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William Hogarth (1697–1764) was among the first British-born artists to rise to international recognition and acclaim and to this day he is considered one of the country’s most celebrated and innovative masters. His output encompassed engravings, paintings, prints, and editorial cartoons that presaged western sequential art.  This comprehensive catalogue of his paintings brings together over twenty years of scholarly research and expertise on the artist, and serves to highlight the remarkable diversity of his accomplishments in this medium. Portraits, history paintings, theater pictures, and genre pieces are lavishly reproduced alongside detailed entries on each painting, including much previously unpublished material relating to his oeuvre. This deeply informed publication affirms Hogarth’s legacy and testifies to the artist’s enduring reputation. 

In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States.Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Töpffer, Gustave Doré, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form.

The Complete Works of William Hogarth: in a Series of One Hundred and Fifty Steel Engravings From the Original Pictures (Hardback or Cased Book) 0.91

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A reimagining of one of Shakespeare's most well-read tragedies, by the contemporary, critically acclaimed master of domestic dramaHenry Dunbar, the once all-powerful head of a global media corporation, is not having a good day. In his dotage he hands over care of the corporation to his two eldest daughters, Abby and Megan, but as relations sour he starts to doubt the wisdom of past decisions.   Now imprisoned in Meadowmeade, an upscale sanatorium in rural England, with only a demented alcoholic comedian as company, Dunbar starts planning his escape. As he flees into the hills, his family is hot on his heels. But who will find him first, his beloved youngest daughter, Florence, or the tigresses Abby and Megan, so keen to divest him of his estate?   Edward St Aubyn is renowned for his masterwork, the five Melrose novels, which dissect with savage and beautiful precision the agonies of family life. His take on King Lear, Shakespeare’s most devastating family story, is an excoriating novel for and of our times – an examination of power, money and the value of forgiveness.

William Hogarth (1697–1764) was among the first British-born artists to rise to international recognition and acclaim and to this day he is considered one of the country’s most celebrated and innovative masters. His output encompassed engravings, paintings, prints, and editorial cartoons that presaged western sequential art.  This comprehensive catalogue of his paintings brings together over twenty years of scholarly research and expertise on the artist, and serves to highlight the remarkable diversity of his accomplishments in this medium. Portraits, history paintings, theater pictures, and genre pieces are lavishly reproduced alongside detailed entries on each painting, including much previously unpublished material relating to his oeuvre. This deeply informed publication affirms Hogarth’s legacy and testifies to the artist’s enduring reputation. 

Hogarth's prints hang in our pubs and leap out from our history-books. He painted the great and good but also the common people. His art is comically exuberant, 'carried away by a passion for the ridiculous', as Hazlitt said.In this rich, immensely pleasurable biography Jenny Uglow, acclaimed author of Elizabeth Gaskell, uncovers the man, but also the worlds he sprang from and created. After striving years as an engraver and painter, Hogarth leapt into lasting fame with his progresses of the Harlot and the Rake, the fashionable Marriage à la Mode, and the violent scenes of Gin Lane and the Stages of Cruelty. An artist of flamboyant, overflowing imagination, he was a satirist with an unerring eye; a painter of vibrant colour and tenderness; an ambitious professional who broke all the art-world taboos. Never content, he wanted to excel at everything - from engraving to history painting - and a note of risk runs through his life.In Hogarth: A Life and a World, art history comes to life in the voices of Hogarth's own age. The result is an unforgettable portrait of a great artist and a proud, stubborn, comic, vulnerable man.

This final volume in a three-part biographical series covers the last fifteen years of the life of English artist, satirist and social critic William Hogarth (1697-1764) from 1750 when David Garrick. 96pp colour plates

This final volume in a three-part biographical series covers the last fifteen years of the life of English artist, satirist and social critic William Hogarth (1697-1764) from 1750 when David Garrick. 96pp colour plates

This second volume in a three-part biographical series covers the years 1732 to 1750 in the life of English artist, satirist and social critic William Hogarth (1697-1764) when approached and defined. 96pp colour plates

This second volume in a three-part biographical series covers the years 1732 to 1750 in the life of English artist, satirist and social critic William Hogarth (1697-1764) when approached and defined. 96pp colour plates

Directing his pointed wit at the upper echelons of 18th-century British society, William Hogarth, a painter, printmaker, and social critic, mocked the politics and customs of his day. His series of satirical paintings and engravings, which still absorb viewers after nearly three centuries, record human vice and folly with a sharp eye and cutting intelligence. This compelling book, with an accompanying DVD narrated by Alan Bennett, examines Hogarth's best-known series of paintings, Marriage A-la-Mode, and unlocks many mysteries that have surrounded this gripping artistic commentary. Marriage A-la-Mode recounts the story of a marriage arranged between the son of a spendthrift nobleman who needs cash and the daughter of a rich City of London merchant who hopes to buy social status. Love never develops, and the discordant lives of the bride and bridegroom descend into adultery and venereal disease followed by murder, execution, and suicide. Judy Egerton deciphers the visual cues and symbols Hogarth employs in his comic story of doubtful morals.

This authoritative and entertaining exhibition catalog explores the long visual history of a rich and neglected topic: medical quackery, from the itinerant seller of nostrums four centuries ago to the unsolicited spam of today's internet. Presenting a broad variety of material—prints by William Hogarth and Honoré Daumier, posters by Jules Chéret and Maxfield Parrish, and books by H. G. Wells and S. Weir Mitchell—Quack, Quack, Quack offers a delightful look at the remarkable artistry and elaborate language quacks used to peddle their wares: lavish pronouncements, excessive postures, and imaginatively exalted therapeutic promises.The earliest quacks, we see, dressed elaborately, inflated their credentials, and embraced an extravagant vocabulary to market their panaceas, at times claiming their pills and salves would cure all disease. They were succeeded in short order by the makers of proprietary medicines, many of whom adopted quack-style promotional methods while introducing new ones of their own. These vendors advertised widely—often with celebrity testimonials—publishing broadsides, posters, pamphlets, and manifestos to amplify their claims.And though recent strides in medicine mean that most people avoid quacks, and efforts have been made to rid society of patent-medicine makers, the quack survives to the present day, promising to make us all thinner, better-looking, healthier, or more sexually potent. This catalogue—and the 2002 New York City Grolier Club exhibition it originally accompanied—are fascinating reminders of how long such promises have been with us, and in how many unique and scintillating ways they've been made.

For the past ten years, British painter Cecily Brown (born 1969) has been turning heads with her voluptuous, quasi-abstract canvases. All the while, she has been making drawings, study upon study of motifs taken from a wide range of sources, including drawings by the 18th-century master William Hogarth, pages of animals from 19th-century encyclopedias and the cover of Jimi Hendrix’s 1968 album Electric Ladyland.Cecily Brown: Rehearsal is the first book devoted to the artist’s drawings. The volume features approximately 75 drawings, many of which are being published for the first time. Arranged thematically, the book leads readers through Brown’s repeated motifs.

John Lewis Krimmel (1786-1821) was America's first genre painter. A German immigrant who worked in Philadelphia between 1809 and 1821, Krimmel was initially influenced by David Wilkie, William Hogarth, and Benjamin West. After revisiting Europe in 1817-18, he became inspired by German romanticism and found an appreciation for French neoclassical painting. His down-to-earth, slightly jocose, and at times gently moralizing approach to painting successfully linked the neoclassicist's sense of realism and structure with the romantic's dedication to nature and humanity.In this authoritative examination, author Anneliese Harding traces the development of the artist through his sketchbook images and finished oil paintings. Seven sketchbooks now in the library at Winterthur contain about seven hundred separate drawings, ranging from quick pencil sketches to finished watercolor pictures, and are the key to reconstructing Krimmel's conceptual processes. When compared to one another, they show clear distinctions in subject matter and drawing style, commensurate to the stylistic development evident in his paintings. Harding places Krimmel's specialty, genre art, in an international context by discussing his work in terms of larger stylistic trends in American and European art and defines his use of democratic and moralizing themes within the political and social changes affecting Philadelphia and the Continent. The lasting appeal of Krimmel's pictures reflects the recognition that the images present positive aspects of life with an appealing freshness and convincing authenticity.

This selection of poetry draws on different aspects of the poet's career to offer a comprehensive picture. It includes Churchill's most acclaimed and substantial poems, "The Prophecy of Famine," "An Epistle to William Hogarth," and "The Dedication to the Sermons."

Born three hundred years ago in Smithfield, London, William Hogarth established himself as a central figure in eighteenth-century English culture through his paintings, engravings, and outspoken art criticism. In this new edition of Hogarth’s Analysis of Beauty―a unique work combining theory with practical advice on painting―Ronald Paulson includes the complete text of the original work; an introduction that places the Analysis in the tradition of aesthetic treatises and Hogarth’s own "moral" works; extensive annotation of the text and accompanying illustrations; and illuminating manuscript passages that Hogarth omitted from the final printed version.In the development of English aesthetics, the Analysis of Beauty takes a position of high significance. Hogarth’s stature in his own time suggests the importance of his attempt to systematize and theorize his own artistic practice. What he proposes is an aesthetics of the middle range, subordinating both the Beautiful and the Sublime to the everyday world of human choice and contingency―essentially the world of Hogarth’s own modern moral subjects, his engraved works.

Since the 1940s, printmaker Warrington Colescott has trained his brilliant artistic eye on the fashions and foibles of human behavior. A satirist in the tradition of William Hogarth, Francisco Goya, Honoré Daumier, and George Grosz, Colescott utilizes his sharp wit and vivid imagination to interpret contemporary and historical events, from the personal to the public, the local to the international. He is especially noted for his exceptional command of complex printmaking techniques and for his innovative approach to intaglio printing.    The Prints of Warrington Colescott: A Catalogue Raisonné, 1948–2008 is the first fully illustrated catalogue to document Colescott’s extensive and varied graphic career. Author and curator Mary Weaver Chapin has worked closely with Colescott, interviewed him at length, and had unique access to his private papers and archives. She documents his personal and artistic life in a detailed biographic sketch, and her extensive essay “Research Printmaker and Mad-Dog Attack Artist” examines the evolution of his printmaking career, focusing on his technique, iconography, and his place in American printmaking. The catalogue documents and depicts all 359 of Colescott’s editioned prints, providing title, date, media, dimensions, and selected exhibition history and collections for each print, along with comments and anecdotes by Chapin and Colescott.Published in collaboration with the Milwaukee Art Museum· The exhibition “Warrington Colescott: Cabaret, Comedy & Satire” will open at the Milwaukee Art Museum in June 2010.  Visit www.mam.org Finalist, Arts Book, Midwest Book Awards

Shortlisted for the 2018 Apollo Book of the Year award Pioneered by William Hogarth (1697–1764) and his peers in the early 18th century, and then revitalized by Johan Zoffany (1733–1810), the conversation piece was an innovative mode of portraiture, depicting groups posed in landscape or domestic settings. These artists grappled with creating complex multi-figured compositions and intricate narratives, filling their paintings with representations of socially, nationally, and temporally precise customs. Paying particular attention to the vibrant (and at times fabricated) interior and exterior settings in these works, Kate Retford discusses the various ways that the conversation piece engaged with the rich material culture of Georgian Britain. The book also explores how these portraits served a wide array of interests and concerns among familial networks and larger social groups. From codifying performances of politeness to engaging in cross-cultural exchanges, the conversation piece was a complex and nuanced expression of a multifaceted society.