Which British artist painted the series 'A Rake's Progress' in 1735?
"Villiers, 2nd Duke of Buckingham; and the Earl of Dorset, who combined riotous living with intellectual pursuits and patronage of the arts. At this time the rake featured as a stock character in Restoration comedy. After the reign of Charles II, and especially after the Glorious Revolution of 1688, the cultural perception of the rake took a dive into squalor. The rake became the butt of moralistic tales in which his typical fate was debtor's prison, venereal disease, or, in the case of William Hogarth's ""A Rake's Progress"", insanity in Bedlam. The defining period of the rake was at the"
"canvases that told stories of ordinary people ful of narrative detail (aided by long sub-titles), often in serial form, as in his ""A Rake's Progress"", first painted in 1732–33, then engraved and published in print form in 1735. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators. At the height of the Spanish Empire and the beginning of its slow decline, many picaresque genre scenes of street life—as well as the kitchen scenes known as bodegones—were painted by the"
"""A Rake's Progress"" inherited his money from a miserly father. By the end of the 19th century the theme of the miser was distancing itself from the simply moralities of journeyman painters and becoming a subject for aristocratic amateurs. The Empress Maria Feodorovna's miser of 1890 handles a small strongbox. The Indian Raja Ravi Varma paints a Jewish character type for his miser, dated 1901, while the Hungarian nobleman Ladislav Medňanský titles his humanised study ""Shylock"" (1900). Apart from them, there is an etching by James Abbott McNeill Whistler which emphasises the essential isolation of such figures. His enigmatic ""The"
"The Rake's Progress (ballet) The Rake's Progress is a short 1935 ballet based on the drawings of William Hogarth, with music by Gavin Gordon (1901-1970), choreography by Ninette de Valois, and set design by Rex Whistler. Gavin Gordon had written some earlier ballets that were not successful. By contrast, ""The Rake's Progress"" was an instant hit and has remained in the repertoires of a number of ballet companies. It is the only work of Gavin Gordon's that is remembered today. Gordon based his scenario for the ballet on Hogarth's series of paintings called ""A Rake's Progress"". These paintings influenced him"
"English people lost a great deal of money. His art often had a strong moralizing element to it, such as in his masterpiece of 1732–33, ""A Rake's Progress"", engraved in 1734. It 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 from sex workers, and gambling—the character's life ultimately ends in Bethlem Royal Hospital. However, his work was only tangentially politicized and was primarily regarded on its artistic merits. George Townshend, 1st Marquess Townshend produced some of the first overtly political"
"six pictures to illustrate the effects of opium-smoking in the style of English painter William Hogarth's series ""A Rake's Progress"". Painted on pith paper, the series portrays the progress of an opium smoker from health and prosperity to misery and degradation. ""The Chinese Repository"" described the work as ""the most spirited and striking thing we have ever yet seen from the pencil of a Chinese"" in 1837. He also drew a series illustrating a gambler's career. Sunqua Sunqua (active 1830–1870) was a Chinese painter during the Qing dynasty. He was one of the best known of the Chinese artists in"
"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"
"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,"
"of Chardin. Jean-Baptiste Greuze (1725–1805) and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. In England, William Hogarth (1697–1764) conveyed comedy, social criticism and moral lessons through canvases that told stories of ordinary people ful of narrative detail (aided by long sub-titles), often in serial form, as in his ""A Rake's Progress"", first painted in 1732–33, then engraved and published in print form in 1735. Spain had a tradition predating ""The Book of Good Love"" of social observation and commentary based on the Old Roman Latin tradition, practiced"
"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"
"and from 1810 in Soane's town house in Lincoln's Inn Fields. The Brothel painting scene and the other seven paintings in the series are available in the picture gallery in the city residence, now converted to Sir John Soane's Museum. Hogarth's picture suite has been used as the basis for the English opera ""The Rake's Progress"", with libretto by W.H. Auden and Chester Kallman and with music by Igor Stravinsky. Stravinsky had noted William Hogarth's pictures at an exhibition in Chicago in 1947, and got the idea to write an opera on the theme. A Rake's Progress, 3: The Tavern"
"canvas, and measures (or in its frame). The painting was presented to the Tate Gallery by the friends of the gallery in 1971, and remains in the Tate collection. It featured in the final ten of the Greatest Painting in Britain Vote in 2005, the only work by a living artist to do so. Hockney drew on both the ""Arnolfini Portrait"" by Jan van Eyck and ""A Rake's Progress"" by William Hogarth in the symbolism and composition of the painting. A copy of a Hockney etching, showing his own interpretation of ""A Rake's Progress"" (1961–63), is on the wall behind"
"of six prints to subscribers for a Guinea. Pirate copies of the engravings were soon in circulation, and Hogarth procured a 1735 Act of Parliament (8 Geo. II. cap. 13) to prohibit the practice. Soon after, Hogarth published his second series of satirical and moralistic images, ""A Rake's Progress"", followed ten years later by ""Marriage à-la-mode"". The original paintings were destroyed in a fire at Fonthill House in 1755, the country house of William Beckford (1709–1770), a politician and father of William Thomas Beckford (1 October 1760 – 2 May 1844) builder of Fonthill Abbey in Wiltshire. The original plates"
"composition, but a work initiated by Richard Barham in which several authors had been asked to collaborate in a work on the theme of The Rake's Progress, about the downfall of a wealthy young man of property. Henry Cockton was given the manuscripts to adapt and complete, which he did, adding an unconvincing happy ending in place of the tragic end that was originally envisioned. Henry Cockton does not seem to have made much money from novel-writing, as the 1841 census showed him and his family as resident in 165 Blackfriars Road, Southwark, where they were lodgers of Maria Dowie,"
"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."
"The Rake's Progress (film) The Rake's Progress is a 1945 British comedy-drama film. In the United States, the title was changed to Notorious Gentleman. The film caused controversy with U.S. censors of the time, who trimmed scenes for what was considered graphic amoral and sexual content. The plot follows the career of upper-class cad Vivian Kenway (Rex Harrison). He is sent down from Oxford University for placing a chamber pot on the Martyrs' Memorial. Sent to South America, he rebels against plantation life, eventually becoming a car racing driver. He descends to a life of woman-chasing and drunkenness, which causes"
"previous night; ""Noon"" shows two cultures on opposite sides of the street in St Giles; ""Evening"" depicts a dyer's family returning hot and bothered from a trip to Sadler's Wells; and ""Night"" shows disreputable goings-on around a drunken freemason staggering home near Charing Cross. ""Four Times of the Day"" was the first set of prints that Hogarth published after his two great successes, ""A Harlot's Progress"" (1732) and ""A Rake's Progress"" (1735). It was among the first of his prints to be published after the Engraving Copyright Act 1734 (which Hogarth had helped push through Parliament); ""A Rake's Progress"" had"
"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"
"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"
"Progress"" or his ""Grace abounding to the Chief of Sinners"". In a more profane manner, the hero or heroine follows a picaresque itinerary such as in Miguel de Cervantes (1547–16), Daniel Defoe (1660–1731), Henry Fielding (1707–1764) and Tobias Smollett (1721–1771). This lively tradition continued into the 19th century with the ""rags to riches"" genre to which almost all the great Victorian romancers have contributed. The protagonist is thrown by fate into poverty and after many difficulties achieves a golden happiness. Often an artifice is employed to effect the passage from one state to another such as an unexpected inheritance, a"
"Progress""(1832), which later opened at the New York City Theatre on 23 January 1833, is based on William Hogarth's ""A Rake's Progress"" (1735), a cautionary series of eight prints depicting Tom Rakewell, a middle-class aspirant to aristocratic status who inherits a fortune from his miserly father, seduces and impregnates his maid, indulges in debauchery, is arrested, marries an unattractive but wealthy older woman, gambles away her fortune, goes to debtors' prison, and ends up in a madhouse. Catering to popular tastes, Rede converted the ugliness of Hogarth's world to light comedy, modernized the story, added songs, and included episodes of"
"also influenced many caricaturists of the 18th, 19th and 20th centuries. Hogarth's influence lives on today as artists continue to draw inspiration from his work. Hogarth's paintings and prints have provided the subject matter for several other works. For example, Gavin Gordon's 1935 ballet ""The Rake's Progress"", to choreography by Ninette de Valois, was based directly on Hogarth's series of paintings of that title. Igor Stravinsky's 1951 opera ""The Rake's Progress"", with libretto by W. H. Auden, was less literally inspired by the same series. Hogarth's engravings also inspired the BBC radio play ""The Midnight House"" by Jonathan Hall, based"
"Four Times of the Day Four Times of the Day is a series of four oil paintings by English artist William Hogarth. Completed in 1736, they were reproduced as a series of four engravings published in 1738. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as ""A Harlot's Progress"", ""A Rake's Progress"", ""Industry and Idleness"", and ""The Four Stages of Cruelty"", it does not depict the story of an individual, but instead focuses on the society of the"
"John Gonson Sir John Gonson (died 1765) was an English judge for nearly 50 years in the early 18th century, serving as a Justice of the Peace and Chairman of the Quarter Sessions for the City of Westminster. Gonson was a supporter of the Society for the Reformation of Manners, and was noted for his enthusiasm for raiding brothels and for passing harsh sentences. Gonson appears in contemporary court reports and newspaper articles, but is best known for having been depicted twice in ""A Harlot's Progress"", William Hogarth's series of paintings from 1731 and subsequent engravings from 1732. Gonson first"
"John Gonson Sir John Gonson (died 1765) was an English judge for nearly 50 years in the early 18th century, serving as a Justice of the Peace and Chairman of the Quarter Sessions for the City of Westminster. Gonson was a supporter of the Society for the Reformation of Manners, and was noted for his enthusiasm for raiding brothels and for passing harsh sentences. Gonson appears in contemporary court reports and newspaper articles, but is best known for having been depicted twice in ""A Harlot's Progress"", William Hogarth's series of paintings from 1731 and subsequent engravings from 1732. Gonson first"
"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 Room of the Royal Society of Arts in London. Because of his determination to create art according to his own principles rather than those of his patrons, he is also noted for being one of the earliest romantic painters working in Britain, though as an artist few rated him highly until the fully comprehensive 1983 exhibition at the Tate Gallery led to a reassessment of this ""notoriously"
"with wit and style. It does not treat its unattractive subject with sympathy, yet remains sensitive and touching."" The Rake's Progress (film) The Rake's Progress is a 1945 British comedy-drama film. In the United States, the title was changed to Notorious Gentleman. The film caused controversy with U.S. censors of the time, who trimmed scenes for what was considered graphic amoral and sexual content. The plot follows the career of upper-class cad Vivian Kenway (Rex Harrison). He is sent down from Oxford University for placing a chamber pot on the Martyrs' Memorial. Sent to South America, he rebels against plantation"
"Progress"", ""A Rake's Progress"" and ""Four Times of the Day"" in January 1745, but was destroyed in a fire at Littleton House near Staines in 1874. Strolling Actresses Dressing in a Barn Strolling Actresses Dressing in a Barn is a painting from 1738 by British artist William Hogarth. It was reproduced as an engraving and issued with ""Four Times of the Day"" as a five print set in the same year. The painting depicts a company of actresses preparing for their final performance before the troupe is disbanded as a result of the Licensing Act 1737. Brought in as a"
"""Blake's Progress"" the poet William Blake and his wife Kate travel to the end of time where the demonic Urizen offers them his own re-interpretation of the Biblical story: ""In this painting you see Adam and Eve listening to the wisdom of their good friend and adviser, the serpent. One might even say he was their Savior. He gave them freedom, and he would have given them eternal life if he'd been allowed to."" John William ""Uncle Jack"" Dey painted ""Adam and Eve Leave Eden"" (1973), using stripes and dabs of pure color to evoke Eden's lush surroundings. In C.S."
"the technological advances of the industrial revolution, magazines and newspapers were established. These publications utilized illustrations as a means of commenting on political and social issues, such illustrations becoming known as cartoons in the 1842. Soon, artists were experimenting with establishing a sequence of images to create a narrative. While surviving works of these periods, such as Francis Barlow's ""A True Narrative of the Horrid Hellish Popish-Plot"" (c. 1682) as well as ""The Punishments of Lemuel Gulliver"" and ""A Rake's Progress"" by William Hogarth (1726), can be seen to establish a narrative over a number of images, it wasn't until"
"sentimentality; he admits in the preface to the published version (1833) that ""I knew that to realize Hogarth's pictures was an impossibility."" ""The Rake's Progress"" was his first drama to be printed, although allegedly nothing of the production was written down until it was revised for publication by John Duncombe. ""The Wedded Wanderer, or, The Soldier's Fate ""(1827) ""The Royal Rake, and the Adventures of Alfred Chesterton"" (privately printed, 1842, and serialized in the Sunday Times, 1846): a satire on George IV. William Leman Rede William Leman Rede (31 January 1802 – 3 April 1847) was one of the many"
"far more literally than was the case with Igor Stravinsky in his 1951 operatic treatment. Stravinsky's Hogarthian borrowings were limited to the name of the protagonist, the general notion of his progress, and specific ideas for two of the scenes. The ballet was Gordon's own concept, and he persuaded Ninette de Valois to choreograph it. ""The Rake's Progress"" was produced at the Sadler's Wells Theatre in 1935. The costumes and scenery were by Rex Whistler. They were destroyed in the Netherlands during the Second World War, while Sadler's Wells were visiting that country, but were remade for a revival. The"
"ballet consists of the following numbers: Gordon employed the Swannee whistle in his orchestration. The ballet has had several recordings (conductors include Constant Lambert and Barry Wordsworth). Robert Helpmann, who was in the original cast, included it in The Royal Ballet's first tour of Australia in 1956. Other major artists to be associated with ""The Rake's Progress"" include Margot Fonteyn and Beryl Grey. The Rake's Progress (ballet) The Rake's Progress is a short 1935 ballet based on the drawings of William Hogarth, with music by Gavin Gordon (1901-1970), choreography by Ninette de Valois, and set design by Rex Whistler. Gavin"