Description: 100% ORIGINAL STEEL ENGRAVING!!! 1860 No reprint or reprint. 235mm x 315mm GRIFFIN , BOHN AND COMPANY 10 Stationers Hall Court LONDON HOGARTH! what diverse associations are connected with his name! In his person were united the painter, the moralist, the satirist, the wit and the picture historian of the social side of a remarkable cause. His prints are miniature novels of real life; stories told with a purpose, and that is a very useful one. He was to painters what Crubbe was to poets; Crabbe, whom Byron praised as "the strictest painter of nature, and her best." Hogarth was one of the most keenest of satirists; every series of his prints is so many biting sarcasms against vice and folly; he paints extravagance and wickedness in all their innate hideousness; he will not leave them a single charm; but with a stern hand he strips off the gaudy dress and the painted skin; and the decaying skeleton of moral corruption stands uncovered before us. He is not a representative of individuals; he anatomizes wealth and poverty equally. The extravagance 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 which both the best and the worst of us can read with advantage; for, as has been well observed, we look at some pictures, but we read those of Hogarth. And he has a keen eye and a reflective mind that tears them to pieces, for they embrace a wide field of observation; each figure tells its story, and there is something Shakespearean in our painter's ingenious versatility and extraordinary completeness of detail. It may now also be safely assumed that Hogarth, like all great anti-Christians, contributed to every improvement wrought by reformers in the world since he lived and worked. Satire may be by its nature a destructive tool; but there is a satire that renews - a satire that, in league with eternally good and wholesome principles, helps to keep them alive while it works for the overthrow of the ugly or the 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 pernicious system is effectively contributing to its downfall. He breaks the prestige of his followers by accustoming the world 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 stands at the head of an equally famous school—the social satirists, or commentators on manners; and he is the founder, and still the unrivalled leader, of the artistic branch of that school. His genius as a painter has been sufficiently recognized by artists and art critics, who no longer quarrel with him because he does not excel in ways where nature has not given him the ability to excel. He now comes before us as a teacher by satire and comedy; and the traces of his influence, like that of other great men of the class, are everywhere to be seen. It is doubtless more difficult to estimate this influence in a social satirist than in a political or religious one, for he works in a wider field and with a less definite aim; and so we can only appreciate in very general terms what Hogarth did for England. To bring great joy and to make people think – that is 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. We must not, however, expect that his satire achieved goals that Christianity itself only partially achieves. There are still rakes, though they have ceased to wear ruilles; and proud old nobles with daughters for sale, though the crown is less ostentatiously displayed, and the trade is concluded with less parade of the moneybags. Gin Lane has its representatives; The Progress of Cruelty continues; and there is still much in our elections that would not bear the examination of a satirical evening. However, if every single evil that attacked Hogarth had gotten worse and now existed in worse forms, that would not diminish the Air merits one bit. Success in no sufficient test: Juvenal did not defeat Crispinus, as far as we can see, and the imperial system he attacked rotted away without any national reform. We may be honest, but claim for Hogarth this much—that wherever there was an improvement, it was an improvement of the kind for which he was working in his time, the laws in those days 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 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 philanthropies in general - have been infinitely improved since the days of William Hogarth. The other side of the question is not our concern now; but this much is true; and the great satirical painter must surely have had his share in the change. What reformer or legislator of the age which brought about the change has not known his works? What student of the past or what thinker has not learned something from them? Their familiar figures, reproduced in many forms, have been broadcast over the land; and while they have educated thousands by their thoughtfulness, charmed them with their humour, 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, which has been published in a cheap and popular form, gives, by the skill of the engraver, the finest idea of the originals; and the value of the publication is increased by its connection with faithful copies of the illustrative text by Hannay, Trussler, and Roberts. The work 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 minute Buperb- Agrarings to LONDON: CHARLES GRIFFIN AND COMPANY, 10, STATIONERS- HALL COURT
Price: 49.99 USD
Location: Bad Nauheim
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All returns accepted: Returns Accepted
Item must be returned within: 60 Days
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Artist: William Hogarth
Certificate of Authenticity issued by: No
Certificate of authenticity: No
Country and Region of Production: England
Culture: Euro
Framing: Unframed
Handmade: No
Height: 30.5
Image Orientation: Portrait
Instructions for personalization: No
Length: 23.5
Manufacturing method: Steel engraving
Manufacturing period: 1800-1849
Material: Matte Paper, Paper
Motif: 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
Personalize: No
Region of Origin: Euro
Signed: Yes
Signed By: William Hogarth
Size: Medium
Special features: Limited Edition, Miniature
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: Engraving
Unit of Sale: Individual work
Unit of measurement: m
Width: 0.01
Year of manufacture: 1822
Product type: Stitch
Sales unit: Single Movement
