1 00:00:02,440 --> 00:00:06,160 Speaker 1: Happy Saturday, everybody. Since William Hogarth got a name drop 2 00:00:06,200 --> 00:00:08,760 Speaker 1: in this week's episode on Gin, we thought we would 3 00:00:08,760 --> 00:00:11,920 Speaker 1: bring our episode on him out for Today's Saturday Classic. 4 00:00:12,640 --> 00:00:19,840 Speaker 1: This one originally came out July Welcome to Stuff You 5 00:00:19,880 --> 00:00:29,120 Speaker 1: Missed in History Class, a production of I Heart Radio. Hello, 6 00:00:29,160 --> 00:00:32,160 Speaker 1: and welcome to the podcast. I'm Holly Frying and I'm 7 00:00:32,240 --> 00:00:35,120 Speaker 1: Trac V. Wilson, and today we're going to talk about 8 00:00:35,120 --> 00:00:37,519 Speaker 1: an artist. But his story really involves so much more 9 00:00:37,520 --> 00:00:41,360 Speaker 1: than art. It involves satire and social criticism, and it 10 00:00:41,440 --> 00:00:44,919 Speaker 1: even gets into some legislation for artist rights. But one 11 00:00:44,960 --> 00:00:47,080 Speaker 1: thing we should point out is that his satire and 12 00:00:47,159 --> 00:00:50,120 Speaker 1: social criticism was being made in the early seventeen hundreds 13 00:00:50,640 --> 00:00:54,440 Speaker 1: when the society he was criticizing was very different than ours. 14 00:00:54,880 --> 00:00:57,840 Speaker 1: It was debuted in a lot of ways. Yes, so 15 00:00:58,000 --> 00:01:03,240 Speaker 1: there are a lot of things that are viewed very 16 00:01:03,240 --> 00:01:07,680 Speaker 1: differently than we view them. Uh. There is discussion of 17 00:01:07,680 --> 00:01:11,640 Speaker 1: of sex workers in this episode, not any details, but 18 00:01:11,680 --> 00:01:14,399 Speaker 1: they come up in some of his prints, as well 19 00:01:14,440 --> 00:01:19,000 Speaker 1: as some violence, some drug use, things like that come up. 20 00:01:19,440 --> 00:01:23,080 Speaker 1: So just be aware that that's that's in the hopper 21 00:01:23,200 --> 00:01:26,160 Speaker 1: and that it will be again based on on the 22 00:01:26,240 --> 00:01:30,280 Speaker 1: views of England in the seventeen thirties and forties and fifties. Well, 23 00:01:30,319 --> 00:01:32,840 Speaker 1: and especially because our artwork for this one is a 24 00:01:32,880 --> 00:01:36,240 Speaker 1: self portrait of the artist with his dog, and it 25 00:01:36,280 --> 00:01:38,920 Speaker 1: looks so sweet. It looks very sweet. And I was like, 26 00:01:38,959 --> 00:01:41,800 Speaker 1: I could just see teachers saying, hey, this would be 27 00:01:41,840 --> 00:01:45,960 Speaker 1: a great episode to share with the kids. Um, and 28 00:01:46,040 --> 00:01:48,160 Speaker 1: it might be depending on the age of your kids, 29 00:01:48,240 --> 00:01:51,080 Speaker 1: the kids you're thinking of, but you would want still, 30 00:01:51,080 --> 00:01:53,440 Speaker 1: I think to frame it and kind of listen first, 31 00:01:53,480 --> 00:01:57,320 Speaker 1: and uh, decide based on the actual content. But we're 32 00:01:57,320 --> 00:02:00,000 Speaker 1: going to talk about William Hogarth, who was in English 33 00:02:00,040 --> 00:02:04,080 Speaker 1: artist that as I said, uh, you know, his life 34 00:02:04,080 --> 00:02:08,720 Speaker 1: story involves a lot more than just art. William Hogarth 35 00:02:08,919 --> 00:02:13,000 Speaker 1: was born to Richard Hogarth and Anne Gibbons in London, England, 36 00:02:13,000 --> 00:02:17,840 Speaker 1: on November tenth seven. He did have some siblings, although 37 00:02:18,160 --> 00:02:24,400 Speaker 1: the tally's on those siblings very wildly. Uh. Richard Hogarth, 38 00:02:24,760 --> 00:02:27,880 Speaker 1: William's father was a teacher and a classical scholar, and 39 00:02:27,919 --> 00:02:33,560 Speaker 1: while he did have patrons, the family still struggled financially. Yeah. 40 00:02:33,560 --> 00:02:35,640 Speaker 1: Hogarth later in his life would talk about how his 41 00:02:35,720 --> 00:02:38,239 Speaker 1: dad had really been treated very poorly and he ended 42 00:02:38,320 --> 00:02:40,760 Speaker 1: up in deep debts. Some accounts say that his father 43 00:02:40,880 --> 00:02:43,000 Speaker 1: went to debtors prison, but I couldn't find a solid 44 00:02:43,080 --> 00:02:47,480 Speaker 1: verification on that, but that does kind of inform some 45 00:02:47,560 --> 00:02:50,160 Speaker 1: of his work going forward. And despite being the child 46 00:02:50,200 --> 00:02:54,200 Speaker 1: of an educator, though William was pretty disinterested in formal education. 47 00:02:54,639 --> 00:02:56,880 Speaker 1: He was really smart and he was curious, but even 48 00:02:56,919 --> 00:02:59,240 Speaker 1: from a young age, he was more inclined to draw 49 00:02:59,800 --> 00:03:02,480 Speaker 1: the to study texts. But it seemed that his father 50 00:03:02,600 --> 00:03:05,800 Speaker 1: was not exactly sure what to do to help William 51 00:03:05,840 --> 00:03:07,880 Speaker 1: find a path in life that would suit his interests. 52 00:03:07,919 --> 00:03:11,800 Speaker 1: He wasn't against him pursuing art, but he didn't really 53 00:03:11,840 --> 00:03:13,760 Speaker 1: know what to do with it. So William ended up 54 00:03:13,800 --> 00:03:16,079 Speaker 1: looking for an apprenticeship. And this is another time where 55 00:03:16,080 --> 00:03:19,280 Speaker 1: I will say there are some accounts that suggest that 56 00:03:19,360 --> 00:03:21,200 Speaker 1: his father was in debtors prison and he had to 57 00:03:21,200 --> 00:03:24,320 Speaker 1: get the apprenticeship, and others that say that he just 58 00:03:24,600 --> 00:03:26,280 Speaker 1: knew his dad was not going to be much help 59 00:03:26,400 --> 00:03:28,320 Speaker 1: in in finding him a career path, so he went 60 00:03:28,360 --> 00:03:32,520 Speaker 1: and found one himself. At fifteen, he became a silversmith's 61 00:03:32,520 --> 00:03:36,120 Speaker 1: apprentice and he learned engraving skills. But his master in 62 00:03:36,160 --> 00:03:39,280 Speaker 1: this position might have hindered his development by giving him 63 00:03:39,280 --> 00:03:43,960 Speaker 1: a mediocre instruction, and Hogarth, once again, frustrated that his 64 00:03:44,040 --> 00:03:48,560 Speaker 1: mentors guidance was really lacking, opted to seek out information 65 00:03:48,600 --> 00:03:51,840 Speaker 1: about the trade on his own. So he was augmenting 66 00:03:51,920 --> 00:03:54,640 Speaker 1: this kind of weak training that he was getting with 67 00:03:55,000 --> 00:03:59,680 Speaker 1: self guided study, and during his apprenticeship, Hogarth studied the 68 00:03:59,680 --> 00:04:01,880 Speaker 1: world around him as much as his trade. He was 69 00:04:01,920 --> 00:04:05,480 Speaker 1: definitely a fan of all of the various entertainments offered 70 00:04:05,480 --> 00:04:09,480 Speaker 1: by early eighteenth century London, from theaters to body houses 71 00:04:09,520 --> 00:04:12,440 Speaker 1: to coffee houses where intellectuals gathered. He sort of was 72 00:04:12,440 --> 00:04:14,560 Speaker 1: one of those people I always think of as like 73 00:04:14,600 --> 00:04:17,119 Speaker 1: a student of life. He just wanted to go around 74 00:04:17,120 --> 00:04:19,200 Speaker 1: and see people doing all the things that people do 75 00:04:19,520 --> 00:04:23,560 Speaker 1: and learn from that. When Hogarth was twenty three, he 76 00:04:23,640 --> 00:04:26,640 Speaker 1: opened his own shop. In that same year he started 77 00:04:26,640 --> 00:04:31,479 Speaker 1: taking formal drawing classes. But the normal curriculum for drawing lessons, 78 00:04:31,480 --> 00:04:35,560 Speaker 1: which was sketching live models or prepared tableau and attempting 79 00:04:35,560 --> 00:04:38,800 Speaker 1: to replicate other artists work, had the same effect on 80 00:04:38,800 --> 00:04:42,320 Speaker 1: Hogarth as early attempts at his education had. He was 81 00:04:42,400 --> 00:04:45,880 Speaker 1: not interested. We found it frustrating and limiting, and he 82 00:04:45,960 --> 00:04:49,760 Speaker 1: had turned to drawing school to expand the possibilities of 83 00:04:49,800 --> 00:04:52,720 Speaker 1: his engraving work, but he didn't think the classes were 84 00:04:52,720 --> 00:04:55,480 Speaker 1: actually going to help him achieve that goal, and so 85 00:04:55,560 --> 00:04:59,160 Speaker 1: he opted once again to rely on himself for his education, 86 00:04:59,320 --> 00:05:02,359 Speaker 1: and he began to train his observational skills because he 87 00:05:02,360 --> 00:05:05,239 Speaker 1: wanted to be able to draw real life subjects from memory. 88 00:05:05,960 --> 00:05:09,200 Speaker 1: So he developed his own improvisational style over time, and 89 00:05:09,279 --> 00:05:13,400 Speaker 1: simultaneously he was supporting himself through his regular engraving work. 90 00:05:14,200 --> 00:05:17,760 Speaker 1: That work included projects like book illustration, so he was 91 00:05:17,839 --> 00:05:21,520 Speaker 1: getting some practical experience in commercial art, but this was 92 00:05:21,600 --> 00:05:25,640 Speaker 1: not particularly fulfilling. He would later say that the work 93 00:05:25,760 --> 00:05:28,880 Speaker 1: quote did little more than maintain myself and the usual 94 00:05:28,920 --> 00:05:33,640 Speaker 1: gaieties of life, but wasn't all a punctual paymaster. And 95 00:05:33,680 --> 00:05:36,840 Speaker 1: it wasn't long though, before he found himself attracted once 96 00:05:36,880 --> 00:05:39,680 Speaker 1: again to drawing school, but this time it was a 97 00:05:39,720 --> 00:05:42,080 Speaker 1: little different. It was a school housed in the home 98 00:05:42,200 --> 00:05:46,640 Speaker 1: of Sir James Thornhill. Thornhill was an accomplished artist. He 99 00:05:46,680 --> 00:05:48,960 Speaker 1: had been the official history painter in the courts of 100 00:05:48,960 --> 00:05:51,640 Speaker 1: George the First and George the Second, and he had 101 00:05:51,680 --> 00:05:56,040 Speaker 1: been knighted in seventy He was also a member of Parliament. 102 00:05:56,520 --> 00:05:59,719 Speaker 1: He painted in the Italian Baroque style, and Hogarth was 103 00:05:59,760 --> 00:06:02,279 Speaker 1: a and of his work, and part of the appeal 104 00:06:02,360 --> 00:06:05,200 Speaker 1: of studying under Thornhill was the fact that Thornhill had 105 00:06:05,200 --> 00:06:07,880 Speaker 1: achieved a level of social standing that was unusual for 106 00:06:07,920 --> 00:06:11,159 Speaker 1: an artist. He wasn't toiling penniless at the whim of 107 00:06:11,160 --> 00:06:14,120 Speaker 1: a patron, although he was at odds with the neo 108 00:06:14,120 --> 00:06:17,320 Speaker 1: classical revival that was underway at the time. In an 109 00:06:17,320 --> 00:06:20,240 Speaker 1: effort to gain favor with Thornhill and make clear that 110 00:06:20,279 --> 00:06:23,040 Speaker 1: he felt they were of the same mindset regarding art, 111 00:06:23,400 --> 00:06:27,080 Speaker 1: Hogarth even published an engraving at the time titled Masquerades 112 00:06:27,120 --> 00:06:29,839 Speaker 1: and Operas, which was a criticism of the trend to 113 00:06:30,000 --> 00:06:33,839 Speaker 1: embrace foreign art above the art that was actually created 114 00:06:33,880 --> 00:06:38,120 Speaker 1: in England. The engraving features, among other things, a fool 115 00:06:38,200 --> 00:06:40,600 Speaker 1: and a devil leading a crowd into the theater to 116 00:06:40,640 --> 00:06:43,680 Speaker 1: see the latest popular entertainment, while a woman with a 117 00:06:43,680 --> 00:06:47,520 Speaker 1: wheelbarrow carries away all the writings of Congreve, Drieden, Otway, 118 00:06:47,760 --> 00:06:52,279 Speaker 1: Shakespeare and Addison, and below the image is the following inscription, 119 00:06:53,040 --> 00:06:56,440 Speaker 1: could new dumb faustus to reform the age conjure up 120 00:06:56,480 --> 00:07:00,479 Speaker 1: Shakespeare's or Ben Johnson's Ghost. They'd blush for shame to 121 00:07:00,520 --> 00:07:03,800 Speaker 1: see the English stage debauched by fooleryes at so great 122 00:07:03,800 --> 00:07:07,360 Speaker 1: a cost. What would their main say should they behold 123 00:07:07,520 --> 00:07:12,040 Speaker 1: monsters and masquerades, where useful plays adorned the fruitful theater 124 00:07:12,120 --> 00:07:15,920 Speaker 1: of old and rival wits contended for the base. A 125 00:07:16,120 --> 00:07:19,440 Speaker 1: copy of disngraving, which is known as The Bad Taste 126 00:07:19,440 --> 00:07:22,080 Speaker 1: of the Town, was in the British Museum's collection and 127 00:07:22,080 --> 00:07:25,720 Speaker 1: while it's not on display, it is digitized and available 128 00:07:25,720 --> 00:07:29,000 Speaker 1: online and we will be linked in our show notes. Yeah. 129 00:07:29,120 --> 00:07:31,680 Speaker 1: I feel like with all of Hogarth's work, we should 130 00:07:31,720 --> 00:07:34,440 Speaker 1: mention that it's worth going and looking at it for 131 00:07:34,480 --> 00:07:36,720 Speaker 1: yourself because we can describe it, and we will for 132 00:07:36,760 --> 00:07:40,360 Speaker 1: a couple of them describe them. But uh, they're very busy. 133 00:07:40,440 --> 00:07:43,600 Speaker 1: There is a lot going on in every single picture. Uh. 134 00:07:43,600 --> 00:07:46,520 Speaker 1: And that's part of his social commentary that he includes things. 135 00:07:46,800 --> 00:07:49,680 Speaker 1: And it's kind of like you will never fully grasp 136 00:07:49,920 --> 00:07:54,120 Speaker 1: all of the sort of intensity of these these very 137 00:07:54,400 --> 00:07:58,920 Speaker 1: very detailed pieces until you actually see them for yourself, 138 00:07:58,960 --> 00:08:01,120 Speaker 1: So I encourage you to go look for them. Uh. 139 00:08:01,120 --> 00:08:04,760 Speaker 1: And publishing masquerades and operas had long term ramifications for 140 00:08:04,800 --> 00:08:08,840 Speaker 1: Hogarth's life and career. So the criticism of England's contemporary 141 00:08:08,920 --> 00:08:11,240 Speaker 1: art and culture scene and the connoisseurs in it, of 142 00:08:11,240 --> 00:08:14,240 Speaker 1: course earned him a number of enemies, and most prominent 143 00:08:14,280 --> 00:08:16,920 Speaker 1: among them was the architect Richard Boyle, who was the 144 00:08:16,920 --> 00:08:20,240 Speaker 1: third Earl of Burlington. He and others would kind of 145 00:08:20,280 --> 00:08:23,360 Speaker 1: have this rivalry with uh Hogarth for the rest of 146 00:08:23,400 --> 00:08:25,640 Speaker 1: his life, and it was not the first time in 147 00:08:25,720 --> 00:08:29,080 Speaker 1: his early career that he would butt heads with art patrons. 148 00:08:29,880 --> 00:08:33,880 Speaker 1: After several years of study with Thornhill, Hogarth believed he 149 00:08:33,920 --> 00:08:36,640 Speaker 1: had learned enough that he should begin a painting career 150 00:08:36,760 --> 00:08:40,520 Speaker 1: in Earnest. One of his first patrons was a tapestry 151 00:08:40,520 --> 00:08:44,480 Speaker 1: maker named Joshua Morris, who had requested a painting from Hogarth, 152 00:08:44,960 --> 00:08:48,720 Speaker 1: and when Hogarth delivered the art, Morris refused to accept it, 153 00:08:48,840 --> 00:08:51,600 Speaker 1: claiming that Hogarth had not finished it and that it 154 00:08:51,640 --> 00:08:54,560 Speaker 1: was apparent that the artist was really an engraver and 155 00:08:54,640 --> 00:08:59,440 Speaker 1: not a professional painter. William Hogarth then sued Morris for 156 00:08:59,520 --> 00:09:02,400 Speaker 1: his money and brought a number of expert witnesses to 157 00:09:02,440 --> 00:09:05,560 Speaker 1: the trial, including Thornhill, to a test that yes, the 158 00:09:05,600 --> 00:09:09,600 Speaker 1: work involved was a complete painting, and that Hogarth should 159 00:09:09,600 --> 00:09:12,400 Speaker 1: be paid the money that he was owed. The court 160 00:09:12,559 --> 00:09:15,440 Speaker 1: found in Hogarth's favor. Yeah, I think this is a 161 00:09:15,480 --> 00:09:19,040 Speaker 1: time when artists were not so willing to really like 162 00:09:19,200 --> 00:09:21,600 Speaker 1: pursue legal action when someone said, oh no, I don't 163 00:09:21,600 --> 00:09:23,600 Speaker 1: want that painting after all, But he did. That will 164 00:09:23,600 --> 00:09:25,640 Speaker 1: come up again in a little bit that he's willing 165 00:09:25,679 --> 00:09:29,360 Speaker 1: to take legal action for his rightful money. Also in 166 00:09:29,559 --> 00:09:33,280 Speaker 1: Segarth painted his first dated painting. Up to this point 167 00:09:33,280 --> 00:09:35,559 Speaker 1: he had produced some plates and other things, but they 168 00:09:35,640 --> 00:09:37,880 Speaker 1: didn't have dates on them. And this is the Beggar's Opera, 169 00:09:38,400 --> 00:09:40,480 Speaker 1: And it was a recreation of a scene from a 170 00:09:40,559 --> 00:09:43,240 Speaker 1: current production of the farctical play. And it was an 171 00:09:43,280 --> 00:09:45,760 Speaker 1: example of just how well he had trained his memory 172 00:09:45,800 --> 00:09:49,440 Speaker 1: to recall detail, because apparently, according to many people, he 173 00:09:49,800 --> 00:09:52,760 Speaker 1: basically perfectly recreated the scene as it had played on 174 00:09:52,800 --> 00:09:55,520 Speaker 1: the stage, even though he had of course gone away 175 00:09:55,559 --> 00:09:58,160 Speaker 1: and painted it later. He actually ended up painting five 176 00:09:58,200 --> 00:10:02,320 Speaker 1: different versions of the scene. Seventeen twenty nine, Hogarth and 177 00:10:02,400 --> 00:10:07,160 Speaker 1: Thornhill's relationship took on a new dimension. William became Thornhill's 178 00:10:07,280 --> 00:10:11,080 Speaker 1: son in law when he and Jane Thornhill eloped and 179 00:10:11,120 --> 00:10:14,240 Speaker 1: in his early career, Hogarth became known for paintings known 180 00:10:14,240 --> 00:10:17,560 Speaker 1: as conversation pieces, and these were portraits of small groups 181 00:10:17,559 --> 00:10:21,679 Speaker 1: of people, depicting them in a casual, informal moment, like 182 00:10:21,720 --> 00:10:24,960 Speaker 1: they're having a light conversation. And these also tended to 183 00:10:25,000 --> 00:10:29,080 Speaker 1: be physically small paintings. And as Hogarth's conversation pieces became popular, 184 00:10:29,120 --> 00:10:32,080 Speaker 1: they did afford him a degree of financial success, but 185 00:10:32,120 --> 00:10:34,439 Speaker 1: he also started to find them really boring to work on, 186 00:10:34,640 --> 00:10:37,240 Speaker 1: and this was in part because each individual piece didn't 187 00:10:37,240 --> 00:10:39,440 Speaker 1: really bring in all that much money. He was a 188 00:10:39,559 --> 00:10:42,760 Speaker 1: very quick worker, but he had to basically keep cranking 189 00:10:42,760 --> 00:10:45,240 Speaker 1: them out at a rapid pace to keep money coming in. 190 00:10:45,520 --> 00:10:49,760 Speaker 1: But even as he continued speedily cranking out these conversation pieces, 191 00:10:49,800 --> 00:10:52,360 Speaker 1: he also worked on other projects for which he had 192 00:10:52,400 --> 00:10:57,440 Speaker 1: greater enthusiasm. And these pieces were humorous, realistic scenes, and 193 00:10:57,600 --> 00:11:02,480 Speaker 1: like masquerades and operas, these works often skewered social trends 194 00:11:02,559 --> 00:11:06,360 Speaker 1: and preached morality. If they had been published as sequential 195 00:11:06,480 --> 00:11:08,720 Speaker 1: art on a page, they would look very similar to 196 00:11:08,800 --> 00:11:12,840 Speaker 1: comics and style, but they came out as full size prints, 197 00:11:12,920 --> 00:11:16,120 Speaker 1: each one taking up an entire page of its own, 198 00:11:16,679 --> 00:11:18,800 Speaker 1: and this was where he truly hit his stride as 199 00:11:18,800 --> 00:11:21,640 Speaker 1: an artist. Yeah, this is really what made him famous, 200 00:11:21,880 --> 00:11:23,679 Speaker 1: uh and what continues to make him sort of an 201 00:11:23,679 --> 00:11:26,040 Speaker 1: important figure in the art world. And he was very 202 00:11:26,080 --> 00:11:28,760 Speaker 1: savvy about the success that started to come with it, 203 00:11:28,920 --> 00:11:31,120 Speaker 1: so much so that it did, as I mentioned, earliterally 204 00:11:31,160 --> 00:11:33,600 Speaker 1: to some legislation. We're going to talk about all of 205 00:11:33,600 --> 00:11:35,360 Speaker 1: that in just a moment, but first we will pause 206 00:11:35,440 --> 00:11:45,680 Speaker 1: and have a little sponsor break. Whereas Hogarth's conversation pieces 207 00:11:45,720 --> 00:11:49,800 Speaker 1: offered him financial stability, his moral satires brought in a 208 00:11:49,880 --> 00:11:52,319 Speaker 1: great deal more money, so much so that he reached 209 00:11:52,320 --> 00:11:55,439 Speaker 1: a point where he really had financial independence. He could 210 00:11:55,480 --> 00:11:57,320 Speaker 1: work on the things that he chose to do, rather 211 00:11:57,360 --> 00:12:00,000 Speaker 1: than depending on commissions or patronage to meet his own 212 00:12:00,000 --> 00:12:04,200 Speaker 1: going financial needs. As prints of Hogress engravings were made 213 00:12:04,240 --> 00:12:06,680 Speaker 1: to sell to a wider audience, he was aware of 214 00:12:06,720 --> 00:12:11,200 Speaker 1: the risk that copycats could plagiarize his work, and that 215 00:12:11,400 --> 00:12:14,160 Speaker 1: is because that had happened to him. He published a 216 00:12:14,280 --> 00:12:19,480 Speaker 1: very popular series called A Harlot's Progress in seventeen thirty three, 217 00:12:19,720 --> 00:12:22,800 Speaker 1: and the six paintings, which were then adapted into plates 218 00:12:22,840 --> 00:12:25,560 Speaker 1: that made up A Harlot's Progress were produced at a 219 00:12:25,600 --> 00:12:28,839 Speaker 1: time when the topic of prostitution and sex workers were 220 00:12:28,880 --> 00:12:31,480 Speaker 1: the focus of a lot of attention in London. In 221 00:12:31,520 --> 00:12:34,240 Speaker 1: the late seventeen twenties and early seventeen thirties, there was 222 00:12:34,280 --> 00:12:37,000 Speaker 1: this effort on the part of city officials to bring 223 00:12:37,080 --> 00:12:40,160 Speaker 1: morality back to London streets by working to eliminate or 224 00:12:40,160 --> 00:12:44,600 Speaker 1: at least reduce the obvious appearance of prostitution. But out 225 00:12:44,640 --> 00:12:47,520 Speaker 1: of the initial vilification of women that this sort of 226 00:12:47,720 --> 00:12:53,840 Speaker 1: charge started, there was this secondary wave of characterization of 227 00:12:53,920 --> 00:12:56,960 Speaker 1: women's sex workers that made them seem more like innocence 228 00:12:56,960 --> 00:12:59,320 Speaker 1: who had been trapped by corruptors. And this was a 229 00:12:59,360 --> 00:13:02,880 Speaker 1: debate that was going on in papers throughout London at 230 00:13:02,880 --> 00:13:06,800 Speaker 1: the time, and Hogarth's engraving told a tale along the 231 00:13:06,840 --> 00:13:10,040 Speaker 1: lines of that second characterization of an innocent who falls 232 00:13:10,040 --> 00:13:12,720 Speaker 1: into this life through no desire of her own to 233 00:13:12,760 --> 00:13:16,480 Speaker 1: pursue it. In the first plate, an innocent young woman 234 00:13:16,720 --> 00:13:20,160 Speaker 1: named Mall hack About arrives in the city from the country, 235 00:13:20,280 --> 00:13:23,320 Speaker 1: thinking she'll make her way in a trade such as dressmaking, 236 00:13:23,960 --> 00:13:27,800 Speaker 1: but she's intercepted by a brothel keeper named Mother Needham, 237 00:13:28,280 --> 00:13:32,320 Speaker 1: who has shown assessing Mall's attributes. And a second plate 238 00:13:32,480 --> 00:13:35,640 Speaker 1: Mall has become a kept mistress living in luxury, but 239 00:13:35,679 --> 00:13:38,600 Speaker 1: then she's caught cheating on her keeper, and by the 240 00:13:38,600 --> 00:13:41,240 Speaker 1: third plate, Mall has been cast out by that keeper 241 00:13:41,280 --> 00:13:43,880 Speaker 1: and has become a prostitute on the street. Uh and 242 00:13:43,960 --> 00:13:47,400 Speaker 1: in plate four she has been imprisoned for that. In 243 00:13:47,440 --> 00:13:49,480 Speaker 1: plate five she is once again a free woman, but 244 00:13:49,520 --> 00:13:51,920 Speaker 1: at this point she has an illegitimate child, and she 245 00:13:52,120 --> 00:13:55,560 Speaker 1: is dying from a sexually transmitted disease. Plate six is 246 00:13:55,600 --> 00:13:58,400 Speaker 1: Mall's funeral, attended by women who also work in the 247 00:13:58,440 --> 00:14:00,960 Speaker 1: sex trade, and men who appear to be more interested 248 00:14:01,000 --> 00:14:04,080 Speaker 1: in taking advantage of those women than in mourning the 249 00:14:04,160 --> 00:14:07,439 Speaker 1: dead person before them Mall. Even the parson in that 250 00:14:07,480 --> 00:14:09,880 Speaker 1: final plate has his hand in the skirt of one 251 00:14:09,880 --> 00:14:13,440 Speaker 1: of the other mourners. Because of the popularity of A. 252 00:14:13,480 --> 00:14:17,319 Speaker 1: Harlot's Progress, fake copies were produced all over London by 253 00:14:17,360 --> 00:14:21,200 Speaker 1: CD printers hoping to cash in on Hogarth's work, and naturally, 254 00:14:21,280 --> 00:14:24,600 Speaker 1: the artist was incensed so much so that he took 255 00:14:24,680 --> 00:14:27,880 Speaker 1: legal action. So, of course, it was not really feasible 256 00:14:27,920 --> 00:14:30,040 Speaker 1: to chase down all of the various printers who had 257 00:14:30,080 --> 00:14:34,320 Speaker 1: been making unlicensed copies of these popular plates. So William Hogarth, 258 00:14:34,440 --> 00:14:37,000 Speaker 1: along with several other artists, went to Parliament and they 259 00:14:37,000 --> 00:14:39,479 Speaker 1: made a case that their work should be legally protected. 260 00:14:40,080 --> 00:14:42,560 Speaker 1: And after hearing the artists case, a piece of legislation 261 00:14:42,680 --> 00:14:45,920 Speaker 1: called the Engravers Act was introduced in seventeen thirty four 262 00:14:46,240 --> 00:14:50,240 Speaker 1: with language that would protect engravings that featured original designs, 263 00:14:50,800 --> 00:14:54,160 Speaker 1: and it was signed into law on June seventeen thirty five, 264 00:14:54,360 --> 00:14:57,520 Speaker 1: and it became known by the nickname Hogarth's Act. You'll 265 00:14:57,560 --> 00:15:00,680 Speaker 1: sometimes also see it written as Hogarth's Law. While the 266 00:15:00,760 --> 00:15:04,360 Speaker 1: Engravers Act was in legislation but not yet assigned law, 267 00:15:04,800 --> 00:15:07,920 Speaker 1: William Hogarth actually had another series that he was ready 268 00:15:07,960 --> 00:15:10,080 Speaker 1: to publish, but he was not willing to do so 269 00:15:10,200 --> 00:15:13,760 Speaker 1: until there were legal protections in place to prevent pirated 270 00:15:13,840 --> 00:15:18,160 Speaker 1: copies from circulating. And in the meantime, Hogarth's mentor and 271 00:15:18,240 --> 00:15:21,960 Speaker 1: father in law, Thornhill, died in seventeen thirty four, and 272 00:15:22,040 --> 00:15:25,760 Speaker 1: after the loss, Hogarth decided that he would reopen Thornhill's 273 00:15:25,800 --> 00:15:29,000 Speaker 1: drawing school, which had never been a particularly successful venture. 274 00:15:29,680 --> 00:15:33,160 Speaker 1: Hogarth's version became much more of a salon where artists 275 00:15:33,160 --> 00:15:37,000 Speaker 1: shared ideas and discussed their work. Once the Engravers Act 276 00:15:37,080 --> 00:15:40,320 Speaker 1: was law, Hogarth released the series he had been withholding, 277 00:15:40,360 --> 00:15:44,400 Speaker 1: titled A Rake's Progress. The series, like A Harlot's Progress, 278 00:15:44,440 --> 00:15:47,160 Speaker 1: was painted an oil first and then adapted as a 279 00:15:47,200 --> 00:15:51,160 Speaker 1: set of print engravings. The rake in this narrative is 280 00:15:51,200 --> 00:15:54,960 Speaker 1: Tom Rakewell, a young man of leisure. In the first scene, 281 00:15:55,120 --> 00:15:58,120 Speaker 1: young Tom has freshly come into his fortune as his 282 00:15:58,200 --> 00:16:02,560 Speaker 1: wealthy and apparently miserly there has died. Tom, wasting no 283 00:16:02,800 --> 00:16:05,400 Speaker 1: time spending his new found money, is being fitted for 284 00:16:05,440 --> 00:16:09,120 Speaker 1: a fancy new suit while simultaneously paying off a paramore 285 00:16:09,240 --> 00:16:12,160 Speaker 1: who appears to be pregnant and heartbroken. She will appear 286 00:16:12,160 --> 00:16:15,240 Speaker 1: in later plates as well. In scene too, Tom is 287 00:16:15,240 --> 00:16:17,840 Speaker 1: surrounded in his home by an assortment of people, all 288 00:16:17,920 --> 00:16:21,400 Speaker 1: vying for his attention in his financial favor. By the 289 00:16:21,440 --> 00:16:24,080 Speaker 1: time the viewer sees Tom and the third scene, he 290 00:16:24,120 --> 00:16:27,480 Speaker 1: has fully descended into a life of debauchery. He's in 291 00:16:27,520 --> 00:16:30,040 Speaker 1: a brothel taking part in an orgy. And this is 292 00:16:30,040 --> 00:16:34,200 Speaker 1: a good time to mention that in Hogarth's works on morality, 293 00:16:34,240 --> 00:16:38,600 Speaker 1: even though sexual situations are conveyed, there's no nudity, but 294 00:16:38,640 --> 00:16:42,080 Speaker 1: there is the suggestion of it. So to modernize the 295 00:16:42,120 --> 00:16:45,320 Speaker 1: plate three looks like a wild party. It might take 296 00:16:45,360 --> 00:16:49,400 Speaker 1: a moment for the viewer to actually register exactly what's 297 00:16:49,440 --> 00:16:53,160 Speaker 1: going on. Yeah, he's you know, he is taking part 298 00:16:53,160 --> 00:16:58,040 Speaker 1: in this big thing, but it's not overtly portrayed. I mean, 299 00:16:58,080 --> 00:17:00,200 Speaker 1: once you start seeing the clues and you realize, like, oh, 300 00:17:00,240 --> 00:17:02,600 Speaker 1: people's hands are in each other's clothes and stuff, but 301 00:17:02,680 --> 00:17:06,600 Speaker 1: it's not quite so graphic as you might be envisioning. 302 00:17:07,240 --> 00:17:09,159 Speaker 1: And in the fourth scene, Tom is about to be 303 00:17:09,280 --> 00:17:13,720 Speaker 1: arrested for the debts that he's accrued in his debaucherous lifestyle, 304 00:17:14,000 --> 00:17:16,639 Speaker 1: when that same young woman from the first plate that 305 00:17:16,720 --> 00:17:19,360 Speaker 1: he bought off steps in and she pays the bailiff 306 00:17:19,400 --> 00:17:22,240 Speaker 1: all of her money so that she can save him. 307 00:17:22,320 --> 00:17:24,439 Speaker 1: And in the fifth scene, Tom is getting married, but 308 00:17:24,520 --> 00:17:27,520 Speaker 1: not to that kind young woman who saved him though 309 00:17:27,520 --> 00:17:30,200 Speaker 1: he had wronged her, but instead to an elderly heiress 310 00:17:30,280 --> 00:17:32,600 Speaker 1: in the hopes of regaining a fortune in the match. 311 00:17:33,440 --> 00:17:37,520 Speaker 1: The sixth image is a seedy scene. Tom is anna 312 00:17:37,600 --> 00:17:41,320 Speaker 1: gambling den. The room is on fire, but neither Tom 313 00:17:41,359 --> 00:17:44,080 Speaker 1: nor the other gambler's notice because they are so absorbed 314 00:17:44,080 --> 00:17:46,639 Speaker 1: in the fortunes that they stand to gain or lose. 315 00:17:47,160 --> 00:17:50,800 Speaker 1: Tom appears to be pleading to God for assistance in 316 00:17:50,960 --> 00:17:54,280 Speaker 1: his bet, and Tom is pictured in Debtor's prison. In 317 00:17:54,320 --> 00:17:56,920 Speaker 1: the seventh image in the series, he has written a 318 00:17:56,960 --> 00:17:59,119 Speaker 1: play in the hopes of selling it to make some money. 319 00:17:59,160 --> 00:18:01,959 Speaker 1: It's kind of sitting to the side, and his wife 320 00:18:02,040 --> 00:18:04,480 Speaker 1: is pictured, that same woman that he married for her money, 321 00:18:04,520 --> 00:18:06,719 Speaker 1: but at this point she has gaunt and clearly not 322 00:18:06,760 --> 00:18:09,960 Speaker 1: the wealthy woman she once was. And the final scene 323 00:18:10,000 --> 00:18:14,320 Speaker 1: shows Tom in the Bethlehem Royal Hospital known colloquially as Bedlam, 324 00:18:14,359 --> 00:18:17,280 Speaker 1: where the insane and impoverished of London were sent, and 325 00:18:17,320 --> 00:18:19,280 Speaker 1: he is naked at this point save for a ragged 326 00:18:19,359 --> 00:18:22,720 Speaker 1: cloth that straped over him, and a wealthy woman who 327 00:18:22,760 --> 00:18:25,719 Speaker 1: has come to see the spectacle of Bedlam, looks on. 328 00:18:26,240 --> 00:18:28,360 Speaker 1: She has paid for admission to come and sort of 329 00:18:28,760 --> 00:18:33,880 Speaker 1: observe the lower creatures in this horrible condition. This particular 330 00:18:34,160 --> 00:18:37,080 Speaker 1: series was popular when it first appeared, and it's remained 331 00:18:37,160 --> 00:18:41,280 Speaker 1: so in the centuries since. In ninety five, the story 332 00:18:41,320 --> 00:18:44,800 Speaker 1: of Tom Rakewell was adapted into a ballet, became a 333 00:18:44,960 --> 00:18:47,840 Speaker 1: film in nineteen forty five, and an opera by Igor 334 00:18:47,880 --> 00:18:52,159 Speaker 1: Stravinsky in nineteen fifty one. The original painting series of 335 00:18:52,160 --> 00:18:55,119 Speaker 1: A Rake's Progress was purchased at auction in eighteen o 336 00:18:55,240 --> 00:18:59,000 Speaker 1: two by the wife architect Sir john Soon. Today they 337 00:18:59,000 --> 00:19:02,960 Speaker 1: are part of the Sir john Son Museum collection. Unfortunately, 338 00:19:02,960 --> 00:19:06,080 Speaker 1: the original paintings for A Harlot's Progress were lost in 339 00:19:06,119 --> 00:19:09,520 Speaker 1: a fire in seventeen fifty five. Yeah, and A Rake's Progress. 340 00:19:09,560 --> 00:19:12,560 Speaker 1: There have been even more modern adaptations and other works 341 00:19:12,560 --> 00:19:14,159 Speaker 1: inspired by it, but those are the sort of the 342 00:19:14,240 --> 00:19:17,159 Speaker 1: key points where in the more modern age it suddenly 343 00:19:17,200 --> 00:19:20,680 Speaker 1: had this resurgence of interest. And both of these series 344 00:19:20,680 --> 00:19:23,040 Speaker 1: of works, as well as others that he worked on 345 00:19:23,119 --> 00:19:25,919 Speaker 1: during the seventeen thirties and seventeen forties and some in 346 00:19:25,920 --> 00:19:28,879 Speaker 1: the seventies fifties, are filled with these details like I 347 00:19:28,920 --> 00:19:31,120 Speaker 1: mentioned before, that add to the story and in some 348 00:19:31,160 --> 00:19:34,520 Speaker 1: cases they make direct social or political commentary. In some 349 00:19:34,560 --> 00:19:36,600 Speaker 1: cases he'll have pieces of art on the walls in 350 00:19:36,600 --> 00:19:39,720 Speaker 1: the backgrounds that have meaning. And uh, some of the 351 00:19:39,720 --> 00:19:42,560 Speaker 1: people that are depicted as supporting characters in these works 352 00:19:42,760 --> 00:19:45,520 Speaker 1: were actually well known figures of London at the time. 353 00:19:45,640 --> 00:19:48,480 Speaker 1: Sometimes they are cast in roles that make it clear 354 00:19:48,920 --> 00:19:51,960 Speaker 1: that William Hogarth did not think very highly of them. 355 00:19:52,000 --> 00:19:54,840 Speaker 1: Not long after the release of Our Rake's Progress, Hogarth 356 00:19:54,960 --> 00:19:57,960 Speaker 1: was elected as one of the governors of Britain's oldest hospital, 357 00:19:58,040 --> 00:20:01,439 Speaker 1: Saint Bartholomew's. He can we did to the decor of 358 00:20:01,480 --> 00:20:05,119 Speaker 1: the facility by painting two large pieces for the main staircase, 359 00:20:05,119 --> 00:20:08,159 Speaker 1: which were the historical paintings Pool of Bethesda and the 360 00:20:08,200 --> 00:20:11,159 Speaker 1: Good Samaritan. Yeah, that hospital was founded, I believe in 361 00:20:11,160 --> 00:20:13,960 Speaker 1: the eleven hundreds. Uh, And we're going to talk about 362 00:20:14,000 --> 00:20:16,520 Speaker 1: the unique legacy of those two paintings there, but first 363 00:20:16,520 --> 00:20:18,480 Speaker 1: we're gonna pause for a word from one of our 364 00:20:18,640 --> 00:20:31,280 Speaker 1: fam sponsors. Those paintings in St. Bartholomew's, which are often 365 00:20:31,280 --> 00:20:33,679 Speaker 1: mistaken for murals because they take up whole walls, but 366 00:20:33,680 --> 00:20:36,680 Speaker 1: they are in fact canvases, are still in the hospital 367 00:20:36,760 --> 00:20:39,320 Speaker 1: today and they have taken on sort of a unique role. 368 00:20:39,880 --> 00:20:43,119 Speaker 1: In addition to acting as massive decor, the figures in 369 00:20:43,160 --> 00:20:47,800 Speaker 1: those paintings are seven feet tall, so extrapolate from that 370 00:20:47,960 --> 00:20:50,760 Speaker 1: how big like full scenes featuring people that size would be. 371 00:20:51,160 --> 00:20:53,520 Speaker 1: They are also used in a really kind of interesting 372 00:20:53,560 --> 00:20:57,480 Speaker 1: way as teaching tools. It's believed that Hogarth used patients 373 00:20:57,560 --> 00:20:59,920 Speaker 1: from the hospital as his models for the paintings, in 374 00:21:00,040 --> 00:21:04,800 Speaker 1: he captured their illnesses pretty accurately and without exaggeration, and 375 00:21:04,840 --> 00:21:08,120 Speaker 1: as such, the characters in the paintings are sometimes introduced 376 00:21:08,119 --> 00:21:12,840 Speaker 1: as topics of diagnosis discussion with medical students. Hogarth subjects 377 00:21:12,880 --> 00:21:16,439 Speaker 1: display conditions which could be mayetonia, congenita and ricketts and 378 00:21:16,440 --> 00:21:19,199 Speaker 1: syphilis and gout, among others, and so it's kind of 379 00:21:19,200 --> 00:21:23,360 Speaker 1: an interesting way to um test and develop observational skills, 380 00:21:23,680 --> 00:21:25,800 Speaker 1: which I think is just sort of fantastic to go, hey, 381 00:21:25,800 --> 00:21:27,720 Speaker 1: what do you think this person in the painting has. 382 00:21:28,520 --> 00:21:32,440 Speaker 1: While these two large scale historical paintings are not considered 383 00:21:32,440 --> 00:21:35,560 Speaker 1: to be Hogarth's best work, they are an important part 384 00:21:35,560 --> 00:21:39,359 Speaker 1: of the hospital's history because they are in an active space, 385 00:21:39,640 --> 00:21:43,040 Speaker 1: they need constant upkeep, and his lifetime Hogarth covered the 386 00:21:43,080 --> 00:21:46,439 Speaker 1: expenses to do so himself. He also requested that the 387 00:21:46,480 --> 00:21:49,639 Speaker 1: two paintings never be varnished, though at some point that 388 00:21:49,760 --> 00:21:54,200 Speaker 1: request was disregarded repeatedly. During a cleaning of the paintings 389 00:21:54,200 --> 00:21:58,320 Speaker 1: in nineteen thirty seven, layers of varnish were carefully removed, 390 00:21:58,520 --> 00:22:01,600 Speaker 1: and after his work on the same Bartholomew's Staircase project 391 00:22:01,680 --> 00:22:05,320 Speaker 1: was complete, Hogarth turned to more traditional portraiture, and one 392 00:22:05,359 --> 00:22:07,359 Speaker 1: of his first portraits in this period was a painting 393 00:22:07,400 --> 00:22:11,200 Speaker 1: of philanthropist Thomas Corum, which he displayed at an orphan's 394 00:22:11,240 --> 00:22:14,120 Speaker 1: hospital that Coream had founded, and he also convinced other 395 00:22:14,240 --> 00:22:16,560 Speaker 1: artists to donate their work to the hospital when it 396 00:22:16,800 --> 00:22:20,840 Speaker 1: was completed in seventeen forty five. His famous self portrait, 397 00:22:21,000 --> 00:22:24,480 Speaker 1: The Painter and His Pug was created in seventeen forty five, 398 00:22:24,600 --> 00:22:28,159 Speaker 1: and that same year he released another series called Marriage 399 00:22:28,160 --> 00:22:31,840 Speaker 1: a la Mode and the exhibition description of Hogarth's work 400 00:22:31,920 --> 00:22:34,000 Speaker 1: at the Tate Museum in two thousand and seven, it 401 00:22:34,080 --> 00:22:38,560 Speaker 1: was described as follows, The satirical thrust of Marriage allah 402 00:22:38,640 --> 00:22:41,879 Speaker 1: Mode is as much about patronage, aesthetics, and taste as 403 00:22:41,880 --> 00:22:44,960 Speaker 1: it is about marriage and morals. Over and above the 404 00:22:44,960 --> 00:22:49,639 Speaker 1: title itself, Marriage allah Mode includes Italian and Dutch old masters, 405 00:22:49,720 --> 00:22:54,240 Speaker 1: French portraiture and furnishings, Oriental decorative arts, an Italian castrato 406 00:22:54,320 --> 00:22:57,960 Speaker 1: singer and a French dancing master, a turbined black page boy, 407 00:22:58,359 --> 00:23:03,480 Speaker 1: a masquerade reference, a banjo and an aristocratic toilet, and 408 00:23:03,560 --> 00:23:08,399 Speaker 1: even syphilis, which Lord Squanderfield probably contracted abroad and was 409 00:23:08,480 --> 00:23:12,679 Speaker 1: popularly known as the French pox. Thus his emasculated and 410 00:23:12,720 --> 00:23:16,200 Speaker 1: diseased body is additionally emblematic of the spread of quote 411 00:23:16,280 --> 00:23:20,760 Speaker 1: foreign culture that has infected and weakened British identity, society 412 00:23:20,840 --> 00:23:23,840 Speaker 1: and commerce. And I wanted to include that because they 413 00:23:23,960 --> 00:23:27,439 Speaker 1: so perfectly kind of encapsulated in that one paragraph a 414 00:23:27,480 --> 00:23:30,560 Speaker 1: lot of the way that his his art worked in 415 00:23:30,640 --> 00:23:32,360 Speaker 1: terms of how it would take people down with these 416 00:23:32,359 --> 00:23:35,520 Speaker 1: little subtle clues about uh and not so subtle clues 417 00:23:35,560 --> 00:23:37,080 Speaker 1: about what was going on in the picture and the 418 00:23:37,080 --> 00:23:40,960 Speaker 1: people involved. So the story of marriage ala mode is 419 00:23:41,000 --> 00:23:43,240 Speaker 1: that of an arranged marriage which leads to a life 420 00:23:43,240 --> 00:23:47,320 Speaker 1: of idle distance between the couple involved and extramarital indulgences, 421 00:23:47,320 --> 00:23:50,680 Speaker 1: both in terms of affairs and just debaucherous behavior otherwise, 422 00:23:51,320 --> 00:23:54,280 Speaker 1: including drug use. So for Hogarth, who married for love 423 00:23:54,320 --> 00:23:56,080 Speaker 1: and really seemed to have had a happy match with 424 00:23:56,200 --> 00:23:59,560 Speaker 1: Jane Thornhill, marriage is arranged for financial benefits seemed to 425 00:23:59,600 --> 00:24:03,280 Speaker 1: both loose of Chris and doomed. The late seventeen forties 426 00:24:03,320 --> 00:24:06,480 Speaker 1: and early seventeen fifties saw a shift and Hogart's worth 427 00:24:06,600 --> 00:24:09,960 Speaker 1: back to prince, but they were more basic images intended 428 00:24:10,000 --> 00:24:13,320 Speaker 1: for mass market sales. He didn't start with paintings for 429 00:24:13,320 --> 00:24:17,000 Speaker 1: those prints, but from drawings one of these series, titled 430 00:24:17,040 --> 00:24:20,240 Speaker 1: The Four Stages of Cruelty, is a commentary on how 431 00:24:20,400 --> 00:24:25,080 Speaker 1: unkind children can easily become violent adults. It depicts animal 432 00:24:25,119 --> 00:24:27,840 Speaker 1: abuse in the first plate, and then the main character, 433 00:24:28,000 --> 00:24:32,720 Speaker 1: Tom Nero, becomes progressively more a monster, culminating in m A. 434 00:24:32,800 --> 00:24:36,320 Speaker 1: Cobb final scene in which the hanged Tom is being 435 00:24:36,440 --> 00:24:40,840 Speaker 1: dissected for an anatomy lesson in the surgery. Yeah, that 436 00:24:40,920 --> 00:24:45,439 Speaker 1: was one, I will confess. Uh, there are are debaucherous 437 00:24:45,480 --> 00:24:48,600 Speaker 1: and sometimes unpleasant images in all of his work. That 438 00:24:48,840 --> 00:24:52,920 Speaker 1: series really I found quite troubling. The animal abuse is 439 00:24:52,960 --> 00:24:56,679 Speaker 1: really graphic, and then the things that sort of happened 440 00:24:57,359 --> 00:25:00,639 Speaker 1: as this character becomes more and more of a lost 441 00:25:00,720 --> 00:25:04,359 Speaker 1: person and a violent person are really a little effect 442 00:25:04,480 --> 00:25:08,040 Speaker 1: surprisingly affecting to me for plates um, So if you 443 00:25:08,080 --> 00:25:10,399 Speaker 1: go looking, just know that that's the case. At the 444 00:25:10,400 --> 00:25:13,479 Speaker 1: same time that he was working on these simple morality prints, 445 00:25:13,640 --> 00:25:17,080 Speaker 1: Hogarth was also painting, but he had reached this point 446 00:25:17,080 --> 00:25:19,239 Speaker 1: where he was starting to struggle to finish any of 447 00:25:19,240 --> 00:25:22,880 Speaker 1: his canvases. He actually staged two auctions of his work 448 00:25:22,920 --> 00:25:26,080 Speaker 1: between seventeen forty five and seventeen fifty one, but these 449 00:25:26,160 --> 00:25:29,280 Speaker 1: led to both frustration and embarrassment because they did not 450 00:25:29,400 --> 00:25:32,320 Speaker 1: generate enough interest to really bring in much money. In 451 00:25:32,400 --> 00:25:36,119 Speaker 1: seventeen fifty three, William Hogarth published a book titled The 452 00:25:36,200 --> 00:25:39,359 Speaker 1: Analysis of Beauty, in which he laid out his principles 453 00:25:39,359 --> 00:25:41,600 Speaker 1: of beauty and focused on the impart of what he 454 00:25:41,680 --> 00:25:45,320 Speaker 1: called the line of beauty, an s shaped curve that's 455 00:25:45,359 --> 00:25:49,040 Speaker 1: inherently appealing and exciting to the human eye. The book 456 00:25:49,160 --> 00:25:53,560 Speaker 1: met with mixed reviews and was mocked by his detractors. Yeah, 457 00:25:53,560 --> 00:25:55,800 Speaker 1: as we mentioned earlier, early in his career he made 458 00:25:55,880 --> 00:25:59,240 Speaker 1: enemies and they stayed that way for the rest of 459 00:25:59,240 --> 00:26:04,000 Speaker 1: his life. In seventeen fifty four, Hogarth produced another satirical series. 460 00:26:04,119 --> 00:26:06,720 Speaker 1: This was known as the Election Series, which is a 461 00:26:06,760 --> 00:26:10,960 Speaker 1: critique of electoral corruptions as told through a narrative detailing 462 00:26:10,960 --> 00:26:14,960 Speaker 1: a political race in a fictional town called Guzzledown. And 463 00:26:15,040 --> 00:26:17,800 Speaker 1: this series, which once again began his oil paintings and 464 00:26:17,840 --> 00:26:20,320 Speaker 1: then was made into etchings, so he had had gone 465 00:26:20,320 --> 00:26:22,880 Speaker 1: back to that after he had started doing the quicker drawings. 466 00:26:22,880 --> 00:26:26,880 Speaker 1: Into etchings version skewered both the Tories and the Whigs 467 00:26:26,920 --> 00:26:30,320 Speaker 1: for bribery and corrupt practices, and the first painting in 468 00:26:30,320 --> 00:26:32,840 Speaker 1: the series actually went on display several days before the 469 00:26:32,880 --> 00:26:36,119 Speaker 1: general election that year, at a time when election corruption 470 00:26:36,200 --> 00:26:39,840 Speaker 1: was being discussed in every paper in London. And seventeen 471 00:26:39,880 --> 00:26:43,840 Speaker 1: fifty seven Hogarth became Sergeant painter to King George the Third. 472 00:26:43,840 --> 00:26:47,320 Speaker 1: But despite this prestigious and well paying position, his later 473 00:26:47,400 --> 00:26:51,120 Speaker 1: years were really marked with disappointment. In seventeen fifty nine 474 00:26:51,160 --> 00:26:54,880 Speaker 1: he painted Sigismunda Morning over the Heart of Guiscardo, which 475 00:26:54,880 --> 00:26:59,280 Speaker 1: features the titles heroin holding a goblet containing the heart 476 00:26:59,480 --> 00:27:03,560 Speaker 1: of her husband murdered by her father. The criticism of 477 00:27:03,560 --> 00:27:06,479 Speaker 1: the work was severe and Hogarth did not paint much 478 00:27:06,520 --> 00:27:10,959 Speaker 1: after that. Yeah, there are some write ups of that 479 00:27:11,000 --> 00:27:13,000 Speaker 1: piece saying that he was trying to prove that English 480 00:27:13,000 --> 00:27:17,000 Speaker 1: painters could produce work exactly as good as the Italian masters, 481 00:27:17,560 --> 00:27:20,879 Speaker 1: and that the the reception was more of like a 482 00:27:21,160 --> 00:27:23,520 Speaker 1: m hmmm, I don't think so. Uh. It did not 483 00:27:23,560 --> 00:27:26,840 Speaker 1: go well. And he did make one other political statement 484 00:27:26,920 --> 00:27:29,960 Speaker 1: with his anti war print series titled The Times, which 485 00:27:30,000 --> 00:27:33,360 Speaker 1: he did after that, which made it rather unpopular statement 486 00:27:33,480 --> 00:27:36,040 Speaker 1: in coming out against the Seven Years War. And at 487 00:27:36,040 --> 00:27:39,080 Speaker 1: the time that that series was published, the war had 488 00:27:39,119 --> 00:27:41,639 Speaker 1: not yet ended, so it was like in year six 489 00:27:41,680 --> 00:27:43,320 Speaker 1: and did not have the name the Seven Years War. 490 00:27:43,400 --> 00:27:46,880 Speaker 1: Yet people were outraged by this particular work, and politicians 491 00:27:46,880 --> 00:27:51,199 Speaker 1: who supported the war vogally and publicly criticized Hogarth, and 492 00:27:51,280 --> 00:27:53,800 Speaker 1: it only served to dampen his interest in his work. 493 00:27:54,440 --> 00:27:58,760 Speaker 1: Hogarth's last artistic endeavor was an etching titled The Bathos 494 00:27:58,840 --> 00:28:01,879 Speaker 1: or Manner of Sinking, which was published in March of 495 00:28:01,960 --> 00:28:05,200 Speaker 1: seventeen sixty four. It's often described as having an air 496 00:28:05,240 --> 00:28:08,720 Speaker 1: of doom in it. In it, time is depicted as 497 00:28:08,720 --> 00:28:12,200 Speaker 1: a winged figure, broken and lying prone amid an assortment 498 00:28:12,240 --> 00:28:16,199 Speaker 1: of debris, a puff of air escaping his lips, with 499 00:28:16,240 --> 00:28:19,959 Speaker 1: the word Fini printed on it. The image was intended 500 00:28:20,000 --> 00:28:22,840 Speaker 1: to be the tailpiece for bound collections of his work, 501 00:28:23,600 --> 00:28:26,360 Speaker 1: and when considered in that context, it's a little bit 502 00:28:26,440 --> 00:28:29,480 Speaker 1: less ominous. Yeah, it definitely looks like a death and 503 00:28:29,520 --> 00:28:32,679 Speaker 1: destruction kind of image, but when you consider that it 504 00:28:32,680 --> 00:28:35,360 Speaker 1: would be the end paper of a book where they're 505 00:28:35,400 --> 00:28:38,000 Speaker 1: saying the book has ended, it seems a little less upset. 506 00:28:38,600 --> 00:28:42,640 Speaker 1: But people will sometimes hint that it it was maybe 507 00:28:42,680 --> 00:28:47,080 Speaker 1: important of his upcoming death. Uh So, a few months 508 00:28:47,160 --> 00:28:50,000 Speaker 1: after the Bathos was created, in the summer of seventeen 509 00:28:50,040 --> 00:28:53,080 Speaker 1: sixty four, William Hogarth had a seizure and he remained 510 00:28:53,160 --> 00:28:55,840 Speaker 1: quite ill from that point until his death on October 511 00:28:56,240 --> 00:28:59,800 Speaker 1: seventeen sixty four. And he was sixty seven at that 512 00:28:59,800 --> 00:29:02,000 Speaker 1: point point and had been working as an engraver and 513 00:29:02,080 --> 00:29:05,840 Speaker 1: artist for more than four decades. Today, not only can 514 00:29:05,880 --> 00:29:08,640 Speaker 1: you find Hogarth's works and museums around the world, but 515 00:29:08,680 --> 00:29:11,120 Speaker 1: you can also visit the house he lived in from 516 00:29:11,160 --> 00:29:14,680 Speaker 1: seventeen forty nine until his Death's now a museum, and 517 00:29:14,720 --> 00:29:18,960 Speaker 1: we will link to information about it in the show notes. Yeah, 518 00:29:19,160 --> 00:29:23,760 Speaker 1: William Hogarth, He's fascinating creature. He's one of those artists. 519 00:29:23,760 --> 00:29:26,560 Speaker 1: Like usually I will wax rapsodic about artists and kind 520 00:29:26,560 --> 00:29:27,880 Speaker 1: of fall in love with them. And I was telling 521 00:29:27,920 --> 00:29:31,120 Speaker 1: Tracy before this, I don't know how I feel about him, 522 00:29:31,160 --> 00:29:32,880 Speaker 1: Like if I think he would be a delightful fun 523 00:29:32,960 --> 00:29:35,080 Speaker 1: person or if he might be a crabby stick in 524 00:29:35,120 --> 00:29:40,040 Speaker 1: the mud. I'm not sure. But some of his work 525 00:29:40,120 --> 00:29:43,480 Speaker 1: is really lovely yea. So most art historians and critics 526 00:29:43,480 --> 00:29:46,600 Speaker 1: will say, like if you look at his his satire pieces, 527 00:29:46,640 --> 00:29:49,200 Speaker 1: because of their composition and what he included in, how 528 00:29:49,320 --> 00:29:52,880 Speaker 1: um sort of rich unless they were those are are 529 00:29:53,080 --> 00:29:55,120 Speaker 1: warranted as the things that make him famous. But if 530 00:29:55,160 --> 00:29:57,760 Speaker 1: you just compare like his straight paintings to other painters 531 00:29:57,800 --> 00:30:02,840 Speaker 1: at the time, he's line like not not particularly a 532 00:30:02,840 --> 00:30:04,680 Speaker 1: big standout, and you wouldn't be like, wow, he was 533 00:30:04,720 --> 00:30:08,560 Speaker 1: really amazing. Yeah, I saw some really interesting things that 534 00:30:08,560 --> 00:30:13,960 Speaker 1: were about him trying to make it acceptable for anything 535 00:30:14,000 --> 00:30:18,200 Speaker 1: to be the subject of art instead of just appropriate 536 00:30:18,240 --> 00:30:21,080 Speaker 1: things being the subject of art. Yeah, that a lot 537 00:30:21,080 --> 00:30:23,840 Speaker 1: of that came from that sort of bucking against the 538 00:30:23,840 --> 00:30:29,040 Speaker 1: the established art society in the early seventeen hundreds, that 539 00:30:29,080 --> 00:30:32,280 Speaker 1: he thought like, that's foolish. Nobody should control what should 540 00:30:32,320 --> 00:30:34,080 Speaker 1: be art and what shouldn't be art and what's valid 541 00:30:34,160 --> 00:30:37,520 Speaker 1: art and what is it? Which I completely get behind. Uh, 542 00:30:37,560 --> 00:30:46,720 Speaker 1: But yeah, he's he's an interesting chapel. Thanks so much 543 00:30:46,720 --> 00:30:49,800 Speaker 1: for joining us on this Saturday. Since this episode is 544 00:30:49,840 --> 00:30:51,840 Speaker 1: out of the archive, if you heard an email address 545 00:30:51,960 --> 00:30:54,120 Speaker 1: or a Facebook U r L or something similar over 546 00:30:54,120 --> 00:30:56,760 Speaker 1: the course of the show that could be obsolete. Now. 547 00:30:57,200 --> 00:31:00,880 Speaker 1: Our current email address is History Podcast hask at I 548 00:31:01,120 --> 00:31:04,600 Speaker 1: Heart radio dot com. Our old house stuff works. Email 549 00:31:04,600 --> 00:31:07,400 Speaker 1: at us no longer works, and you can find us 550 00:31:07,400 --> 00:31:10,640 Speaker 1: all over social media at missed in History and you 551 00:31:10,680 --> 00:31:14,440 Speaker 1: can subscribe to our show on Apple podcasts, Google podcasts, 552 00:31:14,440 --> 00:31:17,040 Speaker 1: the I heart Radio app, and wherever else you listen 553 00:31:17,040 --> 00:31:22,840 Speaker 1: to podcasts. Stuff you Missed in History Class is a 554 00:31:22,880 --> 00:31:26,080 Speaker 1: production of I heart Radio. For more podcasts from I 555 00:31:26,160 --> 00:31:29,560 Speaker 1: heart Radio, visit the iHeart Radio app, Apple podcasts, or 556 00:31:29,600 --> 00:31:31,520 Speaker 1: wherever you listen to your favorite shows.