William Hogarth (1697-1764)

Résumé du document

The exhibition about William Hogarth at the Louvre museum is an essential one for many reasons. First of all, it is the first time that such a retrospect is held in France to honor the British painter. Besides, it is the occasion to discover or rediscover this genius artist admired by the intellectual sphere of his time, but almost forgotten in France. The retrospect shows each stage in Hogarth's career which led him to his major purpose, the creation of a British School of Painting. The association of Olivier Meslay, curator at the Louvre, and Frederic Ogee, professor in British studies, makes it possible to replace Hogarth's work in its historical and intellectual context. First known as an engraver, Hogarth started his art by depicting the social satire with a hint of moral and humor. In the 18th century, London had become the scene of popular events which inspired the young artist.

Extraits

[...] Soon, Hogarth revealed himself as a talented portrait-painter. By the mean of the portrait group or what he called conversation piece”, in which figures are represented in action, faithful to his ideas, Hogarth insisted on the moral character of his models. And last but not least, William Hogarth wrote one of the most important and modern aesthetic treatise, published in 1753, The Analysis of Beauty, on which is built almost his entire work of art. Biographic details Some biographic elements will help to best understand the exhibition as well as Hogarth's personality. [...]

[...] Each work tells a story divided in several stages full of details to end with a final moral. The Four Stages of Cruelty is certainly the most horrible. Through four scenes, Hogarth exposes the human cruelty and violence towards animals on which is based the crime issue in London. This work can be linked to the political campaign organised by Hogarth's friend, Henry Fielding, against criminality. The observer can follow the evolution of the main character, Tom Nero, from his childhood to his death, embodying the education of evil. [...]

[...] Bibliography William Hogarth, Musée du Louvre, Paris oct. 2006-8 janv RMN. MAROZEAU M., William Hogarth le démocrate in Le Journal des arts, n°246, p.10, Artclair Editions, Paris SMOLDEREN T., William Hogarth Les Quatre Etapes de la cruauté in Beaux Arts Magazine, n°268, p.120-123, TTM Editions, Paris The Painter and his Pug London, Tate Britain. The Strode Family London, Tate Britain. The Four stages of cruelty, Cruelty in Perfection Paris, BNF. A Harlot Progress, The Arrival in London Paris, BNF. David Garrick and his wife London, The Royal Collection. [...]

[...] Ones more, Hogarth played an essential role in 1768, in the creation of the Royal Academy of Arts. Hogarth seriously criticised the influence of foreign arts such as the Italian opera and wrote an article entitled Britophil to expose the lack of a national identity, in the artistic field. This critic is illustrated by several paintings such as The Gate of Calais or The Beggar's Opera[10], a parody of the Italian Opera, inspired by the theatre play of John Gray, very popular in the 18th century. [...]

[...] The association of Olivier Meslay, curator at the Louvre, and Frédéric Ogée, professor in British studies, makes it possible to replace Hogarth's work in its historical and intellectual context. First known as an engraver, Hogarth started his art by depicting the social satire with a hint of moral and humour. In the 18th century, London had become the scene of popular events which inspired the young artist. Moreover, the middle-class in constant development was the main target in the engravings diffusion process. The most striking in Hogarth's art is his narrative skill. Each scene he painted is a story in itself. [...]