William Hogarth - Revision history

Pankratz at 14:16, 17 April 2019

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	~~'''Influence on Art'''~~

	Although already famous during his lifetime, Hogarth’s reputation even grew after his death in 1764. He has often been described as the greatest satirical artist of the eighteenth century and as the inventor of the genre of caricature. Hogarth himself, however, always rejected the label of a caricaturist, since – while caricatures gained big popularity among aristocratic collectors – caricaturists themselves where often scorned and frowned upon (West 172).		Although already famous during his lifetime, Hogarth’s reputation even grew after his death in 1764. He has often been described as the greatest satirical artist of the eighteenth century and as the inventor of the genre of caricature. Hogarth himself, however, always rejected the label of a caricaturist, since – while caricatures gained big popularity among aristocratic collectors – caricaturists themselves where often scorned and frowned upon (West 172).

Pankratz at 14:15, 17 April 2019

2019-04-17T14:15:49Z

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	'''Influence on Art'''		'''Influence on Art'''

	Although already famous during his lifetime, Hogarth’s reputation even grew after his death in 1764. He has often been described as the greatest satirical artist of the eighteenth century and as the inventor of the genre of [[caricature]]. Hogarth himself, however, always rejected the label of a caricaturist, since – while caricatures gained big popularity among aristocratic collectors – caricaturists themselves where often scorned and frowned upon (West 172~~). Still, he must be considered the key figure of this particular artistic development. The then new form of social [[satire]] was in fact probably his invention (Donald 32~~).		Although already famous during his lifetime, Hogarth’s reputation even grew after his death in 1764. He has often been described as the greatest satirical artist of the eighteenth century and as the inventor of the genre of caricature. Hogarth himself, however, always rejected the label of a caricaturist, since – while caricatures gained big popularity among aristocratic collectors – caricaturists themselves where often scorned and frowned upon (West 172).

	Like many of his contemporaries, Hogarth’s works combined ~~dense~~ emblematic imagery and ~~elaborate~~ details~~. He was thus able to create dramatic narratives in a visualised form, working primarily via the means of composition and a very realistic depiction of gestures and facial features (Donald 1)~~. His ~~characterisation of different social classes is often subtle~~ and ~~only emerges in the many details that~~ are ~~characteristic~~ of ~~his works (Donald 11). At the same time~~, ~~he often undermined the upper classes by~~ an ~~exaggeration~~ and ~~deformation~~ of ~~their physical traits~~, ~~exposing their individual~~ and ~~moral deformity (West 172~~).		Like many of his contemporaries, Hogarth’s works combined emblematic imagery and details. His engravings and paintings are full of realistic details, and yet they tell an moral story. They use popular topics and images as well as classical sujects of Greek and Roman myths, thus blurring the boundaries between ‘high’ and ‘low’ culture Donald 2).

	~~Gaining his imagery both form classic history and folk culture~~, ~~Hogarth also~~ contributed to a ~~dissolution~~ of ~~the boundaries between ‘high’ and ‘low’ culture~~, ~~since in his pictures, one constantly infiltrated the other and made distinctions difficult~~. ~~This also provided~~ the ~~basis for the big social range~~ of ~~his audience~~ (~~Donald 2~~).		Like many other caricaturists of the times, he contributed to the creation of a public opinion and a political consciousness. Because of this fact, caricature was often described as a distinctly British art form by contemporaries (Dondald 2). It thus conformed to the stereotype of England as a country of freedom and liberalism (West 172). Which is utter balderdash and should be revised...

	Like many other caricaturists of the times, he contributed to the creation of a public opinion and a political consciousness by openly attacking the ruling classes. Because of this fact, caricature was often described as a distinctly British art form by contemporaries (Dondald 2). It thus conformed to the stereotype of England as a country of freedom and liberalism (West 172).

	~~----~~

			'''References'''

			Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793.'' Manchester: Manchester UP, 1997.
	~~'''Topics'''~~


	Despite his critique of the mores of society, Hogarth was actually a devout patriot who tried to improve moral standards via his works (Donald 2). Art, for him, was a medium that could be used to improve society (Black 151). His deep contempt for party politics shows in many of his works, where he attacks both the [[Tories]] and the [[Whigs]] for their corrupt political practices (Donald 1). With his paintings and engravings, he did not only aim to make people laugh, but also do make them reflect on the social mores of the times. His works thus often convey a deep “human comprehensiveness and moral seriousness” (Donald 34) beneath their humorous facade.


	~~----~~



	~~'''Works Cited'''~~

	Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793.'' Manchester, Manchester UP, 1997.

	Donald, Diana. ''The Age of Caricature: Satirical Prints in the Reign of George III.'' New		Donald, Diana. ''The Age of Caricature: Satirical Prints in the Reign of George III.'' New

WikiSysop at 12:00, 23 December 2017

2017-12-23T12:00:08Z

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	Like many of his contemporaries, Hogarth’s works combined dense emblematic imagery and elaborate details. He was thus able to create dramatic narratives in a visualised form, working primarily via the means of composition and a very realistic depiction of gestures and facial features (Donald 1). His characterisation of different social classes is often subtle and only emerges in the many details that are characteristic of his works (Donald 11). At the same time, he often undermined the upper classes by an exaggeration and deformation of their physical traits, exposing their individual and moral deformity (West 172).		Like many of his contemporaries, Hogarth’s works combined dense emblematic imagery and elaborate details. He was thus able to create dramatic narratives in a visualised form, working primarily via the means of composition and a very realistic depiction of gestures and facial features (Donald 1). His characterisation of different social classes is often subtle and only emerges in the many details that are characteristic of his works (Donald 11). At the same time, he often undermined the upper classes by an exaggeration and deformation of their physical traits, exposing their individual and moral deformity (West 172).

	Gaining his imagery both form classic history and folk culture, Hogarth also contributed to a dissolution of the boundaries between [[‘high’ and ‘low’ culture]], since in his pictures, one constantly infiltrated the other and made distinctions difficult. This also provided the basis for the big social range of his audience (Donald 2).		Gaining his imagery both form classic history and folk culture, Hogarth also contributed to a dissolution of the boundaries between ‘high’ and ‘low’ culture, since in his pictures, one constantly infiltrated the other and made distinctions difficult. This also provided the basis for the big social range of his audience (Donald 2).

	Like many other caricaturists of the times, he contributed to the creation of a public opinion and a political consciousness by openly attacking the ruling classes. Because of this fact, caricature was often described as a distinctly British art form by contemporaries (Dondald 2). It thus conformed to the stereotype of England as a country of freedom and liberalism (West 172).		Like many other caricaturists of the times, he contributed to the creation of a public opinion and a political consciousness by openly attacking the ruling classes. Because of this fact, caricature was often described as a distinctly British art form by contemporaries (Dondald 2). It thus conformed to the stereotype of England as a country of freedom and liberalism (West 172).

Pankratz at 11:46, 13 June 2012

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	'''Influence on Art'''		'''Influence on Art'''

	Although already famous during his lifetime, Hogarth’s reputation even grew after his death in 1764. He has often been described as the greatest satirical artist of the [[eighteenth century]] and as the inventor of the genre of [[caricature]]. Hogarth himself, however, always rejected the label of a caricaturist, since – while caricatures gained big popularity among aristocratic collectors – caricaturists themselves where often scorned and frowned upon (West 172). Still, he must be considered the key figure of this particular artistic development. The then new form of [[~~social~~ satire]] was in fact probably his invention (Donald 32).		Although already famous during his lifetime, Hogarth’s reputation even grew after his death in 1764. He has often been described as the greatest satirical artist of the eighteenth century and as the inventor of the genre of [[caricature]]. Hogarth himself, however, always rejected the label of a caricaturist, since – while caricatures gained big popularity among aristocratic collectors – caricaturists themselves where often scorned and frowned upon (West 172). Still, he must be considered the key figure of this particular artistic development. The then new form of social [[satire]] was in fact probably his invention (Donald 32).

	Like many of his contemporaries, Hogarth’s works combined dense emblematic imagery and elaborate details. He was thus able to create dramatic narratives in a visualised form, working primarily via the means of composition and a very realistic depiction of gestures and facial features (Donald 1). His characterisation of different social classes is often subtle and only emerges in the many details that are characteristic of his works (Donald 11). At the same time, he often undermined the upper classes by an exaggeration and deformation of their physical traits, exposing their individual and moral deformity (West 172).		Like many of his contemporaries, Hogarth’s works combined dense emblematic imagery and elaborate details. He was thus able to create dramatic narratives in a visualised form, working primarily via the means of composition and a very realistic depiction of gestures and facial features (Donald 1). His characterisation of different social classes is often subtle and only emerges in the many details that are characteristic of his works (Donald 11). At the same time, he often undermined the upper classes by an exaggeration and deformation of their physical traits, exposing their individual and moral deformity (West 172).

Pankratz at 11:46, 13 June 2012

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	~~William Hogarth (~~1697-1764~~) was a [[London]]-born~~ artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).		1697-1764. British artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).

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Vfroehlich at 22:22, 4 November 2009

2009-11-04T22:22:39Z

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	William Hogarth (1697-1764) was a [[London]]-born, artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).		William Hogarth (1697-1764) was a [[London]]-born artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).

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Pankratz at 17:36, 2 November 2009

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	~~== William Hogarth ==~~


	William Hogarth (1697-1764) was a [[London]]-born, artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).		William Hogarth (1697-1764) was a [[London]]-born, artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).

Pankratz at 17:36, 2 November 2009

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	Despite his critique ~~against~~ the mores of society, Hogarth was actually a devout patriot who tried to improve moral standards via his works (Donald 2). Art, for him, was a medium that could be used to improve society (Black 151). His deep contempt for party politics shows in many of his works, where he attacks both the [[Tories]] and the [[Whigs]] for their corrupt political practices (Donald 1). With his paintings and engravings, he did not only aim to make people laugh, but also do make them reflect on the social mores of the times. His works thus often convey a deep “human comprehensiveness and moral seriousness” (Donald 34) beneath their humorous facade.		Despite his critique of the mores of society, Hogarth was actually a devout patriot who tried to improve moral standards via his works (Donald 2). Art, for him, was a medium that could be used to improve society (Black 151). His deep contempt for party politics shows in many of his works, where he attacks both the [[Tories]] and the [[Whigs]] for their corrupt political practices (Donald 1). With his paintings and engravings, he did not only aim to make people laugh, but also do make them reflect on the social mores of the times. His works thus often convey a deep “human comprehensiveness and moral seriousness” (Donald 34) beneath their humorous facade.

Vfroehlich at 10:17, 31 October 2009

2009-10-31T10:17:49Z

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	'''Works Cited'''		'''Works Cited'''

	Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793.'' Manchester,		Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793.'' Manchester, Manchester UP, 1997.
	Manchester UP, 1997.
	Donald, Diana. ''The Age of Caricature: Satirical Prints in the Reign of George III.'' New		Donald, Diana. ''The Age of Caricature: Satirical Prints in the Reign of George III.'' New
	Haven: Yale UP, 1996.		Haven: Yale UP, 1996.

	Hargreaves, Alan. “Hogarth, William.” ''The Oxford Companion to British History.'' Ed. John		Hargreaves, Alan. “Hogarth, William.” ''The Oxford Companion to British History.'' Ed. John
	Cannon. Oxford: Oxford UP, 1997. 482-483.		Cannon. Oxford: Oxford UP, 1997. 482-483.

	West, Shearer. “The De-formed Face of Democracy: Class, Comedy and Character in		West, Shearer. “The De-formed Face of Democracy: Class, Comedy and Character in
	Eighteenth-Century British Portraiture.” ''Culture and Society in Britain: 1660-1800.''		Eighteenth-Century British Portraiture.” ''Culture and Society in Britain: 1660-1800.''
	Ed. Jeremy Black. Manchester: Manchester UP, 1997. 163-188.		Ed. Jeremy Black. Manchester: Manchester UP, 1997. 163-188.

Vfroehlich at 10:16, 31 October 2009

2009-10-31T10:16:52Z

← Older revision		Revision as of 10:16, 31 October 2009
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	William Hogarth (1697-1764) was a [[London]]-born, artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).		William Hogarth (1697-1764) was a [[London]]-born, artist and engraver who became famous primarily for his so-called ‘modern moral subjects’, political and satirical pieces in which he attacked the vices of his age (Donald 1). Still today, his works are known for their provocative character and their ridiculing of both [[Renaissance]]-based ideals of good taste and the mores of society, especially of the upper classes (Hargreaves 482-483).

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	Like many other caricaturists of the times, he contributed to the creation of a public opinion and a political consciousness by openly attacking the ruling classes. Because of this fact, caricature was often described as a distinctly British art form by contemporaries (Dondald 2). It thus conformed to the stereotype of England as a country of freedom and liberalism (West 172).		Like many other caricaturists of the times, he contributed to the creation of a public opinion and a political consciousness by openly attacking the ruling classes. Because of this fact, caricature was often described as a distinctly British art form by contemporaries (Dondald 2). It thus conformed to the stereotype of England as a country of freedom and liberalism (West 172).

			----


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	Despite his critique against the mores of society, Hogarth was actually a devout patriot who tried to improve moral standards via his works (Donald 2). Art, for him, was a medium that could be used to improve society (Black 151). His deep contempt for party politics shows in many of his works, where he attacks both the [[Tories]] and the [[Whigs]] for their corrupt political practices (Donald 1). With his paintings and engravings, he did not only aim to make people laugh, but also do make them reflect on the social mores of the times. His works thus often convey a deep “human comprehensiveness and moral seriousness” (Donald 34) beneath their humorous facade.		Despite his critique against the mores of society, Hogarth was actually a devout patriot who tried to improve moral standards via his works (Donald 2). Art, for him, was a medium that could be used to improve society (Black 151). His deep contempt for party politics shows in many of his works, where he attacks both the [[Tories]] and the [[Whigs]] for their corrupt political practices (Donald 1). With his paintings and engravings, he did not only aim to make people laugh, but also do make them reflect on the social mores of the times. His works thus often convey a deep “human comprehensiveness and moral seriousness” (Donald 34) beneath their humorous facade.


			----


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	Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793.'' Manchester,		Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793.'' Manchester,
	Manchester UP, 1997.		Manchester UP, 1997.
	Donald, Diana. ''The Age of Caricature: Satirical Prints in the Reign of George III.'' New		Donald, Diana. ''The Age of Caricature: Satirical Prints in the Reign of George III.'' New
	Haven: Yale UP, 1996.		Haven: Yale UP, 1996.
	Hargreaves, Alan. “Hogarth, William.” ''The Oxford Companion to British History.'' Ed. John		Hargreaves, Alan. “Hogarth, William.” ''The Oxford Companion to British History.'' Ed. John
	Cannon. Oxford: Oxford UP, 1997. 482-483.		Cannon. Oxford: Oxford UP, 1997. 482-483.
	West, Shearer. “The De-formed Face of Democracy: Class, Comedy and Character in		West, Shearer. “The De-formed Face of Democracy: Class, Comedy and Character in
	Eighteenth-Century British Portraiture.” ''Culture and Society in Britain: 1660-1800.''		Eighteenth-Century British Portraiture.” ''Culture and Society in Britain: 1660-1800.''
	Ed. Jeremy Black. Manchester: Manchester UP, 1997. 163-188.		Ed. Jeremy Black. Manchester: Manchester UP, 1997. 163-188.