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In 1732, a blasphemous burlesque of the Christian Atonement was published in England without comment from the government or Church of England. The author explains this absence of censure through a detailed examination of the parameters of blasphemy in 18th century England.
Een oudere zwarte slaaf vertelt in de 18e eeuw zijn levensgeschiedenis aan een van de Engelse voorstanders van afschaffing van de slavernij in ruil voor hun liefdadigheid.
William Hogarth is a house-hold name across the country, his prints hang in our pubs and leap out from our history-books. He painted the great and good but also the common people. His art is comically exuberant, 'carried away by a passion for the ridiculous', as Hazlitt said. Jenny Uglow, acclaimed author of Elizabeth Gaskell, Nature's Engraver and In These Times, uncovers the man, but also the world he sprang from and the lives he pictured. He moved in the worlds of theatre, literature, journalism and politics, and found subjects for his work over the whole gamut of eighteenth century London, from street scenes to drawing rooms, and from churches to gambling halls and prisons. After striving years as an engraver and painter, Hogarth leapt into lasting fame with A Harlot's Progress and A Rake's Progress, but remained highly critical of the growing gulf between the luxurious lives of the ruling elite and the wretched poverty of the massess. William Hogarth was an artist of flamboyant, overflowing imagination, he was a satirist with an unerring eye; a painter of vibrant colour and tenderness; an ambitious professional who broke all the art-world taboos. Never content, he wanted to excel at everything - from engraving to history painting - and a note of risk runs through his life. Shortlisted for the Whitbread Prize, Hogarth: A Life and a World brings art history to life in the voices of Hogarth's own age. The result is an unforgettable portrait of a great artist and a proud, stubborn, comic, vulnerable man.
The great eighteenth century portraitist comes to life in this “gritty, bawdy and funny” rags to riches novel told in the voice of the artist himself (The New York Times). William Hogarth was London’s artist par excellence, and his work—especially his satirical series of “modern moral subjects”—supplies the most enduring vision of the ebullience, enjoyments, and social iniquities of the eighteenth century. And in I, Hogarth, he tells a ripping good yarn. From a childhood spent in a debtor’s prison to his death in the arms of his wife, Hogarth recounts the incredible story of how he maneuvered his way into the household of prominent artist Sir James Thornhill, and from there to become one of England’s best portrait painters. Through his marriage to Jane Thornhill, his fight for the Copyright Act, his unfortunate dip into politics, and his untimely death, “the voice in which Dean’s Hogarth tells his own story is rich and persuasive . . . Like stepping into a Hogarth painting” (The New York Times). “A brilliant exercise in imagination and storytelling.” —Kirkus Reviews (starred review)
William Hogarth (1697-1764) was among the first British-born artists to rise to international recognition and acclaim and to this day he is considered one of the country's most celebrated and innovative masters. His output encompassed engravings, paintings, prints, and editorial cartoons that presaged western sequential art. This comprehensive catalogue of his paintings brings together over twenty years of scholarly research and expertise on the artist, and serves to highlight the remarkable diversity of his accomplishments in this medium. Portraits, history paintings, theater pictures, and genre pieces are lavishly reproduced alongside detailed entries on each painting, including much previously unpublished material relating to his oeuvre. This deeply informed publication affirms Hogarth's legacy and testifies to the artist's enduring reputation. Published for the Paul Mellon Centre for Studies in British Art
This book illuminates how the ‘long eighteenth century’ (1660-1800) persists in our present through screen and performance media, writing and visual art. Tracing the afterlives of the period from the 1980s to the present, it argues that these emerging and changing forms stage the period as a point of origin for the grounding of individual identity in personal memory, and as a site of foundational traumas that shape cultural memory.
Author : British Museum. Department of Prints and Drawings Publisher : Unknown Page : 910 pages File Size : 53,7 Mb Release : 1873 Category : Broadsides ISBN : UOM:39015024852819
