Publications on William Hogarth


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Source Literature, Part II

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Mark Hallett, The Spectacle of Difference: Graphic Satire in the Age of Hogarth, New Haven and London: Yale University Press, 1999.

A revised 259-page version of Hallett's PhD thesis (Courtauld Institute, London, 1996). "This book is not so much interested in historically resurrecting Hogarth as an individual artist as with historically resurrecting the early eighteenth-century satirical engraving as an art form, and demonstrating that it was an ambitious, experimental and multi-faceted branch of graphic culture produced by numerous artists living and working in the English capital, of whom Hogarth was only one." The study combines close readings of individual satirical prints with a broader history of the genre and shows how contemporary graphic satirists like Hogarth, John Sturt, Anthony Walker, John June, Hubert François Gravelot or the two George Bickhams mixed constructs of high and low art to create hybrid and provocative images that dealt with a broad range of controversial issues, including alcoholism, the excesses of fashion, financial collapse, freemasonry, political corruption, and prostitution. Contains "Select Bibliography" (pp. 246-53) and Index (pp. 254-59). See the review by W[illiam] A[rthur] Speck, H-Albion, H-Net Reviews, May, 2000.

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Elizabeth Kathleen Mitchell, Death by Hogarth, exh. cat., Harvard University Art Museums, Cambridge, Mass., 8 May-18 July 1999.

72-page catalogue focusing on print narratives with references to criminal culture and the melodramatic rituals that accompanied executions, particularly hangings. The author examines Hogarth's prints that present execution - The Idle 'Prentice Executed at Tyburn, A Just View of the British Stage, The Reward of Cruelty, etc. - as one of many unfortunate worldly ends as a result of a life of crime. The catalogue also discusses many other prints from Hogarth's picture series. Contents: Foreword by James Cuno; Introduction, pp. 11-13; "Execution in the Round", pp. 15-28; "Execution Proper", pp. 29-50; "Predetermined Sexuality and 'Feminine' Crimes", pp. 51-68; Bibliography, pp. 69-70; and Index, pp. 71-72.

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Marcia Pointon, Hogarth's 'Sigismunda' in focus, With a technical essay by Rica Jones, exh. cat., Tate Britain, London, 24 July-4 November 2000.

This 40-page catalogue throws new light upon Hogarth's Sigismunda, considering the painting in the context of contemporary debates about female sexual desire, luxury consumption, and the modernity of English art. Includes essays by Marcia Pointon ("Virtue, Excess and Danger", pp. 7-29) and Rica Jones ("Technical Examination of the Alterations in Sigismunda", pp. 30-34), and lists "Works in the Display" (p. 35). See also the contra-critical review by Richard Dorment in The Daily Telegraph, 23 August 2000.

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Matthew Craske, William Hogarth, Princeton: Princeton University Press; London: Tate Gallery Publishing Ltd, 2000.

80-page introduction to Hogarth's varied artistic production, including a survey of his engravings, portraits, and his famous picture series from a socio-historical point of view. The author in desiring not to write a chronological life-story of Hogarth has chosen a series of thematic essays "each devoted to an aspect of the social and cultural history of the period". The book reveals Hogarth as an English nationalist and as a figure who reinvented the very idea of what it is to be an artist. It also sees him as a humourist who brilliantly invented a means of reproducing wit for wider public consumption. The study shows that Hogarth's works were aimed at fostering self-improvement, whereby vice can ruin the aristocrat as swiftly as the harlot, but does so with great humour. We meet an artist emblematic of his time but also ultimately innovative and long-sighted. Contents: Introduction (pp. 6-10); 1. The Freedom of the Times (pp. 11-13); 2. The Ideals and Realities of Self-Improvement (pp. 14-24); 3. 'Britophil' (pp. 25-40); 4. Liberty and Libertinism (pp. 41-57); 5. Hogarth's Sympathy for, and Affinity with, the 'Nobodies' of Society (pp. 58-74).

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Mark Hallett, Hogarth, London: Phaidon Press Limited, 2000.

This well illustrated survey of the artist's life and work shows that Hogarth's art celebrates the benefits of commerce, politeness and patriotism, while simultaneously focusing on the corruption, hypocricy and prejudice they brought in their wake. It provides an account of the full range of his work - from aristocratic portraits, to satiric prints commenting on the darker side of contemporary society. His work is situated within the context of the times, from the contrasing lifestyles of the rich and poor, to crime, fashion, scandal, politics and economics. Contents: 1. Ink: Carving out a Career (pp. 9-38); 2. Paint: Talking Pictures (pp. 39-70); 3. Sex, Disease and Pity: A Harlot's Progress (pp. 71-96); 4. Satire and the City: The Painter of Modern London (pp. 97-132); 5. Charity and Community: Hospital Painting (pp. 133-64); 6. Foreign Affairs: Marriage à la Mode (pp. 165-96); 7. Black and White: A Tale of Two Cities (pp. 197-234); 8. Design for Life: The Analysis of Beauty (pp. 235-60); 9. Faction: Art, Politics and Propaganda (pp. 261-92); 10. Exposure and Retreat: The Final Years (pp. 293-316); 11. Afterlife: Reinventing Hogarth (pp. 317-28); miscellaneous appendices (pp. 329-49).

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Bernadette Fort / Angela Rosenthal (eds.), The Other Hogarth: Aesthetics of Difference, Princeton: Princeton University Press, 2001.

Trendy collection of fifteen essays by international art historians and cultural theorists who investigate an overlooked dimension of Hogarth's art and aesthetics: the staging of otherness and difference. It shows that, whether Hogarth depicts a harlot; a wealthy patroness; a gouty earl; a dissolute rake; a black servant; an "effeminate parasite"; issues of class; gender; and race, reverberate throughout his paintings and prints and deeply inform his unique innovation, the "modern moral subject". Contents: James Grantham Turner ("'A Wanton Kind of Chace': Display as Procurement in A Harlot's Progress and its Reception"); Frédéric Ogée ("The Flesh of Theory: The Erotics of Hogarth's Lines"); Christina Kiaer ("Professional Femininity in Strolling Actresses Dressing in a Barn"); Peter Wagner ("Spotting the Symptoms: Hogarthian Bodies as Sites/Sights of Semantic Ambiguity"); Angela Rosenthal ("Unfolding Gender: Women and the 'Secret' Sign Language of Fans in Hogarth's Work"); Mark Hallett ("Manly Satire: William Hogarth's A Rake's Progress"); Richard Meyer (" 'Nature Rever'd': Satire and Sexual Difference in Hogarth's London"); David H. Solkin ("The Fetish Over the Fireplace: Disease as genius loci in Marriage A-la-Mode"); Sarah Maza and Sean Shesgreen ("Marriage in the French and English Manners: Hogarth and Abraham Bosse"); Nadia Tscherny ("An Un-Married Woman: Mary Edwards, William Hogarth, and a Case of Eighteenth-Century British Patronage"); Patricia Crown ("Hogarth's Working Women: Commerce and Consumption"); Amelia Rauser ("Embodied Liberty: Why Hogarth's Caricature of John Wilkes Backfired"); David Bindman (" 'A Voluptuous Alliance Between Africa and Europe': Hogarth's Africans"); Lubaina Himid ("A Fashionable Marriage"); and Bernadette Fort (Lubaina Himid's A Fashionable Marriage: A Postcolonial Hogarthian "Dumbshow").

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David Bindman / Frédéric Ogée / Peter Wagner (eds.), Hogarth: Representing nature's machines, Manchester and New York: Manchester University Press, 2001.

A collection of twelve tercentenary papers by some of the leading authorities on Hogarth. Reveals the artist to have been remarkably aware of the important intellectual issues of his time, for instance, eighteenth-century philosophy and science. The essays are thematically arranged according to three parts: "I: Hogarth's Empiricism", "II: Observing Modern Life"; and "III: Hogarth and Christian Typology". The volume includes contributions by David Bindman (Preface); Frédéric Ogée ("From text to image: William Hogarth and the emergence of a visual culture in eighteenth-century England"; "Je-sais-quoi: William Hogarth and the representation of the forms of life"); Peter Wagner ("Hogarthian frames: The 'new' eighteenth-century aesthetics'"; "Representations of time in Hogarth's paintings and engravings"); John Bender ("Matters of fact: virtual witnessing and the public in Hogarth's narratives"); Michel Baridon ("Hogarth's 'living machines of nature' and the theorisation of aesthetics"); Sean Shesgreen ("William Hogarth's Enraged Musician and the Cries of London"); Mark Hallett ("The view across the city: William Hogarth and the visual culture of eighteenth-century London"); Diana Donald ("This truly natural and faithful painter': Hogarth's depiction of modern life"); Werner Busch ("Hogarth's Marriage A-la-Mode: the dialectic between precision and ambiguity"); David H. Solkin ("The excessive Jew in A Harlot's Progress"); and Ronald Paulson ("Some thoughts on Hogarth's Jew: issues in current Hogarth scholarship").

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Hogarth's Election Entertainment: Artists at the Hustings, ed. David Bindman, David Ekserdjian and Will Palin, exh. cat., Sir John Soane's Museum, London, 23 March-25 August 2001.

Well illustrated 34-page APOLLO Magazine publication on Hogarth's Election series and its influence. Includes short articles by David Bindman, Elizabeth Einberg, Emma Baudey, Eva Pol, Tamatha Blair and Stephanie Eu together with a catalogue of the works exhibited.

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Ronald Paulson, Hogarth's Harlot: Sacred Parody in Enlightenment England, Baltimore and London: Johns Hopkins University Press, November 2003.

Includes a detailed examination of the parameters of blasphemy in eighteenth-century England and the changing attitudes toward the central tenets of the Christian Church among artists in this period. Explores engravings by Hogarth; poems by John Milton, Alexander Pope, Christopher Smart, William Cowper, and William Blake; plays by Nicholas Rowe and George Lillo; paintings and sculptures by Benjamin West, Johan Zoffany, Joseph Wright of Derby, and Louis-François Roubiliac; and oratorios by George Frederic Handel. Contents: Introduction: The Sacrament of the Eucharist; I. The Atonement; II. Incarnation; III. Redemption; IV. Mediation; and V. Grace. See also the review by Alvan Bregman.

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Stefania Consonni, Linee, intrichi, intrighi: Sull' estetica di William Hogarth. Genoa: Edizioni Culturali Internazionale Genova, 2003.

215-page study on Hogarth's Analysis of Beauty, based on five major principles of his aesthetics. Considers significant but hitherto unpublished thematic, rhetorical, technical, intentional and effective aspects of Hogarth's thinking which has had some influence that persists up to the present. The author has also written a study on Geometrie del tempo: Il romanzo inglese del Settecento (2012).

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Jochen Bedenk, William Hogarth und die deutsche Literatur des 18. Jahrhunderts (Lessing, Herder, Schiller, Jean Paul), Würzburg: Königshausen und Neumann, 2004.

Published version of the author's German PhD thesis. Shows that Hogarth's Analysis of Beauty and his print Tail Piece, or The Bathos had a wider influence on debates about aesthetics in eighteenth-century German literature than hitherto assumed.


Jeremy Barlow, 'The Enraged Musician': Hogarth's Musical Imagery, Aldershot, Hampshire: Ashgate Publishing Ltd, December 2005.

The author, a specialist in seventeenth and eighteenth-century English popular music, has written a reference tool for art historians seeking music related information on Hogarth. The book contains information on Hogarth and London's musical scene, the contexts for his musical imagery, his musical accuracy, including a detailed analysis of his representations of particular instruments and a discussion of his realistic and symbolic uses of musical imagery. Later chapters deal with the skimmington or 'rough music' procession in Hogarth's prints for Samuel Butler's Hudibras and the influence this had on his subsequent satirical use of musical imagery; eighteenth-century uses of burlesque music to mock the act of music-making; Hogarth's eight afflicted and humiliated solo fiddlers from Hudibras to The Bruiser; his abject ballad sellers; and The Beggar's Opera as a satire of Italian opera on the one hand and society on the other. The final chapter, on Hogarth's The Enraged Musician print itself, draws together the uses of musical imagery discussed in previous chapters. An exploration of commentary on the print since its publication is followed by an analysis from a musical perspective. In addition, the book contains five appendices: 1. eighteenth-century commentaries on The Enraged Musician, including music of the street cries; 2. ballad texts and tunes related to Hogarth's ballad titles; 3. the complete text of Bonnell Thornton's Burlesque Ode on St Cecilia's Day; 4. text and tunes of the scene in The Beggar's Opera painted by Hogarth; and 5. other musical examples indicated in the text.

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Mark Hallett and Christine Riding, Hogarth, With an essay by Frédéric Ogée and Olivier Meslay and additional catalogue contributions by Tim Batchelor, exh. cat., Musée du Louvre, Paris, 18 October 2006-7 January 2007; Tate Britain, London, 7 February-29 April 2007; La Caixa, Madrid, 29 May-26 August 2007. London: Tate Publishing, 2006.

Catalogue of one of the most comprehensive exhibitions of Hogarth's paintings and prints ever held, examining the whole of his life and work, showing nearly every aspect of Hogarth's multi-faceted career and highlighting his unique contribution to the development of modern British art. The exhibition includes a large number of major loans from private and public collections around the world. The catalogue text discusses "Hogarth's variety", his modernity, the "Pictorial Theatre" of the 1720s, Hogarth's conversation pieces, his moral series, his portraiture, his patriotism and politics, and his depiction of crime and punishment. There are also French and Spanish editions of this catalogue.

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Robin Simon, Hogarth, France and British Art: The rise of the arts in eighteenth-century Britain, London: Hogarth Arts Ltd., Distributed by Paul Holberton Publishing, 2007.

400-page reappraisal of the art and achievement of Hogarth by the Editor of The British Art Journal and previous Editor of Apollo magazine. This book is certainly one of the best art historical studies ever written on Hogarth. It is argued that Hogarth's effective invention of British art was founded upon a profound knowledge of contemporary French art and theory, as British culture in Hogarth's time habitually defined itself in relation to the art and aesthetic theories of France. Therefore, the author conjures up the French and wider European context within which Hogarth's art was formed. The study examines the ways in which Hogarth interacted with and influenced his contemporaries not only in painting and print-making, but also in sculpture, poetry, the novel, the theatre, public life, art education, copyright law, music and opera. See also the review by Douglas Fordham.

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David Bindman (ed.), The History of British Art, 1600-1870, London: Tate Publishing, In association with Tate Britain and Yale Center for British Art, 2008 [The History of British Art, vol. 2].

Brief history of British art from the times of post-Reformation to the birth of the modern era, written by international experts who interpret the art of the period with a focus on social history and from wider European and multicultural perspectives, together with some grains of post-structuralism. Some chapters and sections include scattered information on Hogarth, for instance, William Vaughan's chapter on "Britain and Europe, c.1600-c.1900"; Frédéric Ogée's long essay on "British Art and the Social World"; Peter Wagner's short entry on "Hogarth's 'Modern Moral Subjects' "; and Martin Myrone's chapter on "The British Artist, c.1570-c.1870". See also the review by Brian Lukacher.

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Werner Busch, Englishness: Beiträge zur englischen Kunst des 18. Jahrhunderts von Hogarth bis Romney (Berlin and Munich: Deutscher Kunstverlag, 2010).

Collection of excellent German essays dealing with English art of the eighteenth century. The first three essays ("Händel und der Wandel der Konversation"; "Hogarths Marriage A-la-Mode - Zur Dialektik von Detailgenauigkeit und Vieldeutigkeit"; "Hogarths und Reynolds Porträts des Schauspielers Garrick") include discussions of works by Hogarth. See also the review by Patrick Bahners, Frankfurter Allgemeine Zeitung, 28 December 2011.

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Elisabeth Soulier-Détis, "Guess at the Rest": Cracking the Hogarth Code (Cambridge: The Lutterworth Press, 2010).

233-page study claiming that a half-hidden thread of Masonic symbolism runs through Hogarth's work. According to the author, the well-known classical and Biblical references gain coherence and unity when they are analysed in the symbolic framework of freemasonry and alchemy Hogarth was busy both using and concealing in his prints. See also the online version of the Introduction and the review by Andrew Pink.

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Martin Kirves, Das gestochene Argument: Daniel Nikolaus Chodowieckis Bildtheorie der Aufklärung (Berlin: Dietrich Reimer, 2012).

German study on Chodowiecki, Shaftesbury and Hogarth, placing the works in the context of Enlightenment philosophy and aesthetics. Includes the following chapters: I. Die Bildfolge (pp. 27-150); II. Shaftesbury (pp. 151-340); III. Hogarth und Lichtenberg (pp. 341-492); and IV. Chodowieckis Seelenmahlerei (pp. 493-578). All of these chapters are divided into many different subsections. See the review by Franz Siepe.

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Mark A. Cheetham, Artwriting, Nation, and Cosmopolitanism in Britain: The "Englishness" of English Art Theory since the Eighteenth Century (Farnham, Surrey and Burlington, VT: Ashgate, 2012).

Arguing in favour of renewed critical attention to the "nation" as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. Detecting "imperial empiricism" among English artists and critics, the author presents new readings of the art theories of such central figures as Hogarth and Reynolds.

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Hans-Peter Wagner, William Hogarth: Das graphische Werk: Ein kommentierter Auswahlkatalog (Trier: WVT Wissenschaftlicher Verlag Trier, 2013).

German catalogue of Hogarth's most important engravings. Introduction and commentaries by Hans-Peter Wagner, who reads the works from a post-structuralist point of view.

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Piers Beirne, Hogarth's Art of Animal Cruelty: Satire, Suffering and Pictorial Propaganda, Basingstoke and New York: Palgrave Macmillan Pivot, 2015.

Deals with Hogarth's representations of animals as hybrids, edibles, companions, emblems of satire and objects of cruelty. Focusing on The Four Stages of Cruelty, often wrongly identified as a milestone in the development of animal rights, the author analyzes how Hogarth's various audiences would have reacted to his gruesome images, and ultimately what they and he likely understood by the term "cruelty".

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Steven Parissien (ed.), Celebrating Britain: Canaletto, Hogarth and Patriotism, exh. cat., Compton Verney, Warwickshire, 14 March-7 June 2015; Holburne Museum, Bath, 27 June-4 October 2015; Abbot Hall Art Gallery, Kendal, 22 October 2015-13 February 2016, London: Paul Holberton publishing, 2015.

Includes a contribution by Jacqueline Riding entitled, "From Bosworth Field to Finchley Common: Britain, Hogarth and the 1745 Jacobite Rebellion."

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David H. Solkin, Art in Britain, 1660-1815, New Haven and London: Yale University Press; Paul Mellon Centre for Studies in British Art, 2015 [Pelican History of Art].

Social history of British art of the so-called long eighteenth century, looking at the major developments in painting, drawing, and printmaking during this period. Works by Hogarth are briefly discussed in subchapters such as "Hogarth in the 1720s"; "Manners and Morals: The Conversation-Piece Portrait"; "Hogarth's Progresses"; and "Hogarth as Comic History-Painter and as Critic of the 'Low' ".

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Cynthia Ellen Roman (ed.), Hogarth's Legacy, New Haven and London: Yale University Press, 2016.

On the artist's afterlife in Britain and internationally. Includes contributions by Cynthia Ellen Roman; Douglas Fordham; Mark Salber Phillips; Brian Maidment; Patricia Mainardi; Michael Printy; Dominic Hardy; and Ronald Paulson.

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Elizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings, New Haven and London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2016.

Comprehensive catalogue of Hogarth's paintings by the well-known senior research fellow at the Paul Mellon Centre for Studies in British Art, London, and former curator at Tate Britain. Brings together over twenty years of scholarly research and expertise on the artist. Has reproductions of all portraits, history paintings, theatre pictures, and genre pieces and detailed entries on each painting, including much previously unpublished material that will be very useful for a generation or longer.

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Kate Retford, The Conversation Piece: Making Modern Art in 18th-Century Britain, New Haven and London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2017.

Discusses conversation pieces by Hogarth and other artists and explores how these group portraits served a wide array of interests and concerns among familial networks and larger social groups.

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Hogarth: Place and Progress, exh. cat., Sir John Soane's Museum, London, 9 October 2019 - 5 January 2020.

The Soane's Museum's own paintings of A Rake's Progress and An Election were displayed alongside Marriage A-la-Mode, The Four Times of the Day, the three surviving paintings of The Happy Marriage and engraved series such as The Four Stages of Cruelty, Industry and Idleness and Beer Street and Gin Lane. The catalogue includes contributions by David Bindman, Bruce Boucher, Frédéric Ogée and Jacqueline Riding.

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Jacqueline Riding, Hogarth: Life in Progress, London: Profile Books Ltd, 2021.

544-page biography using the Five Days' Peregrination as a peg on which to hang the story of the artist's life. Immerses the reader in the world Hogarth inhabited and from which he drew inspiration. Deals with the artist as an ambitious self-made man, a devoted husband, a sensitive portraitist, an unmatched storyteller, philanthropist, technical innovator and author of a seminal work of art theory.

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Alice Insley / Martin Myrone (eds.), Hogarth and Europe, exh. cat., Tate Britain, London, 3 November 2021-20 March 2022, London: Tate Publishing, 2021.

224-page catalogue showing that, across Europe, artists created vivid images of contemporary life and social commentary. Hogarth's greatest works are exhibited together with those of his peers across the continent, including Francesco Guardi in Venice, Jean-Baptiste-Siméon Chardin in Paris and Cornelis Troost in Amsterdam.

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Caroline Patey / Cynthia E. Roman / Georges Letissier (eds.), Enduring Presence: William Hogarth's British and European Afterlives [Cultural Interactions: Studies in the Relationship between the Arts, vol. 46], 2 vols, Oxford, Bern, Berlin, Brussels, New York, Vienna: Peter Lang, 2021.

674 pages. Considering Hogarth's pioneering sense of performativity, which has long made him the treasured interlocutor of actors and playwrights from David Garrick to Bertolt Brecht or Nick Dear, this collection of 28 essays demonstrates that Hogarth's work has permeated and energised multiple expressive forms, including visual arts, drama, literature, film, television serials and graphic novels.

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Jacqueline Riding, Hogarth's Britons, exh. cat., Derby Museum and Art Gallery, 10 March-4 June 2023, London: Paul Holberton Publishing, 2023.

Explores how Hogarth set out to define British nationhood and identity at a time of division at home and conflict abroad. Focuses on his response to the long-running threat posed by the Jacobites, in particular the Jacobite Rising of 1745.

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Robin Simon, Shakespeare, Hogarth and Garrick: Plays, Painting and Performance, London: Paul Holberton Publishing on behalf of Hogarth Arts, 2023.

Examines theatrical portraits and the texts used in performance as well as the central role of the theatre in British culture, while highlighting the significance of Shakespeare, Hogarth and Garrick in the European Enlightenment and the rise of Romanticism. In this context another trio of genius features prominently: Georg Christoph Lichtenberg, Gotthold Ephraim Lessing and Denis Diderot.



For all aspects of Hogarth's life and art, the Hogarth researcher should first consult the modern standard biography:

Ronald Paulson, Hogarth: His Life, Art, and Times, 2 vols., New Haven and London: Yale University Press, 1971. Revised edition in three volumes: Ronald Paulson, Hogarth, Volume 1: The "Modern Moral Subject" 1697-1732; Hogarth, Volume 2: High Art and Low, 1732-1750; Hogarth, Volume 3: Art and Poltics, 1750-1764, New Brunswick: Rutgers University Press; Cambridge: Lutterworth Press, 1991-1993.

This is the definitive work on Hogarth's life, based on archival research, which uses almost all the hitherto published and unpublished sources, e.g. Hogarth's manuscripts, baptismal and burial registers, rate books, records of banks and insurance companies, memoirs and letters of contemporaries, and notices in periodicals, including Hogarth's own advertisements. The study sets out, in addition, to show "how Hogarth's background, milieu, personal life, and aesthetic ideas contributed to produce and define his unique kind of art". The author realises, in the context of Augustan literature, that Hogarth's art is based on parodic allusions to specific images as a vehicle of satire. The first edition also contains important appendices in volume 2, not to be found in the revised version of 1991-1993. On the other hand, the new edition deals with several new aspects of Hogarth and his art, e.g. his politics, aesthetics and deistic attitudes, thus correcting a great many small errors of the former edition.

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Jenny Uglow, Hogarth: A Life and a World, London: Faber and Faber Limited, 1997.

Another modern comprehensive, well written and well reviewed 794-page biography in one volume. The book links Hogarth's achievement to his times, placing his fierce nationalism and his philanthropic interests within the competitive world of the artists and the profound eighteenth-century re-thinking of culture and 'politeness'. See also the review by Michael Kimmelman, The New York Times, November 30, 1997.


R[onald] B[rymer] Beckett, Hogarth, London: Routledge & Kegan Paul, 1949 [English Master Painters, Edited by Herbert Read].

Well-known catalogue of Hogarth's paintings, including a 31-page Introduction; a catalogue divided into: I. Portrait Groups, II. Single Portraits, III. Miscellaneous; an Index of Collections; and 202 black-and-white plates.

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Gabriele Baldini / Gabriele Mandel, L'opera completa di Hogarth pittore, Milan: Rizzoli Editore, 1967 [Classici dell'arte, 15].

A comprehensive catalogue of Hogarth's paintings, including many good colour illustrations, but, as it is not written in English, often ignored by Anglo-American scholars. The apparatus criticus is divided into a "Bibliografia essenziale" (p. 82), a chronology ("Documentazione sull'uomo e l'artista", pp. 83-85), and the chronologically arranged "Catalogo delle opere" (pp. 86-117). The volume closes with two indices: the "Indice dei titoli e del temi" (pp. 118-19) and the useful "Indice topografico" (pp. 119-20). The catalogue, however, includes some mistakes, e.g. Joseph Porter is wrongly named "Forter".

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Elizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings, New Haven and London: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2016.

New and well illustrated catalogue raisonné of Hogarth's paintings, based on more than two decades of research. Updates and upgrades the older catalogues.


Ronald Paulson, Hogarth's Graphic Works, 2 vols., New Haven and London: Yale University Press, 1965. Second edition: 1970. Third, Revised Edition in one volume, London: The Print Room, 1989.

First serious and complete catalogue raisonné of Hogarth's engravings, which systematises, corrects, and augments the lists of John Bowyer Nichols (1833) and Austin Dobson (1907). The extensive commentary gives circumstances of the various states of the prints, their publication and contemporary references, and informs the modern reader of their meaning. All prints are reproduced from the originals.

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Joseph Burke / Colin Caldwell, Hogarth: The Complete Engravings, London: Thames and Hudson, 1968. Repr. London: Alpine Fine Arts Collection (U.K.) Ltd., n.d.

Contains a good introduction to Hogarth in general and brief commentaries on the engravings with, however, captionless reproductions of all prints. The text on the prints is an abridged catalogue based on Paulson's Hogarth's Graphic Works. There are also French and German translations of this catalogue.

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Sean Shesgreen (ed.), Engravings by Hogarth: 101 Prints, New York: Dover Publications, Inc., 1973.

Selection of all the major engravings with an introduction on Hogarth's "world" plus commentaries of variable length that stress social class in the prints. Includes, however, among the many good large-size reproductions after the Hogarth originals, a few after plates re-tooled in the nineteenth century.

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Berthold Hinz / Hartmut Krug, et al., William Hogarth 1697-1764: Das vollständige graphische Werk, 2nd edn, Gießen: Anabas-Verlag Günter Kämpf KG, 1986.

German catalogue containing detailed commentaries on the engravings, often paraphrasing the English comments by Ronald Paulson. However, includes some new research.

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William Hogarth: Der Kupferstich als moralische Schaubühne, exh. cat., Wilhelm-Busch-Museum Hannover, Deutsches Museum für Karikatur und kritische Grafik, 15 March - 17 May 1987, Stuttgart: Verlag Gerd Hatje, 1987.

German 248-page catalogue based on the former Lichtenberg collection of Hogarth's engravings, now kept at the Niedersächsische Staats- und Universitätsbibliothek, Göttingen, and on Lichtenberg's commentaries on Hogarth. Does not include, however, the minor prints.

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David Bindman, Hogarth and His Times: Serious Comedy, exh. cat., The British Museum, London, 26 September 1997-4 January 1998.

Catalogue of an exhibition of Hogarth's engravings, published to mark the tercentenary of Hogarth's birth. It looks at the varied reactions to Hogarth's prints and the different identities imposed upon the artist over the centuries: witty satirist; stern moralist; libertine; aggressive self-promoter; detached observer; and man of the people. Includes many illustrations also of other contemporary satirical prints. The exhibition was also shown in the USA. See the review by Thomas W. Rieger, The Tübingen Review of English Studies, 2 February 2000.

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William Hogarth: Conciencia y crítica de una época: 1697-1764, exh. cat., ed. José Manuel Matilla and José Miguel Medrano, Centro Cultural del Conde Duque, Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Calcografía Nacional, Ayuntamiento de Madrid, Cuarta Tenencia de Alcaldía, Concejalía de Cultura, Educación, Juventud y Deportes, January-March 1998.

Detailed 350-page catalogue of Hogarth's engravings in Spanish, also including essays on Hogarth's "edifying comic histories" and his aesthetics. For some Spanish conference papers on the occasion of this exhibition, see "La pintura de Hogarth proporciona un testimonio excepcional de la sociedad británica del siglo XVIII", asegura Pilar de Miguel; Ramón Maruri diserta mañana sobre la obra de Hogarth y la realidad social de su tiempo, en el ciclo de conferencias de la exposición sobre el pintor inglés and Tomás Mantecón, "La obra de Hogarth es fruto de su capacidad de observación y de que en aquella época Londres era el mejor laboratorio social del continente".


A. P[aul] Oppé (ed.), The Drawings of William Hogarth, London: Phaidon Press, 1948.

To date, the best critical appreciation of Hogarth's drawings. Contains, in the introduction, a good account of Hogarth's artistic character, which is bound up with his private character.

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Michael Ayrton (ed.), Hogarth's Drawings, Notes on the Plates by Bernard Denvir, London: Avalon Press, 1948.

Reproduces 80 drawings, some of which are obviously not by Hogarth.


Frederick Antal, Hogarth and his Place in European Art, London: Routledge & Kegan Paul, 1962.

Pioneering, perceptive and well illustrated, critical study, posthumously published, which places Hogarth for the first time firmly in the mainstream of European art. Discusses, from a sociological, and liberal Marxist, point of view, "Hogarth's relationship both with English and foreign art, past and contemporary, his premises and parallels, his similarities and even his borrowings".

* * *

David Kunzle, History of the Comic Strip, Volume I: The Early Comic Strip: Narrative Strips and Picture Stories in the European Broadsheet from c.1450 to 1825, Berkeley, Los Angeles, London: University of California Press, 1973.

Collects, and comments upon, a vast amount of traditional picture stories taken from different countries and periods, including Hogarth's narrative series.

* * *

Werner Busch, Nachahmung als bürgerliches Kunstprinzip: Ikonographische Zitate bei Hogarth und in seiner Nachfolge, Hildesheim and New York: Georg Olms, 1977.

Though not widely known among Anglo-American scholars, this is an illuminating German study on Hogarth's borrowings in the context of eighteenth-century theories of art. Contains many new insights.


Joseph Burke (ed.), William Hogarth, The Analysis of Beauty, with the Rejected Passages from the Manuscript Drafts and Autobiographical Notes, Oxford: Clarendon Press, 1955.

Scholarly edition of the Analysis of Beauty (1753). Also incorporates important Hogarth manuscripts: the "Autobiographical Notes" of c. 1763 and unpublished parts of the Analysis text.

* * *

Ronald Paulson (ed.), William Hogarth, The Analysis of Beauty, New Haven and London: Yale University Press, 1997.

A new edition of the complete text of the Analysis of Beauty with Paulson's notes and introduction, supplying a good deal more annotation than Burke. Has also an appendix with illuminating manuscript passages that Hogarth omitted from the final version. Does not, however, include Hogarth's "Autobiographical Notes". The introduction places the Analysis of Beauty in the British empiricist and aesthetic traditions of Locke, Addison and Shaftesbury and concludes with a useful account of the reception of Hogarth's book.

* * *

For digital versions of The Analysis of Beauty, see the Tristram Shandy Web and FONTES 52 (University of Heidelberg). See further the first phase of Professor William Vaughan's project, 18th Century Writings on Art: A Virtual Library. It should be noted that there are also recent Russian, French, German, Spanish and Italian translations of the Analysis of Beauty. The German edition includes an interesting postscript by Peter Bexte. See also G. Sertoli's review of the modern Italian translation by C. Maria Laudando. There are also critical Italian studies of Hogarth's L' Analisi della Bellezza by Filiberto Menna (Salerno, 1988) and Stefania Consonni (Genoa, 2003).

* * *

Michael Kitson, "Hogarth's 'Apology for Painters'", Walpole Society, 41 (1966-1968), Oxford, 1968, 46-111.

Modern critical and well-annotated edition of an important Hogarth manuscript of c. 1761 - here for the first time transribed in Hogarth's original wording. Includes an excellent introduction. For some corrections of, and additions to, Kitson's reading of Hogarth's handwritten notes, see Bernd W. Krysmanski, Hogarth's 'Enthusiasm Delineated': Nachahmung als Kritik am Kennertum, Hildesheim, Zurich, New York: Georg Olms, 1996, I: 227-228n570, 288n736, 310n766, 741n1848.


R[obert] E[theridge] Moore, Hogarth's Literary Relationships, Minnesota: The University of Minnesota Press; London: Cumberlege, 1948. Reprint: New York: Octagon Books, 1969.

Key study showing the links between literary and visual satire in Hogarth's work. The book is devoted largely to Hogarth's influence upon Tobias Smollett and particularly Henry Fielding.

* * *

Peter Jan de Voogd, Henry Fielding and William Hogarth: The Correspondences of the Arts, Amsterdam: Rodopi, 1981 [Costerus, new ser., 30].

A study of the parallel careers of Hogarth and Fielding, which analyses the extent to which the work of each influenced the other. See Introduction.

* * *

Murray Roston, Changing Perspectives in Literature and the Visual Arts, 1650-1820, Princeton: Princeton University Press, 1990.

Includes, pp. 170-89, a section that deals with Hogarth and Fielding.

* * *

C. Maria Laudando, Parody, Paratext, Palimpsest: A Study of Intertextual Strategies in the Writings of Laurence Sterne, PhD thesis, Istituto Universitario Orientale, Naples, 1995.

Interesting study on Laurence Sterne's writings, overlooked by most scholars. Chapter Four, "From Stage to Page to Frame: A Binocular Reading of Hogarth's and Sterne's Narrative Artifacts", pp. 193-282, is devoted to Sterne and Hogarth.

* * *

Jerry C. Beasley, Tobias Smollett, Novelist, Athens, GA: University of Georgia Press, 1998.

Views Tobias Smollett's novels as exercises of a visual imagination and seeks to demonstrate intersections between the graphic and verbal arts. Like Hogarth, Smollett was both chronicler and interpreter of what he saw.

* * *

Ronald Paulson, The Life of Henry Fielding: A Critical Biography, Oxford: Blackwell Publishers, 2000.

New critical biography demonstrating how Fielding's life and writings evolved according to his experiments with different professions (playwright and theater-manager; journalist; barrister; magistrate). The study also situates Fielding's writings within contemporary political, aesthetic, and philosophical controversies. Chapter 2 ("Playwright, 1730-1737") includes, pp. 78-92, a subchapter on Hogarth. The English artist is a recurrent point of reference in most other chapters.


David Bindman, Hogarth, London: Thames and Hudson, 1981.

Good brief and well illustrated study of Hogarth the artist.

* * *

John Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century, New York: Farrar Straus Giroux, 1997.

Focusing on Johnson and Boswell, Reynolds, Garrick, Handel and some lesser-known figures of the eighteenth century, this 721-page study sets out to show how literature, painting, music, and the theatre related to an increased public interest; how artists used, or were used by, publishers, plagiarists, impresarios, managers, art dealers and connoisseurs; and how contemporary ideas on taste combined with patriotic fervour and shrewdly managed commerce to create a vibrant, dynamic culture. Several sections deal with Hogarth. See the review by Michael Dirda in the Washington Post, 9 November 1997.

* * *

Werner Busch, Das sentimentalische Bild: Die Krise der Kunst im 18. Jahrhundert und die Geburt der Moderne, Munich: C. H. Beck, 1993.

Through a discussion of many examples of history, genre and landscape painting, as well as work of portraiture and caricature, this important German study shows that eighteenth-century artists' views of the world were no longer bound to traditional art theories, but were equally individual, sentimental and subjective. Chapter two, on "Genre", deals with Hogarth's "modern moral subjects" and offers a new and a surprising interpretation of Beer Street and Gin Lane.

* * *

Vincent Carretta, 'The Snarling Muse': Verbal and Visual Political Satire from Pope to Churchill, Philadelphia: University of Pennsylvania Press, 1983.

Survey of the great period of English verbal and pictorial satire from 1714 to 1764, including an extended discussion of Hogarth's Emblematical Print of the South Sea Scheme (1721) and its sources. The author further sees Hogarth's political prints from the 1740s on as representative of the development of caricature.

* * *

Vincent Carretta, George III and the Satirists from Hogarth to Byron, Athens and London: University of Georgia Press, 1990.

Discusses the part played by Hogarth's satires during the 1760s on the opponents of George III and the contemporary debate over the role of the monarchy in the British constitution. Also makes reference to the possible influences Hogarth's images had on later satirists, including William Blake and James Gillray.

* * *

Robert L. S. Cowley, Marriage A-la-Mode: a re-view of Hogarth's narrative art, Manchester: Manchester University Press, 1983. American edition as Hogarth's 'Marriage A-la-Mode', Ithaca, NY: Cornell University Press, 1983.

Doubtless one of the best monographs on Hogarth, and, to date, the most comprehensive study of the content and formal structure of the six Marriage A-la-Mode pictures.

* * *

David Dabydeen, Hogarth's Blacks: Images of Blacks in Eighteenth Century English Art, Mundelstrup [Denmark] and Kingston-upon-Thames, Surrey: Dangaroo Press, 1985. Further editions: Manchester, 1987, and Athens, Georgia, 1987.

Study on Hogarth's representations of black people: original; illuminating; well-researched; and well-written.

* * *

David Dabydeen, Hogarth, Walpole and Commercial Britain, London: Hansib Publishing Limited, 1987.

Political reading of Hogarth's South Sea Scheme, A Harlot's Progress and A Rake's Progress as satires on Walpole. Additionally traces South Sea motifs in other early works by Hogarth.

* * *

Javier Docampo / Francisco Calvo Serraller, William Hogarth en la Biblioteca Nacional, exh. cat., Bilboko Arte Eder Museoa [Museo de Bellas Artes de Bilbao], Bilbao, 1997.

149-page Spanish catalogue of Hogarth's engravings. Includes, apart from the extensively annotated "Catálogo", an introduction by Javier Docampo ("Introducción: William Hogarth regresa a Bilbao", pp. 13-24) and an essay by Francisco Calvo Serraller ("Hogarth: Pionero de la modernización del arte europeo", pp. 25-37). For another Spanish exhibition of Hogarth's prints at the Biblioteca National, curated by Javier Docampo, see British Satirical Prints: Hogarth and His Age.

* * *

Johannes Dobai, Die Kunstliteratur des Klassizismus und der Romantik in England, 4 vols., Bern: Benteli, 1974-1984.

Though often disregarded by Anglo-American scholars, these four very large volumes include, to date, the best and most comprehensive compilation of, and comment on, aesthetic theories and literature on art in eighteenth and early nineteenth-century Britain. Contains, in volume II, an extensive chapter on Hogarth's writings and detailed bibliographical references.

* * *

Jürgen Döring, Eine Kunstgeschichte der frühen englischen Karikatur, Hildesheim: Gerstenberg Verlag, 1991 [Schriften zur Karikatur und kritischen Grafik, ed. Herwig Guratzsch, Wilhelm-Busch-Museum Hannover, vol. 1].

Thorough and well-illustrated study placing Hogarth and his prints in the context of the life and work of other pictorial satirists of the period. Includes excellent sections on caricature as an art form and on the print trade in London.

* * *

Judy Egerton, Hogarth's 'Marriage A-la-Mode', exh. cat., The National Gallery, London, 15 October 1997-18 January 1998. New edition: Yale University Press, 2011.

Well-illustrated scene-by-scene account of the Marriage A-la-Mode paintings "whose colour is continually inventive and subtle". Describes the "innumerable details which contribute to the story's meaning" and which "are to be found not only in the faces, gestures and manners of the characters (...), but also in the furniture, objets d'art, and above all the 'pictures within the pictures' ". See also the review by Richard Dorment.

* * *

Elizabeth Einberg (introduction and catalogue), Manners & Morals, Hogarth and British Painting 1700-1760, exh. cat., The Tate Gallery, London, 1987.

Charts the emergence of a British School of painting from its exclusive and foreign-dominated status in the reign of Queen Anne, up to the establishment of a true native school by the end of the reign of George II. Hogarth is shown in the context of his fore-runners, rivals and contemporaries such as Kneller, Thornhill, Highmore and Hayman, as well as of the "new men" like Ramsay, Gainsborough, Romney and Reynolds.

* * *

Elizabeth Einberg, Hogarth the Painter, exh. cat., Tate Gallery, London, 4 March-8 June 1997.

56-page catalogue accompanying the tercentenary of Hogarth's birth, offering a survey of 31 of his paintings from the late 1720s to 1759.

* * *

Elizabeth Einberg / Judy Egerton, The Age of Hogarth: British Painters Born 1675-1709, London, 1988 [The Tate Gallery Collections, II].

Includes thorough descriptions by Elizabeth Einberg of all of Hogarth's pictures in the Tate Gallery, London.

* * *

Lawrence Gowing, William Hogarth, exh. cat., The Tate Gallery, London, 2 December 1971-16 February 1972.

Excellent survey of Hogarth's art, covering the full range of his paintings, drawings and engravings. Catalogue and commentary by Lawrence Gowing; introductory essay on Hogarth's life by Ronald Paulson.

* * *

Rhian Harris / Robin Simon (eds.), Enlightened Self-interest: The Foundling Hospital and Hogarth, An exhibition at the Thomas Coram Foundation for Children, 40 Brunswick Square, London WC1N 1AZ, 5-29 November 1997.

Well-illustrated 48-page exhibition catalogue examining "William Hogarth's relationship with the Foundling Hospital in terms of what Edmund Burke called 'Enlightened Self Interest': both his altruism and artistic professionalism". Includes essays by Brian Allen, Roy Porter, Jacqueline Riding, Martin Postle, Steven Parissien, Elizabeth Einberg and Mike Bowles.

* * *

Fiona Haslam, From Hogarth to Rowlandson: Medicine in Art in Eighteenth-Century Britain, Liverpool: Liverpool University Press, 1996.

Comprehensive study, placing "the art of medicine" of the eighteenth century in its social, medical, historical and political context. Considers in detail medical images in Hogarth's satires. See the review by J. H. Baron in the British Medical Journal, 314 (22 March 1997), 911.

* * *

Berthold Hinz, William Hogarth, 'Beer Street' and 'Gin Lane': Lehrtafeln zur britischen Volkswohlfahrt, Frankfurt/M.: Fischer Taschenbuch Verlag, 1984.

Handy 74-page monograph on Beer Street and Gin Lane. Part of the German "kunststück" series.

* * *

Derek Jarrett, The Ingenious Mr. Hogarth, London: Michael Joseph, 1976.

Popular account of Hogarth's career in its historical and political context, based on Hogarth's unpublished manuscript, the "Autobiographical Notes", and Ronald Paulson's Hogarth: His Life, Art, and Times. Occasionally offers new information and correctives to Paulson's scholarship.

* * *

Ulrich Joost / Gerd Unverfehrt (eds.), Hogarth und die Nachwelt: Von Lichtenberg bis Hrdlicka, exh. cat., Kunstsammlung der Universität Göttingen im Auditorium, 13 November-18 December 1988.

108-page catalogue focusing on the reception of Hogarth's work in eighteenth-century England, Germany and Russia, and on later artists influenced by Hogarth. Includes worthwhile papers by Jürgen Döring ("Kritik an Hogarth im 18. Jahrhundert", pp. 23-31) and Marina Peltzer ("Hogarth in Rußland", pp. 32-37).

* * *

Jack Lindsay, Hogarth: His Art and His World, London: Hart-Davis & MacGibbon, 1977; New York: Taplinger Publishing Co., 1979.

Good 277-page study on Hogarth, which intends to bring out what the author feels "to be the significance of the 'Analysis' in relation to Hogarth's own work, the art of his world, and art in general".

* * *

Neil McWilliam, Hogarth, London: Studio Editions, 1993. Reprint: London: Studio Editions, 1994.

General introduction to the work of Hogarth, focusing on the paintings and organised thematically rather than as a biographical narrative. Includes good colour reproductions of the paintings.

* * *

'Marriage A-la-Mode' - Hogarth und seine deutschen Bewunderer, exh. cat., ed. Martina Dillmann and Claude Keisch, Staatliche Museen zu Berlin, Nationalgalerie - Altes Museum, Berlin, 18 December 1998 - 28 February 1999, Städelsches Kunstinstitut und Städtische Galerie Frankfurt am Main, 25 March - 20 June 1999.

Well illustrated 160-page catalogue including, apart from a German translation of Judy Egerton's account of Hogarth's Marriage A-la-Mode, contributions by several German scholars, among them articles by Werner Busch and Karl Arndt.

* * *

Charles Mitchell (ed.), Hogarth's Peregrination, Oxford: Clarendon Press, 1952.

54-page publication on Hogarth's tour through Kent, including many particulars about the events and the men who accompanied him.

* * *

Joachim Möller (ed.), Hogarth in Context: Ten Essays and a Bibliography, Marburg: Jonas, 1996.

Presents American, British and German essays by prominent Hogarthian scholars who hold different literary and art historical perspectives, thereby demonstrating that Hogarth's work is not solely the province of the visual arts, but is at a borderline between "sister arts". Contains contributions by Werner Busch, Ronald Paulson, Stephen C. Behrendt, Robert L. S. Cowley, Mary Klinger Lindberg, Vincent Carretta, Jeanne K. Welcher, Walter T. Rix, Barry Wind and Joachim Möller. The volume includes a remarkable bibliography on Hogarth.

* * *

Frédéric Ogée (ed.), The Dumb show: Image and society in the works of William Hogarth, Oxford: Voltaire Foundation, 1997 [Studies on Voltaire and the Eighteenth Century, 357]

Extended English edition of some papers delivered on the occasion of a French conference on Hogarth in 1992. The contributions (by Michel Baridon, David Bindman, Jacques Carré, Pierre Georgel, Bernd Krysmanski, Marie-Madeleine Martinet, Frédéric Ogée, Roy Porter and Peter Wagner) deal with Hogarth's eccentricity; his ambiguous position as an artist; and the ambivalence of his pictures, which "result from his boldest artistic originality: his adoption of a polycentric stage, on which the 'dumb show' exhibited by his 'players' offers concomitant areas of meaning".

* * *

Frédéric Ogée / Hans-Peter Wagner / Peter Hanns Reill (eds.), William Hogarth: Theater and the Theater of Life, An exhibition drawn from the collection of Gerald and Suzanne Labiner, 16 March to 6 April 1997, Grunwald Center for the Graphic Arts, UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles, 1997.

Brief catalogue, putting together a selected number of prints by Hogarth that show the influence of the theatre on his art.

* * *

Ronald Paulson, The Art of Hogarth, London: Phaidon; New York: Praeger, 1975.

A thoroughly illustrated volume and an attempt to deal primarily with the paintings, being "a general critical introduction to the enjoyment of Hogarth's art" emphasising the "difference in the reading of a Hogarth print and the seeing of a Hogarth painting".

* * *

Ronald Paulson, Popular and Polite Art in the Age of Hogarth and Fielding, Notre Dame, Indiana and London: University of Notre Dame Press, 1979 [Ward-Phillips Lectures in English Language and Literature, 10]

Links modes of expression to social structures, circumstances and settings from c. 1730 to 1750. Refers to alphabet books, decks of cards, signboards, engravings and novels.

* * *

Ronald Paulson, The Beautiful, Novel, and Strange: Aesthetics and Heterodoxy, Baltimore and London: The Johns Hopkins University Press, 1996.

Includes a revisionist interpretation of Hogarth's aesthetics, building on his deist-Freemason connections (first explored in Hogarth, Volume 2 and 3).

* * *

Ronald Paulson, Don Quixote in England: The Aesthetics of Laughter, Baltimore and London: Johns Hopkins University Press, 1998.

This study of the reception of Cervantes' comic novel in England includes a discussion of Hogarth's Don Quixote illustrations. For more details, see the reviews by Laura J. Gorfkle, Cervantes: Bulletin of the Cervantes Society of America, 19, no. 1 (1999), 145-49; Peter M. Briggs, Bryn Mawr Review of Comparative Literature, 1, no. 1 (Summer 1999).

* * *

Iain Pears, The Discovery of Painting: The Growth of Interest in the Arts in England, 1680-1768, New Haven and London: Yale University Press, 1988.

Though there is little on Hogarth in this book, it deals with the contemporary art market; the London artists' societies; the tastes, habits, and patronage of the eighteenth-century aristocracy and bourgeoisie. Includes, however, some misdatings.

* * *

Marcia Pointon, Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England, New Haven and London: Yale University Press, 1993; paperback edition: 1997.

Hogarth is a recurrent point of reference in this book, which includes, for instance, interesting readings of some of Hogarth's conversation pieces.

* * *

Peter Quennell, Hogarth's Progress, London: Collins; New York: Viking Press, 1955. Reprinted 1977.

According to his own statement in the preface, the author has tried "to draw a portrait of the artist, and to relate an account of his works to the description of the period in which he lived".

* * *

Michael Rosenthal, Hogarth, London: Jupiter Books, 1980.

Provides a brief survey of what we can discover about Hogarth's art by looking closely at his pictures. The book is divided into two parts: a 22-page introduction and 86 annotated illustrations of different quality.

* * *

Christina Scull, The Soane Hogarths, Sir John Soane's Museum, London, 1991.

This 48-page booklet tells the story of the Rake's Progress and Election paintings in the Soane's Museum and discusses their narrative and content.

* * *

Sean Shesgreen, Hogarth and the Times-of-the-Day Tradition, Ithaca and London: Cornell University Press, 1983.

A major study demonstrating how Hogarth transforms an important graphic theme, the points du jour of sixteenth and seventeenth-century Dutch and Flemish art, in his own Morning, Noon, Evening, and Night. Deals also with the Strolling Actresses Dressing in a Barn.

* * *

Robin Simon / Christopher Woodward (eds.), 'A Rake's Progress': From Hogarth to Hockney, exh. cat., Sir John Soane's Museum, London, 26 March-31 August 1997.

Well illustrated 40-page catalogue of an exhibition focusing on the precedents and influence of Hogarth's Rake's Progress series. It particularly compares the eight Rake pictures with "the later works of art by artists such as Rex Whistler, David Low, Jörg Immendorff, Peter Howson and David Hockney who have all been inspired by Hogarth's radical approach to art and life". Includes brief essays by David Bindman, Christopher Woodward, Frances Rustin, Richard Pound, Natalie E. Smith and Verena Bertmaring.

* * *

David H. Solkin, Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven and London: Yale University Press, 1993.

In focusing on portraiture; the English conversation piece; and an examination of the spaces of public life, this study concentrates "on those artists and writers about art who embraced the realities of a burgeoning market economy, instead of bemoaning its arrival as a sign of social and spiritual degeneration", attempting to show "how a visual culture came to be shaped by and for the purposes of commerce".

* * *

Andrew Stevens, Hogarth and the Shows of London, exh. cat., Elvehjem Museum of Art, University of Wisconsin-Madison, 1996.

Explores the close relationship between Hogarth's prints and the various shows that he and his audiences would have had access to in London. On performances of The Beggar's Opera and a lecture accompanying the exhibition when shown at The Douglas F. Cooley Memorial Art Gallery at Reed College in Portland, Oregon, 7 November 1996-1 January 1997, see also "18th-Century Hogarth Theater Prints Come to Reed", Reed College Press Release, 8 October 1996.

* * *

William Vaughan, British Painting: The Golden Age from Hogarth to Turner, London: Thames and Hudson, 1999.

Survey of the 120 years of British painting that divide Hogarth's early works around 1730 from the death of Turner in 1851. The four parts of this book are devoted to: "Portraiture and Society" (pp. 24-97, including a chapter on Hogarth); "High Art and High Life" (pp. 98-149); "Low Art and Low Life" (pp. 150-81); and "The Nature of Landscape" (pp. 182-249). There is also an introduction, "Painting and the Hanoverian Era" (pp. 6-23).

* * *

Peter Wagner, Reading Iconotexts: From Swift to the French Revolution, London: Reaktion Books, 1995.

Provocative study presenting a modern intertextual, post-structuralist view of Hogarth's art, influenced by French theory. Promotes new strategies for decoding the ambiguous sign systems that create "iconotexts", i.e. constructs mingling images and words and "appealing to the observer to activate his/her knowledge of both media". See also the reviews by Martin Heusser, Interactions - The Bulletin of I.A.W.I.S., No. 16 (April 1996); Leonard Rifas, TCJ [The Comics Journal], No. 188 (July 1996).

* * *

Hans-Peter Wagner, William Hogarth, 1697-1764: Das graphische Werk, exh. cat., Saarland Museum, Saarbrücken, 5 March-30 April 1998.

67-page catalogue of a German exhibition on Hogarth, offering a good survey of the main prints. The introduction discusses traditional Hogarth scholarship from a poststructuralist's point of view.

* * *

Mary Webster, Hogarth, London: Studio Vista, 1979.

Solid and well-illustrated account of Hogarth's life and work, focusing on the paintings.

* * *

William Hogarth: Dipinti, disegni, incisioni, exh. cat., Fondazione Giorgio Cini, San Giorgio Maggiore, Venice, 26 August-12 November 1989, Vicenza: Neri Pozza Editore, 1989.

Catalogue of an important Italian exhibition on Hogarth organised by Mary Webster. Includes a biographical essay, many illustrations and detailed Italian commentaries on Hogarth's works.

* * *

William Hogarth: Nationalism, Mass Media and the Artist, exh. cat., The Vancouver Art Gallery, November 29, 1980-January 4, 1981.

58-page catalogue of a selection of Hogarth's engravings, including lesser known works on the subjects of taste, connoisseurship, nationalism in art and the importation of foreign artistic models. Contains two articles, the main one by Ilaria Bignamini.

* * *

Barry Wind, Wit and Vitriol: Hogarth and the Politics of His Time, exh. cat., UWM Museum, Art History Museum, University of Wisconsin-Milwaukee, Milwaukee, 2 October-5 November 1988.

Interpretation of Hogarth's main graphic works in the context of political themes of the time. The short introduction stresses Hogarth's politics.

* * *

Shaun Wourm, "Ambiguities and Paradoxes in Hogarth's Industry & Idleness, MA thesis, Université Lumière Lyon II, 1997.

Looks "at the two apprentices' story by studying the different graphic references and codes that the artist has slyly inserted within the plates". See the online version of this MA dissertation: William Hogarth's Realm:


John Trusler, Hogarth Moralized: A Complete Edition of All the Most Capital and Admired Works of William Hogarth, Accompanied by Concise and Comprehensive Explanations of Their Moral Tendency by the late Rev. Dr. Trusler, To Which are Added, An Introductory Essay, and Many Original and Selected Notes, by John Major, A New Edition, Revised, Corrected, and Somewhat Enlarged (London: Printed for Henry Washbourne, 1841).

Best, though incomplete, critical nineteenth-century edition of Trusler's book which was first published in 1768. For another nineteenth-century edition, see The Works of William Hogarth, In a Series of Engravings, With Descriptions, and a Comment on their Moral Tendency, by the Rev. John Trusler, To which are added, Anecdotes of the Author and his Works, by J. Hogarth and J. Nichols, 2 vols. (London: Jones and Co., 1833).

* * *

John Nichols, Biographical Anecdotes of William Hogarth; With a Catalogue of his Works Chronologically Arranged; And Occasional Remarks, 3rd edn (London: Printed by and for John Nichols, 1785).

First comprehensive life of Hogarth, based on contemporary memories, manuscripts, and collections. Includes critical and somewhat derogatory comments on Hogarth by George Steevens, theatrical anecdotes by Isaac Reed, an extensively annotated "Catalogue of Hogarth's Prints" and a "General Index to Hogarth's Plates."

* * *

Samuel Ireland, Graphic Illustrations of Hogarth, From Pictures, Drawings, and Scarce Prints in the Possession of Samuel Ireland, London: R. Faulder and J. Egerton, 1794.

Includes some interesting anecdotes on Hogarth, his work, his time, and his contemporaries plus illustrations of, and notes on, Hogarth's earliest and little known works. However, these are not always reliable, as among the "scarce prints" are some obvious forgeries. A second volume of Ireland's Graphic Illustrations was published in 1799.

* * *

John Nichols / George Steevens, et al., The Genuine Works of William Hogarth, illustrated with Biographical Anecdotes, a Chronological Catalogue and Commentary, 2 vols., London: Printed for Longman, Hurst, Rees, and Orme, 1808-1810.

Definitive revision of Nichols's eighteenth-century editions of his Anecdotes of William Hogarth (1781, 1782 and 1785), fairly summarising all that was known about Hogarth's life and art up to that time. Includes many quotations from contemporary sources and a detailed Index. A third volume of the Genuine Works with additional material appeared in 1817.

* * *

Thomas Clerk, The Works of William Hogarth (Including the 'Analysis of Beauty';) Elucidated by Descriptions, Critical, Moral and Historical, London: R. Scholey, 1812.

Includes "Some Account of William Hogarth" by Thomas Hartwell Horne, a discussion of the artist's major works, and, in volume 2, a reprint of the text of The Analysis of Beauty.

* * *

J[ohn] B[owyer] Nichols, Anecdotes of William Hogarth, Written by Himself: With Essays on his Life and Genius, and Criticisms of his Works, Selected from Walpole, Gilpin, J. Ireland, Lamb, Phillips, and Others, To which are added a Catalogue of his Prints, Account of their Variations, and Principal Copies, List of Paintings, Drawings, &c., London: J. B. Nichols and Son, 1833. Facsimile reprint with a short introduction by R[onald] W. Lightbown: London: Cornmarket Press, 1970.

This book contains, apart from the many quotations from John Ireland and others, the then most complete catalogues of Hogarth's work, particularly, a "Chronological Catalogue of Hogarth's Prints; with an Account of the Variations and Principal Copies".

* * *

John Ireland, Hogarth Illustrated, 2 vols., London: J. & J. Boydell, 1791. Second edition: 1793. Third edition: 1812.

John Ireland, A Supplement to Hogarth Illustrated, Compiled from his Original Manuscripts, in the Possession of John Ireland, London: For the Author, Mr. Nicol, and Messrs. Boydell, 1798 [Hogarth Illustrated, III].

There are also late nineteenth-century editions of these three volumes. They contain accurate descriptions of Hogarth's prints, which are still useful to the modern reader. The supplement volume includes Ireland's transcription of Hogarth's manuscript notes, which disclose a great deal about the artist's life and thought.

* * *

G[eorg] C[hristoph] Lichtenberg's ausführliche Erklärung der Hogarthischen Kupferstiche, mit verkleinerten aber vollständigen Copien derselben von E[rnst Ludwig] Riepenhausen, 14 vols., Göttingen, 1794-1835; new edition, 1850-54.

Certainly the most brilliant of the early commentators. Considers almost every detail in Hogarth's engravings. Distinguishes between a prosaic and a poetic method of interpretation. Though often wandering from the subject, the verbal and semantic ambiguity in the commentaries corresponds well to the ambiguity in Hogarth's prints. The modern English translations, which appeared in 1966 and 1970, are not as good as the German original. From the 14 Lieferungen only the first four are by Lichtenberg himself. For modern German editions of Lichtenberg's commentaries, see Wolfgang Promies (ed.), Georg Christoph Lichtenberg, Schriften und Briefe, III: Aufsätze, Entwürfe, Gedichte, Erklärung der Hogarthischen Kupferstiche, Munich: Carl Hanser, 1972, 657-1060; Wolfgang Promies (ed.), Lichtenbergs Hogarth: Die Kalender-Erklärungen von Georg Christoph Lichtenberg mit den Nachstichen von Ernst Ludwig Riepenhausen zu den Kupferstich-Tafeln von William Hogarth, Munich, Vienna: Carl Hanser, 1999. For a modern critical discussion of Lichtenberg's Hogarth commentaries, see Hans-Georg von Arburg, Kunst-Wissenschaft um 1800: Studien zu Georg Christoph Lichtenbergs Hogarth-Kommentaren, Göttingen: Wallstein-Verlag, 1998. For a feminist study on Hogarth and Lichtenberg, see, in addition, Jutta Pivecka, Malen, Schreiben, Drucken: Zum Verhältnis von Autorschaft und Öffentlichkeit im 18. Jahrhundert aus Sicht der Geschlechterforschung, Studien zu William Hogarth (1697-1764) und Georg Christoph Lichtenberg (1742-1799), Königstein/Taunus: Ulrike Helmer Verlag, 1999.

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The Works of William Hogarth, from the Original Plates restored by James Heath, Esq. R.A.; With the Addition of many Subjects not before collected (London: Printed for Baldwin, Cradock, and Joy by J. Nichols and Son, 1822).

Online version of The Works of William Hogarth, including all illustrations and the accompanying commentaries by John Nichols. Part of a Hogarth project by Clifford Armion, Professor of English at the Université de Lyon.

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Franz Kottenkamp, William Hogarth's Zeichnungen (Stuttgart: Literatur-Comptoir, 1840).

Detailed German commentaries on the prints, borrowed from Lichtenberg's Ausführliche Erklärung der Hogarthischen Kupferstiche and the early English commentators. Contains, however, some errors produced by the author himself.

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George Augustus Sala, William Hogarth: Painter, Engraver and Philosopher, Essays on the Man, the Work, and the Time (London: Smith, Elder & Co., 1866).

Collects the rather colourful articles which were first published in The Cornhill Magazine, I and II (February-October 1860). Hogarth is seen as an Englishman of a "healthful, sanguine constitution, and ... great powers of will and self-reliance backboning an unflagging industry." However, according to one critic, "these are sentimental, gossipy meanderings that confuse and do not inform, and they cannot possibly be regarded as serious, intelligent criticism, or even as well written biography."

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Frederic George Stephens / Edward Hawkins, Catalogue of Prints and Drawings in the British Museum, Division I: Political and Personal Satires, I-IV, London: British Museum, Printed by Order of the Trustees, 1870, 1873, 1877 and 1883.

Though not so well known as they deserve to be, these volumes contain, to date, the most important and thorough descriptions of Hogarth's satirical prints, written by the art critic and former Pre-Raphaelite painter, Frederic George Stephens (1828-1907). The detailed commentaries offer the reader further background information on Hogarth and his motifs, the vast amount of other related contemporary satirical prints and the literature of the time.


Austin Dobson, William Hogarth (London: William Heinemann, 1907). There are also late-nineteenth-century editions of this book, which was first published in 1879.

This volume is one of the series of the Illustrated Biographies of the Great Artists. It contains an annotated "Bibliography of the Principal Books, Pamphlets, etc., Relating to Hogarth and his Works", which is still very useful, and uncritical lists of Hogarth's paintings and prints.

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G. Baldwin Brown, William Hogarth (London: The Walter Scott Publishing Co., 1905).

217-page study on Hogarth's life and art from a sociocultural and art historical point of view, stressing his technical skill as a painter, and his originality.

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Henry B[enjamin] Wheatley, Hogarth's London: Pictures of the Manners of the Eighteenth Century (London: Constable and Company Ltd., 1909).

Easily readable volume not only on eighteenth-century London, but also on Hogarth's life, works and contemporaries, based on the then most important sources on Hogarth, which are often quoted in the text.

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William T[homas] Whitley, Artists and their Friends in England 1700-1799, 2 vols. (New York and London: Benjamin Blom, 1928). Reissued 1968.

Notable study which exploits George Vertue's manuscript notebooks and throws new light on the English artists of the eighteenth century and their contemporaries. See also volume 2.

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Marjorie Bowen, William Hogarth: The Cockney's Mirror (London: Methuen, 1936).

This study on Hogarth "is divided into four parts; the first part gives the background of William Hogarth's life and pictures, the second recounts his career and character and his attitude to his own genius, the third gives the stories, actors (real or imagined) of the principal pictures and prints, and the fourth describes and analyses the work from the point of view of aesthetics."


Innumerable essays on Hogarth have appeared in different journals all over the world during the last three centuries. For these and for countless other publications, the reader should consult the forthcoming, annotated, two-volume Hogarth Bibliography by the author of this Web site.

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