William Hogarth

For the Roman Catholic bishop, see William Hogarth(bishop). For the scuba diver William Hogarth Main, seeBill Main.

William Hogarth (/hor/; 10 November 1697 26October 1764) was an English painter, printmaker, picto-rial satirist, social critic, and editorial cartoonist who hasbeen credited with pioneering western sequential art.His work ranged from realistic portraiture to comic strip-like series of pictures called modern moral subjects.Knowledge of his work is so pervasive that satirical po-litical illustrations in this style are often referred to asHogarthian.[1]

1 Early life

William Hogarth by Roubiliac, 1741, National Portrait Gallery,London

William Hogarth was born at Bartholomew Close in Lon-don to Richard Hogarth, a poor Latin school teacher and

textbook writer, and Anne Gibbons. In his youth he wasapprenticed to the engraver Ellis Gamble in LeicesterFields, where he learned to engrave trade cards and sim-ilar products.Young Hogarth also took a lively interest in the street lifeof the metropolis and the London fairs, and amused him-self by sketching the characters he saw. Around the sametime, his father, who had opened an unsuccessful Latin-speaking coee house at St Johns Gate, was imprisonedfor debt in Fleet Prison for ve years. Hogarth neverspoke of his fathers imprisonment.[2]

Hogarth became a member of the Rose and Crown Club,with Peter Tillemans, George Vertue, Michael Dahl, andother artists and connoisseurs.[3]

2 CareerSee also: List of works by William Hogarth

By April 1720, Hogarth was an engraver in his own right,at rst engraving coats of arms, shop bills, and designingplates for booksellers.In 1727, he was hired by Joshua Morris, a tapestryworker, to prepare a design for the Element of Earth.Morris heard that he was an engraver, and no painter,and consequently declined the work when completed.Hogarth accordingly sued him for the money in theWestminster Court, where the case was decided in hisfavour on 28 May 1728. In 1757 he was appointedSerjeant Painter to the King.[4]

2.1 Early works

Early satirical works included an Emblematical Print onthe South Sea Scheme (c.1721), about the disastrous stockmarket crash of 1720 known as the South Sea Bubble, inwhich many English people lost a great deal of money.In the bottom left corner, he shows Protestant, Catholic,and Jewish gures gambling, while in the middle thereis a huge machine, like a merry-go-round, which peopleare boarding. At the top is a goat, written below which isWho'l Ride. The people are scattered around the pic-ture with a sense of disorder, while the progress of thewell dressed people towards the ride in the middle showsthe foolishness of the crowd in buying stock in the SouthSea Company, which spent more time issuing stock than

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2 2 CAREER

The Assembly at Wanstead House. Earl Tylney and family inforeground

anything else.[5]

Other early works include The Lottery (1724); The Mys-tery of Masonry brought to Light by the Gormogons(1724); A Just View of the British Stage (1724); somebook illustrations; and the small print Masquerades andOperas (1724). The latter is a satire on contemporaryfollies, such as the masquerades of the Swiss impre-sario John James Heidegger, the popular Italian operasingers, John Rich's pantomimes at Lincolns Inn Fields,and the exaggerated popularity of Lord Burlington's pro-tg, the architect and painter William Kent. He con-tinued that theme in 1727, with the Large MasqueradeTicket. In 1726 Hogarth prepared twelve large engrav-ings for Samuel Butler's Hudibras.

Self-Portrait by Hogarth, ca. 1735, Yale Center for British Art.

These he himself valued highly, and they are among hisbest book illustrations.In the following years he turned his attention to the pro-

duction of small "conversation pieces" (i.e., groups in oilof full-length portraits from 12 to 15 inches (300 to 380mm) high). Among his eorts in oil between 1728 and1732 were The Fountaine Family (c.1730), The Assem-bly at Wanstead House, The House of Commons examin-ing Bambridge, and several pictures of the chief actors inJohn Gay's popular The Beggars Opera.[6] One of his reallow-life and real-life subjects was Sarah Malcolm who hesketched two days before her execution.[7]

One of Hogarths masterpieces of this period is the de-piction of an amateur performance by children of JohnDryden's The Indian Emperor, or The Conquest of Mex-ico (17321735) at the home of John Conduitt, master ofthe mint, in St Georges Street, Hanover Square.[8]

Hogarths other works in the 1730s include A MidnightModern Conversation (1733), Southwark Fair (1733),The Sleeping Congregation (1736), Before and After(1736), Scholars at a Lecture (1736), The Company ofUndertakers (Consultation of Quacks) (1736), The Dis-trest Poet (1736), The Four Times of the Day (1738),and Strolling Actresses Dressing in a Barn (1738). Hemight also have printed Burlington Gate (1731), evokedby Alexander Pope's Epistle to Lord Burlington, and de-fending Lord Chandos, who is therein satirized. Thisprint gave great oence, and was suppressed. However,modern authorities such as Ronald Paulson no longer at-tribute it to Hogarth.[9]

2.2 Moralizing art2.2.1 Harlots and Rakes Progresses

A Rakes Progress, Plate 8, 1735, and retouched by Hogarth in1763 by adding the Britannia emblem[10][11]

In 1731 Hogarth completed the earliest of his series ofmoral works, a body of work that led to signicant recog-nition. The collection of six scenes was entitledAHarlotsProgress and appeared rst as paintings (now lost) beforebeing published as engravings. A Harlots Progress de-

2.2 Moralizing art 3

picts the fate of a country girl who begins prostitutingthe six scenes are chronological, starting with a meetingwith a bawd and ending with a funeral ceremony that fol-lows the characters death from venereal disease.[12]

The inaugural series was an immediate success and wasfollowed in 1735 by the sequel A Rakes Progress. Thesecond instalment consisted of eight pictures that de-picted the reckless life of Tom Rakewell, the son of arich merchant, who spends all of his money on luxuri-ous living, services from prostitutes, and gamblingthecharacters life ultimately ends in Bethlem Royal Hospi-tal. The original paintings of A Harlots Progress weredestroyed in the re at Fonthill House in 1755, while ARakes Progress is displayed in the gallery room at Sir JohnSoanes Museum, London, UK.[13]

When the success of A Harlots Progress and A RakesProgress resulted in numerous pirated reproductions byunscrupulous printsellers, Hogarth lobbied in parliamentfor greater legal control over the reproduction of his andother artists work. The result was the Engravers Copy-right Act (known as Hogarths Act), which became lawon 25 June 1735 and was the rst copyright law to dealwith visual works as well as the rst to recognize the au-thorial rights of an individual artist.[14]

2.2.2 Marriage -la-mode

Marriage -la-mode, Shortly After the Marriage (scene two ofsix).

In 17431745, Hogarth painted the six pictures ofMarriage -la-mode (National Gallery, London), apointed skewering of upper-class 18th-century society.This moralistic warning shows the miserable tragedy ofan ill-considered marriage for money. This is regardedby many as his nest project and may be among his best-planned story serials.Marital ethics were the topic of much debate in 18th-century Britain. The many marriages of convenience andtheir attendant unhappiness came in for particular criti-cism, with a variety of authors taking the view that lovewas a much sounder basis for marriage. Hogarth here

Marriage -la-mode, After the old Earls funeral (scene four ofsix)

painted a satire a genre that by denition has a moralpoint to convey of a conventional marriage within theEnglish upper class. All the paintings were engraved andthe series achieved wide circulation in print form. Theseries, which is set in a Classical interior, shows the storyof the fashionable marriage of the son of bankrupt EarlSquandereld to the daughter of a wealthy butmiserly citymerchant, starting with the signing of a marriage contractat the Earls mansion and ending with the murder of theson by his wifes lover and the suicide of the daughter afterher lover is hanged at Tyburn for murdering her husband.William Makepeace Thackeray wrote:

This famous set of pictures contains themost important and highly wrought of the Hog-arth comedies. The care and method withwhich the moral grounds of these pictures arelaid is as remarkable as the wit and skill ofthe observing and dexterous artist. He has todescribe the negotiations for a marriage pend-ing between the daughter of a rich citizen Al-derman and young Lord Viscount Squander-eld, the dissipated son of a gouty old Earl... The dismal end is known. My lord drawsupon the counselor, who kills him, and is ap-prehended while endeavouring to escape. Mylady goes back perforce to the Alderman ofthe City, and faints upon reading CounsellorSilvertongues dying speech at Tyburn (placeof execution in old London), where the coun-selor has been 'executed for sending his lord-ship out of the world. Moral: dont listen to evilsilver-tongued counselors; don't marry a manfor his rank, or a woman for her money; don'tfrequent foolish auctions and masquerade ballsunknown to your husband; don't have wickedcompanions abroad and neglect your wife, oth-erwise you will be run through the body, andruin will ensue, and disgrace, and Tyburn.[15]

4 2 CAREER

2.2.3 Industry and Idleness

Industry and Idleness Plate 1, The Fellow 'Prentices at theirLooms

In the twelve prints of Industry and Idleness (1747) Hog-arth shows the progression in the lives of two appren-tices, one of whom is dedicated and hard working, whilethe other, who is idle, commits crime and is eventuallyexecuted. This shows the work ethic of Protestant Eng-land, where those who work hard get rewarded, such asthe industrious apprentice who becomes Sheri (plate 8),Alderman (plate 10), and nally the Lord Mayor of Lon-don in the last plate in the series. The idle apprentice,who begins at play in the church yard (plate 3), holesup in a Garrett with a Common Prostitute after turn-ing highwayman (plate 7) and executed at Tyburn" (plate11). The idle apprentice is sent to the gallows by the in-dustrious apprentice himself.

2.2.4 Beer Street and Gin Lane

Later prints of signicance include his pictorial warningof the consequences of alcoholism in Beer Street and GinLane (1751). Hogarth engraved Beer Street to show ahappy city drinking the 'good' beverage, English beer, incontrast to Gin Lane, in which the eects of drinking ginare shown as a more potent liquor, gin caused moreproblems for society.[16] People are shown as healthy,happy and prosperous in Beer Street, while in Gin Lanethey are scrawny, lazy and careless. The woman at thefront of Gin Lane, who lets her baby fall to its death,echoes the tale of Judith Dufour, who strangled her babyso she could sell its clothes for gin money.[17] The printswere published in support of the Gin Act 1751.Hogarths friend, the magistrate Henry Fielding, mayhave enlisted Hogarth to help with propaganda for theGin Act: Beer Street and Gin Lane were issued shortlyafter his work An Enquiry into the Causes of the Late In-crease of Robbers, and Related Writings, and addressedthe same issues.[18]

Gin Lane

2.2.5 The Four Stages of Cruelty

Other prints were his outcry against inhumanity in TheFour Stages of Cruelty (published 21 February 1751),in which Hogarth depicts the cruel treatment of animalswhich he saw around him and suggests what will happento people who carry on in this manner. In the rst picturethere are scenes of torture of dogs, cats and other ani-mals. The second shows one of the characters from therst painting, Tom Nero, has now become a coach driver,and his cruelty to his horse has caused it to break its leg.In the third painting Tom is shown as a murderer, with thewoman he killed lying on the ground, while in the fourth,titled Reward of Cruelty, the murderer is shown beingdissected by scientists after his execution. The methodof execution, and the dissection, reect the 1752 Act ofParliament allowing for the dissection of executed crim-inals who had been convicted for murder.

2.3 Portraits

Hogarth was also a popular portrait painter. In 1746 hepainted actor David Garrick as Richard III, for which hewas paid 200, which was more, he wrote, than anyEnglish artist ever received for a single portrait. In thesame year a sketch of Simon Fraser, 11th Lord Lovat,afterwards beheaded on Tower Hill, had an exceptionalsuccess. In 1740[19] he created a truthful, vivid full-lengthportrait of his friend, the philanthropic Captain Coramfor the Thomas Coram Foundation for Children, nowin the Foundling Museum, and his unnished oil sketchof The Shrimp Girl (National Gallery, London), may be

2.5 Other later works 5

David Garrick as Richard III, 1746

Portrait of a Man, 1741

called masterpieces of British painting. There are alsoportraits of his wife and his two sisters, and of many otherpeople, among them Bishop Hoadly and Bishop Herring.

2.4 Historical subjects

For a long period of his life, Hogarth tried to achieve thestatus of history painter, but had no great success in thiseld.

2.4.1 Biblical scenes

Examples of his history pictures are The Pool of Bethesdaand The Good Samaritan, executed in 17361737 for StBartholomews Hospital;Moses brought before PharaohsDaughter, painted for the Foundling Hospital (1747, for-

merly at the Thomas Coram Foundation for Children,now in the Foundling Museum); Paul before Felix (1748)at Lincolns Inn; and his altarpiece for St. Mary Redclie,Bristol (1756).

2.4.2 The Gate of Calais

The Gate of Calais (1748; now in Tate Britain) was pro-duced soon after his return from a visit to France. HoraceWalpole wrote that Hogarth had run a great risk to gothere since the peace of Aix-la-Chapelle:

he went to France, and was so imprudentas to be taking a sketch of the drawbridge atCalais. He was seized and carried to the gov-ernor, where he was forced to prove his vo-cation by producing several caricatures of theFrench; particularly a scene of the shore, withan immense piece of beef landing for the liond'argent, the English inn at Calais, and severalhungry friars following it. They were much di-verted with his drawings, and dismissed him.

Back home, he immediately executed a painting of thesubject in which he unkindly represented his enemies,the Frenchmen, as cringing, emaciated and superstitiouspeople, while an enormous sirloin of beef arrives, des-tined for the English inn as a symbol of British prosperityand superiority. He claimed to have painted himself intothe picture in the left corner sketching the gate, with asoldiers hand upon my shoulder, running him in.[20]

2.5 Other later works

Notable Hogarth engravings in the 1740s include The En-raged Musician (1741), the six prints of Marriage -la-mode (1745; executed by French artists under Hogarthsinspection), andThe Stage Coach or The Country Inn Yard(1747).In 1745 Hogarth painted a self-portrait with his pug dog(now also in Tate Britain), which shows him as a learnedartist supported by volumes of Shakespeare, Milton andSwift. In 1749, he represented the somewhat disorderlyEnglish troops on their March of the Guards to Finchley(formerly located in Thomas Coram Foundation for Chil-dren, now Foundling Museum).Others works included his ingenious Satire on False Per-spective (1753); his satire on canvassing in his Electionseries (17551758; now in Sir John Soanes Museum);his ridicule of the English passion for cockghting in TheCockpit (1759); his attack onMethodism in Credulity, Su-perstition, and Fanaticism (1762); his political anti-warsatire in The Times, plate I (1762); and his pessimisticview of all things in Tailpiece, or The Bathos (1764).

6 3 PERSONAL LIFE

Eva Marie Veigel and husband David Garrick, c. 1757-1764,Royal Collection at Windsor Castle.

2.6 Writing

The Analysis of Beauty plate 1 (1753)

Hogarth wrote and published his ideas of artistic design inhis book The Analysis of Beauty (1753).[21] In it, he pro-fesses to dene the principles of beauty and grace whichhe, a real child of Rococo, saw realized in serpentinelines (the Line of Beauty). By some of Hogarths ad-herents, the book was praised as a ne deliverance uponaesthetics; by his enemies and rivals, its obscurities andminor errors were made the subject of endless ridiculeand caricature.[22]

2.7 Painter and engraver of modern moralsubjects

Hogarth lived in an age when artwork became increas-ingly commercialized, being viewed in shop windows,taverns, and public buildings, and sold in printshops. Oldhierarchies broke down, and new forms began to ourish:the ballad opera, the bourgeois tragedy, and especially, anew form of ction called the novel with which authorssuch as Henry Fielding had great success. Therefore, bythat time, Hogarth hit on a new idea: painting and en-graving modern moral subjects ... to treat my subjects asa dramatic writer; my picture was my stage, as he him-self remarked in his manuscript notes.He drew from the highly moralizing Protestant traditionof Dutch genre painting, and the very vigorous satiricaltraditions of the English broadsheet and other types ofpopular print. In England the ne arts had little com-edy in them before Hogarth. His prints were expensive,and remained so until early 19th-century reprints broughtthem to a wider audience.

2.8 Parodic borrowings from theOldMas-ters

When analysing the work of the artist as a whole, RonaldPaulson says, In A Harlots Progress, every single platebut one is based on Drer's images of the story of theVirgin and the story of the Passion. In other works, heparodies Leonardo da Vinci's Last Supper. Accordingto Paulson, Hogarth is subverting the religious establish-ment and the orthodox belief in an immanent God whointervenes in the lives of people and produces miracles.Indeed, Hogarth was a Deist, a believer in a God whocreated the universe but takes no direct hand in the livesof his creations. Thus, as a comic history painter,he often poked fun at the old-fashioned, beaten sub-jects of religious art in his paintings and prints. Hogarthalso rejected Lord Shaftesbury's then-current ideal of theclassical Greek male in favour of the living, breathing fe-male. He said, Who but a bigot, even to the antiques,will say that he has not seen faces and necks, hands andarms in living women, that even the Grecian Venus dothbut coarsely imitate.

3 Personal lifeOn 23 March 1729 Hogarth married Jane Thornhill,daughter of artist Sir James Thornhill.Hogarth was initiated as a Freemason before 1728 in theLodge at the Hand and Apple Tree Tavern, Little QueenStreet, and later belonged to the Carrier Stone Lodge andthe Grand Stewards Lodge; the latter still possesses the'Hogarth Jewel' which Hogarth designed for the LodgesMaster to wear.[23] Today the original is in storage and a

7replica is worn by the Master of the Lodge. Freemasonrywas a theme in some of Hogarths work, most notably'Night', the fourth in the quartet of paintings (later re-leased as engravings) collectively entitled the Four Timesof the Day.The Hogarths had no children, although they fosteredfoundling children. He was a founding Governor of theFoundling Hospital.Among his friends and acquaintances were many Englishartists and satirists of the period, such as Francis Hayman,Henry Fielding, and Laurence Sterne.

William and Jane Hogarths tomb

4 DeathHogarth died in London on 26 October 1764 and wasburied at St. Nicholass Churchyard, Chiswick Mall,Chiswick, London. His friend, actor DavidGarrick, com-posed the following inscription for his tombstone:

Farewell great Painter of MankindWho reach'd the noblest point of ArtWhose pictur'd Morals charm the MindAnd through the Eye correct the Heart.

If Genius re thee, Reader, stay,If Nature touch thee, drop a Tear:If neither move thee, turn away,For Hogarths honour'd dust lies here.

5 Inuence and reputation

Bust of Hogarth, Leicester Square, London.

Hogarths works were a direct inuence on John Col-lier, who was known as the Lancashire Hogarth.[24] Thespread of Hogarths prints throughout Europe, togetherwith the depiction of popular scenes from his prints infaked Hogarth prints, inuenced Continental book illus-tration through the 18th and early 19th century, especiallyin Germany and France. He also inuenced many cari-caturists of the 18th, 19th and 20th centuries. Hogarthsinuence lives on today as artists continue to draw inspi-ration from his work.Hogarths paintings and prints have provided the subjectmatter for several other works. For example, Gavin Gor-don's 1935 ballet The Rakes Progress, to choreography byNinette de Valois, was based directly on Hogarths seriesof paintings of that title. Igor Stravinsky's 1951 operaTheRakes Progress, with libretto by W. H. Auden, was lessliterally inspired by the same series. Russell Banks' shortstory Indisposed is a ctional account of Hogarths in-delity as told from the viewpoint of his wife, Jane. Hog-arths engravings also inspired the BBC radio play TheMidnight House by Jonathan Hall, based on the M. R.James ghost story The Mezzotint and rst broadcast onBBC Radio 4 in 2006.Hogarths House in Chiswick, west London, is now a mu-seum; it abuts one of Londons best known road junctions the Hogarth Roundabout.Hogarth is played by Toby Jones in the 2006 televisionlm A Harlots Progress.

8 8 NOTES

In 2014 both Hogarths House and the Foundling Mu-seum held special exhibitions to mark the 250th anniver-sary of his death.

6 Selected worksPaintings

William Hogarths paintings Before After Portrait of Inigo Jones, English Architect The Beggars Opera VI, 1731, Tate Britains version(22.5 x 30 ins.)

William Jones, the Mathematician, 1740 Hogarths Portrait of Captain Thomas Coram, 1740 Miss Mary Edwards 1742 The Shrimp Girl 1740-1745 The Gate of Calais (also known as, O the Roast Beefof Old England), 1749

March of the Guards to Finchley (1750), a satiricaldepiction of troopsmustered to defend London fromthe 1745 Jacobite rebellion.

Hogarth Painting the Comic Muse. A self-portraitdepicting Hogarth painting Thalia, themuse of com-edy and pastoral poetry, 17571758

The Bench, 1758 Hogarths Servants, mid-1750s. An Election Entertainment featuring the anti-Gregorian calendar banner Give us our ElevenDays, 1755.

William Hogarths Election series, Humours of anElection, plate 2

Engravings

An early print of 1724, A Just View of the BritishStage

Industry and Idleness, plate 11, The Idle 'Prentice ex-ecuted at Tyburn

William Hogarths engraving of the Jacobite LordLovat prior to his execution

Hogarths satirical engraving of the radical politicianJohn Wilkes.

7 See also English art List of works by William Hogarth

8 Notes[1] According to Elizabeth Einberg, by the time he died in

October 1764 he had left so indelible a mark on the his-tory of British painting that the term 'Hogarthian' remainsinstantly comprehensible even today as a valid descriptionof a wry, satirical perception of the human condition. Seethe exhibition catalog, Hogarth the Painter, London: TateGallery, 1997, p. 17.

[2] Ronald Paulson, Hogarth, vol. 1 (New Brunswick 1991),pp. 26-37.

[3] Coombs, Katherine, 'Lens [Laus] family (per. c. 16501779), artists in Oxford Dictionary of National Biography(Oxford University Press, 2004)

[4] Ronald Paulson, Hogarth, vol. 3 (New Brunswick 1993),pp. 213-216.

[5] See Ronald Paulson, Hogarths Graphic Works (3rd edi-tion, London 1989), no. 43.

[6] Paulson, Hogarth, vol. 1, pp. 172-185, 206-215.

[7] Sarah Malcolm, The Hogarth Room, The Tate, retrieved7 August 2014

[8] Ronald Paulson, Hogarth, vol. 2 (New Brunswick 1992),pp. 1-4.

[9] See Paulson, Hogarths Graphic Works, p. 35.

[10] J. B. Nichols, 1833 p.192 PLATE VIII. ... Britannia1763

[11] J. B. Nichols, 1833 p.193 Retouched by the Author,1763

[12] Cruickshank, Dan (2010). Londons Sinful Secret: TheBawdy History and Very Public Passions of LondonsGeorgian Age. Macmillan. pp. 1920. ISBN1429919566.

[13] A Rakes Progress. Sir John Soanes Museum. Sir JohnSoanes Museum. 2012. Retrieved 13 December 2013.

[14] Verhoogt, Robert (2007). Art in Reproduction:Nineteenth-century Prints After Lawrence Alma-tadema,Jozef Israels and Ary Scheer. Amsterdam: AmsterdamUniversity Press. pp. 1516. ISBN 9053569138.Retrieved 13 December 2014.

[15] Thackeray, William Makepeace, The English Humouristsof the Eighteenth Century.

[16] See Mark Hallett, The Spectacle of Dierence (NewHaven: Yale University Press, 1999), pp.198-222.

[17] See Hogarth, the father of the modern cartoon, TheTelegraph, 13 May 2015.

9[18] See William Hogarth, Beer Street and Gin Lane, twoprints, British Museum.

[19] Waterhouse, Ellis. (1994) Painting in Britain 1530-1790.5th edn. New Haven and London: Yale University Press,p. 175. ISBN 0300058330

[20] J. B. Nichols, 1833 p.63 in one corner introducedmy ownportrait

[21] Hogarth, William. The Analysis of BeautyYale UniversityPress, 1753. USA ISBN 978-0-300-07346-1

[22] Timbs, John (1881). Anecdote Lives of William Hogarth,Sir Joshua Reynolds, Thomas Gainsborough, Henry Fuseli,Sir Thomas Lawrence, and J.M.W. Turner. R. Bentley.pp. 5758.

[23] See references in this biography.

[24] Hignett, Tim (1991). Milnrow & Newhey: A LancashireLegacy. Littleborough: George Kelsall Publishing. p. 39.ISBN 0-946571-19-8.

9 References Hogarth, William (1833). Nichols, J. B., ed.Anecdotes of William Hogarth, Written by Him-self. London: J. B. Nichols and Son, 25 ParliamentStreet.

Fort, Bernadette, and Angela Rosenthal, The OtherHogarth: Aesthetics of Dierence. Princeton:Princeton UP, 2003.

Peter Quennell, Hogarths Progress (London, NewYork 1955)

Frederick Antal,Hogarth and His Place in EuropeanArt (London 1962)

David Bindman, Hogarth (London 1981) Ronald Paulson, Hogarths Graphic Works (3rd edn,London 1989)

Ronald Paulson, Hogarth, 3 vols. (New Brunswick1991-93)

Jenny Uglow, Hogarth: A Life and aWorld (London1997)

Frdric Oge and Hans-Peter Wagner, eds.,William Hogarth: Theater and the Theater of Life(Los Angeles, 1997)

Sean Shesgreen, Hogarth 101 Prints. New York:Dover, 1973.

Sean Shesgreen, Hogarth and the Times-of-the-DayTradition. Ithaca, NY: Cornell UP, 1983

Hans-Peter Wagner,William Hogarth: Das graphis-che Werk (Saarbrcken, 1998)

David Bindman, Frdric Oge and Peter Wag-ner, eds. Hogarth: Representing Natures Machines(Manchester, 2001)

Elizabeth Einberg, Hogarth the Painter, London:Tate Gallery, 1997.

Christine Riding and Mark Hallet, Hogarth (TatePublishing, London, 2006)

Robin Simon, Hogarth, France and British Art: Therise of the arts in eighteenth-century Britain (London,2007)

Ilias Chrissochoidis, "Handel, Hogarth, Goupy:Artistic intersections in Handelian biography",Early Music 37/4 (November 2009), 577596.

Johann Joachim Eschenburg: berWilliam Hogarthund seine Erklrer. (= Edition Wehrhahn. Band 2).Hrsg. von Till Kinzel. Wehrhahn, Hannover 2013,ISBN 978-3-8652-5347-7.

Lichtenberg, Georg Christoph, Ausfhrliche Erk-lrung der Hogarthischen Kupferstiche, Carl HanserVerlag, Mnchen, 1972, ISBN 3-86150-042-6

10 External links The Works of William Hogarth, 1822 Nichols edi-tion (engravings and commentaries)

William Hogarths biography, style, artworks andinuences

William Hogarth at The National Gallery William Hogarth and 18th-Century Print Culture The Site for Research on William Hogarth Print series in detail Museumsportal Schleswig-Holstein Hogarth exhibition at Tate Britain (7 February - 29April 2007)

William Hogarth at Wikigallery Works by William Hogarth at Project Gutenberg Works by or about William Hogarth at InternetArchive

Location of Hogarths grave on Google Maps William Hogarth at Find a Grave The Analysis of Beauty, 1753 Hogarths The Rakes Progress and other of his works

10 10 EXTERNAL LINKS

'Hogarths London', lecture by Robin Simon atGresham College, 8 October 2007 (available fordownload as MP3, MP4 or text les)

Hogarths London video hosted at Tate Britain'swebsite by Martin Rowson

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11 Text and image sources, contributors, and licenses11.1 Text

William Hogarth Source: https://en.wikipedia.org/wiki/William_Hogarth?oldid=668705434 Contributors: Magnus Manske, Derek Ross,Mav, Tarquin, Fubar Obfusco, Deb, David spector, Hephaestos, Rbrwr, Kchishol1970, Infrogmation, JohnOwens, Michael Hardy, DanteAlighieri, Jtdirl, Jahsonic, Gabbe, Arpingstone, Kingturtle, Qfwfq, Rl, Astarte, Charles Matthews, Dcoetzee, Christophorus, Tpbrad-bury, Furrykef, Raul654, Wetman, Jerzy, Dimadick, Robbot, PBS, Mirv, Steeev, JackofOz, Wereon, HaeB, DocWatson42, Beardo, Finn-Zoltan, Solipsist, Tagishsimon, Antandrus, Louison, Mr impossible, Xineann, Merseysites, RetiredUser2, Bodnotbod, Pethan, MRSC,Ukexpat, Avihu, Fanghong~enwiki, D6, Noisy, MeltBanana, Erolos, Bender235, Cmdrjameson, HasharBot~enwiki, Craigy144, SlimVir-gin, Hohum, Sean3000, BaronLarf, BanyanTree, Docboat, Grenavitar, Pwqn, Alai, Tariqabjotu, Pcpcpc, The JPS, Carcharoth, ThomasRuefner, MGTom, Je3000, Mandarax, BD2412, Chun-hian, Josh Parris, Search4Lancer, Rjwilmsi, Lockley, Vary, Amire80, The wub,Yamamoto Ichiro, FlaBot, CalJW, Frank Schulenburg, Chobot, DVdm, VolatileChemical, Bgwhite, Hall Monitor, Roboto de Ajvol, Yurik-Bot, RussBot, Frecklefaerie, Gaius Cornelius, NawlinWiki, Wiki alf, Jgrantdu, Jpbowen, Aaron Schulz, Lockesdonkey, Gadget850, 1717,Franz-kafka, TransUtopian, Crisco 1492, Deville, Th1rt3en, Ray Yallop, Fram, Churchh, Whobot, Tyrenius, Anclation~enwiki, Mais oui!,Tarquin Binary, SailorAlphaCentauri, Knerq, Nick knowles, Attilios, SmackBot, Hux, Davewild, Canthusus, Hmains, Honbicot, Schmit-eye, Erikacornia, Chris the speller, Colonies Chris, Oatmeal batman, KML, Addshore, Brianhenke, Politis, SashatoBot, G-Bot~enwiki,Ser Amantio di Nicolao, John, Buchanan-Hermit, JohnCub, Hippychickali, Kensocal, Masahiko~enwiki, Bjankuloski06en~enwiki, Wag-gers, Doczilla, Amitch, , Politepunk, Vanished user, Joseph Solis in Australia, Ewulp, Asteuartw, Adam Keller, Chiche-ley, Cydebot, Kanags, Treybien, Gogo Dodo, Wordbuilder, Zephire, Doug Weller, Ssilvers, TrevorRC, Wikid77, TonyTheTiger, MojoHand, Ichthys58, Top.Squark, JustAGal, RichardVeryard, Escarbot, RobotG, Seaphoto, Yomangani, Goldenrowley, Mdotley, Modernist,Sluzzelin, Ringsjodjuren, Mark Shaw, Sophie means wisdom, Hut 8.5, .anacondabot, Shishigashira, Memphisto, Murgh, Celithemis, Xn4,JNW, Animum, 28421u2232nfenfcenc, David Eppstein, Lost tourist, Lesabendio, Sagabot, Timothy Titus, Gridge, Cartoonstock, Johnbod,Ycdkwm, Victuallers, RoboMaxCyberSem, Reymma, Bonadea, Joanenglish, Squids and Chips, CardinalDan, Rodolph, VolkovBot, Robert-morgansher, Feroshki, TXiKiBoT, Lewarcher1, Anonymous Dissident, Finlux, Steven J. Anderson, Patche99z, JhsBot, Inductiveload,Motmit, Krautukie, Brandon97, NCRS, SieBot, StAnselm, YonaBot, WereSpielChequers, Gaa~enwiki, Alex Middleton, Lucasbfrbot,June w, Joseph Banks, Oxymoron83, Android Mouse Bot 3, Lightmouse, Miguel.mateo, Maelgwnbot, Tonyshields, Prof saxx, Jza84, Clue-Bot, Lustanderkust, Cygnis insignis, Hafspajen, Auntof6, Pointillist, Excirial, Mrsauternes, Theramin, Yomangan, Mrjmcneil, Lord Corn-wallis, Redclock2, Debrosses, SilvonenBot, MarmadukePercy, MystBot, Addbot, Lithoderm, NjardarBot, 84user, A von Herbay~enwiki,Tide rolls, Lightbot, Zorrobot, Scrivener-uki, Luckas-bot, Yobot, QueenCake, AnomieBOT, Galoubet, JackieBot, Sz-iwbot, Ulric1313,Csigabi, Vaishal, Adaman2008, Esulatell, Nasnema, Jburlinson, Sionk, Omnipaedista, Asfarer, Green Cardamom, FrescoBot, Sektor163, M2545, Dhtwiki, Full-date unlinking bot, TobeBot, Ale And Quail, Lotje, Maur1tsl, Crazy4HimNot, Leondumontfollower, TjBot,Gould363, EmausBot, Adorno rocks, Artiquities, Stephencdickson, RiggrMortis, Completeworks, Lobsterthermidor, ZroBot, Philafrenzy,Donner60, ChuispastonBot, EllenHodges, Xanchester, ClueBot NG, Jackgrith, Proscribe, Ccarh, Masssly, Andrew Gwilliam, SchroCat,BG19bot, Teach267, Daily Blue91, CitationCleanerBot, Iryna Harpy, Soulparadox, All Worlds, Dexbot, Eighteenthcenturyart, Jackninja5,VIAFbot, PerlMonk Athanasius, MuseumGeek, AntZudan, KasparBot, Pizzapiepug, Thephil1237ad and Anonymous: 188

11.2 Images File:Analysis_of_Beauty_Plate_1_by_William_Hogarth.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/12/

Analysis_of_Beauty_Plate_1_by_William_Hogarth.jpg License: Public domain Contributors: Metropolitan Museum of Art, onlinecollection: entry 365314 Original artist: William Hogarth

File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Originalartist: ?

File:GinLane.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/15/GinLane.jpg License: Public domain Contributors: Transferred from en.wikipedia; transferred to Commons by User:NotFromUtrecht using CommonsHelper. Original artist: WilliamHogarth File:Hogarth,_William_-_Portrait_of_a_Man_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/

commons/9/9a/Hogarth%2C_William_-_Portrait_of_a_Man_-_Google_Art_Project.jpg License: Public domain Contributors:aQErjE5IpqoIyg at Google Cultural Institute, zoom level maximum Original artist: Hogarth, William (1697 - 1764) (Artist, Details ofartist on Google Art Project)

File:HogarthWanstead.jpg Source: https://upload.wikimedia.org/wikipedia/en/5/5b/HogarthWanstead.jpg License: PD Contributors: ?Original artist: ?

File:Hogarth_bust_(Leicester_Square).jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e0/Hogarth_bust_%28Leicester_Square%29.jpg License: CC-BY-SA-3.0 Contributors: Own work Original artist: Carcharoth (Commons)

File:Marriage_A-la-Mode_2,_The_Tte__Tte_-_William_Hogarth.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8c/Marriage_A-la-Mode_2%2C_The_T%C3%AAte_%C3%A0_T%C3%AAte_-_William_Hogarth.jpg License: Publicdomain Contributors: The National Gallery Original artist: William Hogarth

File:Marriage_A-la-Mode_4,_The_Toilette_-_William_Hogarth.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/7d/Marriage_A-la-Mode_4%2C_The_Toilette_-_William_Hogarth.jpg License: Public domain Contributors: The National Gallery Orig-inal artist: William Hogarth

File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0Contributors:Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist:Tkgd2007

File:The_Rake{}s_Progress_8.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4b/The_Rake%27s_Progress_8.jpgLicense: Public domain Contributors: (McCormick Library, Northwestern University); Retrieved from [1][#cite_note-1 [1]] Original artist:William Hogarth

12 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

File:Wikiquote-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/fa/Wikiquote-logo.svg License: Public domainContributors: ? Original artist: ?

File:Wikisource-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg License: CC BY-SA 3.0Contributors: Rei-artur Original artist: Nicholas Moreau

File:William_Hogarth{}s_tomb.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f5/William_Hogarth%27s_tomb.jpgLicense: CC BY-SA 3.0 Contributors: Transferred from en.wikipedia; transferred to Commons by User:NotFromUtrecht usingCommonsHelper. Original artist: Original uploader was Pointillist at en.wikipedia

File:William_Hogarth_-_David_Garrick_(1717-79)_with_his_wife_Eva-Maria_Veigel,_\char"0022\relax{}La_Violette\char"0022\relax{}_or_\char"0022\relax{}Violetti\char"0022\relax{}_(1725_-_1822)_-_Google_Art_Project.jpg Source:https://upload.wikimedia.org/wikipedia/commons/1/1c/William_Hogarth_-_David_Garrick_%281717-79%29_with_his_wife_Eva-Maria_Veigel%2C_%22La_Violette%22_or_%22Violetti%22_%281725_-_1822%29_-_Google_Art_Project.jpg License: Publicdomain Contributors: nQGHF7B7LEwTmg at Google Cultural Institute, zoom level maximum Original artist: William Hogarth

File:William_Hogarth_-_David_Garrick_as_Richard_III_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/44/William_Hogarth_-_David_Garrick_as_Richard_III_-_Google_Art_Project.jpg License: Public domainContributors: 8AHFGbq7ICVHbA at Google Cultural Institute, zoom level maximum Original artist: William Hogarth

File:William_Hogarth_-_Industry_and_Idleness,_Plate_1;_The_Fellow_'Prentices_at_their_Looms.png Source:https://upload.wikimedia.org/wikipedia/commons/d/d6/William_Hogarth_-_Industry_and_Idleness%2C_Plate_1%3B_The_Fellow_%27Prentices_at_their_Looms.png License: Public domain Contributors: Scanned from The genius of William Hogarth or HogarthsGraphical Works Original artist: William Hogarth

File:William_Hogarth_-_Self-Portrait_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/60/William_Hogarth_-_Self-Portrait_-_Google_Art_Project.jpg License: Public domain Contributors: jQG2UwUFvm753g at Google Cul-tural Institute, zoom level maximum Original artist: William Hogarth

File:William_Hogarth_by_Roubiliac,_1741,_National_Portrait_Gallery,_London.JPG Source: https://upload.wikimedia.org/wikipedia/commons/1/19/William_Hogarth_by_Roubiliac%2C_1741%2C_National_Portrait_Gallery%2C_London.JPG License: CCBY-SA 4.0 Contributors: Own work Original artist: Stephencdickson

11.3 Content license Creative Commons Attribution-Share Alike 3.0

Early lifeCareerEarly worksMoralizing artHarlots and Rakes ProgressesMarriage -la-modeIndustry and IdlenessBeer Street and Gin LaneThe Four Stages of Cruelty

PortraitsHistorical subjectsBiblical scenesThe Gate of Calais

Other later worksWritingPainter and engraver of modern moral subjectsParodic borrowings from the Old Masters

Personal lifeDeathInfluence and reputationSelected worksSee alsoNotesReferencesExternal linksText and image sources, contributors, and licensesTextImagesContent license