Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge.

Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth Caversham Press, KwaZulu-Natal, South Africa Printmaking Printmaking in South Africa Resistance art Narratology, narrative, discourse, story, plot, Transference of narratives Sequential art narrative and comics This dissertation considers the prints by South African artists, William Kentridge, Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in the context of William Hogarth’s historical suites of prints referred to in the title of the exhibition, and contemporary theories about Sequential Art and Narrative. Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal, particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987

William Hogarth (1697-1764), Hudibras and house decoration

No abstract available

Laurence Sterne's Tristram Shandy and the Aesthetic Theory and Practise of William Hogarth

Laurence Sterne's Tristram Shandy in many wetys follows the same aesthetic principles that English painter William Hogarth displays in his work and discusses in his treatise The Analysis of Beauty. The affinities between Hogarth's and Sterne's aesthetic methodologies have been noted--but not subjected to close examination--by modern scholars. This thesis explores some of the similarities between the two men: their rejection of neoclassical convention, their attempts to transcend the boundaries of their respective mediums, their ultimate recognition of the intrinsic differences between literature and art and of the limitations and advantages peculiar to each, and their espousal of rococo values: Hogarth in his moral progresses and In his Analysis of Beauty, and Sterne in the narrative structure of Tristram Shandy. Sterne acquired from Hogarth illustrations to Tristram Shandy, confesses his admiration for the painter's method of characterization, and commended and borrowed freely from his Analysis. This evidence strongly suggests (but cannot conclusively prove) that Hogarth influenced Sterne's narrative methodology in Tristram Shancty. Even if Sterne did not consciously and deliberately incorporate Hogarth's aesthetic principles into his novel, the many analogies between the techniques used by the two men reveal much about the general aesthetic movement taking place in the eighteenth-century; a movement in which they played an important part. It is hoped that this thesis will raise further questions regarding the relationship between Sterne's Tristram Shandy and William Hogarth, a relationship which might be more significant than previously supposed.Master of Arts (MA

The Harlot\u27s Progress: a series of misfortunes, based on the work of William Hogarth and his character, Moll Hackabout

This project was birthed from an accident, when, searching for 17th century engravings of Diana and Minerva, I found the “The Harlot’s Progress” nestled at the bottom of a box in the Special Collections and Archives. A series of six etchings, “The Harlot’s Progress” is a single story – the tale of a young girl, Moll Hackabout, gone to London and the hardships that follow her there. The artist, William Hogarth, was an 18th century English painter, a satirist, influenced by French style engravings. Hogarth drew extensively from reality – some of the characters his series are candidly based on real people, and the narrative pulled from infamous tales of harlots, bawds, and rakes. Intrigued by the name, the story, and the style, I perused the James B. Duke Library, surprised to find a wealth of academic writing about “The Harlot’s Progress.” In an attempted change of pace, however, I endeavored not to write an analysis of Hogarth as an artist, but to write the story of Moll Hackabout in my own style, drawing directly from the resources at hand. What follows is the result of my research. Much of the story is a twice-told tale – grounded in the original etchings and research – but much of it is my own vision, my own details, my own dialogue. I have included some follow-up reading, should the reader like to know more about William Hogarth or Moll Hackabout

The marketing techniques of William Hogarth (1697-1764), artist and engraver.

Abstract In its commercial gearing, the eighteenth-century publishing industry updated and extended popular print. New productions included an increase in the number of newspapers, books such as the novel and the engraved print which, as a repeatable commodity, became a feature of a society in which art was considered a commercial activity as well as a cultural one. The prospect of art becoming as much a commercial entity as an endorsement of cultural status provided enterprising artists such as William Hogarth with the opportunity to satisfy the requirements of an expanding, diverse and literate audience on terms with which they would be familiar. This related not only to the creation of a narrative form of art within the framing strictures of the book and text, but also the establishment of a direct link between the artist and the ‘public at large’ by the strategic use of newspaper advertisements and the competitive promotion of works through the subscription process. These key entrepreneurial activities are considered alongside the securing of intellectual property rights for artists by Hogarth through his successful promotion of the Engravers Copyright Act 1735 which made artists independently responsible for the production and distribution of their own work. Chapter One outlines the conceptual framework for the analysis and interpretation of contemporary society in the early eighteenth-century. This takes into account changes in cultural gradations and the effect these had on commercial trading patterns and aesthetic interpretations of art. Chapter Two provides an overview of the background and upbringing of William Hogarth and the trajectory of his career as he became influenced by commercial opportunity and the prospect of a more open and diverse market for art. Chapter Three identifies technical developments in print and publishing during the period and demonstrates how these and the subscription process provided William Hogarth with commercial opportunities not previously available to artists. The creation by Hogarth of the visually attractive subscription ticket as an artistic item in its own right is considered along with a social analysis of sixty-four signed subscription tickets as a guide to audience composition. Chapter Four analyses the use of advertising in London newspapers by William Hogarth and the specific strategies he adopted on a print by print basis. It also provides fresh evidence of which newspapers were most advertised in and the prints which featured most frequently. Chapter Five reveals the extent to which auction sales in London, as unregulated sales events, responded to, and assisted in the commercialisation of art as an exchangeable commodity once it had left the artists hands. This demonstrates the extent to which the quest for cultural capital of an increasingly large consumer base exerted a formative influence on the commercial and marketing techniques of eighteenth -century art.

Hogarth to Monster Wheels : A grotesque connection

When an audience is exposed to deformed, altered and abnormal entities, their interpretation relies on some form of cultural awareness of both the expected and the altered shape to stimulate a reaction. I maintain that the stimulus for this reaction has its roots in a dark and terrifying primal force, the manifestation of which we regard as the grotesque. This thesis looks for a commonality in a satirical interpretation afforded to this grotesque force. By using the caricatures in William Hogarth\u27s engravings and the altered cars in three contemporary films. I search for a correlation between the way Hogarth and the film directors have grotesquely altered their characters/cars as a way of parodying common elements to satirize them. I will argue that the audience of Hogarth\u27s period will have experienced a similar fear response as that of a contemporary audience, and that even though there are many cultural and sociological variables that separate the two periods, the core reaction will have its foundation in a common instinctual force

From Paintings to Opera: Discovering the Reimagination of William Hogarth's A Rake's Progress in Igor Stravinsky's The Rake's Progress

The Rake?s Progress (1951) is a well-known satirical opera in three acts with an epilogue by Igor Stravinsky (1882-1971), with a libretto written by Wystan Hugh Auden (1907-1973) and Chester Kallman (1921-1975). This opera is based on William Hogarth?s (1697-1764) series of eight paintings, A Rake?s Progress (1734), which inspired Stravinsky during his visit to the Art Institute of Chicago on May 2, 1947. Even though many scholars have conducted discussions on the opera itself, there is little scholarship on the influence of Hogarth?s paintings on Stravinsky?s opera. This dissertation considers how Stravinsky, Auden, and Kallman translated Hogarth?s series of satirical paintings into a period opera to which audiences in the mid-twentieth century could relate. As I am a collaborative pianist that works extensively with singers and opera projects, I aim for this document to be helpful as a guide for singers, vocal coaches, or other interested individuals who wish to have a fresh perspective on this opera. I have divided this dissertation into three parts. In the first part of my disquisition, I investigate Stravinsky?s motivation to write this opera by researching the societal culture, in both early-eighteenth-century London and the mid-twentieth-century United States. In the second part of this paper, I track the collaborators' creative decisions in altering the opera's narrative. I review the libretto of the opera and the iconography of Hogarth?s series of paintings which consists of religious and cultural symbols reflecting Hogarth?s perspective on morality during his time. I also consult modern scholarships in interpreting the narrative and proceed to establish the relationship between the libretto and Hogarth?s paintings. In the third part of this dissertation, I critically analyze selected arias of the opera to investigate how Stravinsky employs neoclassicism in bringing the libretto to life in the music. Ultimately, this dissertation provides a fresh perspective on Stravinsky?s opera by giving a better understanding of Hogarth?s views on morality and culture in eighteenth-century London through his series of engravings as well as how Stravinsky, Auden, and Kallman translated Hogarth?s intentions for their own purposes in this opera, The Rake?s Progress

The line of Grace: principles of road aesthetics in design of the Blue Ridge Parkway

The Blue Ridge Parkway, NC and VA (1934-87) is considered to be one of America's most beautiful roads. However, very little is known about the origins of its physical design or of public response to it. The hypothesis of the research is that the design of the BRP is based upon the eighteenth century aesthetic theory of William Hogarth and Edmund Burke. Hogarth's concept of the serpentine "Line of Grace" and Burke's theory that beauty is connected with emotion and motion are reviewed in conjunction with the BRP design. Qualitative and quantitative methods were used to research the hypothesis. Qualitative methods included secondary and primary sources, including elite interviews of persons associated with the early design of the BRP and archival research of design documents and memoranda. Quantitative methods included a pilot and public survey to determine if current public experience of the parkway is consistent with Hogarth's and Burke's theories.Results indicated that the BRP appears to embody many of the aesthetic principles of Hogarth and Burke. The motor road's spiral curves express the three dimensional characteristics of Hogarth's serpentine "Line of Grace ". The parkway landscape reflects the principles of variety espoused by Hogarth and Burke. A direct link to Hogarth and Burke was not found -that is the BRP was not consciously designed according to their theories. However, links to the eighteenth century theories were found in the designers' education and apprenticeship.Survey results indicate that public response to the BRP design is very positive. The public response particularly supported Burke's concept that a feeling of calmness, or relaxation, is associated with positive perception of landscape scenery

The Beautiful, Novel, and Strange

Originally published in 1995. In The Beautiful, Novel, and Strange, Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty—worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange.Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers