You may be interested to know that there is a forthcoming 1000-page volume on Hogarth:
250 Years On
New Light On William Hogarth
45 Essays to Commemorate the 250th Anniversary of Hogarth’s Death
Written by established authors and an up-and-coming generation of younger art historians and edited by Bernd W. Krysmanski, compiler of the forthcoming international two-volume Hogarth Bibliography, this 1000-page volume offers the reader a collection of essays that is unparalleled and may never again be seen in such abundance and variety dedicated to William Hogarth and his work.
There are no less than 38 scholars from Australia, Canada, France, Germany, Italy, the Netherlands, New Zealand, the UK and the USA who have agreed to participate in this project—a truly international line-up. These experts, among them several of the world’s leading Hogarthian scholars, have garnered much new material and in doing so have shone clearer light and have come up with intriguing interpretations on the artist and his work, a process that never ceases to amaze.
For instance, did you know that Hogarth’s Masquerades and Operas is based on a German anti-Catholic propaganda print and that the dog depicted in his so-called Self-Portrait with Pug isn’t really a pug at all? That Tom Rakewell of A Rake’s Progress was expelled from Oxford for making his bedmaker’s daughter pregnant?
Do you want to learn more about the madman trying to solve the longitude problem in the last scene of the same series? Or about the formal structure of A Midnight Modern Conversation?
Were you aware that Hogarth’s 'Night' includes several formal signifiers that ridicule some of the most socially prominent Freemasons of his day? That The Enraged Musician seems to satirically represent a musical combat between two foreign musicians who were sacked by George Frideric Handel? Or that Marriage A-la-Mode not only alludes to Lord Squanderfield’s paedophilia, but also to the Prussian king’s homosexuality and his predilection for castrati?
Furthermore, were you aware that The Four Stages of Cruelty seems to sarcastically criticise the brutal practices of famous obstretricians and anatomists who didn’t shrink from murdering pregnant women in their quest for a greater understanding of female anatomy, and, somewhat cynically, obstetrical practice? That Hogarth’s conversation piece, Captain Lord George Graham in his Cabin, may include a hitherto unidentified self-portrait? That Isaac Newton’s Method of Fluxions and the works of the marine painter, Peter Monamy, both arguably contributed to Hogarth’s concept of the “Line of Beauty”, and that this serpentine line even had an influence on twentieth-century art and design?
Have you ever read academic essays on the language of dress or on the extant architecture to be seen in several of Hogarth’s works? Or a paper on the artist’s shadowy widow Jane?
Did you know that Hogarth produced a caricature of Samuel Johnson as an all too enthusiastic art lover? Or that his work had a considerable influence on Victorian painters and can still be relevant for the teaching of art?
This book will contain many more and equally surprisingly new insights on William Hogarth, his work, life and times. It will be published in about four months.
Table of Contents:
Bernd W. Krysmanski, “A Brief Account of Hogarth’s Life and Work”
I. Two Hogarthian Veterans looking back over their Work
1. Ronald Paulson, “Hogarth’s Ghost, his Pug, and the Pit Bull: A Memoir”
2. David Kunzle, “Hogarth as (Re-)Creator of the Picture Story: Before and After”
II. Recent Views on either Single Works or the Series
3. Frédéric Ogée, “A Midnight Modern Conversation”
4. Alexander S. Gourlay, “The Rake’s Career at Oxford Revealed in A Rake’s Progress One”
5. Katy Barrett, “The Longitude and Latitude of Bedlam in Hogarth’s A Rake’s Progress”
6. Jeremy Bell, “More Light on Hogarth’s Night”
7. Werner Busch, “Noisily Harassing the ‘High’: The Triumph of the ‘Low’ in Hogarth’s The Enraged Musician”
8. Bernd W. Krysmanski, “The Paedophilic Husband: Why the Arranged Marriage A-la-Mode Failed”
9. Bernd W. Krysmanski, “Hogarth’s Gate of Calais: An Expression of Anti-French Nationalism”
10. Robert Mode, “Still ‘Marching to Finchley’: Hogarth, Coram, and the Two Fredericks”
11. Donald C. Shelton, “A Satire, not a Sermon: Four Stages of Cruelty and Murder”
12. Peter Wagner, “Apocalyptic Satire: A (De-)Constructive Reading of Hogarth’s Tail Piece, or The Bathos”
III. Hogarth’s Contribution to Portraiture
13. Shearer West, “Hogarth and Portraiture”
14. Christoph Heyl, “Private Narratives Beyond the Core Canon: William Hogarth’s Conversation Pieces”
15. Robert L. S. Cowley, “A Scene from ‘The Indian Emperor’ and its Borrowed Scenery”
16. Oliver Cox, “Creating a Patriot Princess in Hogarth’s Miss Mary Edwards (1742)”
17. Elizabeth Einberg, “A Cure for the Captain: A Sober Look at Hogarth’s Captain Lord George Graham in his Cabin”
18. Bernd W. Krysmanski: “Editorial Note: Graham’s Table Companion: An Unnoticed Self-Portrait of Hogarth?”
IV. Hogarth’s Theory of Art: The Analysis of Beauty
19. Mark A. Cheetham, “Hogarth & Reynolds: Englishness and Art Theory”
20. Stefania Consonni, “Serpentine Beauty: A Love Story of Intelligence and Eroticism”
21. Iris Wien, “ ‘The use of thinking of form and motion together’: Hogarth’s ‘Line of Beauty’ in the Light of Isaac Newton’s Method of Fluxions”
22. Mark Haywood, “The Afterlife of Hogarth’s Analysis: Beauty, Fast Cars and Sex”
V. Hogarth and other Artists
23. Bernd W. Krysmanski, “Hogarth and Dürer: A Case of Rejection and Hidden, Ironic Borrowing”
24. Charles Harrison-Wallace, “Hogarth & Monamy”
25. Robert L. S. Cowley, “Vertue Revisited, or, A Reassessment of the Genesis of Hogarth’s First Progress”
26. Jürgen Döring, “George Bickham—a Caricaturist in Hogarth’s Time”
27. Jacqueline Riding, “ ‘A Conjoint Agreement’: The History Painting Scheme within the Foundling Hospital’s Court Room”
28. Werner Busch, “Hogarthian Realism mixed with Orphic Tones: Roubiliac’s Handel Statue for Vauxhall Gardens”
29. Katherine Aske, “Physiognomy and Beauty in the Works of William Hogarth and Joshua Reynolds”
VI. Hogarth and Eighteenth-Century Literary Figures
30. Frédéric Ogée, “ ‘O, Hogarth, had I thy Pencil!’: Delineations of an Alleged Friendship between Hogarth and Fielding”
31. Peter de Voogd, “ ‘Howgarth’s witty Chissel’ and Tristram Shandy”
32. Bernd W. Krysmanski, “Hogarth’s Unknown Caricature of Johnson”
VII. Aspects of Social and Cultural Life in Hogarth’s London
33. Aileen Ribeiro, “Speaking Dress: Clothing, Character and Identity in Hogarth’s Work”
34. Andrew Strange, “Hogarth and Consumerism in Eighteenth-Century Britain”
35. Mary Klinger Lindberg, “Drumming Up Business: The London Theatre in Hogarth’s Benefit Tickets and Southwark Fair”
36. Jeremy Barlow, “The Sublime Society of Beef Steaks”
37. Gerhard Dohrn-van Rossum, “Time, Clocks and Clock-Time in Hogarth’s London”
38. Piers Beirne, “Hogarth’s Animal Antics”
39. David Watkin, “Architecture: Hogarth’s View of London”
VIII. The Artist’s Influences on his Widow, the German Enlightenment and Victorian Art
40. Cristina S. Martinez, “Jane Hogarth: Executrix, Printseller, and Promoter of the Engravers’ Copyright Act of 1767”
41. Linde Katritzky, “Hogarth’s Art as Visual Teaching Aid for Lichtenberg’s Didactic Strategies”
42. Till Kinzel, “Hogarth’s Art and Aesthetics in Enlightenment Germany: The Cases of Christlob Mylius, Gotthold Ephraim Lessing and Johann Joachim Eschenburg”
43. George P. Landow, “Hogarth and the Victorians”
IX. Art Education: then and now
44. Isabelle Baudino, “Hogarth’s Academy at the Crossroads”
45. Brian Nattress, “Hogarth as a Resource for the Teaching of Art within the Context of the National Curriculum”
Saturday, 2014-10-25 at 21:51