Description: 100% ORIGINAL STEEL STITCH!!! 1860 No reprint or reprint. 235mm x 315mm GRIFFIN, BOHN AND COMPANY 10 Stationers Hall Court LONDON HOGOTH! what diverse associations are associated with his name! In his person, the painter, the moralist, the satirist, the wit, and the pictorial historian of the social side were united in one remarkable cause. His prints are real-life miniature novels; stories told with a purpose, and that's a very useful one. He was among painters what Crubbe was among poets; crabbe, whom Byron praised as ""nature's strictest painter and her best. Hogarth was one of the most perceptive satirists; each series of his prints is so many biting sarcasms against vice and folly; he paints waste and wickedness in all their innate abomination; he will leave them not a single spell; but with a strict hand he strips off the colorful dress and painted skin; and the decaying skeleton of moral corruption stands undisguised before us. He is not a representative of persons; wealth and poverty are equally anatomized by him. The waste of the rich is exposed in ""marriage a la fashion"" and that of the poor in ""Beer Street"" and ""Gin Lane"". """His pictures are moral teachings that both the best and the worst of us can read with advantage; for, as has been well noted, we look at some pictures but we read those of Hogarth." And he has a keen eye and a reflective mind that thoroughly tears them apart as they encompass a wide field of observation; each character tells their story, and there is a bit of Shakespeare in the ingenious versatility of our painter and extraordinary completeness of detail. It can now also be safely assumed that Hogarth, like all great anti-Ristians, has contributed to every improvement brought about by reformers in the world since he lived and worked. Satire may be a destructive means by nature; but there is a satire that renews - a satire that, combined with eternally good and healthy principles, helps keep them alive while working to overthrow the ugly or evil. It is almost impossible to define the extent or detailed modes of satirical influences. But certainly the man who helps ridicule or contemptible a harmful system effectively contributes to its fall. He breaks the prestige of his followers by accustoming the world to laughing 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, although he sometimes exercises his talents in their field; but he is at the head of an equally famous school - the social satirists or commentators on customs; and he is the founder and still unrivalled leader of the artistic branch of this school. His genius as a painter has been sufficiently recognized by artists and art critics who no longer argue with him because he does not excel in ways where nature has not made him excel. As a teacher of satire and comedy, he now stands before us; and traces of his influence like other great men in the class can be seen everywhere. Undoubtedly, it is even 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 specific goal; therefore, we can only appreciate very generally what Hogarth did for England. To give great pleasure and to stimulate thought - this is something remarkable. Always doing this with a kind intention to humanity and in the interest of morality is a little more. But even more can be claimed for Hogarth. However, we cannot expect his satire to have achieved goals that Christianity itself only partially achieves. There are still rakes even though they have stopped wearing ruins; and proud old nobles with daughters for sale, though the crown is displayed less demonstratively and trading is completed with less parade of bags of money. "Gin Lane" has its representatives; "The Progress of Cruelty" goes on; and there are still many things in our elections that would not tolerate investigating a satirical night before. However, if every single evil that attacked Hogarth had gotten worse and now existed in worse forms, that wouldn't diminish air merits a bit. Success in no sufficient test: Juvenal did not defeat Crispinus as far as we can see, rotting the imperial system he attacked without national reform. We can be honest, but claim so much for Hogarth - that wherever there was an improvement, there was an improvement in the way he worked for in his time the laws these days of gas and police. We have acts of parliament directed against the heinous young scoundrel tormenting the cat in ""Progress of Uruelty - Part 1". Bedlam is a rake paradise compared to what it was when Hogarth sent it there. Apoplectic men who have to 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 evolved since the days of William Hogarth. We are not concerned with the other side of the question now; but that much is true; and the great satirical painter must certainly have his share in the change. What reformer or legislator of the time who brought about the change did not know his works, what student of the past or what thinker did not learn something from them? Their familiar figures, reproduced in many forms, have been broadcast across the country; and while raising thousands through their thoughtfulness, enchanting them with their humor, and touching them with their pathos, they have helped prepare the mind and heart of England for a milder and more social life. May their mission expand and thrive, and may the hope they whisper come true! Published in a cheap and popular form, this edition of Hogarth's Works conveys the finest idea of the originals through the skill of the sting; and the value of the publication is enhanced by combining it with faithful copies of the illustrative text by Hannay, Trussler, and Roberts. The factory now inserts parts at 1, with each part containing three to four burrs, with appropriate printing. It will consist of forty parts that make up a great volume, with one hundred and tiny Buperb agrarings at LONDON: CHARLES GRIFFIN AND COMPANY, 10, STATIONERS HALL COURT
Price: 46 USD
Location: Bad Nauheim
End Time: 2024-12-29T03:44:53.000Z
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All returns accepted: Returns Accepted
Item must be returned within: 60 Days
Refund will be given as: Money Back
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Artist: William Hogarth
Brand: - Senza marca/Generico -
Certificate of authenticity: No
Certificate of authenticity issued by: No
Country and Region of Production: England
Culture: Euro
Framing: Unframed
Handmade: No
Height: 23.5cm
Image Orientation: Landscape format
Length: 31.5cm
Manufacturing method: Steel engraving
Manufacturing period: 1800-1849
Material: Matte Paper, Paper
Motive: 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
Particularities: Limited Edition, Miniature
Personalization Instructions: No
Personalize: No
Region of Origin: Euro
Signed: Yes
Signed By: William Hogarth
Size: Medium
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, Casual, History, Glamour, Home & Family Life, Disasters, Cultures & Ethnicities, Art, Love, Fairy Tales, People, Fashion, Music, Natural, Natural History, Portrait, Social History, Dancing, Theatre, Animals
Type: Sting
Unit of Sale: Individual work
Unit of measurement: m
Width: 0.01
Year of manufacture: 1822
Product Type: Stitch
Handcrafted: No
Sales unit: Single Movement
