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Oil Paintings
Come From United Kingdom
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William Hogarth British
1697-1764
William Hogarth Galleries
Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault.
Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations.
In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera.
One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square.
Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth). |
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William Hogarth Mrs final bet mk279 Oil on canvas 91.4 x 105.4cm 1759 years
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William Hogarth Group painting fashionable marriage marriage mk279 Oil on canvas 70 x 90.8cm 1744 years
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William Hogarth Group painting fashionable marriage Breakfast mk279 Oil on canvas 70 x 90.8cm 1744 years
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William Hogarth Painting fashionable marriage group s visit to doctor mk279 Oil on canvas 70 x 90.8cm 1744 years
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William Hogarth Countess painting fashionable group to get up early marriage mk279 Oil on canvas 70 x 90.8cm 1744 years
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William Hogarth Fashionable marriage groups count the death of painting mk279 Oil on canvas 70 x 90.8cm 1744 years
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William Hogarth Group painting fashionable marriage of the dead countess mk279 Oil on canvas 70 x 90.8cm 1745 years
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William Hogarth Portrait of the Duchess mk279 Oil on canvas 73.7 x 58.4 1740 years
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William Hogarth Mary J Blackwood mk279 Oil on canvas 1745
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William Hogarth The woman clutching his heart mk279 Oil on canvas 100.4 x 126.5 1759 years
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William Hogarth Pharaoh's daughter mk279 Oil on canvas 172.7 x 208.3cm 1746 years
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William Hogarth March to Finchley mk279 Oil on canvas 102.5 x 135.7cm 1749-1750 year
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William Hogarth Output of the roast beef of England mk279 Oil on canvas 78.8 x 94.5cm 1748 years
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William Hogarth Charles III mk279 Oil on canvas 190.5 x 250.8cm 1745 years
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William Hogarth David Garrick as Richard III Oil on canvas
1745
190.5cm x 250.8cm
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William Hogarth William Hogarth Title Deutsch: Porträt der Lady Mary Grey und des Lord George Grey
Year 1740(1740)
Technique Oil on canvas
Dimensions 105,5 X 89,5 cm
Current location City Art Museum
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William Hogarth Portrat der Graham Kinder, Detail 1742
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William Hogarth a house of cards 1730, olja på duk 63.5x76.4cm
se
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William Hogarth Portat der Lady Mary Grey und des Lord George Grey William Hogarth
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William Hogarth David Garrick as Richard III Medium Oil on canvas
Dimensions 190.5cm x 250.8cm
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William Hogarth
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British
1697-1764
William Hogarth Galleries
Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault.
Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations.
In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera.
One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square.
Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).
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