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 were united the painter, the moralist, the satirist, the wit, and the pictorial historian of the social side of one remarkable cause. His prints are miniature real-life novels; stories told with purpose, and that is a very useful one. He was among painters what Crubbe was among poets; Crabbe whom Byron praised as "nature's strictest 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 malice in all their innate abomination; he will leave them not a single spell; but with a stern hand he strips off the colorful dress and painted skin; and the decaying skeleton of moral corruption stands unveiled before us. He is not a representative of persons; wealth and poverty are equally anatomized by him. The waste 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 teachings that both the best and the worst of us can read to an advantage; for, as has been well noted, we look at some pictures, but we read Hogarth’s. And he has a keen eye and a reflective mind that tears them thoroughly apart, for they encompass a wide field of observation; each character tells their story, and there is something Shakespearean about our painter's ingenious versatility and extraordinary completeness of detail. It can now be assumed without risk that Hogarth, like all great anti-Rists, contributed to every improvement made by reformers in the world since he lived and worked. Satire may be a destructive means by nature; but there is a satire that renews—a satire that, in league with eternally good and sound principles, helps keep them alive while working to overthrow the ugly or evil. It is nearly impossible to define the extent or detailed effects of satirical influences. But surely the man who helps ridicule or contemptuous a harmful system effectively contributes to his fall. He breaks the prestige of his followers by making the world accustomed to laugh at them; he is understood and enjoyed by those who could not reach arguments. He brings the men of the world to his side. Hogarth does not belong to the ranks of political or religious satirists, though he sometimes exercises his talents in their field; but he is at the head of an equally famous school - the social satirists or commentators on morals; and he is the founder and still unrivaled head of the artistic branch of that school. His genius as a painter has been sufficiently recognized by artists and art critics who no longer argue with him because he does not excel in paths where nature has not led him to excel. A teacher of satire and comedy, he now comes before us; and the traces of his influence like other great men in the class can be seen everywhere. 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 very universally what Hogarth did for England. Great pleasure and thought-provoking - this is something remarkable. Always doing this kindly to humanity and in the interest of morality is something more. But more can be said for Hogarth. However, we must not expect his satire to achieve goals that Christianity itself only partially achieves. There are still rakes, though they have stopped wearing ruins; and proud old nobles with daughters for sale, though the crown is less demonstratively displayed and the trade is completed with fewer parades of money bags. "Gin Lane" has its representatives; The Progress of Cruelty" continues; and there is much more to our elections that investigating a satirical eve-upe would not tolerate. However, if every single evil that attacked Hogarth had gotten worse and now existed in worse forms, that would not diminish Air merits one bit. Success in insufficient test: Juvenal did not defeat Crispinus as far as we can see, rotting the Imperial system he attacked without national reform. We can be honest but say so much for Hogarth - that wherever there was improvement, it was an improvement on the way he worked for in his day the laws these days of gas and police. We have acts of Parliament targeting 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 it there. Apoplectic gentlemen who 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 evolved infinitely since the days of William Hogarth. We are not concerned with the other side of the question now; but that much is true; and the great satirical painter must surely have his share in the change. What reformer or legislator of the time who brought about the change did not know his works, what student of the past or thinker did not learn something from them? Their familiar figures, reproduced in many forms, have broadcast across the country; and while they have raised thousands through their thoughtfulness, enchanted them with their humour and touched them with their pathos, they have helped 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! Published in a cheap and popular form, this edition of Hogarth's Works conveys the finest idea of the originals through the skill of the engraver; and the value of publication is enhanced by association with faithful copies of the illustrative text by Hannay, Trussler, and Roberts. The movement now inserts parts at 1, with each part containing three to four burrs, with appropriate letterpress printing. It will consist of forty pieces making a great volume, with one hundred and tiny Buperb agrarings to LONDON: CHARLES GRIFFIN AND COMPANY, 10, STATIONERS- HALL COURT
Price: 38.71 USD
Location: Bad Nauheim
End Time: 2024-11-30T16:10:30.000Z
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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
Certificate of authenticity: No
Certificate of authenticity issued by: No
Country and Region of Production: England
Culture: Euro
Framing: Unframed
Handmade: No
Height: 30.5
Image Orientation: Portrait
Length: 23.5
Manufacturing method: Steel engraving
Manufacturing period: 1800-1849
Material: Matte Paper, Paper
Motive: Billboard, Tree, Bethlehem Steel, Cartoons & Cartoons, 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, Erotic, Food & Drink, Fantasy, History, Glamour, Home & Family Life, Disasters, Cultures & Ethnicities, Art, Love, Fairy Tales, People, Fashion, Music, Natural, Natural History, Portrait, Social History, Dancing, Theatre, Animals, Casual
Type: Sting
Unit of Sale: Individual work
Unit of measurement: m
Width: 0.01
Year of manufacture: 1822
Product Type: Stitch
Handcrafted: No
Sales unit: Single Movement
