The last piece in the book is a carefully structured story in which a thirty-five- year- old narrator and an unnamed young girl go off for a weekend. Time accelerates as playing cards flap in a bike wheel’s spokes as it starts down the hill. A country weekend is a metaphor for a lifetime. The essay ends in contemplation of death as she faces the arrival of autumn in a gust of wind that “blackens the water where it passes, like a finger closing slats.”
Living by Fiction is “metaphysics in a teacup.” Critics liked it. Contemporary modernist fiction (Borges, Coover, Nabokov) is an art of flat surfaces, like abstract expressionism. Meaning resides inside the art work’s relationships. Ultimately more compelling is traditional fiction in depth, using rounded characters, like perspective-using easel painting, because it alone can address our demand for meaning in events.
The essay shows that the print, in Hogarth's typical irony, updates a long pictorial and literary tradition of sleeping during a sermon; sleep, the characteristic signifier of indolence combined with lustful thoughts, a vice that a hard working and ambitious member of the rising middle-class such as Hogarth would have had little patience with.
The essay reconsiders the origin of one of Sir Joshua Reynolds's earliest published articles, which appeared in Samuel Johnson's Idler magazine in 1759 and parodied the self-styled "Connoisseur".
To date, scholars have therefore presumed the essay to have been a direct response to the theories promoted by Hogarth in his Analysis of Beauty (1753).The present study challenges this, with the examination of a less known book which appeared only four months before the Idler essay - Benjamin Ralph's The School of Raphael, or the Student's Guide to Expression in Historical Painting.
The author in desiring not to write a chronological life-story of Hogarth has chosen a series of thematic essays "each devoted to an aspect of the social and cultural history of the period".
This 40-page catalogue throws new light upon Hogarth's Sigismunda, considering the painting in the context of contemporary debates about female sexual desire, luxury consumption, and the modernity of English art.
Now you can scroll down and read on, or click on the area you are interested in:Publications on William Hogarth by Other Scholars, Written Shortly Before and After the MillenniumMore Recent Books on HogarthStandard LivesCatalogues of PaintingsCatalogues of EngravingsDrawingsArt Historical Contexts and InterconnectionsHogarth's WritingsHogarth and the Literature of his TimeMiscellaneous Studies, Monographs and Exhibition CataloguesOlder SourcesOnline ArticlesCurrent Publications (Search Engines' Results)Online Image Archives of Paintings and Prints by William HogarthFurther Useful Links Relating to HogarthPUBLICATIONS ON WILLIAM HOGARTH BY OTHER SCHOLARS, WRITTEN SHORTLY BEFORE AND AFTER THE MILLENNIUMMark Hallett, The Spectacle of Difference: Graphic Satire in the Age of Hogarth, New Haven and London: Yale University Press, 1999.
It shows that, whether Hogarth depicts a harlot; a wealthy patroness; a gouty earl; a dissolute rake; a black servant; an "effeminate parasite"; issues of class; gender; and race, reverberate throughout his paintings and prints and deeply inform his unique innovation, the "modern moral subject".
Contents: James Grantham Turner ("'A Wanton Kind of Chace': Display as Procurement in A Harlot's Progress and its Reception"); Frédéric Ogée ("The Flesh of Theory: The Erotics of Hogarth's Lines"); Christina Kiaer ("Professional Femininity in Strolling Actresses Dressing in a Barn"); Peter Wagner ("Spotting the Symptoms: Hogarthian Bodies as Sites/Sights of Semantic Ambiguity"); Angela Rosenthal ("Unfolding Gender: Women and the 'Secret' Sign Language of Fans in Hogarth's Work"); Mark Hallett ("Manly Satire: William Hogarth's A Rake's Progress"); Richard Meyer (" 'Nature Rever'd': Satire and Sexual Difference in Hogarth's London"); David H.
Such smutty motifs were expected only in "low" Dutch genre pictures at that time, and it is possible that in Hogarth's paintings and prints these motifs serve to characterize the low social milieu of his contemporaries.
The volume includes contributions by David Bindman (Preface); Frédéric Ogée ("From text to image: William Hogarth and the emergence of a visual culture in eighteenth-century England"; "Je-sais-quoi: William Hogarth and the representation of the forms of life"); Peter Wagner ("Hogarthian frames: The 'new' eighteenth-century aesthetics'"; "Representations of time in Hogarth's paintings and engravings"); John Bender ("Matters of fact: virtual witnessing and the public in Hogarth's narratives"); Michel Baridon ("Hogarth's 'living machines of nature' and the theorisation of aesthetics"); Sean Shesgreen ("William Hogarth's Enraged Musician and the Cries of London"); Mark Hallett ("The view across the city: William Hogarth and the visual culture of eighteenth-century London"); Diana Donald ("This truly natural and faithful painter': Hogarth's depiction of modern life"); Werner Busch ("Hogarth's Marriage A-la-Mode: the dialectic between precision and ambiguity"); David H.
It interprets the preacher in Hogarth's Enthusiasm Delineated primarily as an art dealer, and, as he is weighing works by Raphael and Rubens, the favourite painters of Roger de Piles, reads the whole scene as an ironic allusion to de Piles's Balance des Peintres, the notorious "hit parade" guide for eighteenth-century connoisseurs of painting.