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1	Hogarth's "Enthousiasm delineated" : Nachahmung als Kritik am Kennertum : eine Werkanalyse : zugleich ein Einblick in das sarkastich-aufgeklärte Denken eines "Künstlerebellen" im englischen 18. Jahrhundert / Krysmanski, Bernd W. January 1996 (has links) Diss.--Bochum--Univ., 1995. / Vol. 2 : bibliogr. p. 933-1025, index. Hogarth, William, Hogarth, William,
2	How to hang an apprentice : the moral problem of industry and idleness re-examined in Victorian illustrated fiction Cerny, Grant Pearcy January 1999 (has links) No description available. 800 Hogarth, William
3	Hogart's "Progress" : a detailed analysis Crockford, Charles Henry January 1971 (has links) In this study, two of William Hogarth's graphic series, "A Harlot's Progress" and "A Rake's Progress," are examined in detail. In order to carry out this examination, Hogarth's original prints were closely studied, and an exhaustive study was made of the literature pertaining to these two series, as well as of the literature pertaining, to Eighteenth Century English art and life in Eighteenth Century England. It was found that "A Harlot's Progress," which first appeared in 1732, tells the story of a young woman from the time she arrives in London to the time she dies. In Plate 1, the series' central character, Miss Hackabout, has just arrived in the British capital, and seems to have just been approached by a person said to be "Mother" Needham, the proprietress of a fashionable London bagnio, who is no doubt taking advantage of Miss Hackabout's naivete. In the second scene, Miss Hackabout is apparently the mistress of a well-to-do gentleman; when we see her, she is diverting the latter's attention while another man leaves her room. The third plate shows Miss Hackabout in a room in a disreputable neighborhood; she now appears to be a common prostitute. Some men are seen entering her room; one of these is said to be Sir John Gonson, a magistrate noted for his vigorous apprehension of "women of the night." Plate 4 shows Miss Hackabout confined in a house of correction; she is apparently being threatened with punishment if she does not beat the hemp that is in front of her. In the next scene Miss Hackabout is either gravely ill, or else has just passed away, and in the sixth and final plate the figure of Miss Hackabout is not one of those depicted, as her body lies in a coffin seen in the center of the print. Hogarth's "A Rake's Progress," which first appeared in 1735, commences with a scene in which Tom Rakewell, the series' main character, is attempting to "buy off" a young lady named Sarah Young whom he has, wronged; while he does this, the inheritance left him by his father is being calculated. The second scene indicates that Tom is now residing in a fine house, and has adopted the ways of the "upper class," and in Plate 3 Tom is seen, carousing in a tavern. In the next print, Tom is in the process of being arrested (probably for debt) while on his way to St. James' Palace in a sedan chair; however, Sarah Young has happened along at this moment, and she is offering her own money to help Tom. The fifth plate shows Tom marrying an older woman, most likely for her money, and the next plate shows him in a gambling house presumably after he has just lost a substantial sum. In the seventh scene Tom is shown confined in the Fleet Prison, a prison to which debtors were sent. And in the eighth and last plate, Tom is mentally unbalanced, as he is confined in Bethlehem hospital (otherwise known as Bedlam); in addition, there is a possibility that when we see him he is dying. It was also noted that while the incidents and details in "A Rake's Progress" and "A Harlot's Progress" must be examined if these series are to be fully understood and appreciated, both series are much more than "interesting stories." And it was further observed that, while both illustrate the moral precept that a departure from virtue is a descent from happiness, "Hogarth the Moralist" is overshadowed by "Hogarth the Social Commentator" and "Hogarth the Satirist." / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate Hogarth, William, 1697-1764.
4	The wanton line : Hogarth and the public life of longitude Barrett, Katy Louise Emily January 2014 (has links) No description available. 500
5	Kunst-Wissenschaft um 1800 : Studien zu Georg Christoph Lichtenbergs Hogarth-Kommentaren / Arburg, Hans-Georg von, January 1998 (has links) Diss.--Philosophische Fakultät I--Universität Zürich, 1996. / Bibliogr. p. [375]-404. Index.
6	Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge. Fossey, Natalie. January 2012 (has links) Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth Caversham Press, KwaZulu-Natal, South Africa Printmaking Printmaking in South Africa Resistance art Narratology, narrative, discourse, story, plot, Transference of narratives Sequential art narrative and comics This dissertation considers the prints by South African artists, William Kentridge, Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in the context of William Hogarth’s historical suites of prints referred to in the title of the exhibition, and contemporary theories about Sequential Art and Narrative. Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal, particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012. Hodgins, Robert. Kentridge, William, 1955- Bell, Deborah, 1957- Printmakers--South Africa. Theses--Fine art.
7	The battle of changing times : picaresque parodies from Bruegel to Grosz Cornew, Clive 11 1900 (has links) This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.) Ancient and modem debate Bruegel (Pieter the Elder) Camivalisation Daumier (Honore) Didactic pedagogics (moral instruction) Eighteenth century Emblematics Epideictic rhetoric Folly Genre hierarchy Grosz (George) Grotesque Heteroglossia Hogarth (William) Interpretation of pictures Irony Laughter Litotes Meiosis Modes (low mode and high mode) New Rhetoric Nineteenth century Paradox Parody (visual parody) Parodic trope structure Perchronics Picaresque world view Picaresque battle Perception Play Rhetoricity Satire Satura Scatology Seventeenth century Sixteenth century Social hierarchy Steen (Jan) Twentieth century Visual rhetoric World Upside Down topos 759.9493 Satire Rhetoric Grosz, George, 1893-1959 Hogarth, William, 1697-1764 Steen, Jan, 1626-1679 Parody in art Caricature
8	The battle of changing times : picaresque parodies from Bruegel to Grosz Cornew, Clive 11 1900 (has links) This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.) Ancient and modem debate Bruegel (Pieter the Elder) Camivalisation Daumier (Honore) Didactic pedagogics (moral instruction) Eighteenth century Emblematics Epideictic rhetoric Folly Genre hierarchy Grosz (George) Grotesque Heteroglossia Hogarth (William) Interpretation of pictures Irony Laughter Litotes Meiosis Modes (low mode and high mode) New Rhetoric Nineteenth century Paradox Parody (visual parody) Parodic trope structure Perchronics Picaresque world view Picaresque battle Perception Play Rhetoricity Satire Satura Scatology Seventeenth century Sixteenth century Social hierarchy Steen (Jan) Twentieth century Visual rhetoric World Upside Down topos 759.9493 Satire Rhetoric Grosz, George, 1893-1959 Hogarth, William, 1697-1764 Steen, Jan, 1626-1679 Parody in art Caricature

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