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

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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.

William Hogarth, Unwitting Neurochemist?

William Hogarth's famous etching Gin Lane is often used to illustrate the debilitating results of alcohol addiction. Less well known is the companion etching Beer Street in which death, murder and squalor are replaced by health, orderliness and joy. Some 250 years later, the rise of science, and specifically of neurochemical research, has defined how the malnutrition, including avitaminosis, resulting from addiction to distilled spirits (rather than more judicious use of less potent alcoholic beverages) disturbs brain metabolism and function. These two etchings, which have survived for their historical and artistic value, continue to have sociological and clinical relevance.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/45420/1/11064_2004_Article_290427.pd

What Has Running Got to Do with Our Divided World?

Artist-curator Dr Kai Syng Tan FRSA provides a rundown of how artists use running to think about the world around us, and invites you to join her at the upcoming RUN! RUN! RUN! Biennale 2016 #r3fest, a relay of three cross-country events (co-curated with Annie Grove-White and Dr Carali McCall). I am a Fellow of the Royal Society of the Arts (FRSA). Founded in 1754, past fellows include Charles Dickens, Stephen Hawking, Karl Marx and William Hogarth. Elected fellows come from 80 countries

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

Marghab Rare Book Collection

This is a catalog documenting the Vera Way Marghab Rare Book Collection at the Hilton M. Briggs Library. This collection includes rare books containing the works of William Hogarth, Luigi Mayer, Thomas Templeman, Humphrey Prideaux, Benjamin ben Jonah, Pietro della Valle, Pandolfo Collenuccio, and Richard Pococke

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

Mind, Body, Motion, Matter

Mind, Body, Motion, Matter investigates the relationship between the eighteenth century’s two predominant approaches to the natural world – mechanistic materialism and vitalism – in the works of leading British and French writers such as Daniel Defoe, William Hogarth, Laurence Sterne, the third Earl of Shaftesbury and Denis Diderot. Focusing on embodied experience and the materialization of thought in poetry, novels, art, and religion, the literary scholars in this collection offer new and intriguing readings of these canonical authors. Informed by contemporary currents such as new materialism, cognitive studies, media theory, and post-secularism, their essays demonstrate the volatility of the core ideas opened up by materialism and the possibilities of an aesthetic vitalism of form. This title was made Open Access by libraries from around the world through Knowledge Unlatched