Tor Alosson
William Hogarth (1697-1764) was an English painter, engraver, satirist, and social critic whose work left an indelible mark on 18th-century art and society. He is known for his ability to capture the essence of his era and human nature, often through humor and satire. Hogarth’s art ranged from vivid and realistic portraiture to the creation of a unique form of sequential storytelling through series like “A Harlot’s Progress,” “A Rake’s Progress,” and “Marriage A-la-Mode.” His influence on political cartoons and social commentary continues to resonate today. This article explores the life, works, and enduring legacy of William Hogarth.
| William Hogarth | |
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| Date of birth | 10 November 1697 London |
| Date of death | 26 October 1764, 25 October 1764 London |
| Place of burial | St. Nicholas Church, Chiswick |
| Country of citizenship | Great Britain |
| Residence | London Hogarth’s House |
| Occupation |
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| Position held | Court painter |
| Field of work |
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| Movement | Realism |
| Father | Richard Hogarth |
| Mother | Anne Gibbons |
| Spouse | Jane Hogarth |
| Work location |
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| Notable work |
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Early Life and Artistic Beginnings
William Hogarth was born in London on November 10, 1697, into a lower-middle-class family. Richard Hogarth’s father was a Latin school teacher and textbook writer. William’s early years were marked by financial instability due to his father’s periods of mixed fortune. One significant event that shaped Hogarth’s artistic sensibilities was his father’s imprisonment for outstanding debts. This experience likely contributed to the sharp and often biting social commentary that would later define his art.
As a young man, Hogarth started his artistic journey by apprenticing with engraver Ellis Gamble in Leicester Fields. During his apprenticeship, he honed his skills in engraving trade cards and similar commercial products. At the same time, he developed a keen interest in observing the street life of London and its fairs, sketching the various characters he encountered.
In 1720, Hogarth enrolled at the St Martin’s Lane Academy, where he studied alongside other emerging artists like Joseph Highmore, William Kent, and Arthur Pond. However, the academy ceased operations in 1724 due to financial issues. In Covent Garden, Hogarth joined a drawing school run by Sir James Thornhill, the serjeant painter to the king. Thornhill’s grand-scale projects, including the decoration of St Paul’s Cathedral and Greenwich Hospital, significantly influenced Hogarth’s artistic ambitions.
Hogarth became part of the Rose and Crown Club, a gathering of artists and connoisseurs, including Peter Tillemans, George Vertue, and Michael Dahl, who collectively fostered collaborative discussions.
Career and Early Works
By April 1720, Hogarth had established himself as an independent engraver, working on various projects like coats of arms and shop bills. In 1727, he encountered a setback when tapestry worker Joshua Morris, who had hired Hogarth to design a tapestry pattern, declined the work, calling him “an engraver and no painter.” This incident led Hogarth to pursue legal action, eventually resulting in the Engravers’ Copyright Act of 1735, known as ‘Hogarth’s Act,’ the first copyright law to address visual artworks and recognize artists’ rights.
Hogarth’s early works showcased his satirical and critical tendencies. His “Emblematical Print on the South Sea Scheme” (c. 1721) aimed at the South Sea Bubble, a disastrous stock market crash. This print cleverly depicted the foolishness of investing in the South Sea Company by showing a chaotic scene with various characters gambling and a machine resembling a merry-go-round in the middle.
Other early works included “The Lottery” (1724), “The Mystery of Masonry brought to Light by the Gormagons” (1724), and “A Just View of the British Stage” (1724). His “Masquerades and Operas” (1724) satirized contemporary follies, including the popularity of masquerades, Italian opera singers, and pantomimes.
Hogarth’s early mastery of the satirical genre and his growing skills in portraiture laid the foundation for his groundbreaking series of moral works.
Moralizing Art: A Harlot’s Progress and A Rake’s Progress
In 1731, Hogarth embarked on a significant turning point in his career by creating the series “A Harlot’s Progress,” which marked the beginning of his moral works. This collection of six scenes, initially painted and later published as engravings, depicted the life of a young country girl who ends up in a life of prostitution. The series portrayed the tragic consequences of her choices, culminating in her death from venereal disease. “A Harlot’s Progress” was an instant success as paintings and engravings.
Following the triumph of “A Harlot’s Progress,” Hogarth followed up with “A Rake’s Progress” in 1733-1735, a series of eight pictures illustrating the reckless life of Tom Rakewell, a spendthrift son of a wealthy merchant. Rakewell’s story takes him from squandering his fortune on luxurious living, prostitutes, and gambling to his ultimate confinement in Bethlem Royal Hospital. The original paintings of “A Rake’s Progress” are housed at Sir John Soane’s Museum in London.
These series of moralizing works were significant not only for their artistic innovation but also for their social commentary. Hogarth intended to use his art as a mirror to reflect and criticize the vices and follies of society. His narrative approach to art, akin to modern-day comic strips or graphic novels, was groundbreaking and contributed to developing the modern form of visual storytelling.
Marriage A-la-Mode and Further Success
Hogarth continued his exploration of moral themes with “Marriage A-la-Mode” (1743-1745), a series of six paintings. This series depicted the disastrous consequences of an arranged marriage between the daughter of a bankrupt earl and the son of a wealthy merchant. Hogarth’s wit and social critique were evident in the intricate details of each painting, showing the consequences of greed, infidelity, and the neglect of moral values.
In addition to his moralizing works, Hogarth produced a series titled “Four Times of the Day” (1736), which depicted various scenes in London throughout the day, highlighting different aspects of daily life. These works further solidified his reputation as a keen observer of society and a masterful satirist.
Hogarth also worked on single paintings, including portraits, conversation pieces, and historical subjects. His portrait painting displayed a keen eye for character and his ability to capture the essence of his subjects.
Legacy and Later Life
Hogarth’s work profoundly impacted the development of English art and culture. His unique brand of social satire and narrative art laid the foundation for later artists and cartoonists to comment on contemporary society. His work was a precursor to the political caricatures and cartoons that became increasingly prominent in the following centuries.
In addition to his art, Hogarth was actively involved in advocating for artists’ rights. He was a founding governor of the Foundling Hospital, an institution established to care for abandoned children. His support for this cause led to his artwork being prominently displayed there. He also created a satirical self-portrait titled “The Bruiser” (c. 1743), in which he was depicted holding the heads of fellow artists Joshua Reynolds and Thomas Hudson, who were opponents in a contemporary art dispute.
Health issues, including partial paralysis and other ailments, marked Hogarth’s later years. He passed away on October 26, 1764, at 66.
Conclusion
William Hogarth’s influence on art, satire, and social commentary remains enduring and relevant. His unique blend of sharp social critique and narrative storytelling through visual art set him apart as a significant figure in 18th-century England. His works, notably the series “A Harlot’s Progress,” “A Rake’s Progress,” and “Marriage A-la-Mode,” continue to be studied and appreciated for their historical insight, artistic innovation, and moral messages. Hogarth’s legacy can be seen in visual art’s satirical and narrative traditions and his contributions to protecting artists’ rights.
Read also: Charles Henry Ross (1835-1897): The Pioneering English Writer and Cartoonist
Frequently Asked Questions (FAQs) about William Hogarth
Who was William Hogarth, and what was his profession?
William Hogarth (1697-1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist, and occasional art writer. He is best known for his series of paintings and engravings, including “A Harlot’s Progress,” “A Rake’s Progress,” and “Marriage A-la-Mode.”
What is William Hogarth most famous for?
Hogarth is most famous for his series of moral and satirical paintings and engravings. These include “A Harlot’s Progress,” which tells the story of a young woman’s descent into prostitution; “A Rake’s Progress,” depicting the reckless life of a wealthy man; and “Marriage A-la-Mode,” a pointed satire of upper-class society.
Where and when was William Hogarth born?
William Hogarth was born in London, England, on November 10, 1697, at Bartholomew Close.
What was William Hogarth’s early life like?
Hogarth was born into a lower-middle-class family, and his father, Richard Hogarth, had financial difficulties, including imprisonment due to unpaid debts. These early experiences likely influenced Hogarth’s later works.
How did William Hogarth learn his craft as an artist?
In his youth, Hogarth was apprenticed to an engraver named Ellis Gamble, where he learned the basics of engraving. He also took an interest in observing street life in London, which later inspired his satirical works.
Who were some of William Hogarth’s contemporaries in the art world?
Hogarth attended the St Martin’s Lane Academy in London alongside future notable artists and designers such as Joseph Highmore, William Kent, and Arthur Pond. He was also part of the Rose and Crown Club, which included other artists and connoisseurs.
What are some of William Hogarth’s notable early works?
Some of Hogarth’s early works include “Emblematical Print on the South Sea Scheme,” which satirized the South Sea Bubble financial scandal, “The Lottery,” “The Mystery of Masonry Brought to Light by the Gormagons,” and “A Just View of the British Stage,” among others.
What can you tell me about Hogarth’s moral and satirical works?
Hogarth is known for a series of moral and satirical works, including “A Harlot’s Progress,” “A Rake’s Progress,” and “Marriage A-la-Mode.” These paintings and engravings provided social commentary and moral lessons, often depicting the consequences of immoral behavior.
Did William Hogarth have an impact on copyright law?
Yes, Hogarth played a role in early copyright law. He lobbied for greater legal control over the reproduction of his and other artists’ work, which led to the passage of the Engravers’ Copyright Act, known as ‘Hogarth’s Act,’ in 1735. This was the first copyright law to deal with visual works and recognized the authorial rights of individual artists.
Where can I see William Hogarth’s works today?
You can view Hogarth’s works in various museums, including Hogarth’s House in Chiswick, London, the Foundling Museum, and the Sir John Soane’s Museum. These museums often hold exhibitions featuring Hogarth’s paintings and engravings.
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