Description: 100% ORIGINAL STEEL ENGRAVING!!! 1860 No reprint or reprint. 235mm x 315mm GRIFFIN , BOHN AND COMPANY 10 Stationers Hall Court LONDON HOGARTH! what many associations are associated with his name! In his person the painter, the moralist, the satirist, the wit and the visual historian of the social side of a remarkable cause were united. His prints are miniature novels of real life; Stories told with a purpose, and that is a very useful one. He was among painters what Crubbe was among poets; Crabbe, whom Byron praised as “nature’s most austere painter and her best.” Hogarth was one of the most astute satirists; each series of his prints are so many biting sarcasms against vice and folly; he paints waste and wickedness in all their innate hideousness; he will not leave them a single spell; but with a stern hand he strips off the colorful dress and the painted skin; and the rotting skeleton of moral corruption stands exposed before us. He is not a representative of any person; He anatomizes wealth and poverty in equal measure. The wastefulness of the rich is exposed in “Marriage a la Mode” and that of the poor in “Beer Street” and “Gin Lane”. “His pictures are moral lessons that both the best and worst of us can read with benefit; for, as has been well observed, we look at some pictures, but we read Hogarth's. And he has a keen eye and a reflective mind that thoroughly rends them, for they encompass a wide field of observation; each figure tells its story, and there is a something Shakespearean in our painter's brilliant versatility and the extraordinary completeness of detail. It may now also be safely assumed that Hogarth, like all great anti-Christians, has contributed to every improvement brought about by reformers in the world since he lived and worked. Satire is perhaps inherently a destructive tool; but there is a satire that renews - a satire that, in league with eternally good and sound principles, helps to keep them alive while working for the overthrow of the ugly or evil. It is almost impossible to define the extent or detailed effects of satirical influences. But surely the man who helps to ridicule or contempt a harmful system contributes effectively to its downfall. He breaks the prestige of his followers by accustoming the world to laugh at them; it is understood and enjoyed by those to whom arguments could not reach. He brings the men of the world to his side. Hogarth does not belong to the ranks of political or religious satirists, although he sometimes exercises his talents in their fields; but he stands at the head of an equally famous school - the social satirists or commentators on manners; and he is the founder and still unrivaled leader of the artistic branch of this school. His genius as a painter has been sufficiently recognized by artists and art critics, who no longer quarrel with him for not excelling in ways where nature has not led him to excel. He now appears before us as a teacher of satire and comedy; and the traces of his influence, like those of other great men of the class, are everywhere to be seen. Undoubtedly it is even more difficult to estimate this influence in a social satirist than in a political or religious one; for he works in a broader field and with a less definite aim; therefore we can only appreciate in very general terms what Hogarth did for England. Giving great joy and making you think – that’s something remarkable. To always do this with friendly intentions towards humanity and in the interest of morality is something more. But more can be said for Hogarth. However, we should not expect that his satire achieved goals that Christianity itself only partially achieves. There are still rakes, although they have ceased to carry ruilles; and proud old nobles with daughters for sale, although the crown is less ostentatiously displayed and the deal is concluded with less parade of money bags. “Gin Lane” has its representatives; The Progress of Cruelty continues; and there is still much in our elections that would not bear the scrutiny of a satirical eve. However, if every single evil that attacked Hogarth had become worse and now existed in worse forms, that would not diminish Air's merits one bit. Success in No Sufficient Test: Juvenal did not defeat Crispinus as far as we can tell, and the imperial system he attacked rotted away without any national reform occurring. We can be honest, but claim this much for Hogarth - that wherever there was an improvement, it was an improvement in the way he worked for the laws in his day of gas and police. We have Acts of Parliament directed against the vile young rascal who torments the cat in Progress of Uruelty - Part 1. Bedlam is a paradise for the Rake, compared to what it was when Hogarth sent him there. Apoplectic gentlemen who are forced to bleed at a public dinner and die with oysters on their forks are unknown. Counselor Silvertongue would be interrupted on the circuit. All the comforts of life—in short, decency, decency, the humanities, and philanthropy in general—have been infinitely advanced since the days of William Hogarth. We are not concerned with the other side of the question now; but this much is true; and the great satirical painter must certainly have had his share in the change. What reformer or legislator of the age that brought about the change did not know his works, what student of the past or what thinker did not learn something from them? Their familiar figures, reproduced in many forms, have been broadcast across the land; and while they have educated thousands by their thoughtfulness, charmed them with their humor, and touched them with their pathos, they have helped to prepare the mind and heart of England for a milder and more social life. May their mission expand and prosper, and the hope they whisper come true! The present edition of Hogarth's Works, published in a cheap and popular form, gives, by the skill of the engraver, the most beautiful idea of the originals; and the value of the publication is enhanced by association with faithful copies of the illustrative text by Hannay, Trussler and Roberts. The factory now inserts parts at 1, each part containing three to four ridges, with corresponding letterpress. It will consist of forty parts, forming a magnificent volume, with one hundred and tiny buperb- Agrarings at LONDON: CHARLES GRIFFIN AND COMPANY, 10, STATIONERS-HALL COURT
Price: 42.28 USD
Location: Bad Nauheim
End Time: 2024-11-09T09:59:39.000Z
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Product Images
Item Specifics
Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 60 Days
Refund will be given as: Money Back
Artist: William Hogarth
Brand: - Senza marca/Generico -
Certificate of authenticity: No
Certificate of authenticity issued by: No
Country and Region of Production: England
Culture: Euro
Framing: Unframed
Handmade: No
Height: 23.5cm
Image Orientation: Landscape format
Length: 31.5cm
Manufacturing method: Steel engraving
Manufacturing period: 1800-1849
Material: Matte paper, paper
Motive: Notice Board, Tree, Bethlehem Steel, Cartoons & Caricatures, Ladies, Women, Humor, Dog, Cabaret, Calligraphy, Concerts, Costumes, London, Musical Instruments, Newcastle, Parrots, Plants, Cityscapes, Street Art, Dancing, Birds, Vogue, Christmas, Circus
Original/Licensed Reprint: Original
Particularities: Limited edition, miniature
Personalization Instructions: No
Personalize: No
Region of Origin: Euro
Signed: Yes
Signed By: William Hogarth
Size: Medium
Style: Old Master Print, Illustration Art, Art Nouveau, Colonial, Miniature, Portrait Painting, Realism, Urban Art
Theme: Working Life, Architecture, Astrology, Flowers, Eroticism, Food & Drink, Fantasy, Leisure, History, Glamour, Domestic & Family Life, Disasters, Cultures & Ethnicities, Art, Love, Fairy Tales, People, Fashion, Music, Nature, Natural History, Portrait, Social history, dancing, theater, animals
Type: Sting
Unit of Sale: Individual work
Unit of measurement: M
Width: 0.01
Year of manufacture: 1822
