William Hogarth

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The painter and his pug , self-portrait with pug Trump , 1745
Signature William Hogarth.PNG

William Hogarth , FRSA (born November 10, 1697 in London ; † October 26, 1764 ibid) was a socially critical English painter and graphic artist who had a penchant for satirical pictorial representations. Along with Thomas Gainsborough and Joshua Reynolds, he is considered the most important English painter of the 18th century. As a forerunner of modern caricaturists , he denounced the manners and customs of his time relentlessly and with biting irony in paintings and copperplate engravings , which often appeared as multi-part picture stories .

life and work

childhood

William Hogarth was born the son of the impoverished Latin teacher Richard Hogarth. As a boy, he was even forced to help support the family by selling home remedies that his mother made himself, because his father had gone bankrupt with his business idea of ​​a coffee house in which only Latin could be spoken and for years in London's infamous debtor's prison " Fleet prison " was detained. As a result, he could only begin his apprenticeship in his later youth.

Teaching

Hogarth first trained as a silver engraver and copperplate engraver, made commercial business cards, small coats of arms and the like on behalf of his master Ellis Gamble, but rejected this stupid activity early on and felt called to the "higher" art. A little later he therefore studied painting at a private London academy and also entered the painting and drawing school operated in the private house of the court painter Sir James Thornhill . Here he fell in love with Thornhill's daughter Jane, kidnapped and secretly married her in 1729. As a result, there was a falling out with his father-in-law for a short time, but a little later, when his successes as an artist became evident, he was reconciled.

Painting from The Beggar's Opera , Scene V, by William Hogarth, c. 1728

Self-employed engraver

Around 1720, Hogarth became self-employed as a copper engraver. His first independent works included graphic satires on the South Sea stock swindle ( The South Sea Scheme , ca.1721), his satire on the masquerade balls and operas of the time ( Masquerades and Operas , 1724) or the London theater ( A Just View of the British Stage , 1724).

As a copper engraver, Hogarth first made a name for himself in London's artistic circles in 1726 with his 12 large-format illustrations for Samuel Butler's anti-Puritan adventure story of the antihero Hudibras (1726) , written in Knittel verses .

Conversation pieces

After the artist had acquired the skills necessary in the field of painting with his father and through self-study, developed since the late 1720s his group portraits of English families who " Conversation Pieces " ( conversation pieces ) may be mentioned. These include A Musical Party (1730, Fitzwilliam Museum , Cambridge ), The Assembly at Wanstead House (1729–31, Philadelphia Museum of Art ), The Wollaston Family (1730, privately owned) and The Fountaine Family (1730–32, Philadelphia Museum of Art). Such commissioned work was primarily used to make money.

Painted and engraved moral pieces: the "Modern Moral Subjects"

A Rake's Progress , Scene 3: The orgy in a tavern. Oil painting version (c. 1733/34)
A Rake's Progress , Fig. 8: The scene in the madhouse in London. Engraving (1735)

Hogarth became famous above all for his moral series of pictures, the modern moral subjects . On the one hand, he describes the life of a prostitute from her arrival as a naive girl in London, through her ascent and descent as a whore to her early death due to a sexually transmitted disease ( A Harlot's Progress in six pictures, 1731–32; painting burned in 1755 ), on the other hand, the résumé of a libertine who squandered his father's inheritance through his costly life, such as his regular contact with whores and visiting gambling dens, and ended up in a madhouse ( A Rake's Progress in eight pictures; painting 1733–34, Sir John Soane's Museum , London; copper engravings 1735), or the unfortunate marriage of the son of an impoverished nobleman with a rich bourgeois daughter, which is fatal for both married couples ( Marriage A-la-Mode in six pictures; painting 1743 –44, National Gallery, London ; engravings 1745). The engraved versions of these paintings were distributed throughout Europe. Georg Christoph Lichtenberg wrote his famous German commentaries on these works in the satirical spirit of copperplate engravings at the end of the 18th century ( G. C. Lichtenberg's detailed explanation of the Hogarthic copperplate engravings , 1794–99). Because of the popularity of Hogarth's engravings circulated early numerous counterfeit and pirated editions , against the artist in 1735 in England, a copyright law (English copyright law ) procured, which still bears his name ( Hogarth Act ).

  • The Four Times of the Day ( Daily Times ) - 1. Morning ( morning ), steel engraving of the 19th century after the original from 1738

  • The Four Times of the Day ( Daily Times ) - 2. Noon ( noon ), steel engraving of the 19th century after the original from 1738

  • The Four Times of the Day ( Daily Times ) - 3. Evening ( evening ), steel engraving of the 19th century after the original from 1738

  • The Four Times of the Day ( Daily Times ) - 4th Night ( Night ), steel engraving of the 19th century after the original from 1738

  • Before ( Before ). Etching with copper engraving (1736)

  • After ( after ). Etching with copper engraving (1736)

With numerous other paintings and especially copperplate engravings, he denounced the fashions, customs and social grievances in England. In 1738 the pictures of the four times of the day ( The Four Times of the Day ), which combine continental baroque representations of the times of the day or seasons with everyday British eroticism, appeared in the same year his satire on vagabond actresses, who for their appearance as "goddesses" in a Having to dress a barn ( Strolling Actresses Dressing in a Barn ), 1741 the depiction of a musician harassed by street noise ( The Enraged Musician ), 1747 in twelve scenes the different résumés of a hardworking and lazy apprentice ( Industry and Idleness ), which shows how the lazy apprentice becomes a criminal and ends up on the gallows, while the hardworking apprentice marries his master's daughter and ultimately becomes mayor of London. The two prints Beer Street and Gin Lane (1751) are devoted to the problem of alcoholism in London . With animal cruelty, theft, murder and the anatomical section of the body of the murderer hanged by brutal surgeons dealing Four stages of cruelty ( The Four Stages of Cruelty , 1751). The methods of bribery used during the election campaign in England target the four pictures in the Election series (1755–1758).

Failures as a history painter

While Hogarth had great success with his series of engravings, which became the model for modern caricature , his paintings in the style of traditional religious history painting remained unsuccessful. Both his depictions of the Pool of Bethesda and the Good Samaritan (1735–37) for St Bartholomew's Hospital , as well as those of little Moses for Thomas Coram's Foundling Hospital ( Moses Brought to Pharaoh's Daughter , 1746) or of Paul for Lincoln's Inn ( Paul before Felix , 1748) received at most a modest praise from critics and mostly found little approval.

"Comic History Painter"

These failures in traditional, idealizing painting were probably one of the reasons why he turned to "comic history" at an early age and became a comic history painter , as his friend Henry Fielding put it . His penchant for satire is also expressed in the fact that he integrated allusions to the paintings of other famous great masters in many of his pictures with an ironic accent.

Anti-Semitic tendencies

Following the prevalent prejudices of his time, Hogarth occasionally reproduced anti-Semitic clichés and stereotypes in some of his series of pictures in the depicted Jews . In the second scene of the series A Harlot's Progress (1732), for example, he portrays a rich, lustful Jew unflattering next to his mistress. And in An Election (1754) Jews appear as business-minded traders who also trade in Christian symbols.

Anti-academic attitude

In opposition to the influences of continental art, Hogarth campaigned for a national English school of painting as an alternative to the then popular French and Italian history painting, but met with resistance from many other English artists and art connoisseurs. Nevertheless, he tried to continue the spirit of a democratic drawing and painting school in the St. Martin's Lane Academy, which he co-directed .

  • Beer Street ( Beer Street ) by William Hogarth, steel engraving around 1860 after the original from 1751

  • Gin Lane ( Schnapsgasse ) by William Hogarth, steel engraving around 1860 after the original from 1751

  • Captain Thomas Coram by William Hogarth, steel engraving around 1860 after the original painting from 1740

  • The Shrimp Girl ( The crab girl ) by William Hogarth, steel engraving around 1860 after an unfinished painting by the artist

Portrait painting

Hogarth also created numerous portraits of his contemporaries in the course of his life. The portraits of the ship's captain Thomas Coram (1740, Foundling Museum ) and the actor Garrick in the Character of Richard III (1745, Walker Art Gallery , Liverpool ) were created in the 1740s . His other outstanding portraits, which were unusual for the time, include the undated six heads of his servants (Tate Britain, London) and the also undated, unfinished, impressionistic -looking portrait of a "crab girl " ( The Shrimp Girl , National Gallery, London ) .

author

In 1753 Hogarth published The Analysis of Beauty , an art-theoretical work in which he - in the spirit of the Rococo  - showed the beauty of serpentine lines, whose shapely turns on the surface and in space he absolutized as the "Line of Beauty and Grace". The book was translated into German by Christlob Mylius as early as 1753/1754 under the title Zergliederung der Schönheit . An Italian translation also appeared in 1761.

Court painter to the king

Relatively late, namely in 1757, Hogarth was appointed court painter by King George II , although the monarch had little interest in painting and poetry. After his death, Hogarth's hopes turned to George III. who was more interested in art, but what the artist hoped for his art did not come true.

Last years of life

In the last years of his life, the artist experienced a public defamation campaign with personal attacks that did not remain without effects on his health because of his not generally accepted rejection of the Seven Years War in his engraving The Times (1762). In his last engraving, Tail Piece, or The Bathos (1764), his pessimistic attitude towards the world is clearly expressed shortly before his death. The artist died of an aneurysm in his home in Leicester Fields on October 26, 1764 . His friend the famous actor David Garrick wrote the inscription for his tombstone in Chiswick .

Selected Works

The following list of works is based chronologically on the dates of creation of the works, as far as these are known. For more complete information, see the third edition of Ronald Paulson's Hogarth's Graphic Works (London 1989) and Elizabeth Einberg's William Hogarth: A Complete Catalog of the Paintings (New Haven and London 2016).

1720 to 1729

  • Emblematical Print on the South Sea Scheme (ca.1721, published 1724)
  • The Lottery (1724)
  • The Mystery of Masonry brought to Light by ye Gormogons (1724)
  • The Bad Taste of the Town ( Masquerades and Operas ) (1724)
  • A Just View of the British Stage (1724)
  • Royalty, Episcopacy, and Law ( Some of the Principal Inhabitants of the Moon ) (c. 1724-25)
  • Two Illustrations for Milton's Paradise Lost (1725)
  • Twelve Large Illustrations for Samuel Butler's Hudibras (1726)
  • Six Illustrations for Cervantes ' Don Quixote (ca.1726)
  • The Punishment Inflicted on Lemuel Gulliver (1726)
  • Masquerade Ticket (1727)
  • Henry the Eighth and Anne Boleyn (c. 1728–1729)
  • The Beggar's Opera (several paintings on the same motif, created between 1728 and 1731)
  • An Assembly at Wanstead House (painting, 1728–1731)
  • The Denunciation (painting, 1729)
  • Woodes Rogers and his Family (painting, 1729)
  • The Committee of the House of Commons (painting, 1729)
  • The Christening ( Orator Henley Christening A Child ) (painting, c. 1729)
  • The Wedding of Stephen Beckingham and Mary Cox (painting, 1729-1730)

1730 to 1740

  • Shop Card for Mary and Ann Hogarth (1730)
  • Falstaff Examining His Recruits (painting, 1730)
  • The Wollaston Family (painting, 1730)
  • The House of Cards (painting, 1730)
  • The Jones Family (painting, ca.1730)
  • The Ashley and Popple Families (painting, 1731)
  • The Fountaine Family (painting, c. 1730-1735)
  • A Scene from "The Tempest" (painting, c. 1730–1735)
  • Before and After (two different painting versions 1730–31; engraving version 1736)
  • Boys Peeping at Nature (1731)
  • Ashley Cowper with his Wife and Daughter (painting, 1731)
  • The Family of George II ( The Royal Family ) (painting, c. 1731–1732)
  • A Harlot's Progress (six copperplate engravings, 1732; painting destroyed)
  • A Chorus of Singers ( Rehearsal of the Oratorio of Judith ) (1732)
  • The Cholmondeley Family (painting, 1732)
  • Sarah Malcolm in Prison (painting, 1732)
  • The Marriage Contract (painting, ca.1732)
  • A Midnight Modern Conversation (painting c. 1732, copper engraving 1733)
  • The Indian Emperor or The Conquest of Mexico (painting, 1732-1735)
  • Gerard Anne Edwards in His Cradle (painting, 1733)
  • A Laughing Audience (1733)
  • A Rake's Progress (eight paintings 1732–33, eight copper engravings 1735)
  • Southwark Fair (painting and engraving, 1733)
  • The Distrest Poet (painting c. 1733–1736; copper engraving 1737)
  • The Pool of Bethesda and The Good Samaritan (painting, 1735–1737)
  • Satan, Sin and Death (painting, c. 1735–1740)
  • Self-portrait with a palette (painting, c. 1735–1740)
  • The Sleeping Congregation (1736)
  • Four Times of the Day (four paintings 1736, four copper engravings 1738)
  • Scholars at a Lecture (1737)
  • The Company of Undertakers (1737)
  • Strolling Actresses Dressing in a Barn (1738)
  • The Western Family (painting, 1738)
  • George Arnold (painting, c. 1738–1740)
  • Francis Arnold (painting, c. 1738–1740)
  • The Strode Family (painting, c. 1738–1742)
  • James Quin (painting, ca.1739)

1740 to 1749

  • Captain Thomas Coram (painting, 1740)
  • William Jones (painting, 1740)
  • Lord Hervey and His Friends (painting, ca.1740)
  • The Shrimp Girl (painting, c. 1740-1745)
  • Lavinia Fenton, Duchess of Bolton (painting, c. 1740–1750)
  • Mrs. Salter (painting, 1741 or 1744)
  • Bishop Benjamin Hoadly (painting, 1741)
  • William Cavendish, 4th Duke of Devonshire (painting, 1741)
  • The Enraged Musician (1741)
  • Taste in High Life (painting, ca.1742)
  • Martin Folkes (painting, 1742)
  • The Graham Children (painting, 1742)
  • Miss Mary Edwards (painting, 1742)
  • The Mackinen Children (painting, 1742–1743)
  • Characters and Caricaturas (1743)
  • Marriage A-la-Mode (six paintings 1743–1745; six copper engravings 1745)
  • Archbishop Thomas Herring (painting, 1744–1747)
  • The Battle of the Pictures (1745)
  • Captain Lord George Graham in his Cabin (painting, circa 1745)
  • The Happy Marriage (unfinished series of paintings, ca.1745)
  • The Painter and his Pug ( Gulielmus Hogarth ) (painting 1745; copper engraving 1748)
  • David Garrick in the Character of Richard III (painting 1745; copper engraving 1746)
  • Simon Lord Lovat (1746)
  • Moses Brought Before Pharaoh's Daughter (painting 1746; copper engraving 1752)
  • The Stage-Coach, Or The Country Inn Yard (1747)
  • Industry and Idleness (twelve engravings, 1747)
  • The Gate of Calais ( O the Roast Beef of Old England ) (painting 1748; engraving 1749)
  • Paul Before Felix (painting 1748; copper engraving 1751)
  • The March to Finchley (painting c. 1749; engraving 1750)

1750 to 1759

  • Heads of Six of Hogarth's Servants (painting c. 1750–1755)
  • Beer Street and Gin Lane (1751)
  • The Four Stages of Cruelty (four engravings, 1751)
  • Paul Before Felix Burlesqued (1751)
  • Columbus Breaking the Egg (1752)
  • The Analysis of Beauty , Plate 1 and 2 (1753)
  • Satire on False Perspective (1754)
  • Election Series (four paintings 1754–1755; four copper engravings 1758)
  • John Pine (painting, ca.1755)
  • The Altarpiece of St Mary Redcliffe (three-part painting, 1756)
  • The Invasion (1756)
  • David Garrick with His Wife (painting, 1757)
  • The Bench (painting c. 1757; engraving 1758)
  • Hogarth Painting the Comic Muse (painting c. 1757; copper engraving 1758)
  • Inigo Jones (painting, 1757–58)
  • The Lady's Last Stake ( Picquet or Virtue in Danger ) (painting, 1758–1759)
  • Sigismunda (painting, 1759)
  • The Cockpit (1759)
  • James Caulfield, 1st Earl of Charlemont (painting, ca.1759)
  • Two Illustrations for Tristram Shandy (1759–1761)

1760 to 1764

  • Time Smoking a Picture (1761)
  • Five Orders of Periwigs (1761)
  • Enthusiasm Delineated (ca.1761)
  • Credulity, Superstition, and Fanaticism - A Medley (1762)
  • The Farmer's Return (1762)
  • The Times , Plate 1 and 2 (1762)
  • John Wilkes Esq. (1763)
  • The Bruiser (1763)
  • Tailpiece, or The Bathos (1764)

Influence on later artists

The painter was one of the first “modernists” to become the “ English school ” of the 18th and 19th centuries. Century counted. English cartoonists from James Gillray and Thomas Rowlandson to Steve Bell were particularly influenced by his work . English painters of the 20th century such as David Hockney and German artists such as Jörg Immendorff also dealt with his work. Scott McCloud describes Hogarth's Cycles in Comics Correctly as an early form of comics .

Exhibitions in Germany

literature

German-language literature

  • Julius Meier-Graefe : William Hogarth. Published by R. Piper & Co., Munich and Leipzig 1907.
  • Jarno Jessen : William Hogarth. In the series Die Kunst. Collection of illustrated monographs . Published by Richard Muther . Twelfth volume. Julius Bard Verlag, Berlin 1910.
  • Frederick Antal : Hogarth and his position in European art . Dresden 1966.
  • Georg Christoph Lichtenberg : Writings and letters . Ed .: Wolfgang Promies. tape 3 . Munich 1972.
  • Werner Busch: Imitation as a bourgeois artistic principle: Iconographic quotations from Hogarth and his successors . Hildesheim, New York 1977.
  • Berthold Hinz u. a .: William Hogarth 1697–1764. The complete graphic work . Giessen 1986 (2nd edition).
  • Herwig Guratzsch, Karl Arndt: William Hogarth. The copper engraving as a moral stage. Cat. Exhib. Wilhelm Busch Museum Hanover 1987 . Stuttgart 1987.
  • William Hogarth: Analysis of Beauty . Ed .: Jörg Heininger. Dresden and Basel 1995.
  • Bernd W. Krysmanski: Hogarth's “Enthusiasm Delineated”: Imitation as a criticism of connoisseurship - a work analysis. At the same time an insight into the sarcastic and enlightened thinking of an "artist rebel" in the English 18th century . Hildesheim u. a. 1996 (2 volumes).
  • Hans-Peter Wagner: William Hogarth: The graphic work . Saarbrücken 1998.
  • Claude Keisch and Martina Dillmann (eds.): Marriage A-la-Mode: Hogarth and his German admirers, cat. Old Museum Berlin . Berlin 1998.
  • Hans-Peter Wagner: William Hogarth: The graphic work: An annotated selection catalog . Trier 2013.
  • Johann Joachim Eschenburg : About William Hogarth and his explainers. (= Edition Wehrhahn. Volume 2). Edited by Till Kinzel . Wehrhahn, Hannover 2013, ISBN 978-3-86525-347-7 .

Historically relevant works

  • John Nichols, George Steevens, et al. a .: The Genuine Works of William Hogarth , 3 volumes, London 1808–1817. Modern paperback edition: Cambridge 2014.
  • John Ireland : Hogarth Illustrated. 2-volume work, London 1791; 2nd corrected edition 1793; Supplementary volume ( A Supplement to Hogarth Illustrated ) 1798, 2nd ed. 1804; 3rd edition in three volumes 1806; Reprint 1812.
    • Volume 1: Hogarth Illustrated , London 1791, 2nd edition 1793, 3rd edition 1806
    • Volume 2: Hogarth Illustrated , London 1791, 2nd edition 1793, 3rd edition 1806
    • Volume 3: A Supplement to Hogarth Illustrated , London 1798, 2nd ed. 1804

Standard works in English

  • AP Oppé: The Drawings of William Hogarth . London 1948.
  • Ronald Paulson: Hogarth's Graphic Works . 3. Edition. London 1989.
  • Ronald Paulson: Hogarth . 3 volumes. New Brunswick 1991-1993.
  • Elizabeth Einberg: William Hogarth. A Complete Catalog of the Paintings . New Haven and London 2016.

Further literature

  • William Hogarth: The Analysis of Beauty with the Rejected Passages from the Manuscript Drafts and Autobiographical Notes . Ed .: Joseph Burke. Oxford 1955.
  • Sean Shesgreen: Engravings by Hogarth . New York 1973.
  • Ronald Paulson: The Art of Hogarth . London 1975.
  • David Bindman: Hogarth . London 1981.
  • David Bindman: Hogarth and his Times. Serious comedy . London 1997 (exhibition catalog).
  • William Hogarth: The Analysis of Beauty . Ed .: Ronald Paulson. New Haven and London 1997.
  • Frédéric Ogée (Ed.): The Dumb Show. Image and society in the works of William Hogarth . Oxford 1997.
  • Jenny Uglow : Hogarth. A Life and a World . London 1997.
  • Mark Hallett: The Spectacle of Difference. Graphic Satire in the Age of Hogarth . New Haven and London 1999.
  • Mark Hallett: Hogarth . London 2000.
  • Bernadette Fort and Angela Rosenthal (Eds.): The Other Hogarth: Aesthetics of Difference . Princeton 2001.
  • David Bindman, Frédéric Ogée and Peter Wagner (eds.): Hogarth: Representing Nature's Machines . Manchester 2001.
  • Christine Riding and Mark Hallett (Eds.): Hogarth . Paris / London / Barcelona 2006 (exhibition catalog).
  • Robin Simon: Hogarth, France and British Art: The rise of the arts in eighteenth-century Britain . London 2007.
  • Bernd W. Krysmanski: Hogarth's Hidden Parts. Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humor in Eighteenth-Century English Art . Hildesheim / Zurich / New York 2010.
  • Cynthia Ellen Roman (Ed.): Hogarth's Legacy . New Haven and London 2016.

Movie

  • Roger Parson: Hogarth's Progress. Documentation 51 min., Arthaus Musik GmbH 2008 (1997) ISBN 978-3-939873-15-0 .

Web links

Commons : William Hogarth  - Collection of Images, Videos and Audio Files

Individual evidence

  1. ↑ See Ronald Paulson: Hogarth , Volume 1, New Brunswick 1991, pp. 26-37.
  2. ^ Paulson: Hogarth , Volume 1, New Brunswick 1991, pp. 195-205.
  3. ↑ Ronald Paulson: Hogarth's Graphic Works , 3rd ed., The Print Room, London 1989, pp. 58-65. Ders .: Hogarth , Volume 1, New Brunswick 1991, pp. 140-150.
  4. ↑ Paulson, Hogarth's Graphic Works , 3rd ed., Pp. 76-83, 89-98, 114-124.
  5. ^ Georg Christoph Lichtenberg: Detailed explanation of the Hogarthische Kupferstiche , online version
  6. ^ William Hogarth: The Case of Designers, Engravers, Etchers, etc. stated in a Letter to a Member of Parliament , London c. 1735 (reprinted New York 1975). David Hunter: "Copyright Protection for Engravings and Maps in Eighteenth-Century Britain", in: The Library , 6th Series, Volume 9 (1987), pp. 128-147.
  7. ↑ On these works: Paulson, Hogarth's Graphic Works , 3rd ed., Pp. 103-109, 110-111, 129-139.
  8. ^ Berthold Hinz: William Hogarth, Beer Street and Gin Lane: teaching tables for British people's welfare , Fischer paperback, Frankfurt / M. 1984.
  9. ↑ Paulson: Hogarth's Graphic Works , 3rd ed., Pp. 148-152.
  10. ↑ Paulson: Hogarth's Graphic Works , 3rd ed., Pp. 162-169.
  11. ↑ Mark Salber Phillips: "Hogarth and History Painting", in: Cynthia Ellen Roman (Ed.): Hogarth's Legacy , Yale University Press, New Haven 2016, pp. 83-114.
  12. ↑ See Werner Busch: Imitation as a bourgeois art principle: Iconographic quotations from Hogarth and his successors . Hildesheim, New York 1977. Bernd W. Krysmanski: Hogarth's “Enthusiasm Delineated”: Imitation as a criticism of connoisseurship . Hildesheim et al. 1996.
  13. ↑ See Richard S. Levy: Antisemitism. A Historical Encyclopedia of Prejudices and Persecutions. Volume 1, Santa Barbara 2005, pp. 312-314.
  14. ^ William Hogarth: The Analysis of Beauty , with the rejected passages from the manuscript drafts and Autobiographical notes, ed. v. Joseph Burke, Oxford 1955. Another modern edition, published by Yale University Press in New Haven in 1997, was edited by Ronald Paulson. Heidelberg University has put an online version of the original text with commentary on the Internet: William Hogarth: The Analysis of Beauty (1753), edited with an introduction by Charles Davis .
  15. ↑ Dissection of Beauty Online  - Internet Archive
  16. ↑ Some contemporary sources also spoke of a heart attack, but an aneurysm appears to have been the more likely cause of death. See Ronald Paulson: Hogarth , Vol. 3, New Brunswick 1993, pp. 434 and 531-532, note 37.
  17. ^ Hockney to Hogarth: A Rake's Progress , Whitworth Art Gallery, University of Manchester, 2012.
  18. ↑ See Bazon Brock: "The staged life - life as a work of art". In: Art of Living in the 21st Century , ed. from the Heinz-Nixdorf-MuseumsForum, Paderborn, 2003, 17.
  19. ^ William Hogarth (1697–1764) - Londons Laster (notice on the exhibition) .
  20. ↑ Christian Thomas: "Toll home-made debauchery", in: Frankfurter Rundschau , June 9, 2015.
personal data
SURNAME Hogarth, William
BRIEF DESCRIPTION English socially critical painter and graphic artist
DATE OF BIRTH November 10, 1697
PLACE OF BIRTH London , England
DATE OF DEATH October 26, 1764
Place of death London Chiswick , England