Londres National Gallery. William Hogarth - William Hogarth - Reputation and success: Hogarth eloped in March 1729 with Thornhill’s daughter Jane. You must agree to the Creative Commons terms and conditions to download this image. Several details imply she is probably enjoying an affair of her own. William Hogarth (1697–1764), Marriage A-la-Mode: 2, The Tête à Tête (c 1743), oil on canvas, 69.9 × 90.8 cm, The National Gallery, London. $14. The engravings are uncoloured, reversed versions of the paintings. The basic story is of a marriage arranged by two self-seeking fathers – a spendthrift nobleman who needs cash and a wealthy City of London merchant who wants to buy into the aristocracy. Choose your favorite william hogarth designs and purchase them as wall art, home decor, phone cases, tote bags, and more! Hogarth intended to demonstrate that an infinite variety of characters could be shown without resorting to caricature. The engravings, published in 1745, are uncoloured, reversed versions of the paintings. The Marriage Settlement, 2. This image of the Viscount is probably the best-known single figure in all Hogarth’s work. Le père, originaire du Westmorland, fait modestement vivre sa famille de son métier de maître d'école. English painter and printmaker William Hogarth is best known for his moral and satirical engravings and paintings, such as his eight-scene A Rake’s Progress (begun in 1732) and Marriage à la Mode (begun in 1745). Two fiddle cases lie on top of one another on an overturned chair, suggesting that the Viscountess has been spending the evening in activities more intimate than simply playing whist. We are temporarily closed. Witty, satirical, subversive and hugely talented, William Hogarth remains one of the most fascinating and innovative artists from the eighteenth century. The Marriage Settlement. This image is licensed for non-commercial use under a Creative Commons agreement. Scene 2: The Tête à Tête: The young couple’s home reflects their own antipathy and disharmony. Oil on canvas. The Lady’s Death. Download a low-resolution copy of this image for personal use. She is talking to her admirer Silvertongue while having her hair dressed. The lawyer Silvertongue invites her to a masquerade, like the one depicted on the screen to which he points. For centuries, the English have been fascinated by the sexual exploits and squalid greed of the aristocracy, and these are the subjects of the six-part series Marriage A-la-Mode, which illustrates the disastrous consequences of marrying for money rather than love. For centuries, the English have been fascinated by the sexual exploits and squalid greed of the aristocracy, and these are the subjects of one of the supreme achievements of British painting – Hogarth’s six-part series Marriage A-la-Mode, which illustrates the disastrous consequences of marrying for money rather than love. The large black spot on his neck denotes syphilis. The Viscount returns exhausted from a night spent away from home, probably at a brothel: the dog sniffs a lady’s cap in his pocket. The Viscountess may be signalling to someone with her small folding pocket mirror. The Lady's Death. Now a Countess, she is following the aristocratic French fashion of receiving visitors as she finishes getting dressed. Londres. This is the final scene of Hogarth’s series of six paintings, Marriage A-la-Mode. Her child, deformed and crippled by congenital syphilis, embraces her and her father takes a ring from her finger. He decided to try the new approach of painting and engraving ‘modern moral subjects’ which he described as so novel as to be a ’Field unbroke up in any Country or any age‘. Painted in 1743, the series was Hogarth's first to satirise the upper classes. Overview / In-depth. Style: Rococo. The bride stretches sleepily, apparently after a whole night playing cards. This series were not received as well as his other moral tales, A Harlot's Progress and A Rake's Progress, and when they were finally sold in 1751, it w The satirical thrust of Marriage A-la-Mode is as much about patronage, aesthetics and taste as it is about marriage and morals. It was also offered as uncoloured, reversed engravings for a guinea. The Methodist, a servant, is seen walking out of the opulently decorated room. The Viscount is seated on the right and his wife is across from him. All william hogarth paintings ship within 48 hours and include a 30-day money-back guarantee. The word was traditionally used to describe coffee houses which offered Turkish baths, but by 1740 it meant a place where rooms were provided for the night with no questions asked. It was Hogarth’s first moralising series satirising the upper classes. For those of you who have just alighted on this page, I would suggest you start by looking at yesterday’s offering, which is the first in a series of six paintings by William Hogarth, which together were entitled Marriage à-la-mode. Shop for william hogarth art from the world's greatest living artists. The Marriage Settlement2. They were painted to be engraved and then sold after the engravings were finished. Jun 29, 2014 - The Tête à Tête, from Marriage à la Mode. The crossed carnations (funeral flowers) beside him are a tender reminder of death. The Tête à Tête, 3. c. 1743 C.E. After the masquerade, the Countess and her lover Silvertongue have taken a room above the Turk’s Head – a Turkish baths, or Bagnio. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. Marriage A-la-Mode. Published in 1745, the engravings were offered to subscribers at a guinea a set. The Tete-a-Tete. The tired Viscountess, who appears to have given a card party the previous evening, is at breakfast in the couple’s expensive house, which is now in disorder. William Hogarth. Series: Mariage à la Mode. William Hogarth. The Tête à Tête3, The ... William Hogarth, Marriage A-la-Mode, c. 1743, oil on canvas, 69.9 x 90.8 cm (The National Gallery, London)1. Marriage à la Mode: The Tête à Tête by William Hogarth. Marriage A-la-Mode[fn 1] is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. History painting was the most prestigious of the genres, depicting heroic scenes from the past and from mythology intended to inspire and educate the viewer. Hogarth uses paintings within his paintings very extensively in this series, to add meaning from their content. William Hogarth est né dans le quartier de Bartholomew Close, à Londres, de Richard Hogarth, un professeur de latin et rédacteur de manuels d'enseignement, et Ann Gibbons, le couple a trois enfants, dont deux filles, Mary et Ann. An apothecary scolds the servant whom he accuses of obtaining the poison. The story focuses on two fathers, one an extravagant nobleman who is short on money and a … It is a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. The Tête à Tête. Help keep us free by making a donation today. English painter and printmaker William Hogarth is best known for his moral and satirical engravings and paintings, such as his eight-scene A Rake’s Progress (begun in 1732) and Marriage à la Mode (begun in 1745). Il décide d'ouvrir en 1703 une sorte de coffee-house réservé aux adeptes de la langue latine, mais il fait faillit… The first of his ’modern moral subjects‘ was A Harlot’s Progress, in six scenes completed in 1731 and engraved by Hogarth himself as a set of six prints published in 1732. $14. Another servant is standing in an adjacent room. License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. William Hogarth, Marriage A-la-Mode, c. 1743, series of six paintings, oil on canvas, 69.9 x 90.8 cm (The National Gallery, London) Hogarth’s series consists of six paintings which served as models for the engravings: 1. Location: National Gallery, London, UK. The popularity of the moralising series helped Hogarth reach a wider audience. Date: 1743. Hogarth View of Room 9 at Tate Britain The groom sprawls in his chair, his hands thrust in his pockets, exhausted from a night of debauchery on the town – the small dog tugs a girl’s muslin cap out of his pocket, and a second muslin cap is wound round the hilt of his sword. The Viscount is seated with his child mistress beside him, he has apparently given her the venereal disease syphilis, as indicated by the black spot on his neck. The engravings are uncoloured, reversed versions of the paintings. The young Earl has followed them and is dying from a wound inflicted by Silvertongue, who escapes through the window, while the Countess pleads forgiveness. Scroll down. Although he did traditional portraits and realistic scenes, Hogarth is most remembered for his satire works and social criticisms. This is the second in Hogarth’s series of six paintings titled Marriage A-la-Mode. Marriage A-la-Mode: 1, The Marriage Settlement, Research, private study, or for internal circulation within an educational organisation (such as a school, college or university), Non-profit publications, personal websites, blogs, and social media. Thomas, in his gilded baby carriage adorned with a bird, had already died when Hogarth was working on the picture. The Methodist looks pious and disgusted, and has a book titled Regeneration in his coat pocket and is holding unpaid bills. A keen and humorous observer of human behavior, Hogarth depicted the exuberant life around him, from couples carousing in bawdy houses and taverns to scenes of fairs and theaters. The Countess and the lawyer have retired there after the masquerade. “The Tête à Tête” “The Tête à Tête” is an oil on canvas painting by the English artist, William Hogarth, from circa 1743.Although he did traditional portraits and realistic scenes, Hogarth is most remembered for … Published in 1745, the engravings were offered to subscribers at a guinea a set. He has the same patch in the series' first painting, which depicts a scene before the marriage. The large black spot used by Hogarth to denote syphilis is clearly visible on his neck. The Inspection. c. 1743 C.E. The painting covered with a curtain in the adjoining room reveals a large bare foot resting on a bed, causing one to think it depicts an activity so indecent that the picture cannot be displayed and also that something clandestine has been going on. But for this series he invented the characters, plot and the title of each scene. The pictures were painted to be engraved and then offered for sale ‘to the Highest Bidder’ after the engravings were finished. A dog sniffs out what looks like a lady’s nightcap in The Viscount's pocket, perhaps suggesting adultery. Hogarth claimed that he designed in his mind’s eye without directly drawing it at the time. Marriage A-la-Mode: 4, The Toilette. The paintings were offered for sale by twelve noon on 6 June 1751. The pictures are held in the National Gallery in London. The William Hogarth paintings listed in this section are confidently attributed to his hand and accompany explanatory descriptions on each artwork. Scene 1: The Marriage Settlement: The Earl of Squander is arranging the marriage of his son to the daughter of a rich Alderman of the City of London. “The Tête à Tête” is an oil on canvas painting by the English artist, William Hogarth, from circa 1743. The marriage proved stable and contented, though childless. The Breakfast Scene (also known as The Tête à Tête); Part of the six-part series 'Marriage-à-la-Mode'; Modelled on the painting by William Hogarth; Engraving print on paper; Engraved by Bernard Baron; Finished by William Hogarth; English School; c.1745. A Rake’s Progress in eight scenes followed; the paintings were completed by mid-1734 and the engravings published in June 1735. The deliberate and assured design of the first three scenes is not matched in the last three. Two fiddle cases lie on top of one another on an overturned chair, suggesting that the Viscountess has been spending the evening in activities more intimate than simply playing whist.
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