Уильям хогарт биография кратко на английском
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William Hogarth
(1697 – 1764)
one of the greatest English artists of the XVIIIth century and a man of remarkably individual character and thought as a boy was apprenticed to a silver plate engraver, which had a considerable bearing on his development
Hogarth excelled in portraiture, conversation pieces, moralistic and dramatic
Narrative occasionally tried his hand at mythological and historical painting
5.
Innovations
William Hogarth gave a comprehensive view of social life (both high and low) within the framework of moralistic and dramatic narrative was a keen and critical observer of life adapted the formality of the ceremonial portrait to a democratic level found inspiration not in the art of the old masters but in life and nature and the London streets
6. Typical traits of creative work earth-bound scenes that teem with life
harmony of form and content an element of satire and caricature exceptional capacity for dramatic composition harmony of form and content
freshness and vitality swift brush work, broad and open
neglect of symmetry and belief in intricacy of form (S-line)
brownish and reddish colour scheme with prevailing golden and greenish tones
7. Most famous canvases ‘ Marriage-a-la-Mode’(series) ‘The Portrait of Captain Coram’ ‘ A Harlot’s Progress’ ‘The Painter and his Pug (Self-Portrait)’ ‘ The Rake’s Progress’ Shrimp Girl’ ‘ Marriage-a-la-Mode 1743-45
Уильям Хогарт
(1697 - 1764)
один из величайших английских художников XVIII-го века и человек удивительно индивидуальный характер и мысли, как мальчик был отдан в серебряной пластины гравера, который имел значительное влияние на его развитие
Хогарт преуспел в портретной, разговор штук, нравоучений и драматические
Фантастика иногда пробовал свои силы в мифологической и исторической живописи
5.
Инновации
Уильям Хогарт дал исчерпывающее представление о социальной жизни (как высокую и низкую) в рамках нравоучений и драматической повествования был острый и критический наблюдатель жизни адаптированы формальность парадного портрета в демократическом уровне нашел вдохновение не в искусстве старых мастеров, но в жизни и природе и на улицах Лондона
6. Типичные черты творчества привязанных к земле сцен, которые кишат жизнью
гармонии формы и содержания элемент сатиры и карикатуры исключительной способности к драматургии гармонии формы и содержания
свежести и жизнеспособность быстрым кисти работы, широкой и открытой
пренебрежения симметрии и веры в Сложность формы (S-линия)
коричневатого и красновато цветовой гамме с преобладающей золотые и зеленоватые тона
7. Большинство известных полотен «Брак-а-ля-режим" (серия) "Портрет капитана Корам '' блудницы Прогресс '' Художник и его Мопс (Автопортрет) '' Прогресс 'Креветки Girl" Похождения "Marriage- -ла-режим 1743-45
(1697 - 1764) 18 века одним из величайших английский художник и один значительно личности и думал, как мальчик - серебряной скульптуры ученик, это для его развития
Хогарт довольно подшипник портреты хорошо, разговор фрагмент, проповеди и драматические
повествование иногда попробовать его руки в мифологии и истории живописи
инноваций 5.Уильям Хогарт для социальной жизни (общее мнение высокого и низкого) в морали и драматические повествование - проницательный и ключевых соблюдать этикет портрет формы жизни адаптации к демократии степени вдохновение не старый мастер искусства, а в жизни и природы и улицах Лондона
6 рамок.типичные черты сцены творческие работы на земле, полон жизни
гармоничного, сатира на формы и содержания и формы и содержания работы быстро
свежие и жизнеспособность кисти драматические состав гармоничного комиксы особые способности один элемент, широкий и открытый
в сложных форм симметрии и убеждений игнорировать (линии)
коричневый и красный и золотой и зеленые тона, как правило,
7 программ.Наиболее известные картины "marriage-a-la-mode" (серии), портрет, капитан в "шлюха" прогресса художник и его мопс (автопортрет) "Прогресс" девочка "marriage-a-la-mode до 1743-45 креветки
Уильям Хогарт (William Hogarth; родился 10 ноября 1697 года — умер 26 октября 1764 года) — это знаменитый английский художник XVIII века, один из основателей британской национальной школы живописи. Уильям Хогарт также признан выдающимся мастером социальной сатиры и карикатуры. Его картины пользовались огромной популярностью при жизни художника и не утратили актуальности в наше время.
Уильям Хогарт по праву считается основоположником реализма в английской живописи. Для реализации своих грандиозных творческих замыслов художник часто создавал не отдельные произведения, а целые циклы картин и гравюр, объединенных общим сюжетом.
Биография Уильяма Хогарта
Уильям Хогарт родился 10 ноября 1697 года в Лондоне, в бедной семье учителя латинского языка. Его отец, будучи авантюристом по натуре, постоянно встревал в сомнительные истории с целью разбогатеть, но неизменно терпел неудачи. А реализация идеи основания кафе, где посетители могли бы общаться между собой только на латыни, и вовсе завершилась заключением главы семейства в долговую тюрьму.
Уильям с раннего детства увлекся рисованием, но не имел возможности учиться живописи из-за недостатка средств. Напротив, в 15 лет он был вынужден устроиться на работу в граверную мастерскую, а в 20 (после смерти отца) на плечи Хогарта легли заботы по содержанию матери и двух сестер. Полученные навыки гравировки позволили Уильяму выполнять мелкие заказы по изготовлению визиток.
Но молодого человека не устраивала перспектива жалкого безденежного существования. Поэтому он вскоре начал брать частные уроки живописи и усердно занимался самообразованием.
В 1720-м Хогарт открыл собственную граверную мастерскую, а уже через год приобрел известность в Лондоне после создания серии графических сатир на тему краха компании Южных Морей и театральной жизни британской столицы.
1724 год стал переломным в жизни Уильяма Хогарта. Он не только поступил на обучение к известному художнику Джеймсу Торнхиллу (James Thornhill), но и познакомился с юной 15-летней дочерью своего учителя. Вскоре молодые люди полюбили друг друга, но надеяться на благословение отца девушки не приходилось. В 1729 году влюбленные тайно обвенчались и прожили в браке до самой смерти художника, хотя им так и не посчастливилось иметь детей.
Идея создания живописных и гравюрных циклов настолько понравилась публике, что Хогарт впоследствии неоднократно возвращался к ней в своем творчестве. К середине 50-х годов XVIII столетия Уильям Хогарт окончательно становится самым популярным британским живописцем и гравером. Его сатирические гравюры продавались тысячами, а король назначил мастера придворным художником.
Хогарт постоянно получает заказы на написание портретов лондонских вельмож, его материальное положение стремительно улучшается. Признанный мэтр пробует себя и в историческом жанре, но без особого успеха у публики.
Самые известные картины Уильяма Хогарта
Большинство из самых известных картин Уильяма Хогарта написаны в характерной сатирической манере. Среди произведений мастера особо выделяются:
На портале Very Important Lot коллекционеры всегда могут приобрести произведения искусства в режиме онлайн, участвуя в тематических арт-аукционах. Посетители сайта также имеют прекрасную возможность купить картины, рисунки и гравюры у современных мастеров.
Willliam Hogarth (1697-1764), was a great English painter and engraver, who is famous for his portrayals of human weaknesses. He was born in London.
His father was a schoolmaster. From childhood, Hogarth showed a talent for drawing.
He was apprenticed to a silverplate engraver until 1720 when he went into his own business as an engraver. He also studied painting at the art school of Sir James Thornhill, and in 1729 he married Thornhill's daughter.
Hogarth's earliest completed series of six paintings for which he first became famous was The Harlot's Progress, completed in 1731. This was followed by two other series, A Rake's Progress, eight paintings, and Marriage a la Mode, six paintings.
He made engravings of all these.
In all his paintings Hogarth tried to do the same things. He wanted his paintings to be like a play. Instead of actors on a stage speaking parts, he wanted his paintings to be his stage and the men and women he drew to be his actors and to tell a story. He tried to have them tell their story by certain actions and movements. Although he is often humorous in the way in which he drew things, he never softened or made his subjects pleasant if they were not so.
Because these pictures show wit and are often entertaining, at times Hogarth's talent as a fine portrait painter have been overlooked. His portraits show the same harmony in colour, direct handling of subject, and excellent composition as his storytelling pictures. Some of his more famous portraits are of Peg Woffington, himself with his dog Trump, his sister Mary Hogarth, and also those of Lavinia Fenton and of David Garrick, a famous English actor.
Most of Hogarth's pictures can be seen in the National Gallery in London.
(from Britannica Junior Encyclopaedia)
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William Hogarth (1697 – 1764)
Early life William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, and Anne Gibbons. In his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the street life of the metropolis and the London fairs, and amused himself by sketching the characters he saw. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St John's Gate, was imprisoned for debt in Fleet Prison for five years. Hogarth never spoke of his father's imprisonment. He became a member of the Rose and Crown Club, with Peter Tillemans, George Vertue, Michael Dahl, and other artists and connoisseurs.
Career By April 1720 Hogarth was an engraver in his own right, at first engraving coats of arms, shop bills, and designing plates for booksellers. In 1727, he was hired by Joshua Morris, a tapestry worker, to prepare a design for the Element of Earth. Morris, however, heard that he was "an engraver, and no painter", and consequently declined the work when completed. Hogarth accordingly sued him for the money in the Westminster Court, where the case was decided in his favour on 28 May 1728. In 1757 he was appointed Serjeant Painter to the King.
Early works Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride". The people are scattered around the picture with a sense of disorder, while the progress of the well dressed people towards the ride in the middle shows the foolishness of the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else.
Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's protégé, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations.
In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732–1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square. Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).
Moralizing art In 1731, he completed the earliest of the series of moral works which first gave him recognition as a great and original genius. This was A Harlot's Progress, first as paintings, (now lost), and then published as engravings. In its six scenes, the miserable fate of a country girl who began a prostitution career in town is traced out remorselessly from its starting point, the meeting of a bawd, to its shameful and degraded end, the whore's death of venereal disease and the following merciless funeral ceremony. The series was an immediate success, and was followed in 1735 by the sequel A Rake's Progress showing in eight pictures the reckless life of Tom Rakewell, the son of a rich merchant, who wastes all his money on luxurious living, whoring, and gambling, and ultimately finishes his life in Bedlam. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill Abbey in 1755; A Rake's Progress is displayed in the gallery room at Sir John Soane's Museum, London.
Marriage à-la-mode In 1743–1745 Hogarth painted the six pictures of Marriage à-la-mode (National Gallery, London), a pointed skewering of upper class 18th century society. This moralistic warning shows the miserable tragedy of an ill-considered marriage for money. This is regarded by many as his finest project, certainly the best piece of his serially-planned story cycles. Marital ethics were the topic of much debate in 18th century Britain. Frequent marriages of convenience and their attendant unhappiness came in for particular criticism, with a variety of authors taking the view that love was a much sounder basis for marriage. Hogarth here painted a satire – a genre that by definition has a moral point to convey – of a conventional marriage within the English upper class. All the paintings were engraved and the series achieved wide circulation in print form. The series, which are set in a Classical interior, shows the story of the fashionable marriage of the son of bankrupt Earl Squanderfield to the daughter of a wealthy but miserly city merchant, starting with the signing of a marriage contract at the Earl's mansion and ending with the murder of the son by his wife's lover and the suicide of the daughter after her lover is hanged at Tyburn for murdering her husband.
Industry and Idleness In the twelve prints of Industry and Idleness (1747) Hogarth shows the progression in the lives of two apprentices, one of whom is dedicated and hard working, the other idle which leads to crime and his execution. This shows the work ethic of Protestant England, where those who work hard get rewarded, such as the industrious apprentice who becomes Sheriff, Alderman, and finally the Lord Mayor of London in the last plate in the series. The idle apprentice, who begins with being "at play in the church yard“, holes up "in a Garrett with a Common Prostitute" after turning highwayman and "executed at Tyburn". The idle apprentice is sent to the gallows by the industrious apprentice himself.
Beer Street and Gin Lane Later important prints include his pictorial warning of the unpleasant consequences of alcoholism in Beer Street and Gin Lane (1751) Hogarth engraved Beer Street to show a happy city drinking the 'good' beverage of English beer, versus Gin Lane which showed the effects of drinking gin which, as a harder liquor, caused more problems for society. People are shown as healthy, happy and prosperous in Beer Street, while in Gin Lane they are scrawny, lazy and careless. The woman at the front of Gin Lane who lets her baby fall to its death, echoes the tale of Judith Dufour who strangled her baby so she could sell its clothes for gin money. The prints were published in support of what would become the Gin Act 1751. Hogarth's friend, the magistrate Henry Fielding, may have enlisted Hogarth to help with propaganda for a Gin Act: Beer Street and Gin Lane were issued shortly after his work An Enquiry into the Causes of the Late Increase of Robbers, and Related Writings and addressed the same issues.
The Four Stages of Cruelty Other prints were his outcry against inhumanity in The Four Stages of Cruelty (published 21 February 1751), in which Hogarth depicts the cruel treatment of animals which he saw around him, and suggests what will happen to people who carry on in this manner. In the first picture there are scenes of torture of dogs, cats and other animals. The second shows one of the characters from the first painting, Tom Nero, has now become a coach driver, and his cruelty to his horse has caused it to break its leg. In the third painting Tom is shown as a murderer, with the woman he killed lying on the ground, while in the fourth, titled Reward of Cruelty, the murderer is shown being dissected by scientists after his execution. The method of execution, and the dissection, reflect the 1752 Act of Parliament allowing for the dissection of executed criminals who had been convicted for murder.
Portraits Hogarth was also a popular portrait painter. In 1746 he painted actor David Garrick as Richard III, for which he was paid £200, “which was more,” he wrote, “than any English artist ever received for a single portrait.” In the same year a sketch of Simon Fraser, 11th Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success. Hogarth's truthful, vivid full-length portrait of his friend, the philanthropic Captain Coram (1740; formerly Thomas Coram Foundation for Children, now Foundling Museum), and his unfinished oil sketch of The Shrimp Girl (National Gallery, London) may be called masterpieces of British painting.
Biblical scenes Examples of his history pictures are The Pool of Bethesda and The Good Samaritan, executed in 1736–1737 for St Bartholomew's Hospital; Moses brought before Pharaoh's Daughter, painted for the Foundling Hospital (1747, formerly at the Thomas Coram Foundation for Children, now in the Foundling Museum); Paul before Felix (1748) at Lincoln's Inn; and his altarpiece for St. Mary Redcliffe, Bristol (1756).
The Gate of Calais He was seized and carried to the governor, where he was forced to prove his vocation by producing several caricatures of the French; particularly a scene of the shore, with an immense piece of beef landing for the lion d'argent, the English inn at Calais, and several hungry friars following it. They were much diverted with his drawings, and dismissed him. Back home, he immediately executed a painting of the subject in which he unkindly represented his enemies, the Frenchmen, as cringing, emaciated and superstitious people, while an enormous sirloin of beef arrives, destined for the English inn as a symbol of British prosperity and superiority. He claimed to have painted himself into the picture in the left corner sketching the gate, with a "soldier's hand upon my shoulder", running him in. The Gate of Calais (1748; now in Tate Britain) was produced soon after his return from a visit to France. Horace Walpole wrote that Hogarth had run a great risk to go there since the peace of Aix-la-Chapelle, he went to France, and was so imprudent as to be taking a sketch of the drawbridge at Calais.
Other later works In 1745 Hogarth painted a self-portrait with his pug dog (now also in Tate Britain), which shows him as a learned artist supported by volumes of Shakespeare, Milton and Swift. In 1749, he represented the somewhat disorderly English troops on their March of the Guards to Finchley (formerly located in Thomas Coram Foundation for Children, now Foundling Museum). Notable Hogarth engravings in the 1740s includeThe Enraged Musician (1741), the six prints of Marriage à-la-mode (1745; executed by French artists under Hogarth's inspection), and The Stage Coach or The Country Inn Yard (1747). Others were his ingenious Satire on False Perspective (1753); his satire on canvassing in his Election series (1755–1758; now in Sir John Soane's Museum); his ridicule of the English passion for cockfighting in The Cockpit (1759); his attack on Methodism in Credulity, Superstition, and Fanaticism (1762); his political anti-war satire in The Times, plate I (1762); and his pessimistic view of all things in Tailpiece, or The Bathos (1764).
Personal life Freemasonry was a theme in some of Hogarth's work, most notably 'Night', the fourth in the quartet of paintings (later released as engravings) collectively entitled the Four Times of the Day. Hogarth died in London on 26 October 1764 and was buried at St. Nicholas's Churchyard, Chiswick Mall, Chiswick, London. His friend, actor David Garrick, composed the following inscription for his tombstone: On 23 March 1729 Hogarth married Jane Thornhill, daughter of artist Sir James Thornhill. Hogarth was initiated as a Freemason some time before 1728 in the Lodge at the Hand and Apple Tree Tavern, Little Queen Street, and later belonged to the Carrier Stone Lodge and the Grand Stewards' Lodge; the latter still possesses the 'Hogarth Jewel' which Hogarth designed for the Lodge's Master to wear. Today the original is in storage and a replica is worn by the Master of the Lodge. Farewell great Painter of Mankind Who reach'd the noblest point of Art Whose pictur'd Morals charm the Mind And through the Eye correct the Heart. If Genius fire thee, Reader, stay, If Nature touch thee, drop a Tear: If neither move thee, turn away, For Hogarth's honour'd dust lies here.
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