227:, but removed the dedication before the print was issued, fearing it would be misinterpreted; some variations on the first state of the print still show "Addressed to the Hon'ble Col. T—ns—d". Townshend was just the sort of talented amateur Hogarth despised: he used his talents as a caricaturist to attack his political opponents and gain an advantage for himself; by trying to differentiate character and caricature Hogarth hoped place himself in a class with the Renaissance painters and disassociate his work from that of the gentleman caricaturists for whom caricature was an enjoyable distraction or tool for their own advancement.
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quill in his right hand in both the painting and engraving, even though the composition is reversed. In the painting the quill is raised as if preparing to write, while in the print the hand holding the quill is more relaxed. In the painting he holds a small piece of paper in his left hand, in the engraving it has become a small book or sheaf of notes, the contents of which he appears to be studying. He has had a pair of pince-nez added in the engraving. Noel has also had a pair of glasses added. Willes' eyebrows, which had been black in the painting, are white in the engraving.
247:. Hogarth ridicules the lack of ability or interest among the judiciary, whose "shallow discernment, natural disposition, or wilful inattention, is here perfectly described in their faces". None of the four judges is concerned with the case before them: one is busy other business; one is examining a former deposition or some material unconnected to the case before him; and the final two are lost on various stages of sleep. The four judges have been identified as the Honourable William Noel; Sir
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both, and that the chief justice was three times sent for and consulted on this occasion; but that he still persisted in his former opinion. [It is a well-known fact that Lord Chief
Justice Willes was a steady assertor of the dignity of the law. It could not be supposed that he could have any prejudice against the convict; and it must he concluded that his opinion arose from a regard to the
306:, both of which contrast the human condition of the subjects with the grandeur of their dress. Hogarth designed and engraved the plates himself from his original painting. The first state print, which was issued on 4 September 1758, was intended to show the four judges as a demonstration of character portraiture. It is headed "Character" and subtitled "Of the different meanings of the words
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to be like some person or other, and will often form such a comical resemblance, as, in all probability, the most eminent caricatures of these times will not be able to equal with design, because their ideas of objects are so much the more perfect than children's, that they will unavoidably introduce some kind of drawing: for all the humorous effects of the fashionable manner of
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character portrait and the other caricatures of the same figures. According to the addition made to the inscription plate by John
Ireland, Hogarth started the alterations during October 1764, and was still working on them up to his death on 26 October 1764. Bathurst's appears again among these heads: his character portrait is reproduced to the far right in the
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It is said that the king was disposed to have pardoned them both; but that Lord Chief
Justice Willes, before whom they were tried, declared in council that no regard would be paid to the laws except one of them was made an example of. Our account informs us that the king still inclined to pardon them
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Most of
Hogarth's engravings taken from his original paintings are fairly faithful reproductions within the limitations of the two media (where both survive to allow us to compare them). Occasionally a detail is clearer in the print from the engraving than in the painting, or a nuance is missing from
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is, or ought to be, totally divested of every stroke that hath a tendency to good drawing; it may be said to be a species of lines that are produced rather by the hand of chance than of skill; for the early scrawlings of a child, which do but barely hint an idea of a human face, will always be found
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there are a number of differences between the original painting and the prints. While the second state differs considerably because of the replacement of the King's Arms with the eight caricatured heads, the first state also has differences, chiefly in the composition of
Justice Willes. He holds a
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The print was accompanied by a second sheet of the same size with a lengthy inscription detailing
Hogarth's motives for creating the piece. In a letter to Hogarth, a correspondent identified only as "B" noted that the print seemed of minor importance compared to the inscription, indeed it was the
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Hogarth had become very sensitive to the criticisms levelled at him as a painter, and was anxious both to distance himself once and for all from the caricaturists, and to prove both that he could capture the true nature of his subjects. Hogarth originally dedicated the print to the soldier and
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Minor variations on the first state exist with different wording in the titles and inscription. The second state, the only known variation in the composition of the picture itself, is incomplete. The King's Arms have been removed and replaced by eight heads, in two subject groups, one showing
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chiefly depend on the surprise we are under at rinding ourselves caught with any sort of similitude in objects absolutely remote in their kind. Let it be observed, the more remote in their nature, the greater is the excellence of these pieces. As a proof of this, I remember a famous
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It has ever been allowed that when a character is strongly marked in the living face, it may be consider as an index of the mind, to express which with any degree of justness in painting requires the utmost efforts of a great master. Now that which has of late years got the name of
296:" floating above the judges' heads. Paulson says that the painting's power derives from the juxtaposition of the frailty – both bodily and moral – of the judges themselves with the authority indued by the robes of state, and compares it to both Hogarth's second portrait of Bishop
455:, and because the second state was unfinished at the time of Hogarth's death, but the picture is usually dismissed as little more than a jab at the legal profession in the mould of others of Hogarth's satirical prints which mocked various of the professions, such as
114:, and a print issued by him in the same year. Unlike many of Hogarth's engravings produced from painted originals, the print differs considerably from the painting. It was intended as a demonstration of the differences between character painting, caricature and
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to comedy, tragedy, and farce in the theatre. Comedy, which he aligned with character, showed a true view of nature, as nothing was outside reality. Tragedy, which he compared to caricature, heightened reality, exaggerating aspects of its subjects. Farce and
451:. The first and second states along with the inscriptions which accompanied both sold in Baker's 1825 auction of Hogarth's works for £6. 12s. 6d. The picture has some interest to scholars of Hogarth because of its continuation of the theme started in
417:, it is different from the foregoing, and signifies nothing more than the exaggerated outline of a figure, all the parts of which may be, in other respects, a perfect and true picture of human nature. A giant or a dwarf may be called a common man
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the print, any colours from the painting are obviously lost in the black ink reproduction of the engraving, and the images are normally reversed, because the process of printing from the engraving naturally reverses the images from the plate. In
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of 1749, but was equally famed as a rake, and he is the main target for
Hogarth's satire here. Hogarth's representation of Willes has been suggested as the inspiration for the character of Mr. Justice Harbottle in
373:; Paulson suggests it may have been a rejected passage from that book, and Trusler, a nineteenth-century commentator on Hogarth, goes as far as to wrongly attribute the inscription as an excerpt from chapter six.
443:, a prominent civil servant in the Pitt Government, who owned several of Hogarth's works and whose portrait Hogarth had painted in 1757, then passed to a Mr. Edwards, and is now held by the
178:) and a hundred of his own character profiles. After Hogarth's death the subscription ticket was reproduced as print in its own right, minus the subscription details for
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as a subset of caricature, but considered caricature to be as far below the art of character painting as the "wild attempts of children". In his own comments on
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He had made an early attempt to address what he perceived as a mistake on the part of his critics with the subscription ticket for his 1743 series
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The surviving painting and original (first state) print shows four judges sitting below the King's Arms, in session in the
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391:, nevertheless they are usually confounded, and mistaken for each other, on which account this explanation is attempted.
148:…the whole nest of Phizmongers were upon my back every one of whome has his friends and were all taught to run em down.
144:, Hogarth claimed that the critics had branded all his women as harlots and all his men as caricatures. He complained:
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259:, and later still Lord Chancellor; and Sir Edward Clive, who is dozing on Bathurst's shoulder. Willes was known as a
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Hogarth had often been accused of being a caricaturist, but regarded this as a slur on his work. In his book on art,
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group. The other three figures in the two groups show two men looking eagerly at third, in poses reminiscent of the
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292:" below the King's Arms has been deliberately cut off in Hogarth's composition leaving only the evil thoughts of "
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Anecdotes of
William Hogarth, Written by Himself: With Essays on His Life and Genius, and Criticisms on his Work
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only written work that
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The
Economy of Character: Novels, Market Culture and the Business of Inner Meaning
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both took this heightening of features to ridiculous extremes. Hogarth scholar
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by creating a print for sale that showed characters, caricatures and
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THERE are hardly any two things more essentially different than
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group, and a caricature appears in the same position in the
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The second state, unfinished at the time of Hogarth's death.
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Hogarth, William (1833). "Remarks on various prints".
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Hogarth intended to formally address the point with
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1220:Sigismunda mourning over the Heart of Guiscardo
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764:. University of Chicago Press. p. 332.
714:. Vol. 2. London: Scholey. p. 154.
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883:Emblematical Print on the South Sea Scheme
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800:Hogarth: Art and Politics, 1750–64 Vol 3
781:Hogarth: High Art and Low, 1732–50 Vol 2
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67:14.5 cm × 18 cm (
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999:Credulity, Superstition, and Fanaticism
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218:suggests that by the time he produced
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1076:Scene from Shakespeare's The Tempest
755:. J.B. Nichols and Son. p. 416.
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1397:Paintings in the Fitzwilliam Museum
1172:The March of the Guards to Finchley
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802:. Lutterworth Press. p. 596.
783:. Lutterworth Press. p. 508.
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1108:Portrait of Captain Thomas Coram
899:A Just View of the British Stage
823:. London: Jones and Co. p.
473:List of works by William Hogarth
255:in the engraving); Henry, later
16:1758 painting by William Hogarth
1196:Hogarth Painting the Comic Muse
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1140:David Garrick as Richard III
820:The Works of William Hogarth
719:Fitzpatrick, Martin (2004).
712:The Works of William Hogarth
318:, in Painting and Drawing".
106:is the title of both a 1758
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991:Satire on False Perspective
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263:– he had refused mercy for
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975:The Four Stages of Cruelty
951:Characters and Caricaturas
919:The Company of Undertakers
723:. Routledge. p. 800.
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461:The Company of Undertakers
453:Characters and Caricaturas
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290:Honi soit qui mal y pense
284:(1872). The motto of the
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798:Paulson, Ronald (1993).
779:Paulson, Ronald (1992).
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342:Character and Caricatura
1244:The Marriage Settlement
1007:Five Orders of Periwigs
721:The Enlightenment World
1301:The Analysis of Beauty
1180:Humours of an Election
817:Trusler, John (1833).
760:Lynch, Deidre (1998).
741:The Analysis of Beauty
710:Clerk, Thomas (1812).
533:The Analysis of Beauty
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411:certain Italian singer
370:The Analysis of Beauty
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141:The Analysis of Beauty
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1212:The Lady's Last Stake
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959:Industry and Idleness
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457:Scholars at a Lecture
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245:Court of Common Pleas
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943:The Enraged Musician
492:The Newgate Calendar
197:. Hogarth dismissed
1148:Painter and his Pug
1124:The Graham Children
1054:A Harlot's Progress
603:Paulson pp.3:238–39
286:Order of the Garter
1233:Marriage A-la-Mode
1164:Hogarth's Servants
1156:The Gate of Calais
1116:Taste in High Life
658:Fitzpatrick p. 505
445:Fitzwilliam Museum
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155:Marriage à-la-mode
127:Marriage à-la-mode
90:Fitzwilliam Museum
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1062:A Rake's Progress
935:The Distrest Poet
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168:Leonardo da Vinci
164:Pier Leone Ghezzi
160:Annibale Carracci
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362:Inscription
294:Mal y pense
249:John Willes
1381:Categories
1272:The Bagnio
1065:(1732–33,
809:0718828755
790:0718828550
771:0226498204
730:0415215757
523:Clerk p.64
512:References
441:George Hay
407:caricature
397:caricature
389:caricature
328:caricature
312:Caricatura
134:Background
64:Dimensions
1204:The Bench
1049:(1730–31)
1026:Paintings
449:Cambridge
427:character
385:character
355:The Bench
324:character
308:Character
253:pince-nez
220:The Bench
203:The Bench
191:The Bench
103:The Bench
94:Cambridge
24:The Bench
1312:Theories
1167:(c.1750)
1103:(c.1740)
1079:(c.1735)
467:See also
333:Cartoons
176:Cartoons
86:Location
1344:Related
1328:Museums
704:Sources
435:History
338:Raphael
267:in the
231:Picture
172:Raphael
76:⁄
1304:(1753)
1236:(1745)
1223:(1759)
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1042:Before
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907:Before
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886:(1721)
870:Prints
806:
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314:, and
56:Medium
38:Artist
1351:Trump
1293:Books
1046:After
911:After
535:p.218
479:Notes
423:outré
419:outré
415:outré
409:of a
316:Outre
212:outré
207:outré
199:outré
195:outré
116:outré
1044:and
909:and
804:ISBN
785:ISBN
766:ISBN
725:ISBN
459:and
387:and
166:and
51:1758
48:Year
825:119
447:in
336:of
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69:5
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