Landow: "The Influence of William Hogarth on Pre-Raphaelite Integrated Symbolism."Shows that both William Holman Hunt and Hogarth successfully combined realism with elaborate iconography and the use of the written word to clarify the meaning of their images.
It is further explained that the purposes, meanings, and tone of later Georgian and Regency satire changed utterly, being no longer didactic and becoming increasingly personalised, less theatrical, less informal in expression and more fluid in execution.
The Modern Student’s Library seems to fade somewhat during the depression of the 1930s with no new titles and only a few reprints. Some titles show up in Books in Print but the series as a whole seems to be dormant. In 1955 books in the series are reprinted in large numbers, responding to the growing demand for college texts. The number of reprints peaks around 1960 and by 1965 the series seems to be once again dormant. Books listed as being part of the series are printed thorough the 1980s, but not in large numbers.
Includes critical and somewhat derogatory comments on Hogarth by George Steevens, theatrical anecdotes by Isaac Reed, an extensively annotated "Catalogue of Hogarth's Prints" and a "General Index to Hogarth's Plates."* * *Samuel Ireland, Graphic Illustrations of Hogarth, From Pictures, Drawings, and Scarce Prints in the Possession of Samuel Ireland, London: R.
* * *Aaron Santesso, "William Hogarth and the Tradition of Sexual Scissors", Studies in English Literature, 1500-1900, 39 (Summer 1999).Deals with the pair of scissors hanging from Moll Hackabout's belt in A Harlot's Progress, plate 1, and the sexual symbolism of scissors in some other works by Hogarth and in literary contexts.
"This book is not so much interested in historically resurrecting Hogarth as an individual artist as with historically resurrecting the early eighteenth-century satirical engraving as an art form, and demonstrating that it was an ambitious, experimental and multi-faceted branch of graphic culture produced by numerous artists living and working in the English capital, of whom Hogarth was only one." The study combines close readings of individual satirical prints with a broader history of the genre and shows how contemporary graphic satirists like Hogarth, John Sturt, Anthony Walker, John June, Hubert François Gravelot or the two George Bickhams mixed constructs of high and low art to create hybrid and provocative images that dealt with a broad range of controversial issues, including alcoholism, the excesses of fashion, financial collapse, freemasonry, political corruption, and prostitution.
Shows that none of the extant portraits of Frederick the Great depict the true appearance of the Prussian king and that it was Hogarth who produced the only accurate contemporary representation of the monarch.
The author examines Hogarth's prints that present execution - The Idle 'Prentice Executed at Tyburn, A Just View of the British Stage, The Reward of Cruelty, etc.
This well illustrated survey of the artist's life and work shows that Hogarth's art celebrates the benefits of commerce, politeness and patriotism, while simultaneously focusing on the corruption, hypocricy and prejudice they brought in their wake.
It shows that, whether Hogarth depicts a harlot; a wealthy patroness; a gouty earl; a dissolute rake; a black servant; an "effeminate parasite"; issues of class; gender; and race, reverberate throughout his paintings and prints and deeply inform his unique innovation, the "modern moral subject".
Suggests that the Viscount must have infected his wife's child, whose malformations seem to be the result of Down's syndrome, with syphilis by sexual abuse.
Considers significant but hitherto unpublished thematic, rhetorical, technical, intentional and effective aspects of Hogarth's thinking which has had some influence that persists up to the present.
Shows that Hogarth's Analysis of Beauty and his print Tail Piece, or The Bathos had a wider influence on debates about aesthetics in eighteenth-century German literature than hitherto assumed.
Such hidden motifs suggest that the artist, apparently no child of sorrow, deliberately concealed ambiguous details in his pictures, not only with a moral purpose in mind, but also for his own and his viewers' titillation.
It is argued that Hogarth's effective invention of British art was founded upon a profound knowledge of contemporary French art and theory, as British culture in Hogarth's time habitually defined itself in relation to the art and aesthetic theories of France.