"eight paintings - eleven plates of 130 × 200 cm (50 x 80 inches) accompanied as by Hogarth of a series of copper engravings reproducing the same themes. A Rake's Progress A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–34, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence"
"William Hogarth William Hogarth FRSA (; 10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranged from realistic portraiture to comic strip-like series of pictures called ""modern moral subjects"", perhaps best known being his moral series ""A Harlot's Progress"", ""A Rake's Progress"" and ""Marriage A-la-Mode"". Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as ""Hogarthian"". Hogarth was born in London to a lower middle-class family. In his youth he took up an apprenticeship where he specialised in engraving."
"special exhibitions to mark the 250th anniversary of his death. William Hogarth William Hogarth FRSA (; 10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranged from realistic portraiture to comic strip-like series of pictures called ""modern moral subjects"", perhaps best known being his moral series ""A Harlot's Progress"", ""A Rake's Progress"" and ""Marriage A-la-Mode"". Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as ""Hogarthian"". Hogarth was born in London to a lower middle-class family. In his youth"
"appeared first as paintings (now lost) before being published as engravings. ""A Harlot's Progress"" depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease. The inaugural series was an immediate success and was followed in 1733–1735 by the sequel ""A Rake's Progress"". The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money on luxurious living, services"
"A Harlot's Progress (opera) A Harlot's Progress is an opera in six scenes by the British composer Iain Bell which is based on William Hogarth's series of etchings of the same name. The libretto is by British author Peter Ackroyd. The opera premiered at the Theater an der Wien in Vienna on 13 October 2013 with German coloratura soprano Diana Damrau in the lead role of Moll Hackabout under the baton of Finnish conductor Mikko Franck in a production by German opera and theatre director Jens-Daniel Herzog. Additional cast members included Nathan Gunn, Marie McLaughlin, Irish mezzo-soprano Tara Erraught, English"
"Notes A Harlot's Progress (opera) A Harlot's Progress is an opera in six scenes by the British composer Iain Bell which is based on William Hogarth's series of etchings of the same name. The libretto is by British author Peter Ackroyd. The opera premiered at the Theater an der Wien in Vienna on 13 October 2013 with German coloratura soprano Diana Damrau in the lead role of Moll Hackabout under the baton of Finnish conductor Mikko Franck in a production by German opera and theatre director Jens-Daniel Herzog. Additional cast members included Nathan Gunn, Marie McLaughlin, Irish mezzo-soprano Tara Erraught,"
"Needham. Elizabeth Needham Elizabeth Needham (died 3 May 1731), also known as Mother Needham, was an English procuress and brothel-keeper of 18th-century London, who has been identified as the bawd greeting Moll Hackabout in the first plate of William Hogarth's series of satirical etchings, ""A Harlot's Progress"". Although Needham was notorious in London at the time, little is recorded of her life, and no genuine portraits of her survive. Her house was the most exclusive in London and her customers came from the highest strata of fashionable society, but she eventually ran afoul of the moral reformers of the day"
"Elizabeth Needham Elizabeth Needham (died 3 May 1731), also known as Mother Needham, was an English procuress and brothel-keeper of 18th-century London, who has been identified as the bawd greeting Moll Hackabout in the first plate of William Hogarth's series of satirical etchings, ""A Harlot's Progress"". Although Needham was notorious in London at the time, little is recorded of her life, and no genuine portraits of her survive. Her house was the most exclusive in London and her customers came from the highest strata of fashionable society, but she eventually ran afoul of the moral reformers of the day and"
"satirical traditions of the English broadsheet and other types of popular print. In England the fine arts had little comedy in them before Hogarth. His prints were expensive, and remained so until early 19th-century reprints brought them to a wider audience. When analysing the work of the artist as a whole, Ronald Paulson says, ""In ""A Harlot's Progress"", every single plate but one is based on Dürer's images of the story of the Virgin and the story of the Passion."" In other works, he parodies Leonardo da Vinci's Last Supper. According to Paulson, Hogarth is subverting the religious establishment and"
"from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of ""A Harlot's Progress"" were destroyed in the fire at Fonthill House in 1755; the oil paintings of ""A Rake's Progress"" (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK. When the success of ""A Harlot's Progress"" and ""A Rake's Progress"" resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The result was the Engravers’ Copyright Act (known as ‘Hogarth's Act’), which"
"numbers. Other subjects were only issued as prints, and Hogarth was both the first significant British printmaker, and still the best known. Many works were series of four or more scenes, of which the best known are: ""A Harlot's Progress"" and ""A Rake's Progress"" from the 1730s and ""Marriage à-la-mode"" from the mid-1740s. In fact, although he only once briefly left England and his own propaganda asserted his Englishness and often attacked the Old Masters, his background in printmaking, more closely aware of Continental art than most British painting, and apparently his ability to quickly absorb lessons from other painters,"
"Allegory of Waterloo Allegory of Waterloo, also known as Triumph of the Duke of Wellington or the Triumph of Great Britain after the Battle of Waterloo, was a monumental painting by British artist James Ward, completed in 1821, and now lost. Ward won a competition organised by the British Institution in 1816 to create an artwork to celebrate the final victory over Napoleon at the Battle of Waterloo the previous year. He was commissioned to create a full-size painting, and paid 1,000 guineas. Rather than painting portraits of the Duke of Wellington and his generals, or a scene from the"
"Allegory of Waterloo Allegory of Waterloo, also known as Triumph of the Duke of Wellington or the Triumph of Great Britain after the Battle of Waterloo, was a monumental painting by British artist James Ward, completed in 1821, and now lost. Ward won a competition organised by the British Institution in 1816 to create an artwork to celebrate the final victory over Napoleon at the Battle of Waterloo the previous year. He was commissioned to create a full-size painting, and paid 1,000 guineas. Rather than painting portraits of the Duke of Wellington and his generals, or a scene from the"
"come to London to be with Hunt. Hunt wrote an outraged letter to Dickens, who claimed to be unaware that the story was based on real events. Brian Aldiss used the painting as a leitmotif in his novel ""Report on Probability A"". The Hireling Shepherd The Hireling Shepherd (1851) is a painting by the Pre-Raphaelite artist William Holman Hunt. It represents a shepherd neglecting his flock in favour of an attractive country girl to whom he shows a death's-head hawkmoth. The meaning of the image has been much debated. Hunt painted the picture when he was living and working in"
"In 1856 Horsley was photographed at ""The Photographed Institute"" by Robert Howlett, as part of a series of portraits of ""fine artists"". The picture was among a group exhibited at the Art Treasures Exhibition in Manchester in 1857. Horsley was a member of the London-based Etching Club contributing illustrations to editions of ""The Deserted Village"" (Oliver Goldsmith and ""Songs of Shakespeare"". He also illustrated a number of other books including ""Little Princes"" by Eliza Slater (London: Henry G. Bohn, 1890). John Callcott Horsley John Callcott Horsley RA (29 January 1817 – 18 October 1903), was an English Academic painter of"
"his conceptions, and for his resolute and persistent determination to apply himself only to great subjects, than for his skill in designing or for beauty in his colouring. His drawing is not especially good, his colouring ordinary. He was impulsive; sometimes morose, sometimes sociable and urbane; jealous of his contemporaries, and yet capable of pronouncing a splendid eulogy on Reynolds. Barry also mastered the art of aquatint. James Barry (painter) James Barry (11 October 1741 – 22 February 1806) was an Irish painter, best remembered for his six-part series of paintings entitled ""The Progress of Human Culture"" in the Great"
"1863 and ""Coastal Scene, Isle of Wight"" in 1864. He appears to have specialised in landscapes and maritime painting. He was married to Katherine Elston in 1866. The couple are not known to have had any children. He died in 1875. His work is included in a number of public collections in the United Kingdom, including Middlesbrough Institute of Modern Art and Brighton and Hove Museum and Art Gallery. George Dodgson Callow George Dodgson Callow (1829–1875) was an English painter who specialized in landscapes and maritime water color painting. Callow was born in Liverpool in 1829; according to the Parish"
"Stanley Berkeley Stanley Berkeley (1855–1909) was an English painter of animal, sporting and historical subjects, especially military scenes. Born in London, he exhibited regularly at the Royal Academy, the Grafton Galleries, the New Watercolour Society, and elsewhere from 1878 until 1902, and many of his pictures were retrospective military scenes of the English Civil War and the Battle of Waterloo, such as ""For God and King: An Incident in the Civil War"", and ""Gordons and Greys to the front: An Incident at Waterloo"". Berkeley also depicted contemporary events and several were published as photogravures by Henry Graves including ""The Victory"
"in London, 1829. Renewed interest in Hobday's work has created a strong drive to locate this painting, as its value has increased significantly, reputed to be worth 800,000 pounds sterling. Hermit of Tong ""The Hermit of Tong"" is a missing/lost masterpiece of the English artist, William Armfield Hobday (1771–1831). The painting is a portrait of Carolus, aka Charles Evans, resident Hermit on the estate of Colonel Durant, Tong Castle, Shropshire, England. In the biography of William Armfield Hobday, printed in Arnolds' Library of the Fine Arts in 1831, the painting and hermit are described as follows: """"If, as it is"
"The Hay Wain The Hay Wain is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as ""Constable's most famous image"" and one of the greatest and most popular English paintings. Painted in oils on canvas, the work depicts as its central feature three horses pulling what in fact appears to be a wood wain or large farm cart across the river. Willy Lott's Cottage, also the subject of an eponymous painting by"
"George Henry Harlow George Henry Harlow (10 June 1787 – 4 February 1819) was an English painter known mostly for his portraits. Harlow was born in St. James's Street, London, the posthumous son of a China merchant, who after some years' residence in the East had died about five months before his son's birth, leaving a widow with five infant daughters. Harlow was sent when quite young to Dr. Barrow's classical school in Soho Square, and subsequently to Mr. Roy's school in Burlington Street. He was for a short time at Westminster School, but having shown a predilection for painting,"
"boys and girls, and a copy of verses"" (1833). and Charles Hindley's ""A History of the Cries of London: Ancient and Modern"", (1881). The ""Cries of London"" was also a recurring theme in European painting. In the mid 1700s, the English water-colourist, Paul Sandby created a series entitled ""London Cries"" depicting English shopkeepers, stall-holders and itinerant street vendors. The Dutch engraver, Marcellus Laroon began working in London in the mid-1700s where he produced his most famous work, the series, ""The Cryes of London"". William Hogarth's ""The Enraged Musician"" depicts a musician driven to despair by the cries of street vendors."
"Progress"", painted in 1731, in which his wigbox is being stored above the bed of the female protagonist, Moll Hackabout. James Dalton (criminal) James Dalton (died 11 May 1730) was ""captain"" of a street robbery gang in 18th century London, England. His father, also James Dalton, was Irish and fought as a sergeant in the British Army in Flanders. He was convicted of street robbery on 3 March 1720 and was sentenced to transportation. On being found in London in 1721, reputedly informed upon by the self-appointed Thief-taker General, Jonathan Wild, the elder Dalton was hanged. His mother remarried a"
"The March of the Guards to Finchley The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. Hogarth was well known for his satirical works, and ""The March of the Guards to Finchley"" has been said to have given full scope to this sense of satire; it was described by Hogarth himself as ""steeped in humour"". The painting is a depiction of a fictional mustering of troops on the Tottenham Court"
"is usually on display in Tate Britain, London, in room 1840. ""The Lady of Shalott"" is one of John William Waterhouse's most famous works, an 1888 oil-on-canvas painting of a scene from Tennyson's poem in which the poet describes the plight of a young woman, loosely based on the figure of Elaine of Astolat from medieval Arthurian legend, who yearned with an unrequited love for the knight Sir Lancelot, isolated under an undisclosed curse in a tower near King Arthur's Camelot. Waterhouse painted three different versions of this character, in 1888, 1894 and 1915. The painting has the precisely painted"
"The Lady of Shalott (painting) The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three different versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood. ""The Lady of Shalott"" was donated to the public by Sir Henry Tate in 1894, and"
"Our English Coasts, 1852 ('Strayed Sheep') Our English Coasts, also known as Strayed Sheep, is an oil-on-canvas painting by William Holman Hunt, completed in 1852. It has been held by the Tate Gallery since 1946, acquired through The Art Fund. William Holman Hunt was a British painter, who co-founded the Pre-Raphaelite Brotherhood (1848), along with Dante Gabriel Rossetti and John Everett Millais. The Pre-Raphaelite Brotherhood advocated a return to spirituality and sincerity of the arts, despising academic painting, which they considered a mere repetition of clichés.Despite these beliefs, the group created a number of works for institutes of higher learning"
"18th century, similar Dutch Hindeloopen paintwork would only have been a sailing barge journey away from the Thames. There is also an article in the Midland Daily Telegraph of 22 July 1914 that credits the practice of painting of water cans, at least, to a Mr Arthur Atkins. While the practice declined as commercial use of the canals dwindled, it has seen something of a revival in recent times with the emergence of leisure boating. Narrowboat decoration with roses and castle themes are a common sight on today's canals, although these may utilise cheaper printed vinyl transfers in place of"
"Garrick in 'The Provoked Wife' by Johann Zoffany, 'Portrait of Erasmus Darwin' (1792) by Joseph Wright of Derby, 'Apotheosis of Penelope Boothby' by Henry Fuseli, 'Arrival of Louis XVIII at Calais' by Wolverhampton-born Edward Bird. In addition, portrait miniatures, Bilston enamels depicting famous actors of the era, and some examples of the 18th-century Eastern and British ceramics are on display. The display in the two Victorian rooms present British 19th-century art in its relation with wider world. It includes landscapes by Henry Mark Anthony, David Cox, James Baker Pyne, David Roberts, narrative paintings by the Cranbrook Colony artists, religious paintings"
"addition to full-time employment he continued to produce illustrations for at least twenty three books, as well as several designs for journals. These included editions of ""The Pilgrim’s Progress"" (1860) and ""Robinson Crusoe"" (1861), ""Beauty and the Beast"" (late 1860s), ""The Queens of Society"" (1872), and ""Our Trip to Blunderland"" (1877) by Lewis Carroll. Although he exhibited at the Scottish Royal Academy, Doyle was not as successful an artist as he wanted, and suffered from depression and alcoholism. His paintings, which were generally of fairies, such as ""In the shade"" or ""A Dance Around The Moon"", or similar fantasy scenes,"
"A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids is a painting by William Holman Hunt that was exhibited at the Royal Academy in 1850 and is now in the Ashmolean Museum in Oxford. It was a companion to John Everett Millais's ""Christ in the House of His Parents"". Both artists sought to depict similar episodes from very early Christian history, portraying families helping an injured individual. Both also stressed the primitivism of the scene. Hunt's painting depicts a family of"
"The Hireling Shepherd The Hireling Shepherd (1851) is a painting by the Pre-Raphaelite artist William Holman Hunt. It represents a shepherd neglecting his flock in favour of an attractive country girl to whom he shows a death's-head hawkmoth. The meaning of the image has been much debated. Hunt painted the picture when he was living and working in close collaboration with John Everett Millais, who was painting ""Ophelia"" at the same time near the Hogsmill River near Ewell, Surrey. Both paintings depict English rural scenes, the innocence of which is disturbed by subtle but profoundly threatening violations of natural harmony."
"(Consultation of Quacks)"" (1736), ""The Distrest Poet"" (1736), ""The Four Times of the Day"" (1738), and ""Strolling Actresses Dressing in a Barn"" (1738). He might also have printed ""Burlington Gate"" (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth. In 1731 Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition. The collection of six scenes was entitled ""A Harlot's Progress"" and"