1 00:00:01,160 --> 00:00:04,120 Speaker 1: Welcome to steph you missed in history class from how 2 00:00:04,160 --> 00:00:12,799 Speaker 1: Stuff Works dot Com. Hello, and welcome to the podcast. 3 00:00:12,840 --> 00:00:16,360 Speaker 1: I'm Holly Frying and I'm tra C V. Wilson, and 4 00:00:16,440 --> 00:00:18,760 Speaker 1: today we're gonna talk about an artist. But his story 5 00:00:18,840 --> 00:00:21,960 Speaker 1: really involves so much more than art. It involves satire 6 00:00:22,079 --> 00:00:25,440 Speaker 1: and social criticism, and it even gets into some legislation 7 00:00:25,560 --> 00:00:28,360 Speaker 1: for artist rights. But one thing we should point out 8 00:00:28,440 --> 00:00:31,200 Speaker 1: is that his satire and social criticism was being made 9 00:00:31,200 --> 00:00:34,320 Speaker 1: in the early seventeen hundreds when the society he was 10 00:00:34,360 --> 00:00:38,400 Speaker 1: criticizing was very different than ours. It was debuted in 11 00:00:38,440 --> 00:00:41,240 Speaker 1: a lot of ways. Yes, so there are a lot 12 00:00:41,520 --> 00:00:47,760 Speaker 1: of things that are viewed very differently than we view them. Uh. 13 00:00:47,800 --> 00:00:53,159 Speaker 1: There is discussion of of sex workers in this episode, 14 00:00:53,159 --> 00:00:55,040 Speaker 1: not any details, but they come up in in some 15 00:00:55,160 --> 00:00:59,400 Speaker 1: of his prints, as well as some violence, some drug use, 16 00:01:00,320 --> 00:01:04,120 Speaker 1: things like that come up. So just be aware that 17 00:01:04,120 --> 00:01:06,480 Speaker 1: that's that's in the hopper and that it will be 18 00:01:06,800 --> 00:01:10,039 Speaker 1: again based on on the views of England in the 19 00:01:10,120 --> 00:01:13,919 Speaker 1: seventeen thirties and forties and fifties. Well, and especially because 20 00:01:13,959 --> 00:01:16,319 Speaker 1: our artwork for this one is a self portrait of 21 00:01:16,360 --> 00:01:19,640 Speaker 1: the artist with his dog and it looks so sweet. 22 00:01:19,760 --> 00:01:21,760 Speaker 1: It looks very sweet, and I was like, I could 23 00:01:21,840 --> 00:01:24,640 Speaker 1: just see teachers saying, hey, this would be a great 24 00:01:24,640 --> 00:01:28,880 Speaker 1: episode to share with the kids. Um, and it might 25 00:01:28,920 --> 00:01:31,120 Speaker 1: be depending on the age of your kids, the kids 26 00:01:31,120 --> 00:01:33,880 Speaker 1: you're thinking of that you would want. Still, I think 27 00:01:33,920 --> 00:01:37,520 Speaker 1: to frame it and kind of listen first and decide 28 00:01:37,560 --> 00:01:40,200 Speaker 1: based on the actual content. But we're going to talk 29 00:01:40,240 --> 00:01:43,480 Speaker 1: about William Hogarth, who was an English artist that, as 30 00:01:43,520 --> 00:01:47,280 Speaker 1: I said, uh, you know, his life story involves a 31 00:01:47,319 --> 00:01:51,840 Speaker 1: lot more than just art. M William Hogarth was born 32 00:01:51,920 --> 00:01:55,560 Speaker 1: to Richard Hogarth and Anne Gibbons in London, England, on 33 00:01:55,640 --> 00:02:00,720 Speaker 1: November tenth seven. He did have some siblings, although the 34 00:02:00,880 --> 00:02:07,760 Speaker 1: tally's on those siblings very wildly. Uh. Richard Hogarth, William's 35 00:02:07,760 --> 00:02:10,680 Speaker 1: father was a teacher and a classical scholar, and while 36 00:02:10,760 --> 00:02:15,880 Speaker 1: he did have patrons, the family still struggled financially. Yeah. 37 00:02:16,040 --> 00:02:18,120 Speaker 1: Hogarth's later in his life would talk about how his 38 00:02:18,240 --> 00:02:20,720 Speaker 1: dad had really been treated very poorly and he ended 39 00:02:20,800 --> 00:02:23,240 Speaker 1: up in deep debts. Some accounts say that his father 40 00:02:23,360 --> 00:02:25,480 Speaker 1: went to debtors prison, but I couldn't find a solid 41 00:02:25,560 --> 00:02:29,960 Speaker 1: verification on that, but that does kind of inform some 42 00:02:30,040 --> 00:02:32,640 Speaker 1: of his work going forward, and despite being the child 43 00:02:32,680 --> 00:02:36,679 Speaker 1: of an educator, though William was pretty disinterested in formal education. 44 00:02:37,120 --> 00:02:39,359 Speaker 1: He was really smart and he was curious, but even 45 00:02:39,400 --> 00:02:41,760 Speaker 1: from a young age, he was more inclined to draw 46 00:02:42,280 --> 00:02:44,960 Speaker 1: than to study texts. But it seemed that his father 47 00:02:45,080 --> 00:02:48,280 Speaker 1: was not exactly sure what to do to help William 48 00:02:48,320 --> 00:02:50,359 Speaker 1: find a path in life that would suit his interests. 49 00:02:50,400 --> 00:02:54,280 Speaker 1: He wasn't against him pursuing art, but he didn't really 50 00:02:54,320 --> 00:02:56,239 Speaker 1: know what to do with it. So William ended up 51 00:02:56,280 --> 00:02:58,560 Speaker 1: looking for an apprenticeship. And this is another time where 52 00:02:58,600 --> 00:03:01,760 Speaker 1: I will say there are some accounts that suggests that 53 00:03:01,840 --> 00:03:03,679 Speaker 1: his father was in debtors prison and he had to 54 00:03:03,680 --> 00:03:06,800 Speaker 1: get the apprenticeship, and others that say that he just 55 00:03:07,080 --> 00:03:08,760 Speaker 1: knew his dad was not going to be much help 56 00:03:08,880 --> 00:03:10,800 Speaker 1: in in finding him a career path, so he went 57 00:03:10,840 --> 00:03:15,560 Speaker 1: and found one himself. At fifteen, he became a silversmith's apprentice, 58 00:03:15,720 --> 00:03:18,760 Speaker 1: and he learned engraving skills. But a master in this 59 00:03:18,800 --> 00:03:21,880 Speaker 1: position might have hindered his development by giving him a 60 00:03:22,000 --> 00:03:27,040 Speaker 1: mediocre instruction, and Hogarth, once again, frustrated that his mentors 61 00:03:27,120 --> 00:03:31,320 Speaker 1: guidance was really lacking, opted to seek out information about 62 00:03:31,320 --> 00:03:34,520 Speaker 1: the trade on his own, so he was augmenting this 63 00:03:34,680 --> 00:03:37,800 Speaker 1: kind of weak training that he was getting with self 64 00:03:37,840 --> 00:03:42,480 Speaker 1: guided study, and during his apprenticeship, Hogarth studied the world 65 00:03:42,480 --> 00:03:44,960 Speaker 1: around him as much as his trade. He was definitely 66 00:03:45,480 --> 00:03:48,080 Speaker 1: a fan of all of the various entertainments offered by 67 00:03:48,080 --> 00:03:52,040 Speaker 1: early eighteenth century London, from theaters to body houses to 68 00:03:52,160 --> 00:03:55,080 Speaker 1: coffee houses where intellectuals gathered. He sort of was one 69 00:03:55,080 --> 00:03:57,160 Speaker 1: of those people I always think of as like a 70 00:03:57,240 --> 00:03:59,640 Speaker 1: student of life. He just wanted to go around and 71 00:03:59,680 --> 00:04:02,120 Speaker 1: see people doing all the things that people do and 72 00:04:02,200 --> 00:04:06,400 Speaker 1: learn from that. When Hogarth was twenty three, he opened 73 00:04:06,440 --> 00:04:09,440 Speaker 1: his own shop. In that same year he started taking 74 00:04:09,560 --> 00:04:13,960 Speaker 1: formal drawing classes, but the normal curriculum for drawing lessons, 75 00:04:13,960 --> 00:04:18,039 Speaker 1: which was sketching live models or prepared tableau and attempting 76 00:04:18,080 --> 00:04:21,240 Speaker 1: to replicate other artists work, had the same effect on 77 00:04:21,320 --> 00:04:24,640 Speaker 1: Hogarth as this early attempts at his education had. He 78 00:04:24,720 --> 00:04:28,240 Speaker 1: was not interested. He found it frustrating and limiting, and 79 00:04:28,279 --> 00:04:32,120 Speaker 1: he had turned to drawing school to expand the possibilities 80 00:04:32,160 --> 00:04:35,080 Speaker 1: of his engraving work, but he didn't think the classes 81 00:04:35,080 --> 00:04:37,800 Speaker 1: were actually going to help him achieve that goal, and 82 00:04:37,839 --> 00:04:40,880 Speaker 1: so he opted once again to rely on himself for 83 00:04:40,960 --> 00:04:44,159 Speaker 1: his education, and he began to train his observational skills 84 00:04:44,480 --> 00:04:46,479 Speaker 1: because he wanted to be able to draw real life 85 00:04:46,520 --> 00:04:50,719 Speaker 1: subjects from memory. So he developed his own improvisational style 86 00:04:50,800 --> 00:04:54,560 Speaker 1: over time, and simultaneously he was supporting himself through his 87 00:04:54,600 --> 00:04:59,440 Speaker 1: regular engraving work. That work included projects like book illustration, 88 00:04:59,560 --> 00:05:03,200 Speaker 1: so he was getting some practical experience in commercial art, 89 00:05:03,440 --> 00:05:07,480 Speaker 1: but this was not particularly fulfilling. He would later say 90 00:05:07,520 --> 00:05:10,120 Speaker 1: that the work quote did a little more than maintain 91 00:05:10,200 --> 00:05:13,200 Speaker 1: myself and the usual gaieties of life, but wasn't all 92 00:05:13,240 --> 00:05:17,599 Speaker 1: a punctual paymaster. And it wasn't long though, before he 93 00:05:17,640 --> 00:05:21,599 Speaker 1: found himself attracted once again to drawing school. But this 94 00:05:21,680 --> 00:05:23,599 Speaker 1: time it was a little different. It was a school 95 00:05:23,760 --> 00:05:27,320 Speaker 1: housed in the home of Sir James Thornhill. Thornhill was 96 00:05:27,360 --> 00:05:30,760 Speaker 1: an accomplished artist. He had been the official history painter 97 00:05:30,839 --> 00:05:33,280 Speaker 1: in the courts of George the First and George the Second, 98 00:05:33,600 --> 00:05:37,240 Speaker 1: and he had been knighted in seventy He was also 99 00:05:37,360 --> 00:05:41,240 Speaker 1: a member of Parliament. He painted in the Italian Baroque style, 100 00:05:41,360 --> 00:05:44,120 Speaker 1: and Hogarth was a fan of his work, and part 101 00:05:44,120 --> 00:05:46,960 Speaker 1: of the appeal of studying under Thornhill was the fact 102 00:05:46,960 --> 00:05:49,560 Speaker 1: that Thornhill had achieved a level of social standing that 103 00:05:49,600 --> 00:05:53,240 Speaker 1: was unusual for an artist. He wasn't toiling penniless at 104 00:05:53,240 --> 00:05:56,159 Speaker 1: the whim of a patron, although he was at odds 105 00:05:56,160 --> 00:05:58,919 Speaker 1: with the neo classical revival that was underway at the time, 106 00:05:59,520 --> 00:06:01,760 Speaker 1: and in f are to gain favor with Thornhill and 107 00:06:01,839 --> 00:06:04,000 Speaker 1: make clear that he felt they were of the same 108 00:06:04,080 --> 00:06:08,080 Speaker 1: mindset regarding art, Hogarth even published an engraving at the 109 00:06:08,120 --> 00:06:11,680 Speaker 1: time titled Masquerades and Operas, which was a criticism of 110 00:06:11,680 --> 00:06:15,279 Speaker 1: the trends to embrace foreign art above the art that 111 00:06:15,320 --> 00:06:19,960 Speaker 1: was actually created in England. The engraving features, among other things, 112 00:06:20,000 --> 00:06:22,640 Speaker 1: a fool and a devil leading a crowd into the 113 00:06:22,640 --> 00:06:25,919 Speaker 1: theater to see the latest popular entertainment, while a woman 114 00:06:26,000 --> 00:06:30,000 Speaker 1: with a wheelbarrow carries away all the writings of Congreve, Drieden, Otway, 115 00:06:30,240 --> 00:06:34,760 Speaker 1: Shakespeare and Addison, and below the image is the following inscription. 116 00:06:35,520 --> 00:06:38,960 Speaker 1: Could new dumb faustus to reform the age conjure up 117 00:06:39,000 --> 00:06:42,960 Speaker 1: Shakespeare's or Ben Johnson's ghosts? They'd blush for shame to 118 00:06:43,000 --> 00:06:46,280 Speaker 1: see the English stage debauched by fooleryes at so great 119 00:06:46,320 --> 00:06:49,839 Speaker 1: a cost. What would their main say? Should they behold 120 00:06:50,000 --> 00:06:54,520 Speaker 1: Monsters and masquerades, where useful plays adorned, the fruitful theater 121 00:06:54,600 --> 00:06:58,400 Speaker 1: of old and rival wits contended for the base. A 122 00:06:58,600 --> 00:07:01,920 Speaker 1: copy of disengraving, which is known as The Bad Taste 123 00:07:01,920 --> 00:07:04,560 Speaker 1: of the Town, was in the British Museum's collection and 124 00:07:04,600 --> 00:07:08,200 Speaker 1: while it's not on display, it is digitized and available 125 00:07:08,200 --> 00:07:11,480 Speaker 1: online and we will be linked in our show notes. Yeah. 126 00:07:11,600 --> 00:07:14,119 Speaker 1: I feel like with all of Hogarth's work, we should 127 00:07:14,120 --> 00:07:16,760 Speaker 1: I mention that it's worth going and looking at it 128 00:07:16,800 --> 00:07:19,080 Speaker 1: for yourself because we can describe it, and we will 129 00:07:19,120 --> 00:07:22,160 Speaker 1: for a couple of them describe them. But uh, they're 130 00:07:22,280 --> 00:07:24,559 Speaker 1: very busy. There is a lot going on in every 131 00:07:24,560 --> 00:07:27,880 Speaker 1: single picture. Uh. And that's part of his social commentary 132 00:07:27,960 --> 00:07:30,360 Speaker 1: that he includes things. And it's kind of like you 133 00:07:30,680 --> 00:07:34,440 Speaker 1: will never fully grasp all of the sort of intensity 134 00:07:34,480 --> 00:07:40,520 Speaker 1: of these these very very detailed pieces until you actually 135 00:07:40,520 --> 00:07:42,400 Speaker 1: see them for yourself. So I encourage you to good 136 00:07:42,400 --> 00:07:45,880 Speaker 1: look for them. Uh. And publishing Masquerades and Operas had 137 00:07:45,920 --> 00:07:49,440 Speaker 1: long term ramifications for Hogarth's life and career. So the 138 00:07:49,480 --> 00:07:52,560 Speaker 1: criticism of England's contemporary art and culture scene and the 139 00:07:52,600 --> 00:07:55,520 Speaker 1: connoisseurs in it, of course earned him a number of enemies, 140 00:07:55,880 --> 00:07:58,920 Speaker 1: and most prominent among them was the architect Richard Boyle, 141 00:07:59,000 --> 00:08:02,160 Speaker 1: who was the third Earl of Burlington. He and others 142 00:08:02,200 --> 00:08:05,440 Speaker 1: would kind of have this rivalry with uh Hogarth for 143 00:08:05,480 --> 00:08:07,360 Speaker 1: the rest of his life, and it was not the 144 00:08:07,400 --> 00:08:10,160 Speaker 1: first time in his early career that he would butt 145 00:08:10,200 --> 00:08:15,040 Speaker 1: heads with art patrons. After several years of study with Thornhill, 146 00:08:15,120 --> 00:08:18,080 Speaker 1: Hogarth believed he had learned enough that he should begin 147 00:08:18,120 --> 00:08:22,040 Speaker 1: a painting career in Earnest. One of his first patrons 148 00:08:22,120 --> 00:08:25,600 Speaker 1: was a tapestry maker named Joshua Morris, who had requested 149 00:08:25,600 --> 00:08:29,360 Speaker 1: a painting from Hogarth, and when Hogarth delivered the art, 150 00:08:29,600 --> 00:08:32,840 Speaker 1: Morris refused to accept it, claiming that Hogarth had not 151 00:08:32,960 --> 00:08:35,680 Speaker 1: finished it and that it was apparent that the artist 152 00:08:35,760 --> 00:08:39,559 Speaker 1: was really an engraver and not a professional painter. William 153 00:08:39,640 --> 00:08:43,320 Speaker 1: Hogarth then sued Morris for his money and brought a 154 00:08:43,400 --> 00:08:46,640 Speaker 1: number of expert witnesses to the trial, including Thornhill, to 155 00:08:46,720 --> 00:08:50,000 Speaker 1: a test that yes, the work involved was a complete 156 00:08:50,000 --> 00:08:53,080 Speaker 1: painting and that Hogarth should be paid the money that 157 00:08:53,200 --> 00:08:57,160 Speaker 1: he was owed. The court found in Hogarth's favor. Yeah, 158 00:08:57,200 --> 00:08:59,040 Speaker 1: I think this is a time when artists were not 159 00:08:59,120 --> 00:09:03,800 Speaker 1: so willing to really like pursue legal action when someone said, oh, no, 160 00:09:03,840 --> 00:09:05,520 Speaker 1: I don't want that painting after all, but he did. 161 00:09:05,760 --> 00:09:07,560 Speaker 1: That will come up again in a little bit that 162 00:09:07,600 --> 00:09:11,240 Speaker 1: he's willing to take legal action for his rightful money. 163 00:09:11,280 --> 00:09:15,040 Speaker 1: Also in seventy eight, Hogarth painted his first dated painting. 164 00:09:15,160 --> 00:09:17,160 Speaker 1: Up to this point he had produced some plates and 165 00:09:17,240 --> 00:09:19,160 Speaker 1: other things, but they didn't have dates on them. And 166 00:09:19,200 --> 00:09:21,880 Speaker 1: this is The Beggar's Opera. And it was a recreation 167 00:09:21,920 --> 00:09:24,920 Speaker 1: of a scene from a current production of the farctical play. 168 00:09:25,240 --> 00:09:27,200 Speaker 1: And it was an example of just how well he 169 00:09:27,240 --> 00:09:31,040 Speaker 1: had trained his memory to recall detail, because apparently, according 170 00:09:31,040 --> 00:09:34,559 Speaker 1: to many people, he basically perfectly recreated the scene as 171 00:09:34,600 --> 00:09:37,240 Speaker 1: it had played on the stage, even though he had 172 00:09:37,280 --> 00:09:39,600 Speaker 1: of course gone away and painted it later. He actually 173 00:09:39,720 --> 00:09:42,360 Speaker 1: ended up painting five different versions of the scene. In 174 00:09:42,559 --> 00:09:46,480 Speaker 1: seventeen twenty nine, Hogarth and thorn Hill's relationship took on 175 00:09:46,600 --> 00:09:50,800 Speaker 1: a new dimension. William became Thornhill's son in law when 176 00:09:50,880 --> 00:09:54,640 Speaker 1: he and Jane Thornhill eloped. And in his early career 177 00:09:54,880 --> 00:09:58,360 Speaker 1: Hogarth became known for paintings known as conversation pieces, and 178 00:09:58,400 --> 00:10:01,760 Speaker 1: these were portraits of small groups of people depicting them 179 00:10:01,800 --> 00:10:05,800 Speaker 1: in a casual, informal moment, like they're having a light conversation. 180 00:10:06,480 --> 00:10:09,160 Speaker 1: And these also tended to be physically small paintings. And 181 00:10:09,200 --> 00:10:12,440 Speaker 1: as Hogarth's conversation pieces became popular, they did afford him 182 00:10:12,480 --> 00:10:15,400 Speaker 1: a degree of financial success, but he also started to 183 00:10:15,400 --> 00:10:17,640 Speaker 1: find them really boring to work on, and this was 184 00:10:17,679 --> 00:10:20,280 Speaker 1: in part because each individual piece didn't really bring in 185 00:10:20,320 --> 00:10:22,880 Speaker 1: all that much money. He was a very quick worker, 186 00:10:23,320 --> 00:10:25,679 Speaker 1: but he had to basically keep cranking them out at 187 00:10:25,679 --> 00:10:28,360 Speaker 1: a rapid pace to keep money coming in. But even 188 00:10:28,400 --> 00:10:32,360 Speaker 1: as he continued speedily cranking out these conversation pieces, he 189 00:10:32,440 --> 00:10:36,160 Speaker 1: also worked on other projects for which he had greater enthusiasm. 190 00:10:36,240 --> 00:10:41,000 Speaker 1: And these pieces were humorous, realistic scenes, and like masquerades 191 00:10:41,040 --> 00:10:46,760 Speaker 1: and operas, these works often skewered social trends and preached morality. 192 00:10:46,800 --> 00:10:49,840 Speaker 1: If they had been published as sequential art on a page, 193 00:10:49,920 --> 00:10:53,000 Speaker 1: they would look very similar to comics and style, but 194 00:10:53,080 --> 00:10:56,480 Speaker 1: they came out as full size prints, each one taking 195 00:10:56,559 --> 00:10:59,560 Speaker 1: up an entire page of its own. And this was 196 00:10:59,559 --> 00:11:02,400 Speaker 1: where he truly hit his stride as an artist. Yeah, 197 00:11:02,440 --> 00:11:04,840 Speaker 1: this is really what made him famous, uh, and what 198 00:11:04,960 --> 00:11:06,880 Speaker 1: continues to make him sort of an important figure in 199 00:11:06,920 --> 00:11:09,600 Speaker 1: the art world, and he was very savvy about the 200 00:11:09,640 --> 00:11:11,880 Speaker 1: success that started to come with it, so much so 201 00:11:12,000 --> 00:11:14,560 Speaker 1: that it did, as I mentioned earlierly, to some legislation. 202 00:11:15,000 --> 00:11:16,400 Speaker 1: We're going to talk about all of that in just 203 00:11:16,480 --> 00:11:18,199 Speaker 1: a moment, but first we will pause and have a 204 00:11:18,240 --> 00:11:28,359 Speaker 1: little sponsor break. Whereas Hogarth's conversation pieces offered him financial stability, 205 00:11:28,760 --> 00:11:31,760 Speaker 1: his moral satires brought in a great deal more money, 206 00:11:32,000 --> 00:11:34,200 Speaker 1: so much so that he reached a point where he 207 00:11:34,280 --> 00:11:36,920 Speaker 1: really had financial independence. He could work on the things 208 00:11:36,920 --> 00:11:39,439 Speaker 1: that he chose to do, rather than depending on commissions 209 00:11:39,480 --> 00:11:43,240 Speaker 1: or patronage to meet his ongoing financial needs. As prints 210 00:11:43,240 --> 00:11:46,640 Speaker 1: of Hogarth's engravings were made to sell to a wider audience, 211 00:11:46,720 --> 00:11:50,600 Speaker 1: he was aware of the risk that copycats could plagiarize 212 00:11:50,679 --> 00:11:54,040 Speaker 1: his work, and that is because that had happened to him. 213 00:11:54,200 --> 00:11:58,600 Speaker 1: He published a very popular series called A Harlot's Progress 214 00:11:58,600 --> 00:12:02,080 Speaker 1: in seventeen thirty three, and the six paintings, which were 215 00:12:02,080 --> 00:12:05,240 Speaker 1: then adapted into plates that made up A Harlot's Progress 216 00:12:05,640 --> 00:12:08,160 Speaker 1: were produced at a time when the topic of prostitution 217 00:12:08,280 --> 00:12:10,520 Speaker 1: and sex workers were the focus of a lot of 218 00:12:10,520 --> 00:12:13,920 Speaker 1: attention in London in the late seventeen twenties and early 219 00:12:13,960 --> 00:12:16,720 Speaker 1: seventeen thirties, there was this effort on the part of 220 00:12:16,760 --> 00:12:19,840 Speaker 1: city officials to bring morality back to London streets by 221 00:12:19,880 --> 00:12:23,520 Speaker 1: working to eliminate or at least reduce the obvious appearance 222 00:12:23,559 --> 00:12:27,440 Speaker 1: of prostitution. But out of the initial vilification of women 223 00:12:27,520 --> 00:12:32,839 Speaker 1: that this sort of charge started, there was this secondary 224 00:12:32,920 --> 00:12:36,600 Speaker 1: wave of characterization of women's sex workers that made them 225 00:12:36,600 --> 00:12:39,400 Speaker 1: seem more like innocence who had been trapped by corruptors. 226 00:12:39,640 --> 00:12:41,240 Speaker 1: And this was a debate that was going on in 227 00:12:41,320 --> 00:12:46,640 Speaker 1: papers throughout London at the time, and Hogarth's engraving told 228 00:12:46,640 --> 00:12:49,319 Speaker 1: a tale along the lines of that second characterization of 229 00:12:49,360 --> 00:12:53,000 Speaker 1: an innocent who falls into this life through no desire 230 00:12:53,040 --> 00:12:55,760 Speaker 1: of her own to pursue it. In the first plate, 231 00:12:55,880 --> 00:12:59,600 Speaker 1: an innocent young woman named Mall hack About arrives in 232 00:12:59,640 --> 00:13:02,240 Speaker 1: the city from the country, thinking she'll make her way 233 00:13:02,240 --> 00:13:06,240 Speaker 1: in a trade such as dressmaking, but she's intercepted by 234 00:13:06,240 --> 00:13:10,439 Speaker 1: a brothel keeper named Mother Needham, who has shown assessing 235 00:13:10,600 --> 00:13:14,240 Speaker 1: Mall's attributes. And a second plate, Mall has become a 236 00:13:14,360 --> 00:13:17,720 Speaker 1: kept mistress living in luxury, but then she's caught cheating 237 00:13:17,760 --> 00:13:20,520 Speaker 1: on her keeper, and by the third plate, Mall has 238 00:13:20,559 --> 00:13:22,920 Speaker 1: been cast out by that keeper and has become a 239 00:13:22,920 --> 00:13:26,040 Speaker 1: prostitute on the street. Uh and in plate four she 240 00:13:26,160 --> 00:13:29,120 Speaker 1: has been imprisoned for that. In plate five she is 241 00:13:29,120 --> 00:13:30,960 Speaker 1: once again a free woman, but at this point she 242 00:13:31,000 --> 00:13:33,600 Speaker 1: has an illegitimate child and she is dying from a 243 00:13:33,640 --> 00:13:38,040 Speaker 1: sexually transmitted disease. Plate six is Mall's funeral, attended by 244 00:13:38,040 --> 00:13:40,200 Speaker 1: women who also work in the sex trade, and men 245 00:13:40,320 --> 00:13:42,880 Speaker 1: who appear to be more interested in taking advantage of 246 00:13:42,880 --> 00:13:46,360 Speaker 1: those women than in mourning the dead person before them Mall. 247 00:13:46,960 --> 00:13:49,679 Speaker 1: Even the parson in that final plate has his hand 248 00:13:49,720 --> 00:13:52,680 Speaker 1: in the skirt of one of the other mourners. Because 249 00:13:52,720 --> 00:13:56,559 Speaker 1: of the popularity of a Harlot's progress, fake copies were 250 00:13:56,600 --> 00:13:59,720 Speaker 1: produced all over London by CD printers hoping to cash 251 00:13:59,720 --> 00:14:03,959 Speaker 1: in on Hogarth's work, and naturally the artist was incensed 252 00:14:04,160 --> 00:14:07,600 Speaker 1: so much so that he took legal action. So, of course, 253 00:14:07,600 --> 00:14:09,640 Speaker 1: it was not really feasible to chase down all of 254 00:14:09,640 --> 00:14:12,520 Speaker 1: the various printers who had been making unlicensed copies of 255 00:14:12,520 --> 00:14:16,559 Speaker 1: these popular plates. So William Hogarth, along with several other artists, 256 00:14:16,600 --> 00:14:18,719 Speaker 1: went to Parliament and they made a case that their 257 00:14:18,720 --> 00:14:22,320 Speaker 1: work should be legally protected. And after hearing the artists case, 258 00:14:22,360 --> 00:14:25,400 Speaker 1: a piece of legislation called the Engravers Act was introduced 259 00:14:25,440 --> 00:14:29,160 Speaker 1: in seventeen thirty four with language that would protect engravings 260 00:14:29,160 --> 00:14:32,720 Speaker 1: that featured original designs, and it was signed into law 261 00:14:32,760 --> 00:14:36,440 Speaker 1: on June seventeen thirty five, and it became known by 262 00:14:36,480 --> 00:14:39,400 Speaker 1: the nickname Hogarth's Act. You'll sometimes also see it written 263 00:14:39,400 --> 00:14:43,760 Speaker 1: as Hogarth's Law. While the Engravers Act was in legislation 264 00:14:43,840 --> 00:14:47,600 Speaker 1: but not yet assigned law, William Hogarth actually had another 265 00:14:47,680 --> 00:14:49,720 Speaker 1: series that he was ready to publish, but he was 266 00:14:49,800 --> 00:14:52,720 Speaker 1: not willing to do so until there were legal protections 267 00:14:52,800 --> 00:14:57,080 Speaker 1: in place to prevent pirated copies from circulating. And in 268 00:14:57,120 --> 00:15:01,120 Speaker 1: the meantime, Hogarth's mentor and father in law, Thornhill, died 269 00:15:01,160 --> 00:15:05,040 Speaker 1: in seventeen thirty four, and after the loss, Hogarth decided 270 00:15:05,080 --> 00:15:07,760 Speaker 1: that he would reopen Thornhill's drawing school, which had never 271 00:15:07,880 --> 00:15:12,240 Speaker 1: been a particularly successful venture. Hogarth's version became much more 272 00:15:12,280 --> 00:15:15,800 Speaker 1: of a salon where artists shared ideas and discussed their work. 273 00:15:16,520 --> 00:15:20,200 Speaker 1: Once the Engravers Act was law, Hogarth released the series 274 00:15:20,240 --> 00:15:23,480 Speaker 1: he had been withholding, titled A Rake's Progress. The series, 275 00:15:23,760 --> 00:15:26,800 Speaker 1: like A Harlot's Progress, was painted an oil first and 276 00:15:26,840 --> 00:15:30,720 Speaker 1: then adapted as a set of print engravings. The Rake 277 00:15:31,000 --> 00:15:34,400 Speaker 1: in this narrative is Tom Rakewell, a young man of leisure. 278 00:15:34,840 --> 00:15:37,680 Speaker 1: In the first scene, young Tom has freshly come into 279 00:15:37,720 --> 00:15:42,720 Speaker 1: his fortune as his wealthy and apparently miserly father has died. Tom, 280 00:15:42,800 --> 00:15:45,680 Speaker 1: wasting no time spending his new found money, is being 281 00:15:45,720 --> 00:15:49,280 Speaker 1: fitted for a fancy new suit while simultaneously paying off 282 00:15:49,280 --> 00:15:52,480 Speaker 1: a paramore who appears to be pregnant and heartbroken. She 283 00:15:52,520 --> 00:15:55,440 Speaker 1: will appear in later plates as well. In scene too, 284 00:15:55,640 --> 00:15:58,360 Speaker 1: Tom is surrounded in his home by an assortment of people, 285 00:15:58,440 --> 00:16:02,080 Speaker 1: all vying for his attention in his financial favor. By 286 00:16:02,120 --> 00:16:04,720 Speaker 1: the time the viewer sees Tom and the third scene, 287 00:16:04,760 --> 00:16:08,200 Speaker 1: he has fully descended into a life of debauchery. He's 288 00:16:08,200 --> 00:16:10,720 Speaker 1: in a brothel taking part in an orgy. And this 289 00:16:10,800 --> 00:16:13,600 Speaker 1: is a good time to mention that in Hogarth's works 290 00:16:13,600 --> 00:16:19,240 Speaker 1: on morality, even though sexual situations are conveyed, there's no nudity, 291 00:16:19,320 --> 00:16:22,640 Speaker 1: but there is the suggestion of it. So to modern eye, 292 00:16:22,840 --> 00:16:25,920 Speaker 1: the plate three looks like a wild party. It might 293 00:16:25,920 --> 00:16:29,680 Speaker 1: take a moment for the viewer to actually register exactly 294 00:16:29,720 --> 00:16:33,400 Speaker 1: what is going on. Yeah, he's you know, he is 295 00:16:33,440 --> 00:16:37,920 Speaker 1: taking part in this big thing, but it's not overtly portrayed. 296 00:16:38,600 --> 00:16:41,000 Speaker 1: I mean, once you start seeing the clues and you realize, like, oh, 297 00:16:41,040 --> 00:16:43,400 Speaker 1: people's hands are in each other's clothes and stuff, but 298 00:16:43,480 --> 00:16:47,400 Speaker 1: it's not quite so graphic as you might be envisioning. 299 00:16:48,040 --> 00:16:50,000 Speaker 1: And in the fourth scene, Tom is about to be 300 00:16:50,080 --> 00:16:54,520 Speaker 1: arrested for the debts that he's accrued in his debaucherous lifestyle, 301 00:16:54,840 --> 00:16:57,480 Speaker 1: when that same young woman from the first plate that 302 00:16:57,520 --> 00:16:59,960 Speaker 1: he bought off steps in and she pays the bail 303 00:17:00,040 --> 00:17:03,040 Speaker 1: of all of her money so that she can save him. 304 00:17:03,120 --> 00:17:05,240 Speaker 1: And in the fifth scene, Tom is getting married, but 305 00:17:05,320 --> 00:17:08,320 Speaker 1: not to that kind young woman who saved him though 306 00:17:08,320 --> 00:17:11,000 Speaker 1: he had wronged her, but instead to an elderly heiress 307 00:17:11,080 --> 00:17:13,399 Speaker 1: in the hopes of regaining a fortune in the match. 308 00:17:14,240 --> 00:17:18,359 Speaker 1: The sixth image is a seed scene. Tom is anna 309 00:17:18,400 --> 00:17:22,119 Speaker 1: gambling den. The room is on fire, but neither Tom 310 00:17:22,160 --> 00:17:24,880 Speaker 1: nor the other gambler's notice because they are so absorbed 311 00:17:24,920 --> 00:17:27,439 Speaker 1: in the fortunes that they stand to gain or lose. 312 00:17:27,960 --> 00:17:31,600 Speaker 1: Tom appears to be pleading to God for assistance in 313 00:17:31,760 --> 00:17:35,119 Speaker 1: his bet, and Tom is pictured in debtor's prison in 314 00:17:35,160 --> 00:17:37,720 Speaker 1: the seventh image in the series, he has written a 315 00:17:37,760 --> 00:17:39,880 Speaker 1: play in the hopes of selling it. To make some money. 316 00:17:39,960 --> 00:17:42,760 Speaker 1: It's kind of sitting to the side, and his wife 317 00:17:42,840 --> 00:17:45,280 Speaker 1: is pictured, that same woman that he married for her money, 318 00:17:45,320 --> 00:17:47,520 Speaker 1: but at this point she has gaunt and clearly not 319 00:17:47,560 --> 00:17:50,800 Speaker 1: the wealthy woman she once was. And the final scene 320 00:17:50,800 --> 00:17:55,160 Speaker 1: shows Tom in the Bethlehem Royal Hospital known colloquially as Bedlam, 321 00:17:55,160 --> 00:17:58,080 Speaker 1: where the insane and impoverished of London were sent, and 322 00:17:58,119 --> 00:17:59,920 Speaker 1: he is naked at this point save for a rag 323 00:18:00,000 --> 00:18:03,040 Speaker 1: a cloth that straped over him, and a wealthy woman 324 00:18:03,320 --> 00:18:06,560 Speaker 1: who has come to see the spectacle of Bedlam, looks on. 325 00:18:07,040 --> 00:18:09,160 Speaker 1: She has paid for admission to come and sort of 326 00:18:09,560 --> 00:18:14,720 Speaker 1: observe the lower creatures in this horrible condition. This particular 327 00:18:14,960 --> 00:18:17,920 Speaker 1: series was popular when it first appeared, and it's remained 328 00:18:18,000 --> 00:18:21,760 Speaker 1: so in the centuries since. In nineteen thirty five, the 329 00:18:21,800 --> 00:18:25,480 Speaker 1: story of Tom Rakewell was adapted into a ballet, became 330 00:18:25,560 --> 00:18:28,320 Speaker 1: a film in nineteen forty five, and an opera by 331 00:18:28,359 --> 00:18:32,880 Speaker 1: Igor Stravinsky in nineteen fifty one. The original painting series 332 00:18:32,880 --> 00:18:35,840 Speaker 1: of A Rake's Progress was purchased at auction in eighteen 333 00:18:35,880 --> 00:18:39,639 Speaker 1: o two by the wife architect Sir john Soon. Today 334 00:18:39,680 --> 00:18:43,760 Speaker 1: they are part of the Sir Johnson Museum collection. Unfortunately, 335 00:18:43,800 --> 00:18:46,879 Speaker 1: the original paintings for A Harlot's Progress were lost in 336 00:18:46,920 --> 00:18:50,320 Speaker 1: a fire in seventeen fifty five. Yeah, and A Rake's Progress. 337 00:18:50,359 --> 00:18:53,359 Speaker 1: There have been even more modern adaptations and other works 338 00:18:53,400 --> 00:18:54,960 Speaker 1: inspired by it, but those are the sort of the 339 00:18:55,040 --> 00:18:58,000 Speaker 1: key points were. In the more modern age, it suddenly 340 00:18:58,000 --> 00:19:01,480 Speaker 1: had this resurgence of interest, and both of these series 341 00:19:01,480 --> 00:19:03,840 Speaker 1: of works, as well as others that he worked on 342 00:19:03,920 --> 00:19:06,720 Speaker 1: during the seventeen thirties and seventeen forties and some in 343 00:19:06,760 --> 00:19:09,679 Speaker 1: the seventies fifties, are filled with these details like I 344 00:19:09,760 --> 00:19:11,920 Speaker 1: mentioned before, that add to the story and in some 345 00:19:11,960 --> 00:19:15,320 Speaker 1: cases they make direct social or political commentary. In some 346 00:19:15,359 --> 00:19:17,399 Speaker 1: cases he'll have pieces of art on the walls in 347 00:19:17,440 --> 00:19:20,520 Speaker 1: the backgrounds that have meaning. And uh. Some of the 348 00:19:20,560 --> 00:19:23,359 Speaker 1: people that are depicted as supporting characters in these works 349 00:19:23,560 --> 00:19:26,320 Speaker 1: were actually well known figures of London at the time. 350 00:19:26,440 --> 00:19:29,320 Speaker 1: Sometimes they are cast in roles that make it clear 351 00:19:29,760 --> 00:19:32,760 Speaker 1: that William Hogarth did not think very highly of them. 352 00:19:32,800 --> 00:19:35,640 Speaker 1: Not long after the release of Our Rake's Progress, Hogarth 353 00:19:35,760 --> 00:19:38,760 Speaker 1: was elected as one of the governors of Britain's oldest hospital, 354 00:19:38,880 --> 00:19:42,960 Speaker 1: Saint Bartholomew's. He contributed to the decor of the facility 355 00:19:43,000 --> 00:19:46,160 Speaker 1: by painting two large pieces for the main staircase, which 356 00:19:46,160 --> 00:19:50,320 Speaker 1: were the historical paintings Pool of Bethesda and the Good Samaritan. Yeah, 357 00:19:50,320 --> 00:19:53,680 Speaker 1: that hospital was founded, I believe in the eleven hundreds. Uh, 358 00:19:53,720 --> 00:19:55,800 Speaker 1: And we're going to talk about the unique legacy of 359 00:19:55,800 --> 00:19:58,280 Speaker 1: those two paintings there. But first we're gonna pause for 360 00:19:58,320 --> 00:20:07,840 Speaker 1: a word from one of our fans answers. Those paintings 361 00:20:07,840 --> 00:20:11,520 Speaker 1: in St. Bartholomew's, which are often mistaken for murals because 362 00:20:11,520 --> 00:20:13,919 Speaker 1: they take up whole walls, but they are in fact canvases, 363 00:20:14,240 --> 00:20:16,919 Speaker 1: are still in the hospital today and they have taken 364 00:20:16,920 --> 00:20:19,919 Speaker 1: on sort of a unique role. In addition to acting 365 00:20:19,920 --> 00:20:23,800 Speaker 1: as massive decor, the figures in those paintings are seven 366 00:20:23,840 --> 00:20:27,840 Speaker 1: feet tall, so extrapolate from that how big like full 367 00:20:27,840 --> 00:20:30,600 Speaker 1: scenes featuring people that size would be. They are also 368 00:20:30,760 --> 00:20:33,720 Speaker 1: used in a really kind of interesting way as teaching tools. 369 00:20:34,000 --> 00:20:37,600 Speaker 1: It's believed that Hogarth used patients from the hospital as 370 00:20:37,640 --> 00:20:40,320 Speaker 1: his models for the paintings, and he captured their illnesses 371 00:20:40,720 --> 00:20:44,920 Speaker 1: pretty accurately and without exaggeration, and as such, the characters 372 00:20:44,960 --> 00:20:48,800 Speaker 1: in the paintings are sometimes introduced as topics of diagnosis 373 00:20:48,840 --> 00:20:53,080 Speaker 1: discussion with medical students. Hogarth subjects display conditions which could 374 00:20:53,080 --> 00:20:56,399 Speaker 1: be my atonia, congenita and ricketts and syphilis and gout, 375 00:20:56,440 --> 00:20:58,880 Speaker 1: among others, and so it's kind of an interesting way 376 00:20:58,920 --> 00:21:03,200 Speaker 1: to um test and develop observational skills, which I think 377 00:21:03,280 --> 00:21:05,000 Speaker 1: is just sort of fantastic to go, hey, what do 378 00:21:05,040 --> 00:21:08,040 Speaker 1: you think this person in the painting has. While these 379 00:21:08,119 --> 00:21:11,560 Speaker 1: two large scale historical paintings are not considered to be 380 00:21:11,600 --> 00:21:14,679 Speaker 1: Hogarth's best work, they are an important part of the 381 00:21:14,720 --> 00:21:18,760 Speaker 1: hospital's history Because they are in an active space, they 382 00:21:18,760 --> 00:21:22,600 Speaker 1: need constant upkeep, and his lifetime Hogarth covered the expenses 383 00:21:22,640 --> 00:21:25,600 Speaker 1: to do so himself. He also requested that the two 384 00:21:25,640 --> 00:21:29,200 Speaker 1: paintings never be varnished, though at some point that request 385 00:21:29,320 --> 00:21:33,200 Speaker 1: was disregarded repeatedly. During a cleaning of the paintings in 386 00:21:33,320 --> 00:21:37,560 Speaker 1: nineteen thirty seven, layers of varnished were carefully removed, and 387 00:21:37,640 --> 00:21:41,200 Speaker 1: after his work on the st Bartholemew's Staircase project was complete, 388 00:21:41,320 --> 00:21:44,520 Speaker 1: Hogarth turned to more traditional portraiture, and one of his 389 00:21:44,560 --> 00:21:47,160 Speaker 1: first portraits in this period was a painting of philanthropist 390 00:21:47,240 --> 00:21:50,679 Speaker 1: Thomas Coorum, which he displayed at an orphan's hospital that 391 00:21:50,760 --> 00:21:53,600 Speaker 1: Coream had founded, and he also convinced other artists to 392 00:21:53,640 --> 00:21:56,400 Speaker 1: donate their work to the hospital when it was completed 393 00:21:56,440 --> 00:22:00,960 Speaker 1: in seventeen. His famous self portrait A Painter and his 394 00:22:01,119 --> 00:22:04,280 Speaker 1: Pug was created in seventeen forty five, and that same 395 00:22:04,359 --> 00:22:07,880 Speaker 1: year he released another series called Marriage a la Mode 396 00:22:08,359 --> 00:22:11,320 Speaker 1: and the exhibition description of Hogarth's work at the Tape 397 00:22:11,359 --> 00:22:14,680 Speaker 1: Museum in two thousand and seven, it was described as follows. 398 00:22:15,440 --> 00:22:18,760 Speaker 1: The satirical thrust of Marriage Alla Moode is as much 399 00:22:18,800 --> 00:22:21,760 Speaker 1: about patronage, aesthetics, and taste as it is about marriage 400 00:22:21,760 --> 00:22:25,320 Speaker 1: and morals. Over and above the title itself, Marriage alla 401 00:22:25,400 --> 00:22:30,480 Speaker 1: Moode includes Italian and Dutch old masters, French portraiture and furnishings, 402 00:22:30,520 --> 00:22:34,119 Speaker 1: Oriental decorative arts, an Italian castrato singer and a French 403 00:22:34,280 --> 00:22:38,760 Speaker 1: dancing master, a turbaned black page boy, a masquerade reference, 404 00:22:39,119 --> 00:22:43,680 Speaker 1: a bango and an aristocratic toilet. And even syphilis which 405 00:22:43,720 --> 00:22:48,680 Speaker 1: Lord Squanderfield probably contracted abroad and was popularly known as 406 00:22:48,720 --> 00:22:52,560 Speaker 1: the French pox. Thus his emasculated and diseased body is 407 00:22:52,600 --> 00:22:56,520 Speaker 1: additionally emblematic of the spread of quote foreign culture that 408 00:22:56,640 --> 00:23:01,280 Speaker 1: has infected and weakened British identity, society and commerce. And 409 00:23:01,400 --> 00:23:03,720 Speaker 1: I wanted to include that because they so perfectly kind 410 00:23:03,720 --> 00:23:06,879 Speaker 1: of encapsulated in that one paragraph a lot of the 411 00:23:06,920 --> 00:23:10,040 Speaker 1: way that his his art worked in terms of how 412 00:23:10,119 --> 00:23:12,240 Speaker 1: it would take people down with these little subtle clues 413 00:23:12,280 --> 00:23:15,000 Speaker 1: about uh and not so subtle clues about what was 414 00:23:15,040 --> 00:23:17,720 Speaker 1: going on in the picture and the people involved. So 415 00:23:17,800 --> 00:23:20,119 Speaker 1: the story of marriage a la mode is that of 416 00:23:20,160 --> 00:23:22,639 Speaker 1: an arranged marriage which leads to a life of idle 417 00:23:22,680 --> 00:23:26,560 Speaker 1: distance between the couple involved and extramarital indulgences, both in 418 00:23:26,640 --> 00:23:31,240 Speaker 1: terms of affairs and just debaucherous behavior otherwise, including drug use. 419 00:23:31,320 --> 00:23:33,919 Speaker 1: So for Hogarth, who married for love and really seemed 420 00:23:33,920 --> 00:23:36,639 Speaker 1: to have had a happy match with Jane Thornhill, marriage 421 00:23:36,680 --> 00:23:40,080 Speaker 1: is arranged for financial benefits seemed to both ludicrous and doomed. 422 00:23:40,800 --> 00:23:43,840 Speaker 1: The late seventeen forties and early seventeen fifties saw a 423 00:23:44,000 --> 00:23:46,960 Speaker 1: shift and Hogart's worth back to prince, but they were 424 00:23:47,000 --> 00:23:50,920 Speaker 1: more basic images intended for mass market sales. He didn't 425 00:23:50,960 --> 00:23:54,679 Speaker 1: start with paintings for those prints, but from drawings. One 426 00:23:54,760 --> 00:23:57,760 Speaker 1: of these series, titled The Four Stages of Cruelty, is 427 00:23:57,760 --> 00:24:02,480 Speaker 1: a commentary on how unkind children can easily become violent adults. 428 00:24:02,960 --> 00:24:05,919 Speaker 1: It depicts animal abuse in the first plate, and then 429 00:24:05,960 --> 00:24:10,120 Speaker 1: the main character, Tom Nero, becomes progressively more a monster, 430 00:24:10,760 --> 00:24:13,439 Speaker 1: culminating in m. A. Cobb final scene in which the 431 00:24:13,520 --> 00:24:17,760 Speaker 1: hanged Tom is being dissected for an anatomy lesson in 432 00:24:17,840 --> 00:24:22,359 Speaker 1: the surgery. Yeah, that was one I will confess. Uh, 433 00:24:22,560 --> 00:24:26,919 Speaker 1: there are debaucherous and sometimes unpleasant images in all of 434 00:24:26,960 --> 00:24:30,919 Speaker 1: his work. That series, really I found quite troubling. The 435 00:24:31,000 --> 00:24:34,800 Speaker 1: animal abuse is really graphic. And then the things that 436 00:24:34,880 --> 00:24:38,320 Speaker 1: sort of happened as this character becomes more and more 437 00:24:39,000 --> 00:24:42,000 Speaker 1: of a lost person and a violent person are really 438 00:24:42,480 --> 00:24:46,520 Speaker 1: a little effect surprisingly affecting to me for plates. Um, 439 00:24:46,560 --> 00:24:48,720 Speaker 1: So if you go looking, just know that that's the case. 440 00:24:49,119 --> 00:24:51,040 Speaker 1: At the same time that he was working on these 441 00:24:51,080 --> 00:24:55,000 Speaker 1: simple morality prints, ho Garth was also painting, but he 442 00:24:55,280 --> 00:24:57,320 Speaker 1: had reached this point where he was starting to struggle 443 00:24:57,359 --> 00:25:00,800 Speaker 1: to finish any of his canvases. Yeah. Really staged two 444 00:25:00,800 --> 00:25:03,920 Speaker 1: auctions of his work between seventeen forty five and seventeen 445 00:25:03,960 --> 00:25:07,240 Speaker 1: fifty one, but these led to both frustration and embarrassment 446 00:25:07,600 --> 00:25:10,040 Speaker 1: because they did not generate enough interest to really bring 447 00:25:10,080 --> 00:25:13,760 Speaker 1: in much money. In seventeen fifty three, William Hogarth published 448 00:25:13,800 --> 00:25:17,159 Speaker 1: a book titled The Analysis of Beauty, in which he 449 00:25:17,240 --> 00:25:19,600 Speaker 1: laid out his principles of beauty and focused on the 450 00:25:19,640 --> 00:25:23,040 Speaker 1: import of what he called the line of beauty, an 451 00:25:23,160 --> 00:25:26,320 Speaker 1: s shaped curve that's inherently appealing and exciting to the 452 00:25:26,440 --> 00:25:30,040 Speaker 1: human eye. The book met with mixed reviews and was 453 00:25:30,160 --> 00:25:33,879 Speaker 1: mocked by his detractors. Yeah, as we mentioned earlier, early 454 00:25:33,880 --> 00:25:36,720 Speaker 1: in his career he made enemies and they stayed that 455 00:25:36,760 --> 00:25:40,360 Speaker 1: way for the rest of his life. In seventeen fifty four, 456 00:25:40,440 --> 00:25:43,800 Speaker 1: Hogarth produced another satirical series. This was known as the 457 00:25:43,840 --> 00:25:47,920 Speaker 1: Election Series, which is a critique of electoral corruptions as 458 00:25:48,320 --> 00:25:51,320 Speaker 1: told through a narrative detailing of political race in a 459 00:25:51,400 --> 00:25:55,120 Speaker 1: fictional town called guzzle Down. And this series, which once 460 00:25:55,160 --> 00:25:58,000 Speaker 1: again began his oil paintings and then was made into etchings, 461 00:25:58,040 --> 00:26:00,359 Speaker 1: so he had had gone back to that he had 462 00:26:00,359 --> 00:26:04,560 Speaker 1: started doing the quicker drawings into etchings version skewered both 463 00:26:04,600 --> 00:26:07,760 Speaker 1: the Tories and the Whigs for bribery and corrupt practices, 464 00:26:08,320 --> 00:26:10,280 Speaker 1: and the first painting in the series actually went on 465 00:26:10,320 --> 00:26:13,679 Speaker 1: display several days before the general election that year, at 466 00:26:13,680 --> 00:26:16,520 Speaker 1: a time when election corruption was being discussed in every 467 00:26:16,520 --> 00:26:20,720 Speaker 1: paper in London and seventeen fifty seven Hogarth became sergeant 468 00:26:20,720 --> 00:26:24,480 Speaker 1: painter to King George the Third, but despite this prestigious 469 00:26:24,560 --> 00:26:27,359 Speaker 1: and well paying position, his later years were really marked 470 00:26:27,400 --> 00:26:31,919 Speaker 1: with disappointment. In seventeen fifty nine he painted Sigismunda Morning 471 00:26:31,960 --> 00:26:35,560 Speaker 1: over the Heart of Giscardo, which features the titles heroin 472 00:26:36,160 --> 00:26:40,280 Speaker 1: holding a goblet containing the heart of her husband murdered 473 00:26:40,320 --> 00:26:43,720 Speaker 1: by her father. The criticism of the work was severe 474 00:26:43,960 --> 00:26:48,040 Speaker 1: and Hogarth did not paint much after that. Yeah, there 475 00:26:48,080 --> 00:26:50,760 Speaker 1: are some write ups of that piece saying that he 476 00:26:50,800 --> 00:26:53,440 Speaker 1: was trying to prove that English painters could produce work 477 00:26:53,920 --> 00:26:58,320 Speaker 1: exactly as good as the Italian masters, and that the 478 00:26:58,320 --> 00:27:00,639 Speaker 1: the reception was more of like a m hmm, I 479 00:27:00,640 --> 00:27:03,280 Speaker 1: don't think so. Uh. It did not go well, and 480 00:27:03,320 --> 00:27:06,480 Speaker 1: he did make one other political statement with his anti 481 00:27:06,560 --> 00:27:09,640 Speaker 1: war print series titled The Times, which he did after that, 482 00:27:10,119 --> 00:27:13,399 Speaker 1: which made a rather unpopular statement in coming out against 483 00:27:13,440 --> 00:27:15,760 Speaker 1: the Seven Years War. And at the time that that 484 00:27:15,880 --> 00:27:19,200 Speaker 1: series was published, the war had not yet ended, so 485 00:27:19,320 --> 00:27:21,159 Speaker 1: it was like in year six and did not have 486 00:27:21,200 --> 00:27:23,960 Speaker 1: the name the Seven Years War. Yet people were outraged 487 00:27:24,000 --> 00:27:26,840 Speaker 1: by this particular work, and politicians who supported the war 488 00:27:27,600 --> 00:27:31,119 Speaker 1: vocally and publicly criticized Hogarth, and it only served to 489 00:27:31,200 --> 00:27:35,640 Speaker 1: dampen his interest in his work. Hogarth's last artistic endeavor 490 00:27:35,760 --> 00:27:38,960 Speaker 1: was an etching titled The Bathos or Manner of Sinking, 491 00:27:39,040 --> 00:27:42,520 Speaker 1: which was published in March of seventeen sixty four. It's 492 00:27:42,520 --> 00:27:45,280 Speaker 1: often described as having an air of doom in it, 493 00:27:45,840 --> 00:27:49,160 Speaker 1: and it time is depicted as a winged figure, broken 494 00:27:49,200 --> 00:27:52,840 Speaker 1: and lying prone amid an assortment of debris, a puff 495 00:27:52,880 --> 00:27:56,760 Speaker 1: of air escaping his lips, with the word Pheni printed 496 00:27:56,760 --> 00:27:59,879 Speaker 1: on it. The image was intended to be the tailpiece 497 00:28:00,000 --> 00:28:04,399 Speaker 1: rebound collections of his work, and when considered in that context, 498 00:28:04,440 --> 00:28:07,879 Speaker 1: it's a little bit less ominous. Yeah, it definitely looks 499 00:28:07,920 --> 00:28:10,880 Speaker 1: like a death and destruction kind of image, but when 500 00:28:10,920 --> 00:28:13,280 Speaker 1: you consider that it would be the end paper of 501 00:28:13,320 --> 00:28:15,639 Speaker 1: a book where they're saying the book has ended, it 502 00:28:15,680 --> 00:28:19,480 Speaker 1: seems a little less upsetting. But people will sometimes hint 503 00:28:19,560 --> 00:28:24,320 Speaker 1: that it it was maybe important of his upcoming death. 504 00:28:24,880 --> 00:28:27,760 Speaker 1: Uh So, a few months after The Bethos was created, 505 00:28:27,840 --> 00:28:30,679 Speaker 1: in the summer of seventeen sixty four, William Hogarth had 506 00:28:30,720 --> 00:28:33,120 Speaker 1: a seizure and he remained quite ill from that point 507 00:28:33,200 --> 00:28:37,720 Speaker 1: until his death on October seventeen sixty four, and he 508 00:28:37,800 --> 00:28:40,160 Speaker 1: was sixty seven at that point and had been working 509 00:28:40,160 --> 00:28:44,120 Speaker 1: as an engraver and artist for more than four decades. Today, 510 00:28:44,160 --> 00:28:47,200 Speaker 1: not only can you find Hogarth's works and museums around 511 00:28:47,200 --> 00:28:49,240 Speaker 1: the world, but you can also visit the house he 512 00:28:49,320 --> 00:28:52,360 Speaker 1: lived in from seventeen forty nine until his death. It's 513 00:28:52,400 --> 00:28:55,360 Speaker 1: now a museum and we will link to information about 514 00:28:55,400 --> 00:29:01,160 Speaker 1: it in the show notes. Yeah, William Hogarth, He's fascinating creature. 515 00:29:01,680 --> 00:29:04,160 Speaker 1: He's one of those artists. Like usually I will wax 516 00:29:04,240 --> 00:29:06,280 Speaker 1: rapsodic about artists and kind of fall in love with them. 517 00:29:06,280 --> 00:29:08,680 Speaker 1: And I was telling Tracy before this, I don't know 518 00:29:09,040 --> 00:29:10,760 Speaker 1: how I feel about him, Like if I think he 519 00:29:10,760 --> 00:29:12,760 Speaker 1: would be a delightful fun person or if he might 520 00:29:12,800 --> 00:29:15,160 Speaker 1: be a crabby stick in the mud, I'm not sure. 521 00:29:18,040 --> 00:29:20,880 Speaker 1: But some of his work is really lovely. Yes, so 522 00:29:20,920 --> 00:29:23,200 Speaker 1: most art historians and critics will say, like, if you 523 00:29:23,240 --> 00:29:26,640 Speaker 1: look at his his satire pieces, because of their composition 524 00:29:26,680 --> 00:29:29,440 Speaker 1: and what he included and how um sort of rich 525 00:29:29,560 --> 00:29:33,080 Speaker 1: unless they were, those are are warranted as the things 526 00:29:33,080 --> 00:29:34,960 Speaker 1: that make him famous. But if you just compare like 527 00:29:35,040 --> 00:29:39,160 Speaker 1: his straight paintings to other painters at the time, he's fine, 528 00:29:39,520 --> 00:29:42,920 Speaker 1: but not not particularly a big standout, And you wouldn't 529 00:29:42,920 --> 00:29:46,000 Speaker 1: be like, Wow, he was really amazing. Yeah, I saw 530 00:29:46,440 --> 00:29:49,560 Speaker 1: some really interesting things that were about him trying to 531 00:29:49,600 --> 00:29:53,920 Speaker 1: make it acceptable for anything to be the subject of 532 00:29:54,080 --> 00:29:59,560 Speaker 1: art instead of just appropriate things being a subject of art. Yeah, 533 00:29:59,560 --> 00:30:01,280 Speaker 1: that a lot of that came from that sort of 534 00:30:01,320 --> 00:30:07,000 Speaker 1: bucking against the the established art society in the early 535 00:30:07,040 --> 00:30:10,120 Speaker 1: seventeen hundreds. That he thought like, that's foolish. Nobody should 536 00:30:10,120 --> 00:30:12,400 Speaker 1: control what should be art and what shouldn't be art 537 00:30:12,400 --> 00:30:14,520 Speaker 1: and what's valid art and what is it, which I 538 00:30:14,560 --> 00:30:19,200 Speaker 1: completely get behind. Uh, But yeah, he's he's an interesting chap. 539 00:30:20,080 --> 00:30:23,520 Speaker 1: I have sort of a multilayered listener mail because I 540 00:30:23,600 --> 00:30:25,280 Speaker 1: have three in front of me, but they're all kind 541 00:30:25,280 --> 00:30:27,600 Speaker 1: of similar and related, but I wanted to call them 542 00:30:27,600 --> 00:30:30,440 Speaker 1: all out and mentioned them. They're all related to our 543 00:30:30,480 --> 00:30:35,240 Speaker 1: episode on veterinary medicine, because fortunately we have listeners who 544 00:30:35,240 --> 00:30:37,000 Speaker 1: are smart and no things and can add to that. 545 00:30:37,840 --> 00:30:40,960 Speaker 1: I will read the one from Allison, who says, Dear 546 00:30:41,080 --> 00:30:43,160 Speaker 1: Holly and Tracy. Last week, I sat down at my 547 00:30:43,200 --> 00:30:44,760 Speaker 1: desk at the end of a twelve hour work day 548 00:30:44,760 --> 00:30:47,280 Speaker 1: to type up medical notes from my evening appointments and 549 00:30:47,320 --> 00:30:50,240 Speaker 1: nearly cried when I saw the topic of the podcast 550 00:30:50,280 --> 00:30:53,160 Speaker 1: was a brief history of veterinary medicine. I'm a veterinarian 551 00:30:53,200 --> 00:30:56,920 Speaker 1: who practices both Western and traditional Chinese veterinary medicine, so 552 00:30:56,960 --> 00:30:59,400 Speaker 1: your podcast touched on so many aspects of my career, 553 00:30:59,600 --> 00:31:01,000 Speaker 1: and after a long day of work, it was a 554 00:31:01,000 --> 00:31:03,880 Speaker 1: welcome reminder of my profession's rich history, of which I'm 555 00:31:03,880 --> 00:31:06,160 Speaker 1: proud to be a part of. And she mentioned that 556 00:31:06,200 --> 00:31:08,320 Speaker 1: she wanted to make a tiny correction about the episode. 557 00:31:08,360 --> 00:31:10,400 Speaker 1: At one point, you were discussing blood letting as a 558 00:31:10,400 --> 00:31:13,120 Speaker 1: treatment for excess blood, and Holly, you joked that you 559 00:31:13,160 --> 00:31:16,000 Speaker 1: can't have too much blood. Fun fact, while we no 560 00:31:16,080 --> 00:31:19,160 Speaker 1: longer recognize that as a common medical ailment, there actually 561 00:31:19,200 --> 00:31:23,080 Speaker 1: is a relatively uncommon condition of excess blood called poly 562 00:31:23,640 --> 00:31:28,280 Speaker 1: psythemia uh poly meaning many size meaning cells and emia 563 00:31:28,360 --> 00:31:32,400 Speaker 1: meaning related to the blood. Polysythemia can have several causes. Generally, 564 00:31:32,440 --> 00:31:35,120 Speaker 1: it is caused by bone marrow cancer, leading to overproduction 565 00:31:35,160 --> 00:31:37,600 Speaker 1: of blood cells that are then released into the blood 566 00:31:37,600 --> 00:31:41,040 Speaker 1: stream faster than normal. This more in than out process 567 00:31:41,160 --> 00:31:43,960 Speaker 1: leads to excess blood cells. Another reason for a patient 568 00:31:44,040 --> 00:31:47,560 Speaker 1: to develop polycythemia would be chronic hypoxia or lack of 569 00:31:47,560 --> 00:31:50,320 Speaker 1: oxygen delivered to the tissues, and the body will over 570 00:31:50,400 --> 00:31:53,240 Speaker 1: time respond to a chronic lack of oxygen by producing 571 00:31:53,280 --> 00:31:55,280 Speaker 1: more red blood cells, whose job it is to carry 572 00:31:55,280 --> 00:31:58,320 Speaker 1: oxygen from the lungs to the tissues. Uh So she 573 00:31:58,480 --> 00:32:01,640 Speaker 1: thankfully added that little bit to teach us more about 574 00:32:01,720 --> 00:32:04,000 Speaker 1: veterinary medicine. I believe that is also a thing that 575 00:32:04,040 --> 00:32:06,840 Speaker 1: can happen in humans and not just animals. Yeah, they're 576 00:32:06,880 --> 00:32:12,000 Speaker 1: definitely various blood disorders that can involve too much of 577 00:32:13,080 --> 00:32:17,800 Speaker 1: various blood cells. Yeah, but I did say in that episode, 578 00:32:17,840 --> 00:32:19,440 Speaker 1: you can't have too much blood, like that was a 579 00:32:19,480 --> 00:32:22,240 Speaker 1: crazy idea. Well, and it also reminds me of I 580 00:32:22,240 --> 00:32:25,200 Speaker 1: don't even remember when this was so long ago. We 581 00:32:25,360 --> 00:32:31,120 Speaker 1: at some point mentioned the non non medical practice of trepidation, 582 00:32:31,200 --> 00:32:34,719 Speaker 1: where they would drill holes in people's skulls um and 583 00:32:34,720 --> 00:32:38,640 Speaker 1: how like there's no basis to that at all, And 584 00:32:38,720 --> 00:32:42,320 Speaker 1: people wrote in to say, well, but if you're if 585 00:32:42,360 --> 00:32:45,560 Speaker 1: you're needing to relieve too much pressure on people's brain, 586 00:32:45,640 --> 00:32:48,000 Speaker 1: we do drill a hole in their skull. And I 587 00:32:48,040 --> 00:32:50,479 Speaker 1: was like, yeah, but that that's not trepenation though, like 588 00:32:50,520 --> 00:32:56,600 Speaker 1: that's the medical procedure, right. Trepidation is a different thing. Uh. 589 00:32:56,640 --> 00:32:59,840 Speaker 1: And then we also had both Megan and Aaron wrote 590 00:32:59,840 --> 00:33:02,440 Speaker 1: to us, both of them also involved in veterinary medicine, 591 00:33:02,600 --> 00:33:05,320 Speaker 1: and they mentioned too that one of the things we 592 00:33:05,360 --> 00:33:09,240 Speaker 1: talked about briefly was how it was twelve thousand dollars 593 00:33:09,320 --> 00:33:13,200 Speaker 1: I think in Germany in nine to get a veterinary degree, 594 00:33:13,720 --> 00:33:16,840 Speaker 1: and how that was an exorbitant amount of the time. 595 00:33:16,880 --> 00:33:18,840 Speaker 1: Of course, it continues to be exorbitant to go to 596 00:33:18,840 --> 00:33:21,080 Speaker 1: medical school. Both of them cited figures that are well 597 00:33:21,120 --> 00:33:25,120 Speaker 1: into the six figures. I have such immense respect for veterinarians. 598 00:33:25,200 --> 00:33:28,320 Speaker 1: I love my veterinarian desperately. She's amazing. We've been together 599 00:33:28,400 --> 00:33:32,360 Speaker 1: for more than a decade thirteen years, I think, man, 600 00:33:32,680 --> 00:33:35,479 Speaker 1: which she's like family to me practically, uh, and has 601 00:33:35,520 --> 00:33:38,800 Speaker 1: foolishly given me her private number, which she probably regrets 602 00:33:39,320 --> 00:33:42,960 Speaker 1: because I will text her with things. But we've gotten 603 00:33:42,960 --> 00:33:46,040 Speaker 1: so much great feedback from veterinarians and vet text and 604 00:33:46,080 --> 00:33:48,480 Speaker 1: I just wanted to thank them all for sharing info 605 00:33:48,560 --> 00:33:53,160 Speaker 1: with us, and and they all share such complete passion 606 00:33:53,240 --> 00:33:56,000 Speaker 1: for their work and the life saving stuff that they do, 607 00:33:56,040 --> 00:33:58,240 Speaker 1: and the incredible breadth of knowledge that they have to have. 608 00:33:58,640 --> 00:34:00,880 Speaker 1: So I think every ternary and if I did not 609 00:34:00,920 --> 00:34:03,560 Speaker 1: make that completely clear. There was a brief period in 610 00:34:03,600 --> 00:34:05,360 Speaker 1: my life where after I had been working in a 611 00:34:05,440 --> 00:34:09,239 Speaker 1: secondary education library for over a decade, I thought maybe 612 00:34:09,239 --> 00:34:11,520 Speaker 1: I want to go into animal care, and then I didn't. 613 00:34:11,560 --> 00:34:16,800 Speaker 1: Then went into broadcasting instant, which I know is bizarre, 614 00:34:17,320 --> 00:34:19,360 Speaker 1: but it's because I do not have the wherewithal to 615 00:34:19,400 --> 00:34:23,160 Speaker 1: hack that job. It's very very stressful. Um, no matter 616 00:34:23,200 --> 00:34:25,640 Speaker 1: what level you're at, it's very very stressful. So thank 617 00:34:25,680 --> 00:34:28,120 Speaker 1: you to all of the veterinarians and texts that have 618 00:34:28,160 --> 00:34:30,520 Speaker 1: written us. I appreciate the work you do. Uh if 619 00:34:30,560 --> 00:34:31,759 Speaker 1: you would like to write to us, you can do 620 00:34:31,840 --> 00:34:34,399 Speaker 1: so at History Podcast at how stuff works dot com. 621 00:34:34,440 --> 00:34:37,040 Speaker 1: You can also find us across the spectrum of social 622 00:34:37,080 --> 00:34:39,680 Speaker 1: media as missed in History. You can also come to 623 00:34:39,680 --> 00:34:42,080 Speaker 1: our website to find us, which is missed in history 624 00:34:42,120 --> 00:34:45,600 Speaker 1: dot com, where there are show notes for every episode 625 00:34:45,600 --> 00:34:47,600 Speaker 1: that Tracy and I have worked on. Now those are 626 00:34:47,640 --> 00:34:50,080 Speaker 1: incorporated right into the show page. There's not a separate 627 00:34:50,120 --> 00:34:53,360 Speaker 1: show note page. You can also find every episode of 628 00:34:53,400 --> 00:34:56,680 Speaker 1: the show ever from its inception, way before Tracy and 629 00:34:56,719 --> 00:34:58,640 Speaker 1: I were ever involved, And if you would like to 630 00:34:58,680 --> 00:35:00,400 Speaker 1: learn more, you can go to our parents, which is 631 00:35:00,400 --> 00:35:03,040 Speaker 1: how stuff works dot com. Type in almost anything you 632 00:35:03,080 --> 00:35:06,319 Speaker 1: want about art, or veterinary sciences, or almost any other 633 00:35:06,400 --> 00:35:08,080 Speaker 1: topic in the search bar, and you're going to get 634 00:35:08,080 --> 00:35:11,600 Speaker 1: a wealth of information to delight and entertain and inform you. 635 00:35:11,920 --> 00:35:14,160 Speaker 1: So please come and visit us at missed in history 636 00:35:14,200 --> 00:35:20,920 Speaker 1: dot com and how stuff works dot com. 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