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William Hogarth

William Hogarth is the father of satirical caricatures and moral paintings, a genre which would later develop into cartoons and one of the most innovative artists of his generation, depicting 18th-century life, culture and his middle-class upbringing.
Born 1697, in a time of social and moral depravity into a poor, middle-class family, he lived in debtors' lodging for five years as a very young boy and had seen the dark side of life. Hogarth started work as an apprentice of Ellis Gamble, a plate engraver, at the age of 16. He developed his artistic skills by attending Sir James Thornhill's Academy of art in London's Covent Garden and gained popularity for his prints that brought art to the common man for the first time in history.
From 1731 onwards, Hogarth produced what was to become known as his 'modern morality' paintings. These were specifically designed to be copied in large numbers and sold as prints to members of the public. The deterioration of British morals particularly concerned him and his satirical engravings illustrate his concerns for his fellow countrymen.
He created a new school of English painting to rival the Old Masters of the Renaissance. Technological advances allowed his engravings to be sold in large numbers to people who would not have been able to previously afford art.
His series of moral paintings, such as A Harlot's Progress and A Rake's Progress took a satirical look at the social order of the day and highlighted the best and worst parts of English culture.
The principals of this work relied heavily on what Hogarth described as 'the Line of Beauty', the serpentine line which was incorporated into much of his work.
The Company of Undertakers
311 Media in collectionpage 1 of 4

The Good Samaritan (St. Luke, Chap. 10, verse 30)

After William Hogarth (British, London 1697–1764 London)

Marriage A-la-Mode, Plate VI

Simon Francis Ravenet, the elder (French, 1706 or 1721–1774)

Benefit Ticket for Joe Miller

Formerly attributed to William Hogarth (British, London 1697–1764 London)

The Bench

Dent (British, active ca. 1800)

After

Engraved by Dent (British, active ca. 1800)

Ticket for Fielding's The Mock Doctor

Formerly attributed to William Hogarth (British, London 1697–1764 London)

Before

Engraved by Dent (British, active ca. 1800)

A Tavern Card for John Shaw

Formerly attributed to William Hogarth (British, London 1697–1764 London)

Trade card for James Figg

Formerly attributed to William Hogarth (British, London 1697–1764 London)

The Pool of Bethesda (St. John, Chapter 5)

After William Hogarth (British, London 1697–1764 London)

The Mystery of Masonry Brought to Light by the Gormagons

William Hogarth (British, London 1697–1764 London)

The Lottery

After William Hogarth (British, London 1697–1764 London)

The Frolick (The Search Light)

After William Hogarth (British, London 1697–1764 London)

Marriage A-la-Mode, plate IV (reverse copy)

Copy after William Hogarth (British, London 1697–1764 London)

Shrimp Girl

Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon)

Sarah Malcolm

After William Hogarth (British, London 1697–1764 London)

Shop Card for Mrs. Holt's Italian Warehouse

William Hogarth (British, London 1697–1764 London)

The South Sea Scheme

William Hogarth (British, London 1697–1764 London)

The New Metamorphosis, Plate 4: Invidiosa Releases Fantasio

William Hogarth (British, London 1697–1764 London)

Masquerades and Operas

William Hogarth (British, London 1697–1764 London)

The New Metamorphosis, Plate 3: The Bandits Abduct Camilla

William Hogarth (British, London 1697–1764 London)

The New Metamorphosis, Plate 2: Fantasio at Church

William Hogarth (British, London 1697–1764 London)

The New Metamorphosis, Plate 6: The Story of Cupid and Psyche

William Hogarth (British, London 1697–1764 London)

Cassandra, Frontispiece, Vol. 1

William Hogarth (British, London 1697–1764 London)

Dismemberment, etc. (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Beheading (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Crucifixion, etc. (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Cassandra, Frontispiece, Vol. 3

William Hogarth (British, London 1697–1764 London)

Hanging by the Thumbs (Modern Military Punishments)

William Hogarth (British, London 1697–1764 London)

Hudibras Catechized (Plate 9: Illustrations to Samuel Butler's Hudibras)

After William Hogarth (British, London 1697–1764 London)

Hudibras in Tribulation (Plate 6: Illustrations to Samuel Butler's Hudibras)

After William Hogarth (British, London 1697–1764 London)

Cassandra, Frontispiece, Vol. 2:

William Hogarth (British, London 1697–1764 London)

Breaking the Legs (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Cutting Off the Nose (Modern Military Punishments)

William Hogarth (British, London 1697–1764 London)

Shameful Discharge (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Fustigatio (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Decimation (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

Fustium Admonitio (John Beaver, Roman Military Punishments, 1725)

William Hogarth (British, London 1697–1764 London)

The Committee (Plate 10: Illustrations to Samuel Butler's Hudibras)

After William Hogarth (British, London 1697–1764 London)

Frontispiece to Nicholas Amhurst's "Terrae-Filius"

William Hogarth (British, London 1697–1764 London)

The Punishment Inflicted on Lemuel Gulliver

William Hogarth (British, London 1697–1764 London)

Cunicularii, or the Wise Men of Godlimon in Consultation

William Hogarth (British, London 1697–1764 London)

The Beggar's Opera

Design formerly attributed to William Hogarth (British, London 1697–1764 London)

Pisces: Hogarth's Quadrille Fish

After William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 3

William Hogarth (British, London 1697–1764 London)

A Midnight Modern Conversation

William Hogarth (British, London 1697–1764 London)

Frontispiece to Moliere's "Sganarelle, ou le Cocu Imaginaire" (The Imaginary Cuckold)

John Vandergucht (British, London 1697–possibly 1732 London)

A Harlot's Progress, Plate 4

William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 3

William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 5

William Hogarth (British, London 1697–1764 London)

A Midnight Modern Conversation

William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 6

William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 2

William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 1

William Hogarth (British, London 1697–1764 London)

A Harlot's Progress, Plate 1

Set outside the Bell Inn, London. Mary Hackabout, a country girl, has just arrived on the York Wagon and is examined by an extravagantly dressed bawd Mother Needham. Behind them a clergyman on horseback fails t... more

The Laughing Audience

William Hogarth (British, London 1697–1764 London)