Robert Hooke, Curator of Experiments at the Royal Society, was appointed to design the building. The eighth and final painting, The Madhouse, shows Tom being admitted to the hospital by attendants ...and comforted by his mistress, Sarah Young. Bewigged gentlemen beyond the grill are in the administrative part of the building and likely to be senior members of staff.
Gawen Hamilton (c'1697-1737) and William Hogarth (1697-1764) distinguished themselves by being the first British artists, both in 1728, to paint group portraits in a new style that became known as ...the conversation piece. This new genre portrayed small-scale whole-length figures of a group of friends or family engaged in discourse or some activity where their focus was on each other rather than staring out of the canvas at the artist for whom they were sitting. Works of this genre were commissioned and showed the sitters depicted in an informal setting where their recognizable likeness was a key element.
The progress of dentistry towards a profession allied to medicine and surgery was incremental, and a most important step in that process was the separation of the surgeons from the barbers in 1745. ...Hogarth's illustration of a dentally active barber has been discussed previously in the British Dental Journal. In this paper, his probable contribution to the campaign for separation led successfully by his friend, surgeon John Ranby FRS (1703-1773), through the dramatic and much analysed painting The death of the countess (1743), is analysed. In this paper, it is suggested that William Hogarth was not only aware of the tensions between the physicians, surgeons and barbers that had come to a head, but that he modified the first thoughts, seen in a sketch (now at the Ashmolean, Oxford), to incorporate in this painting, and the print made from it a conspicuous sub-scene, almost central in a composition where the dying countess would be expected to be the only subject, as a satirical comment on that internal conflict.
Ever since Ronald Paulson in his comprehensive first edition of Hogarth: His Life, Art, and Times proposed that the first picture of A Harlot's Progress was analogous to the meeting of the Virgin ...Mary and Saint Elizabeth, commentators, including me, have eagerly sought out as many religious correspondences in Hogarth's art as they could find. The discovery and interpretation of these correspondences has become an industry. The problem is that their identification and certainly their interpretation are frequently matters of doubt, dispute, and disagreement. It is claimed in this essay that Hogarth's mock-haloes provide if not certainty, then fairly objective evidence that something is going on in one or more of his pictures, whether it be satirical, sacrilegious or sincere. A false halo is defined as the head of a figure closely juxtaposed with or actually overlapping an oval, round, or rectangular object otherwise not associated with the figure concerned. This generally rules out the brims of hats or wigs unless they are close to but separated from their owners in an eye-catching way.
Of the many obscure details in Hogarth's pictorial art, perhaps the most obscure occurs in the last picture of his Election series, Chairing the members. This series, Hogarth's last, describes an ...election which takes place in the mythic borough of Guzzledown, making it a satire on the maneuverings behind the 1754 General Election, particularly in the constituency of Oxfordshire. The first picture shows the end of an election banquet organized by the town party, also known as the New Interest, which is followed in the second picture by a glimpse of the bribery which went on during canvassing. The third picture shows the vote in progress and the last, Choiring the members, depicts the parade of the two successful candidates belonging to the country party, the Old Interest.
The anonymity and enticement provided by masks and costumes turned the masquerade into a frequent narrative frame for the depiction of amorous encounters and assignations in Georgian literary and ...visual culture, especially in relation to women's behavior, morality, and presence in the public sphere during the nascent cult of sensibility. Hogarth's series came to epitomize a perception of the masquerade widely spread amongst Georgian society and replicated by contemporary print culture: that of the masked ball as a space for riveting assignations and moral corruption, especially in relation to women's behavior and presence in the public sphere during the nascent cult of sensibility. ...social views on masquerades rapidly evolved and became highly fluctuating as the century advanced: members of the bon ton were regular attendees and conceived the events as a fashionable opportunity for self-display; meanwhile, public opinion, expressly moralists and intellectuals, ranted relentlessly about the corrupting social mingling, frivolity, and licentiousness that masquerades enabled. ...scholar David Turner demonstrates how by the 1730s legal prosecution of adultery was disappearing, the matter being viewed as an issue of «private vice»6.
In the beginning Gourlay, Alexander S; Cowley, Robert LS
The British art journal,
10/2020, Letnik:
21, Številka:
2
Journal Article
Recenzirano
In Apr 1720, William Hogarth issued his own trade card. Such cards were also called shop cards, but at this date Hogarth didn't have a shop or an established trade. In early Feb 1713/14, young ...William Hogarth was bound apprentice to a retail silversmith and goldsmith, Ellis Gamble. On Ap 23, 1720, Hogarth declared himself to be an engraver, according to his shop-card. The announcement came just before the formal end of his apprenticeship, and indeed no record appears to have survived to say that he became a journeyman silversmith or master. Hogarth may have done much of the work on his card with a burin, the basic tool for engraving on silver, incising grooves by pushing the tool across the copper. It is likely, however, that he used mostly etching, employing the labour-saving mixed method, the predominant technique in English engraving at the time.
Southward Fair was published in January 1734 as 'The Humours of a Fair', although as early as Apr 7, 1737 it was being referred to simply as 'Southwark Fair,' and William Hogarth himself referred to ...it as such in his price lists. Contrary to the belief that the topographical details were 'arbitrarily' chosen and the scene 'generalized', the buildings that Hogarth depicts and other visual clues he provides, including allusions to theatrical performances, were intended to identify the location as Southwark Fair. That is not to say that he finally offered an exact topographical record. Rather, as with The Beggar's Opera and Falstaff examining his recruits, Hogarth must have begun by sketching the scene in situ and then composed the final picture in all its complexity.
The Writing Life Balaban, John
The Massachusetts review,
06/2022, Letnik:
63, Številka:
2
Journal Article
Recenzirano
Balaban explores the nature of his life as a writer. He touches on extraneous experiences like housework, political activity, and selling the movie rights to his memoir, before focusing on his time ...writing in New Mexico. He emphasizes the importance of location in facilitating the writing process, the lengths he went to in order to secure the right places, and the permanent impacts those places have had on his life. The essay includes Balaban's poem, Walking down into Cebolla Canyon.
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