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Anything that you think students or scholars working on William Hogarth (1697-1764) may find interesting should be noted here.

NB This is a site for sharing scholarship and not about evaluating prints or books on the artist for commercial reasons.





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Mainberger, Sabine

  http://https://www.germanistik.uni-bonn.de/institut/abteilungen/vergleichende-literaturwissenschaft-komparatistik/die-abteilung/personal/mainberger_sabine

I would like to inform you about the following publications on Hogarth’s Analysis of Beauty and their impact on art, aesthetics, and literature:

Sabine Mainberger:
Einfach (und) verwickelt. Zu Schillers ‚Linienästhetik‘. Mit einem Exkurs zum Tanz in Hogarths Analysis of Beauty, in: Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 79.2 (2005), pp. 196-251
(on Hogarth’s Analysis of Beauty and German aesthetics and literature in the 18th century, especially on Schiller and dance)

Sabine Mainberger:
Experiment Linie. Künste und ihre Wissenschaften um 1900, Berlin (Kulturverlag Kadmos) 2010, pp. 27-70
(on Hogarth, Goethe, Ruskin).

Best regards
SM

Thursday, 2016-03-24 at 15:03

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Monday, 2015-10-26 at 12:36

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Monday, 2015-10-26 at 11:11

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Friday, 2015-10-23 at 07:00

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Hogarth bibliographer


This may be one of Hogarth's illustrations for Aubry de la Motraye's "Travels through Europe, Asia, and into Part of Africa" (1723/4). For more details, see Ronald Paulson, "Hogarth's Graphic Works", 3rd edn (London 1989), nos. 28-42.
Friday, 2015-08-21 at 22:59

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R.M.Healey

  http://Jot 101

I have come across a copperplate engraving dating ( I would guess)from c1720 in which a rather crudely drawn scene bears the inscription Wm Hogarth sculp. This seems to be plate no 17 of a book with a Middle Eastern theme. Could any scholar throw light on it. How can I post the image ?
Friday, 2015-08-21 at 19:37

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Hogarth bibliographer


You may be interested to know that there is a forthcoming 1000-page volume on Hogarth:

Title:

250 Years On
New Light On William Hogarth
45 Essays to Commemorate the 250th Anniversary of Hogarth’s Death

ISBN 978-3-00-046975-6

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:

Introduction:

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

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Tapan Kumar Mukherjee

 

William Hogarth called his caricature painting of Mary Toft or The Wisemen of Godliman in Consultation as 'Cunicularii' drawn in 1726. The lady was rumoured to have given birth to seventeen rabbits in a small town called Godalming (Guildford) Surrey. Cunicularii is a military slang and its superficial meaning is burrows like a rabbit, or dig a hole for underground dwelling like rabbits. But I think it has not been pointed out earlier that the term used by the artist to describe the painting as 'cunicularii' may have another sexual connotation the implication of which is most probably intended by the artist as a pun for the picture, for the word 'cunni' of cunnilingus or cunnilinctus means vagina or female genital organ. The incident made a media sensation in contemporary newspaper and magazine, and Gentleman's Magazine carried a series of reports on the issue which ultimately proved to be a huge hoax for which Mary Toft was taken to task. Hogarth's description of the painting as 'cunicularii' seems particularly appropriate because overtly it refers to the hole or the burrow for the rabbits, but covertly the veiled reference is to the vagina or female genital organ and the lady was subsequently revealed to have concealed the rabbits in her private parts to create the hoax and thereby make contemporary media sensation which must have been more salacious to the readers on account of its sexual overtone.
Friday, 2013-09-27 at 09:31

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Hogarth bibliographer


Did you know that Clifford Armion, professor of English at the Université de Lyon, has created an online version of "The Works of William Hogarth, from the Original Plates restored by James Heath" (London, 1822)? It includes all illustrations and the accompanying commentaries by John Nichols.

See http://cle.ens-lyon.fr/anglais/the- works-of-william-hogarth-169448.kjsp?


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Hogarth bibliographer

 

Published in November 2010:

Bernd W. Krysmanski

Hogarth's Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art

Hildesheim, Zürich, New York: Georg Olms Verlag, 2010

ISBN 978-3-487-14471-9

This book questions the established view that William Hogarth (1697-1764) was chiefly a social moralist who charitably took care of foundling children and produced serialised pictorial satires for ethical guidance. In contrast the author, a recognised expert in the field of Hogarthian studies, reveals a different, a rather self-complacent, an opportunistic and hugely immoral English artist who disguised an unsavoury predilection for cruelty, malignity, wayward perversity and promiscuity hidden away from view behind a public mask of moral purpose. This other hidden Hogarth is here portrayed as being a rather jolly person though a spiteful joker; a carouser and debauchee who lived the life of a libertine to the full; an artist who mercilessly attacked his contemporaries while spending his time in obscene amusement with ladies of questionable virtue. Furthermore, it is argued, Hogarth may have had connections with the paedophilic subculture of eighteenth-century London. This other artist primarily dealt in sexual double entendre and suggestive detail tucked away in his works; indulged in dark humour; and produced, within his witty and extremely profane genre scenes, blasphemous motifs that satirically alluded to and disparaged "high" religious art and in doing so exposed the biased preference of art dealers and connoisseurs for Italianate Old Master works. It is little wonder therefore that there is evidence pointing to the fact that Hogarth the vicious, impious rake died untimely of syphilitic aortitis. As this book contains, in addition, many new and surprising findings on numerous canonical works—among them Gin Lane; The Four Stages of Cruelty; Industry and Idleness; Sigismunda; Boys Peeping at Nature; Before and After; Plate 2 of The Analysis of Beauty; Noon and Evening; Marriage A-la-Mode; A Rake’s Progress; Chairing the Members; Paul before Felix and its burlesqued version; Captain Lord George Graham in his Cabin; David Garrick and his Wife; The Cockpit; Transubstantiation Satirized; and Enthusiasm Delineated—it will change the way we think about the pictorial satirist Hogarth.

See table of contents: http://d-nb.info/1007175796/04

The book can be ordered at

sales@olms.de

or

http://www.olms.com/artikel_15473.ahtml



M. Hywelsmith wrote:

As a scholarly work on Hogarth the book is physically easy to handle and easy on the eye: typeface, point size, paper quality and so on. It is a reader’s book. The illustrations, determined by the book’s format, in some cases could have been bigger however this minor distraction is no barrier to understanding. The structure to Krysmanski’s argument is well laid out in the contents and is spread throughout the text in bold print, which together with the on-page footnoting, make it easy to delve into to access some point or other or to check on the fully cited sources: this latter a powerful feature of the book. In this sense it is an easy read but it is not a tabloid romp of titillation as the title and some chapter headings might at first suggest: it is a closely argued and sustained thesis that requires thoughtfulness, even so there is much to tickle one’s fancy.

In the writing of this book Krysmanki’s aim is set out on page 10: ‘… I want to provide future scholars with a most extensive and precise critical apparatus on the subject [namely the hidden aspects of Hogarth’s personality and work, the other Hogarth as it were], which may give new impulses to further research in this broad, but nevertheless intriguing, and highly entertaining field.’ In this he may, in the fullness of time, be proved successful though there is a lot here that some might take issue with, nevertheless one cannot deny the author’s marshalling of evidence in support of his arguments.

There is internal evidence to show that the book has been reworked right up to the point of publication by the citing of sources of the same year but more impressive than this is his citation from sources that are contemporaneous with the prints themselves and to the points being made. For example in footnote 60, in discussing the twin prints of Gin Lane and Beer Street (2.1.3. The Campaign against Alcoholism), he cites Stephen Hales’ essay of 1754, warning of the dangers of consuming gin, and Martin Grindal’s, 1741, warm endorsement of beer as a health drink. Further, for the Anglo centric reader, Krysmanski provides some excellent insights into German scholarship. In this regard I am for one humbled and welcome this central European perspective on Hogarth.

For those who are open to having their preconceptions challenged I thoroughly recommend this book: it is a well paced, carefully written, judiciously illustrated and slow burning page turner: a book for savouring the carnal delights of human frailty.


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