270:, demands a refund while the young prostitute next to him dabs an open sore on her mouth, an early sign of syphilis. But according to the analysis of Judy Egerton, the curator of the National Gallery's exhibition, the correct interpretation is very different, and perhaps even darker: The viscount has brought the child to the doctor because he believes he has infected her with syphilis. The woman with the knife is the girl's mother, feigning anger in order to blackmail the viscount, who is being set up. The child already had the disease when her mother sold her to him, either because he was not her first "protector" or because she inherited the illness from her syphilitic father, who is the quack doctor. The identity of the angry woman is, however, disputed, with some arguing that she is the quack's assistant, and others claiming she is a madam. In the bottom right corner of the painting lies an open book, reading:
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249:), there are signs that the marriage has already begun to break down. The husband and wife appear uninterested in one another, amidst evidence of their separate dalliances the previous night. A small dog finds a lady's cap in the husband's coat pocket, indicating his adultery. A broken sword at his feet shows that he has been in a fight. The posture of the wife also indicates unfaithfulness. As Hogarth once noted: "A lock of hair falling thus cross the temples ... has an effect too alluring to be strictly decent, as is very well known to the loose and lowest class of women." The disarray of the house and the servant holding a stack of unpaid bills shows that the affairs of the household are a mess.
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295:), the old earl has died, so the son is now the new earl and his wife is the countess. The countess sits with her back to her guests, oblivious to them, as a servant attends to her toilette. The lawyer Silvertongue from the first painting is reclining next to the countess, suggesting the existence of an affair. This point is underlined by the child in front of the pair, pointing to the horns on the statue of
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paintings that are to be engraved, the painting is produced the "right way round" â not reversed, and then the engraver views it in a mirror as he undertakes the engraving. Hogarth was an engraver himself and disliked this method, so, unusually, he produced the paintings for
Marriage Ă -la-mode already reversed so the engraver could directly copy them.
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Hogarth challenges the traditional view that the nobility and the rich live virtuous lives, and satirises arranged marriages. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices. This is regarded
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Although this series of paintings are works of art in their own right, their original purpose was to provide the subjects for the series of engraved copper plate prints. When engraving copper plates the image engraved on the plate is a mirror image of the final print. Normally, when undertaking
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for murdering her husband. An old woman carrying her baby allows the child to give her a kiss, but the mark on the child's cheek and the caliper on her leg suggest that disease has been passed onto the next generation. The countess's father, whose miserly lifestyle is evident in the bare house,
367:. The frames alone had cost Hogarth four guineas each, so his initial remuneration for painting this valuable series was only sixteen shillings over a hundred pounds. After Lane's death they became the property of his nephew, Colonel Cawthorn. In May 1796 they were sold by auction at
319:. The Actaeon and several other figurines are seen marked for auction. Such paintings depict the Africans present as dressed in European style and fashion, contrasting popular depictions of Africa in Europe as being inhabited by "doll worshippers and hunters".
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between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the
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with her lover, the lawyer, and is fatally wounded. As she begs forgiveness from her stricken husband, the murderer lawyer in his nightshirt makes a hasty exit through the window. A picture of a woman with a
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Explication de deux machines superbes, l'un pour hemettre l'epaules, l'autre pour server de tire-bouchon, inventes par Mons De La
Pillule, Vues Et Aprouves Lar L'academie Royal Des Sciences Aparis
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by
Hogarth himself according to Robert L. S. Cowley. Cowley writes the following about the names of the paintings given by Hogarth and the names later written on their frames:
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These pictures were at first poorly received by the public, to the great disappointment of the artist. He sold them to a Mr. Lane of
Hillington for one hundred and twenty
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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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Jones, Malcolm. Folklore Motifs in Late
Medieval Art III: Erotic Animal Imagery. Folklore, Vol. 102, No. 2 (1991), pp. 199â201.
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hanging behind the countess contains lewd undertones. Masks on the floor indicate that the couple have been at a masquerade.
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Images are read from left to right, and
Hogarth would have taken this into account when composing the original paintings.
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with a young prostitute. According to one interpretation, the viscount, unhappy with the mercury pills meant to cure his
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It is worth noting that
Hogarth's titles are marginally more expressive and less informative than the later ones.
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The Other
Hogarth, eds. Bernadette Fort and Angela Rosenthal, Princeton: Princeton University Press, 2001.
354:), the countess poisons herself in her grief and poverty-stricken widowhood, after her lover is hanged at
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The Norton
Anthology of English Literature: The Restoration and the Eighteenth Century, 7th ed., p. 2657
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city merchant. Construction on the Earl's new mansion, visible through the window, has stopped, and a
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removes the wedding ring, the only valuable possession his late daughter has left, from her finger.
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in Paris." This is a fictional page in a real series of publications put out by the Academy.
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by some as his finest project, and the best example of his serially-planned story cycles.
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between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but
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554:"William Hogarth, Marriage A-la-Mode, Plate II, etching and engraving"
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negotiates payment for further construction at the center table. The
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Ape to Apollo, Aesthetics and the Idea of Race in the 18th Century
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Bomford, David and Roy, Ashok "Hogarth's 'Marriage Ă la Mode'"
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This series was not received as well as his other moral tales,
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The six engravings (HD) with explanatory notes by John Nichols
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Marriage A-la-mode: a re-view of Hogarth's narrative art
632:. United Kingdom: Reaktion Books Ltd. pp. 41â42.
262:), shows the viscount (the earl's son) visiting a
588:"Art Critic London: Hogarth's Marriage A-la-Mode"
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1086:Sigismunda mourning over the Heart of Guiscardo
386:It had been Hogarth's intention to follow the
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572:. cle.ens-lyon.fr. Archived from
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765:A Just View of the British Stage
462:List of works by William Hogarth
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260:The visit to the quack doctor
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375:for one thousand guineas to
293:The countessâs morning levee
194:In the first of the series,
18:Marriage Ă -la-mode (Hogarth)
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857:Satire on False Perspective
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841:The Four Stages of Cruelty
817:Characters and Caricaturas
785:The Company of Undertakers
518:, National Gallery, London
247:Shortly after the marriage
45:1. The Marriage Settlement
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757:The Bad Taste of the Town
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688:The Literary Encyclopedia
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280:Royal Academy of Sciences
252:The third in the series,
833:Beer Street and Gin Lane
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468:The Clandestine Marriage
350:(the name on its frame:
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291:(the name on its frame:
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245:(the name on its frame:
200:(the name on its frame:
1110:The Marriage Settlement
873:Five Orders of Periwigs
628:Bindman, David (2002).
330:The killing of the earl
322:In the fifth painting,
197:The Marriage Settlement
1167:The Analysis of Beauty
1046:Humours of an Election
592:www.william-hogarth.de
377:John Julius Angerstein
1232:Mary Edwards (Patron)
1078:The Lady's Last Stake
950:Four Times of the Day
825:Industry and Idleness
222:William the Conqueror
202:The marriage contract
809:The Enraged Musician
576:on 19 November 2015.
398:Technical commentary
339:squirrel on her hand
1014:Painter and his Pug
990:The Graham Children
920:A Harlot's Progress
276:(Mountain of Pills)
168:A Harlot's Progress
135:6. The Lady's Death
1099:Marriage A-la-Mode
1030:Hogarth's Servants
1022:The Gate of Calais
982:Taste in High Life
671:Technical Bulletin
557:The British Museum
516:Marriage A-la-Mode
490:Marriage A-la-mode
427:Marriage A-la-Mode
425:William Hogarth's
392:The Happy Marriage
388:Marriage A-la-Mode
315:, and the rape of
187:Marriage A-la-Mode
146:Marriage A-la-Mode
63:2. The TĂȘte Ă TĂȘte
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958:The Distrest Poet
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81:3. The Inspection
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171:(1732) and
1247:Categories
1138:The Bagnio
931:(1732â33,
503:References
369:Christie's
325:The Bagnio
1070:The Bench
915:(1730â31)
892:Paintings
429:, c. 1743
373:Pall Mall
301:cuckoldry
1178:Theories
1033:(c.1750)
969:(c.1740)
945:(c.1735)
488:Spelled
456:See also
317:Ganymede
268:syphilis
181:Overview
1210:Related
1194:Museums
365:guineas
297:Actaeon
210:miserly
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908:Before
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860:(1754)
852:(1752)
844:(1751)
836:(1751)
828:(1747)
820:(1743)
812:(1741)
804:(1741)
796:(1738)
788:(1736)
780:(1736)
773:Before
768:(1724)
760:(1724)
752:(1721)
736:Prints
636:
448:Naming
356:Tyburn
334:bagnio
214:usurer
160:London
1217:Trump
1159:Books
912:After
777:After
476:Notes
264:quack
218:gouty
910:and
775:and
634:ISBN
307:and
305:Lot
185:In
158:in
1249::
590:.
546:^
523:^
431:,
383:.
371:,
311:,
162:.
937:)
721:e
714:t
707:v
642:.
608:.
594:.
559:.
20:)
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