William Hogarth. Artwork page for ‘The Betrothal: Lessons: The Shipwreck, after ‘Marriage a la Mode’ by Hogarth’, Paula Rego, 1999 This triptych is based on William Hogarth’s satirical series Marriage-À-la Mode (1743-5). The engravings, published in 1745, are uncoloured, reversed versions of the paintings. Marriage à la Mode c. 1743 Oil on canvas, 70 x 91 cm National Gallery, London: This is Scene 1 of the series of six, entitled The Marriage Settlement. He decided to try the new approach of painting and engraving ‘modern moral subjects’ which he described as so novel as to be a ’Field unbroke up in any Country or any age‘. Rue de la bière – William Hogarth À l’époque de Hogarth, la gravure était considérée comme un genre indigne d’un véritable artiste, pas l’art, mais l’artisanat. The title, though little else, is taken from John Dryden’s play Marriage A-la-Mode first performed in 1672. The Inspection, 4. An inkstand, quill pen, sealing wax and a candle are on the table ready for signing and sealing the settlement. These pictures were at first poorly received by the public, to the great disappointment of the artist. Her child, deformed and crippled by congenital syphilis, embraces her and her father takes a ring from her finger. The word was traditionally used to describe coffee houses which offered Turkish baths, but by 1740 it meant a place where rooms were provided for the night with no questions asked. Marriage a la Mode was a six part series of paintings and engravings produced by William Hogarth in the period of 1743-1745. Hogarth intended to demonstrate that an infinite variety of characters could be shown without resorting to caricature. This is the currently selected item. The Viscount’s fashionable French dress suggests that he too has travelled, probably around Europe on the Grand Tour. Marriage la Mode, a series of six etchings by English engraver and painter William Hogarth, was printed as social commentary for the eighteenth century audience comparable to our modern dramas. Marriage a la Mode. Hogarth based his figure of the Viscount on John Wootton’s illustration to one of Gay’s Fables, The Monkey who had seen the World. This series were not received as well as his other moral tales, A Harlot's Progress (1732) and A Rake's Progress (1735), and when they were finally sold in 1751, it was for a much lower sum than the artist had hoped for. For at least a century before and after Hogarth painted The Shrimp Girl, most of the travelling sellers of shellfish in London were women, usuall... Research, private study, or for internal circulation within an educational organisation (such as a school, college or university), Non-profit publications, personal websites, blogs, and social media. Marriage la Mode, a series of six etchings by English engraver and painter William Hogarth, was printed as social commentary for the eighteenth century audience comparable to our modern dramas. ... William Hogarth, Marriage A-la-Mode (including Tête à Tête) Thomas Gainsborough, Mr. and Mrs. Andrews. An apothecary scolds the servant whom he accuses of obtaining the poison. Selected Page. Folklore, Vol. You must agree to the Creative Commons terms and conditions to download this image. He may have picked up syphilis, known as the French disease, while abroad. Download a low-resolution copy of this image for personal use. The pictures are held in the National Gallery in London. Published in 1745, the engravings were offered to subscribers at a guinea a set. Scene 6: The Lady’s Death: The final scene takes place in the house of the Countess’s father. After the masquerade, the Countess and her lover Silvertongue have taken a room above the Turk’s Head – a Turkish baths, or Bagnio. Paulson, Ronald. Hogarth was a devoted play-goer and made his name as a painter with a scene from John Gay’s The Beggar’s Opera. William Hogarth was born in Smithfield London in 1697, his father was originally a Latin teacher but he ventured into a coffee house business which made him bankrupt. The Tête à Tête, 3. The writer Henry Fielding described Hogarth as a ‘Comic History Painter’, but one whose characters are free from the ’distortions and exaggerations of caricature‘. Normally, when undertaking paintings that are to be engraved, the painting is produced the "right way round" — not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Marriage A-la-Mode [1] [fn 1] is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. His new focus on morality was characteristic of his own approach to life, satirising vice and folly. The Alderman’s family will acquire an aristocratic title through the marriage; the Earl will get his hands on ready cash, which has already been emptied out from the money bags onto the table. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. After Lane's death they became the property of his nephew, Colonel Cawthorn. Marriage à la Mode: The Lady's Death by William Hogarth (c.1743) We have finally arrived at the final chapter of this set of six satirical paintings by the English artist, William Hogarth, entitled Marriage à la Mode . These are the four Graham children. He sold them to a Mr. Lane of Hillington for one hundred and twenty guineas. The Tête à Tête. 199–201. Over and above the title itself, Marriage A-la-Mode includes Italian and Dutch Old Masters, French portraiture and furnishings, oriental decorative arts, an Italian castrato singer and a French dancing master, a turbaned black pageboy, a masquerade reference, a bagnio and an aristocratic toilette. One of his best known works is called Marriage A La Mode. History painting was the most prestigious of the genres, depicting heroic scenes from the past and from mythology intended to inspire and educate the viewer. Engravings. The basic story is of a marriage arranged by two self-seeking fathers – a spendthrift nobleman who needs cash and a wealthy City of London merchant who wants to buy into the aristocracy. William Hogarth (1697–1764), Marriage A-la-Mode: 2, The Tête à Tête (c 1743), oil on canvas, 69.9 × 90.8 cm, The National Gallery, London. Scene 4: The Toilette: After the death of the old Earl the wife is now the Countess, with a coronet above her bed and over the dressing table, where she sits. Folklore Motifs in Late Medieval Art III: Erotic Animal Imagery. William Hogarth FRSA was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. 102, No. No preliminary studies are known and none may have been made. The Earl’s son, the Viscount, admires his face in a mirror. But for this series he invented the characters, plot and the title of each scene. William Hogarth (English, 1697–1764), Plate I, Marriage A-La-Mode, 1745, (The Marriage Settlement), etching and engraving, Anonymous Donor’s Purchase Fund, LSUMOA 62.8.58 PLATE II The Countess and the lawyer have retired there after the masquerade. The satirical thrust of Marriage A-la-Mode is as much about patronage, aesthetics and taste as it is about marriage and morals. He is self-interested and vain and rests his gouty foot on the footstool. The Countess's Morning Levee, Marriage à-la-mode series, 1743. Marriage a la Mode by William Hogarth. [3], In Marriage A-la-Mode Hogarth challenges the traditional view that the rich live virtuous lives, and satirises arranged marriages. The unfinished house seen through the window – of a preposterous design that breaks all architectural rules – suggests that the Earl’s resources are strained. The Earl of Squander is receiving guests in the bedroom of his town house; his canopied bed with a coronet on top is in the corner. Perhaps the subjects had become too familiar in the form of engravings as one of only two bidders, John Lane, came forward and he purchased the set of paintings for £126. She has taken poison on learning that her lover has been hanged for the murder of the Earl, reported in the broadsheet at her feet. This is the first in Hogarth’s series of six paintings titled Marriage A-la-Mode. William Hogarth. 27 x 35 inches. Both series sold out and proved extremely successful with people from all walks of life. He wears his gold chain of office as an Alderman of the City of London and a sword, which sticks out from between his legs in an ungainly fashion. Artist. This page was last edited on 28 December 2020, at 20:41. As a receipt for payment of the first half-guinea, subscribers were issued with a print of Hogarth’s etching Characters and Caricaturas, based on one of the sixteenth-century Italian artist Agostino Carracci’s sheets of caricatures. Title: Marriage-a-la-Mode, Plate VI; Creator: William Hogarth; Date: April/June 1745; Physical Dimensions: w61 x h45.7 cm (sheet) Type: Prints; Medium: Engraving and etching on laid paper, state II or III; Printer: Gérard Jean Baptiste Scotin, the Younger; Credit Line: The … Marriage A-la-Mode [n 1] est une série de six tableaux peints par William Hogarth entre 1743 et 1745, qui représentent une vision aiguisée de la haute société anglaise du XVIII e siècle. The large black spot on the groom’s neck indicates that he is suffering from the venereal disease syphilis. It had been Hogarth's intention to follow the Marriage A-la-Mode series with a companion series called The Happy Marriage, but that series only exists as a series of unfinished sketches. References. The paintings were offered for sale by twelve noon on 6 June 1751, but only attracted two bidders, one of whom bought them all for £126. c. 1743 C.E. The lawyer Silvertongue invites her to a masquerade, like the one depicted on the screen to which he points. This was the first of Hogarth's satirical moralising series of engravings that took the upper echelons of society as its subject. Marriage à la Mode, Plate 1, 1745. Some months after the wedding, the Viscount has returned from a … Prior to completion the artist had advertised the paintings for sale. Two dogs, chained together in the bottom left corner, perhaps symbolise the marriage. They proved instantly popular and gave Hogarth’s work a wide audience. The engravings are uncoloured, reversed versions of the paintings. William Hogarth Page Menu. William Hogarth wordt gerekend tot de eerste kunstenaars die verhalende werken in serie produceerde, als een soort voorloper van het beeldverhaal of het latere stripverhaal. The Tête à Tête, from Marriage à la Mode. This is the second in Hogarth’s series of six paintings titled Marriage A-la-Mode. She has also become a mother, and a child’s teething coral hangs from her chair. The Earl’s son, Viscount Squanderfield, and the Alderman’s daughter have no interest in each other or the marriage. The Marriage Settlement, 2. He is presumably well aware of what it will cost him to marry his daughter to the Earl’s son. In Marriage A-la-Mode Hogarth challenges the traditional view that the rich live virtuous lives, and satirises arranged marriages. Help keep us free by making a donation today. This is regarded by some as his finest project, and the best example of his serially-planned story cycles. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for Marriage à-la-mode already reversed so the engraver could directly copy them. William Hogarth, Marriage A-la-Mode, c. 1743, series of six paintings, oil on canvas, 69.9 x 90.8 cm (The National Gallery, London) Hogarth’s series consists of six paintings which served as models for the engravings: 1. Thomas, in his gilded baby carriage adorned with a bird, had already died when Hogarth was working on the picture. The Toilette, 5. He is negotiating the marriage of his son to the daughter of a rich Alderman of the City of London. A foxhound and bitch, chained together round the neck, anticipate the bonds of matrimony that will soon tie them together. In the centre of the scene is the marriage settlement – a large parchment document in the Alderman’s hands. Their father was Royal Apothecary to George I and George II. William Hogarth – Marriage à-la-mode – takes us into the unholy world of love affairs and marriage contracts amongst the aristocracy, with a plot portraying scenes of human indulgence and greed. The young Earl has followed them and is dying from a wound inflicted by Silvertongue, who escapes through the window, while the Countess pleads forgiveness. The paintings were offered for sale by twelve noon on 6 June 1751. Commentators have used a variety of names for the individual paintings, but as the paintings are presently in the National Gallery the names used there are used here.
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