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Online Essays and Exhibitions on William Hogarth
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The Site for Research on William Hogarth Source Literature, Part III | ||
Click on the area you are interested in:ONLINE BIOGRAPHIES:Dale Keiger, "A Scholar's Progress", Johns Hopkins Magazine, November 2000. 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. * * *
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. * * * Austin Dobson's article on Hogarth in the 1911 edition of the Encyclopedia Britannica, with additional hyperlinks. However, some of the latter may be dead links now. * * *
Extensive biographical essay, written in Italian. Excerpt from the Italian exhibition catalogue, William Hogarth: Dipinti, Disegni, Incisioni (1989). * * * Biography of some length. Part of a Humanities Web site on William Hogarth. * * *
Comprehensive chronology from the birth of the artist's father, Richard Hogarth, in 1663 or 1664, to the death of William Hogarth in 1764. * * *
Detailed chronology, chiefly borrowed from Shaun Wourm. Formerly part of a commercial project management consultants' Web site. * * * Biography primarily borrowed from the first volume of John Nichols / George Steevens, The Genuine Works of William Hogarth, published in 1808. * * *
Essay on Hogarth from Wikipedia, the free Internet encyclopedia, gathering paragraphs written by many different contributors. * * *
Survey of Hogarth's life and work, including several hyperlinks. * * *
French discussion of Hogarth's careers as an engraver, painter, satirist, and author of The Analysis of Beauty. * * *
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. * * * Project Gutenberg Ebook including the full text of Trusler's book. * * *
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. * * *
Interesting article on the children depicted in Hogarth's works. * * *
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. * * *
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. * * * 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. * * *
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. * * * 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. * * * 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. * * *
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". * * *
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. * * *
Excerpt (pp. 3-21) from the first chapter of the author's Hogarth: A Life and a World (1997). * * *
French article on Hogarth's London as seen in his works, focusing on pictorial space as a signifier of modified social conditions. * * * 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. * * *
Another online version of Hogarth's treatise of 1753. * * *
Some notes on Hogarth's book including short explanations of some of its ideas and a bibliography. * * *
Postscript to the modern German edition of Hogarth's Analysis of Beauty (Dresden: Verlag der Kunst, 1995). * * *
Online versions of Lessing's reviews of the contemporary German translation of Hogarth's treatise. * * *
Abstract of a paper delivered at the 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). * * *
German thoughts on a passage in Lomazzo's treatise on art (1584-85) which, in its inexact English translation by Richard Haydocke (1598), had some influence upon Hogarth and the contemporary Italian and German translations of The Analysis of Beauty. * * * 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. * * *
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. * * * Excerpt from The Cambridge History of English and American Literature in 18 Volumes (1907-21), Volume XIV: The Victorian Age. * * *
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). * * *
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. * * *
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. * * *
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. * * *
Some remarks by Martin Postle on Hogarth's art and British portraiture plus short commentaries on Hogarth's works in London's Tate Britain. * * *
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. * * *
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. * * *
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. * * * Part of The Restoration and the Eighteenth Century: Topics, an excellent site prepared by Lawrence Lipking. * * * Commentary on Hogarth's Harlot series by Neil McWilliam. * * * Commentary on Hogarth's Election series by Neil McWilliam. * * * 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. * * *
Interprets the unknown street-seller in Hogarth's oil sketch as a lively personification of London. * * *
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. * * *
Commentaries on these prints by Neil McWilliam. * * *
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. * * *
Brief discussion of England's Gin Fever depicted in Gin Lane. * * * Brief analyses of all these paintings by Neil McWilliam. * * *
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. * * *
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'. * * *
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. * * *
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. * * *
Brief information about this specific portrait. From A Handbook of the Collection, The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY. * * *
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." * * *
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. * * *
Part of a Web site created by students of the University of Miami who took, as their group project, 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". * * *
Deals with the third scene of Marriage A-la-Mode from a medical point of view. * * * 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. * * *
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. * * *
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. * * *
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. * * *
"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. * * * 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. * * * 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". * * * 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. * * *
Thoughts about a passage by Hogarth on the sublime and grotesque. * * *
German notes on Hogarth from a socio-critical point of view. * * *
Short remarks on Hogarth's life and work. Part of a Singapore antiquarian's site.
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 prostitutes, and issues of theatricality, race, class, and taste. For the accompanying programmes and events, see also Hogarth and 18th-Century Print Culture Exhibition Events. * * *
Survey of the exhibition organised to celebrate the 300th anniversary of Hogarth's birth. * * *
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). * * *
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." * * *
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." * * *
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." * * *
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." * * *
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." * * *
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." * * *
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." * * *
On the world of Hogarth at Tate Britain, which "was not a pretty one, yet it continues to delight art lovers." * * *
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. * * *
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. * * *
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." * * *
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. * * * 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. * * *
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. * * *
Another review of the Yale Center exhibition, Among the Whores and Thieves. * * *
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. * * *
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. * * *
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. * * *
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." * * *
Another review of the British Museum exhibition depicting London in 1753 and dominated by Hogarth's horrifying, squalor-filled images. * * *
Survey of the Spanish exhibition, La estampa satírica británica: Hogarth y su tiempo, Biblioteca Nacional, 1 February - 1 April 2001. * * *
Spanish review of the exhibition of British satirical prints at the Biblioteca Nacional, curated by Javier Docampo (see above). * * *
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. * * * Notes on the German exhibition of Hogarth's engravings at the Hamburger Kunsthalle. * * *
Review of the exhibition of Hogarth's works at the Hamburger Kunsthalle. * * *
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. * * *
Another review of the Berlin Marriage A-la-Mode exhibition. * * * Short review of Hans-Peter Wagner's German Hogarth exhibition at the Saarland Museum, Saarbrücken, 1998. * * * Notes on a German exhibition of Hogarth's prints at the Ostfriesisches Landesmuseum, Emder Rüstkammer, 19 May - 21 July 2002. * * *
Brief review of Andrew Stevens's exhibition, Hogarth and 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 same 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. * * *
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. * * *
Brief review of the German exhibition, Von Wüstlingen und anderen Zeitgenossen, Kupferstichkabinett Dresden, 9 November 1995 - 2 February 1996. * * *
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. * * * Some remarks on a Courtauld Gallery exhibition, 23 February - 13 May 2001. * * *
Brief information on an exhibition of works by Hogarth, some Swiss caricaturists, and Daumier in the Kunsthaus Zurich, 16 February-22 April 2001.
Calls Jenny Uglow's book a "vivid and enthralling biography" of Hogarth and "a vibrant portrait of the age in which he lived". * * *
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". * * *
Another review of Jenny Uglow, Hogarth: A Life and a World (1997). * * *
Review by Veronica Horwell. * * *
Review of David Bindman's British Museum catalogue of 1997. * * *
Review of Mark Hallett, The Spectacle of Difference: Graphic Satire in the Age of Hogarth, New Haven and London: Yale University Press, 1999. * * *
Review of Fiona Haslam, From Hogarth to Rowlandson: Medicine in Art in Eighteenth-Century Britain, Liverpool: Liverpool University Press, 1996. * * *
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. * * *
Short, revised Online version of a lengthy review which appeared in the Lichtenberg-Jahrbuch 1999, 257-68. * * *
Review of C. Maria Laudando's modern Italian translation of Hogarth's Analysis of Beauty. * * *
Review of Peter Wagner, Reading Iconotexts: From Swift to the French Revolution, London: Reaktion Books, 1995. * * *
Another review of Wagner's book. Scroll down to read the second contribution on the TCJ Reviews page. * * *
Review of a book which deals with eighteenth-century theories of beauty, among them Hogarth's. * * *
Review of Paulson's book which includes a chapter on Hogarth's Don Quixote illustrations and also discusses some other of his works. * * *
Another review of Paulson's Don Quixote book. * * *
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.
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. * * *
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. * * * 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' ". * * *
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". * * * 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. * * *
Brief information about a German seminar on Hogarth at the University of Trier (Summer 1999). * * *
Reference to a German seminar on Hogarth and Lichtenberg at the Freie Universität Berlin (Summer 2001). * * * Interesting educational site on the measurements of Hogarth's self-portrait of c. 1757 in the National Portrait Gallery, London. * * *
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. * * *
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". * * * 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. * * *
Article using Hogarth's The Graham Children to introduce critical methods of "biblical criticism". * * *
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 outline. Gives additional information about the moral rhetoric of Hogarth's Progresses according to Henry Fielding. * * * Some Web pages and books on Hogarth recommended for students of English. Resource list by Professor Richard Davies, Acadia University, Canada. * * *
French remarks on Hogarth's Marriage A-la-Mode series plus some questions in English for use in schools. * * *
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. * * *
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.
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. * * *
Letters in response to "An Exchange on Hogarth", New York Review of Books, 12 August 1993. * * *
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. * * *
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. * * *
Includes an interpretation of the disintegration and moral depravity of the materialistic couple in Hogarth's Marriage A-la-Mode. * * *
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. * * *
Printseller's commentaries on Hogarth's Enthusiasm Delineated, Credulity, Superstition, and Fanaticism, The Four Times of the Day, and the Distressed Poet. * * * Part of a German art dealer's commercial Web site. Includes some heavily textured 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. * * *
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". * * * 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. * * *
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. * * *
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. * * *
Presents the original marriage licence allegation dated 20 March 1728 for William Hogarth and Jane Thornhill plus some additional commentary. * * *
Quoted in A.M. Broadley, Chats on Autographs (1910). * * *
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. * * * 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." * * *
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. * * * 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. * * *
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". * * * 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. * * *
Short information on Hogarth's London dwellings. * * *
Brief information on Hogarth's House, a beautiful relic of his era, though damaged by bombing during the war, it has been carefully restored by the local council. * * *
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. * * * Page 16 of a Geocities Web site on the history of the streets of London. Scroll down on their site 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. * * *
Some short biographical notes plus an image of William Hogarth's tomb at St. Nicholas' Churchyard, Chiswick Mall, Chiswick, London. * * *
Another view of Hogarth's tomb. * * * Some remarks on Hogarth's image of Bedlam. Part of the online exhibition "Bedlam: Custody Care and Cure 1247-1997". * * * On the song The Roast Beef of Old England. Words and music by Richard Leveridge, 1735. * * * On the long, dignified history of the pug. Hogarth's depiction of pugs is mentioned in passing. * * *
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. * * *
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." * * * 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. * * *
Includes some remarks on Hogarth's anti-Methodist print, Credulity, Superstition, and Fanaticism. * * * Contemporary newspaper articles on Mary Toft, the "pretended rabbit breeder" whom Hogarth satirized in his print Cunicularii. * * *
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. * * *
German paper on eating and drinking in eighteenth-century London. Includes subchapters on Gin Lane and Beer Street. * * *
French page on foreign caricaturists. Starts with a brief analysis of Hogarth's art. * * * 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. * * *
Includes a short note on, and reproductions of, Hogarth's Four Stages of Cruelty. * * *
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. * * *
Compares Simon Rattle, the British conductor, with Hogarth's Enraged Musician. * * *
Article on the unfashionable national collection of British art shown at the Tate Britain. Includes brief remarks on some of Hogarth's paintings. * * *
Short notes on Hogarth and the Foundling Hospital. * * * Web site on one of England's oldest children's charities which was supported by Hogarth and became a centre of eighteenth-century philanthropy. * * *
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. * * *
Reports that Hogarth's painting of The March to Finchley was acquired for the new Foundling Museum, London, for �4m. * * *
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. * * *
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. * * *
Tells how the first modern actor David Garrick put theatre at the heart of culture. Contains some passages on Hogarth. * * * Short account of the life and art of Sir James Thornhill, Hogarth's father-in-law. * * *
More detailed account of the life and work of the Dorset-born artist, Sir James Thornhill. * * *
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. * * *
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.... * * *
Documents the progress of a doll's house inspired by the interiors of some of Hogarth's works. A FINAL SUGGESTIONFor those thousands of further references to the numerous valuable essays on Hogarth, which have appeared in many different languages in journals from all over the world during the past three centuries; and for other indispensible sources and publications, the reader should consult the forthcoming, annotated, two-volume by the author of this Web site. All success in your work!
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