum in his memory". For the story of the campaign, see, in addition, Of Hogarth, Hockney and the Culture Minister....

* * *

Gin Lane - a Hogarth Inspired Doll's House.

Documents the progress of a doll's house inspired by the interiors of some of Hogarth's works.

(The following is a randomised selection of entries.)


The Analysis of Beauty:

• "The analysis of beauty, By Wm Hogarth", The Gentleman's Magazine, XXIII (December 1753), 593. [The author of this short review states that the book "will gratify the imagination of those who read merely for amusement, by the variety of sentiment and examples that it contains; it will certainly instruct the artificer; and in many parts, it will enlighten the moralist, and assist the philosopher".]
  

• Amal Asfour / Paul Williamson, "Splendid Impositions: Gainsborough, Berkeley, Hume", Eighteenth-Century Studies, 31, no. 4 (1998), 403-32. [Deals with Hogarth's thoughts on ways of keeping the eye moving around a painting.]
  

• Michael Ayrton (ed.), Hogarth's Drawings, Notes on the Plates by Bernard Denvir, London: Avalon Press, 1948, 10-11, 84, 85, nos. 68-71. [On some studies for plate I of the Analysis of Beauty, among them drawings of hip bones.]
  

• Michel Baridon, "Hogarth's 'living machines of nature' and the theorization of aesthetics", paper read on 5 April 1997 on the occasion of William Hogarth: A Tercentenary Symposium held at the William Andrews Clark Memorial Library, Los Angeles, 4-5 April, 1997. [A discussion of Hogarth as theorist of the rococo in The Analysis of Beauty. Shows that a close study of the text contradicts Waterhouse's disparaging comments. Suggests, in addition, that Hogarth's aesthetic criteria, "fitness" in particular, introduce a direct relation between Newtonian science and art.]
  

• James Beattie, Essays: On the Nature and Immutability of Truth, in Opposition to Sophistry and Scepticism; On Poetry and Music as they affect the Mind; On Laughter, and Ludicrous Composition; On the Utility of Classical Learning, Edinburgh, 1772. Further editions: Edinburgh, 1776 and 1778, London and Edinburgh, 1779. [The "Essay on Laughter, and Ludicrous Composition" discusses the modes of combination by which incongruous qualities may be presented to the eye or to the fancy in order to provoke laughter. On page 608 is a passage on Plate 2 of The Analysis of Beauty: "A country dance of men and women, like those exhibited by Hogarth in his Analysis of Beauty, could hardly fail to make a beholder merry, whether he believed their union to be the effect of design or accident. Most of those persons have incongruities of their own in their shape, dress, or attitude, and all of them are incongruous in respect of one another; thus far the assemblage displays contrariety or want of relation: and they are all united in the same dance; and thus far they are mutually related. And if we suppose the two elegant figures removed, which might be done without lessening the ridicule, we should not easily discern any contrast of dignity and meanness in the group that remains."]
  

• Ilaria Bignamini / Martin Postle, The Artist's Model: Its Role in British Art from Lely to Etty, University Art Gallery, Nottingham, 30 April-31 May 1991, The Iveagh Bequest, Kenwood, 19 June-31 August 1991, 15 [on Hogarth's description of the human skin]; 62, no. 37 [on The Analysis of Beauty, Plate 1]; 78, no. 64 [on Paul Sandby's anti-Hogarth caricature, Pugg's Graces etched from his original daubing].
  

• David Bindman, "Am I not a man and a brother?: British art and slavery in the eighteenth century", Res, no. 26 (Autumn 1994), 71. [On Hogarth's argument "that 'blackness' was literally skin-deep, caused by different colored juices that flow through the cutis, or underskin".]
  

• Ulrike Bolte, Deformität als Metapher: Ihre Bedeutung und Rezeption im England des 18. Jahrhunderts, Frankfurt am Main, Berlin, Bern, New York, Paris, Vienna: Peter Lang, 1993 [Europäische Hochschulschriften, Series XXVIII: Kunstgeschichte, Vol. 187], 22 ff., 36-37, 47-48, 149, 171-72, 196. [Discusses the "unfit" or "deformed" as seen by Hogarth in his treatise. Also mentions the differences between Hogarth's and Edmund Burke's aesthetics.]
  

• E[benezer] Cobham Brewer, Dictionary of Phrase and Fable: Giving the Derivation, Source, or Origin of Common Phrases, Allusions, and Words that have a Tale to tell, new edition, revised, corrected and enlarged, to which is added a concise Bibliography of English Literature, London, New York: Cassell and Company, 1897. [Includes an entry on the "Line of Beauty". Says that Mengs was of the same opinion as Hogarth, but thought the curve "should be more serpentine. Of course, these fancies are not tenable, for the line which may be beautiful for one object would be hideous in another. What would Hogarth have said to a nose or mouth which followed his line of beauty?"]

• Diana George, "William Hogarth's Moral Message: The Politics of Eighteenth-Century Middle-Class Reality", in Frederick M. Keener / Susan E. Lorsch (eds.), Eighteenth-Century Women and the Arts, Conference, Hofstra University, 10-12 October 1985, New York, London: Greenwood, 1988, 184. [Sees "both gender prejudices and class prejudices working together" in Gin Lane. Interprets, in addition, the "debauched woman allowing her infant son to fall to his death" as an evil, "wickedly debauched madonna".]
  

• Mark Hallett, The Spectacle of Difference: Graphic Satire in the Age of Hogarth, New Haven and London: Yale University Press, 1999, 195, 197-222, 223, 233, 236. [Thorough discussion of the two prints with special reference to the urban prospect. Argues "that Gin Lane demands to be understood not only as a vehicle of reformist polemic but also in terms of the functions and traditions of graphic satire".]
  

• Fiona Haslam, "Hogarth and the Art of Alcohol Abuse", Proceedings of the Royal College of Physicians of Edinburgh, 22 (1992), 74-80. [Shows that Hogarth's prints Beer Street and Gin Lane formed part of a general attempt to reimpose legislation on the sale of spirits at this time. Hogarth compares the two scenes; in the former, traditional English beer forms part of the life of a well-ordered society whereas the consumption of gin, as in the latter scene, leads to the total disintegration of society. Hogarth presents alcoholism as a social, economic and ethical problem.]
  

• "Hogarth and His Works - No. XI", Penny Magazine of The Society for the Diffusion of Useful Knowledge [London], 4 (28 February 1835), 81-88. [Includes an important nineteenth-century account of the problems of drunkenness, overlooked by most modern scholars.]
  

• E. Dudley H. Johnson, "The Making of Ford Madox Brown's Work", in Ira Bruce Nadel / F. S. Schwarzbach (eds.), Victorian Artists and the City: A Collection of Critical Essays, Elmsford, NY: Pergamon Press, 1980, 142-51. [Hogarth's Beer Street is seen as the underlying design of Ford Madox Brown's Work.]
  

• Robert Katz, "A Dickens Legacy", Dickens Quarterly [Amherst, MA], 6, no. 2 (June 1989), 66-68. [On the prints of Beer Street and Gin Lane which the author acquired in 1982 and "which on later examination appeared to be the only known survivors of the famous collection of William Hogarth engravings owned by Charles Dickens".]
  

• John Nichols, Biographical Anecdotes of William Hogarth, and a Catalogue of his Works chronologically arranged, with occasional Remarks, 2nd edn, London: Printed by and for J. Nichols, 1782, 50, 247-50, 451. [States that Horace Walpole is mistaken in his observation that, in Beer Street, "the variation of the butcher lifting the Frenchman in his hand, was an afterthought. ... This butcher is in reality a blacksmith; and the violent hyperbole is found in the original drawing, as well as in the earliest impressions of the plate. ... The painter, who ... is copying a bottle from one hanging by him as a pattern, has been regarded as a stroke of satire on John Stephen Liotard, who (as Mr. Walpole abserves) 'could render nothing but what he saw before his eyes.' It is probable that Hogarth received the first idea for these two prints from a pair of others by Peter Breugel (commonly called Breugel d'enfer, or Hellish Breugel), which exhibit a contrast of a similar kind. The one is entitled La grasse, the other La maigre Cuisine." Adds that the latter "exhibits the figures of an emaciated mother and child, sitting on a straw-mat upon the ground, whom I never saw without thinking on the female, &c. in Gin Lane. In Hogarth, the fat English blacksmith is insulting the gaunt Frenchman; and in Breugel, the plump cook is kicking the lean one out of doors".]
  

• E. Paditz, "Darstellung alkoholgeschädigter Kinder in der Bildenden Kunst bei William Hogarth und Jakob Jordaens - ein Beitrag zur Geschichte des Alkoholismus und der Alkoholembryopathie", Kinderärztliche Praxis [Leipzig], 54, no. 1 (January 1986), 39-47, particularly 42-45. [On the depiction of alcohol-damaged children in the art of Hogarth and Jakob Jordaens - a contribution to the history of alcoholism and alcoholic embryopathy. Discovers typical dysmorphic signs on faces associated with alcoholic embryopathy in three Hogarth prints: Gin Lane, Night, and A Country Inn Yard at Election Time.]

• Joseph Burke, "Ronald Paulson, The Art of Hogarth, London, Phaidon, 1975", RACAR: Revue d'art canadienne, Canadian Art Review, 4, no. 1 (1977), 48-49. [This book review includes a detailed interpretation of Marriage A-la-Mode, Plate 3, proceeding on the assumption that the angry woman is not a procuress but "a practising prostitute. Hogarth invariably follows the contemporary practice of distinguishing between Madams and harlots by dressing the former soberly and with dignity, as if matrons on their way to church, and the latter in their service uniform of lace and a brightly coloured apron." Thus the subject of Plate 3 "is not the health of the young girl, but that of the Earl himself. He has summoned the two to the doctor to find which has infected him. Like Solomon, he discovers the truth by an ingenious trick, worked out in advance with the doctor, who polishes his glasses as if preparing to conduct an examination. In fact the syphilitic Earl and the elderly doctor, even together, are no match for the tall and magnificently developed harlot in a trial of force. She falls, however, into the trap and furiously opens a clasp-knife to prevent examination, while the innocent girl continues to weep. The doctor grins and the Earl, who displays the medicine he has been forced to take and presumably share with his younger mistress, and at the same time raises his cane in a threatening gesture, looks searchingly at the enraged harlot."]
  

• Werner Busch, "Hogarths Marriage A-la-Mode: Zur Dialektik von Detailgenauigkeit und Vieldeutigkeit", in 'Marriage A-la-Mode' - Hogarth und seine deutschen Bewunderer, Staatliche Museen zu Berlin, Nationalgalerie - Altes Museum, Berlin, 18 December 1998-28 February 1999, Städelsches Kunstinstitut und Städtische Galerie Frankfurt am Main, 25 March-20 June 1999, exh. cat., ed. Martina Dillmann and Claude Keisch, Berlin, 1998, 70-83. [Offers different readings ("Lektürevorschläge") of Scenes 1 and 5. Suggests, pp. 80-81, that the main motif in Scene 5 alludes to Rembrandt's Descent from the Cross (Ermitage, St Petersburg, formerly Walpole collection).]
  

• CANTIANUS, Gentleman's Magazine, LIX, 1 (1789), 391-92. [On Edward Swallow, butler to Archbishop Herring, who may be seen "in the figure of the Old Steward, in plate II, of Marriage à la Mode". See also the reply by "W. & D." (i.e. the Rev. Samuel Denne) in the Gentleman's Magazine, LIX, 2 (1789), 628.]
  

• Vincent Carretta, "Petticoats in Power: Catherine the Great in British Political Cartoons", 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era, 1 (1993), 23-106. [Briefly mentions the depiction of Judith and Holofernes in the first plate as a part of the ambivalent visual traditions of representing strong women that underlay British satirical treatments of Catherine the Great.]
  

• A Catalogue of the Pictures in the National Gallery, Pall Mall, London, 1824, 3, nos. 1-6. [First National Gallery catalogue mentioning Hogarth's paintings.]
  

• George Colman / David Garrick, The Clandestine Marriage, London: T. Becket & P. A. De Hondt; Edinburgh: R. Fleming; Dublin: G. Faulkner; Dublin: Printed for A. Leathley, J. Hoey, Sen. P. Wilson, J. Exshaw, E. Watts, H. Saunders, J. Hoey, Jun. W. Sleater, and S. Watson, 1766. [This play is a comic retelling of the first scene of Hogarth's Marriage A-la-Mode. See also Helmut E. Gerber, "The Clandestine Marriage and its Hogarthian Associations", Modern Language Notes, 72 (1957), 267-71.]
  

• Sidney Colvin, "From Rigaud to Reynolds: Characteristics of French and English Painting in the 18th Century, IX. - William Hogarth (1697-1764)", The Portfolio, 3 (1872-73), 152-53. [Mentions that Heinrich Heine "speaks of the paintings of the 'Marriage à la Mode' as being the most inharmonious display, the worst assemblage of crying colours in the world. When we find Heine in the next page enthusiastic over the colouring of Paul Delaroche in his 'Deathbed of Mazarin' and other works, we feel that he must be speaking partly in carelessness and partly in natural disqualification."]

A FURTHER SUGGESTION