Hogarth Print and the Enlightenment - Essay Example

?Hogarth Print and the Enlightenment of Introduction William Hogarth was a renowned artist in England duringthe eighteenth century and is mostly famous for his pictorial stories called ‘modern moral subjects’. Hogarth, born to parents of modest means in London, began his adulthood career as an engraver, doing book illustrations and greeting cards. After he had learned to paint in the 1720’s, he began to create artworks that turned out to be of astonishing originality leaving a lasting imprint on the culture of the English. With his new art, he was able to reach countless audience by making engravings of the paintings and selling them at low prices1. He therefore created art for aristocratic patrons as well as the public sphere that came together through the print medium to reflect on issues of general concern. Generally, Hogarth’s work brought dynamic influences on the public sphere which developed into an entity able to generate new ideas and challenge beliefs that were supported by the state. His first ‘modern moral subject’ called A Harlot’s Progress was produced in 1732 and was succeeded by A Rake’s Progress produced in 1733-34. Hogarth’s masterpiece, Marriage a La Mode was painted in 1745. His other print series included Industry and Idleness produced 1748 in and The Four Stages of Cruelty in 1751. This paper is going to mostly dwell on the print Marriage a la Mode and how it might have conveyed the ideas of the Enlightenment to the British public2. Marriage A La Mode Marriage a la Mode was by far the most enduring and popular of Hogarth’s moral subject series. The print tracks on a doomed marriage between a daughter from a wealthy man from lower social class and a son from a high status but financially troubled family3. This marriage is arranged by two opportunistic fathers; one, a rich representative of the London city who craves social status and aims to acquire it by marrying off his daughter and the other father, Earl of Squander who was a spendthrift nobleman and needed cash desperately which he finally gets it by marrying off his unprincipled, dandyish son. Since there were no considerations of love or even compatibility, the marriage is led into a path of self destruction. The print contains a set of six paintings which were subsequently made into engravings4. Plate one: the Marriage Settlement The scene establishes the just concluded negotiations for their children’s marriage between the Alderman who is seated at the center and the Earl of Squander seated at the extreme right. While squander wants money to fund his overly exuberant lifestyle, the alderman is dying to achieve a higher social status for his family that he had to buy his way into aristocracy5. In the meantime their children are depicted to be indifferent and miserable at the proceedings. Viscount Squanderfield the son of Earl has just returned from the continent and is dressed in the recent Paris fashions. He has a black spot on his neck, an indication that he might be having syphilis. Alderman’s daughter on the other hand is being soothed by Silvertongue, the lawyer, though she looks inconsolable. The chained dogs make clear the fact that the couple’s marriage is loveless and ill-matched6. The Tete a Tete The scene is set in the west end of London in a Palladian style house. It is past midday as depicted by the clock far right on the wall, and still the viscount seems to have returned from a night out and is slacked in a chair, tired and bored7. A dog is shown sniffing at some woman’s cap in his pocket. His wife as it seems, has also been awake all night apparently playing cards, but her satisfied stretch and sly look indicate that she too had been having sexual engagements and dissimilar to her indifferent husband, was at that moment enjoying the freshness of life as a stylish woman of leisure. Using a pocket mirror, she appears to be bespeaking to someone out of sight, perhaps her lover who as it looks like, had to exit in a hurry as a result of the arrival of her husband as hinted by the overturned chair8. Figure 1. Tete a Tete (The British Museum n.d.). Plate Three: The Inspection The scene happens in a surgery and viscount Squanderfield is seen leaning toward the doctor with a pillbox in one hand and a cane on the other. The earlier prescription of the mercury pills had not functioned or so it seems and is thus halfheartedly making a demand for compensation. The doctor and the angry woman do not inspire much confidence as both have syphilis and she is most likely much of a convicted prostitute. On the table, is a skull that prognosticates everyone’s fate in the room including the young woman seated on the right dabbing a sore on her mouth, one of the syphilis’ early symptoms9. Plate Four: The Toilette The coronets displayed on the dressing mirror and on the bed are an indication of the Old Earl’s death and that the daughter of Alderman has just been elevated to the countess position as hangers-on surround her. She is leaning on her chairs back from which a rope of coral hangs, normally used by children who are teething and the fact that her child is missing suggests her lack of maternal interests. Lawyer Silvertongue is present and is shown lurking in a sofa, clearly comfortable in the bedroom of countess, holding a ticket in one hand while pointing to a masquerade ball shown on the screen with the other10. The paintings of the old master above their heads depict scenes of mythology and biblical seduction, underlining the fact that Silvertongue and countess are having an affair11. Plate Five: The Bagnio Bagnio in England originally meant a coffee house that provide Turkish baths, but by the time Hogarth’s painting; Marriage A La Mode was produced, the word had acquired an additional meaning as a place where availability of prostitutes was undisputed with rooms being able to be hired with no questions at all12. After leaving the masquerade, Silvertongue and the countess keep on their apportionment a bagnio, their costumes discarded with the wake of passion. The two are caught in the act by earl as suggested by the crumpled bedclothes. The Earl too was perhaps taking a room down the passageway and was tipped off. A swordfight ensues between the Earl and Silvertongue and the Earl is stabbed in the chest and is shown in a death conk as his wife tearfully implores for forgiveness. In the meantime, Silvertongue is attempting to escape through the window13. Plate Six: the Lady’s Death This is the final scene and it happens in the home belonging to the father of countess in the city close to Thames. The house is of bourgeois parsimony which is in contrast to the patrician extravagance seen in scene one. The countess has taken an overdose after reading of the execution of Silvertongue. The grief-stricken nurse holds the child of countess towards her for a last embracement as she passes out in her chair14. The child is unfortunately seen with syphilis signs shown by caliper strapped legs and the tell-tale black spots. Meanwhile, the prehensile merchant is pulling the gold ring from the hand of his daughter. Hogarth sets the tragedy with an instant of pure comedy with the apothecary reproaching the simple-minded servant to the right, perhaps his attempt to ward off irresponsibleness for the overdose15. Hogarth’s Print and the Ideas of Enlightenment Enlightenment is a set of philosophical ideas that expressed worship of reason for the Western Europe that was only reflected vaguely in literature and art. Originally, it was not a popular movement but was first taken up by philosophers, scientist, and theologians, and later by literary figures that spread the message to the middle classes. Finally, the message reached the public but in simplified terms related to popular grievances16. In the eighteenth century, enlightenment saw the rational maturation of the humanistic belief in reason as the chief guiding principle in the human affairs17. In his paintings, Hogarth presented the following enlightenment ideas; Materialism William Hogarth was a social satirist of the eighteenth century and in the world of art. He satirized the social customs and conditions of arranged marriage; a common practice of the 18th century European aristocracy, as depicted in his series of six pictures that furnished the unmerciful exposure of the eighteenth century society. He creates comical scenes that poke fun of the times conventions including the rich and the poor, lawyers and doctors, and gamblers and drunks. Particularly, Hogarth accosted the right of women to the pursuit of happiness by protesting to the marriage practices of the era through his pictures. In his print of the Marriage a La Mode, one can clearly see the gouty nobleman close to selling his family pedigreed to pay off mortgage upon his family estate through son’s marriage to the merchant’s daughter18. Sexuality Attitudes of Enlightenment had some impacts upon the sexual practices and values underlying the social and cultural history of England. The ideas of enlightenment in Hogarth’s prints filter down thru more allusive and pragmatic channels of coffee-house conversations, the doctor’s consultation, infidelity and venereal diseases. Crime and Punishment Crime and punishment is also displayed by the picture series of Marriage a la Mode. The lawyer is punished by law for killing the countesses’ husband. Though it is not possible to entirely prevent every disorder that is caused by passions of mankind in the society, a powerful legislative means is made available to control destruction and assure public safety19. Gender and society Gender and society is another idea of enlightenment presented in the Marriage a La Mode. Human nature was formed in such a way that there exist moral differences in male and female gender roles and also rights which led to a common outlook during the enlightenment. Women were considered to be weaker in mind and thus excluded from engaging in public affairs. They were made subjects to men and this can be seen in the print where prostitutes are painted in the and also the availability of rooms which could be hired without questions20. Estimates of Hogarth’s Prints Hogarth’s print of Marriage a la Mode was poorly picked up by the populace at first and this was a great let down to the artist who had high expectations. He had bought the frames only at a cost of four guineas each but sold the pictures for one hundred and twenty pounds to a Mr. Lane of Hallington, meaning that his initial earnings for the series of the valuable paintings were sixteen shillings only over a hundred pounds21. The pictures were finally auctioned at Christie’s Pall Mall and were bought at a sum price of one thousand guineas by John Julius Angerstein. The pictures are now owned as part of the National Gallery collection by the British government22. Reaction to Hogarth’s Presentation of the Enlightenment Ideas by the 18th Century people The 18th century was mainly an age of reason, but the later decades were generally filled with reaction over rationalism. The new idealism was in opposition to the materialistic view presented by the early enlightenment. Another form was religion which replaced reason as the justification for humanistic reforms. Having received universal acknowledgement as one of the ingenious artist of his age and a man who possessed vast humor as sufficiently displayed in his many paintings, Hogarth’s work approval was not to be questioned. But owing to delusive public notions, not acquainted thoroughly to the genuine art of painting, he was often referred as caricature. As a result, when he published his prints, it did not quite much answer to his purpose which led to his unfinished print, The Happy Marriage which was to precede the series Marriage a la mode as a companion series. Today, the print exists as a series of bare sketches. His loss of interest can probably be attributed to ironic and twisted treatment of events23. Conclusion The influence of Hogarth on English culture and art was probably immense; he founded the modern pictorial satire, shaped opinion of the public and also redefined art. The eighteenth century can generally be said to have been the place of origin of the modern satire. In the age of reason, the artist found and displayed the problems that the society had so they could be laughed at and also, so that they could make changes. Though not received well in the eighteenth century, Hogarth’s print of Marriage a la Mode, is an educative one as it shows the vices of the society and its consequences. Bibliography Clerk, Thomas. The Work of William Horgarth. Printed for R. Scholey, 1821. Cowley, Robert S, and William Hogarth. Marriage a-la-Mode: A Reviw of Hogarth's Narrative Art. Manchester University Press, 1983. Hogarth, William, and John Trusler. The Works of William Hogarth in a Series of Engravings. Jones, 1833. Hyland, Paul, Olga Gomez, and Francesca Greensides. The Enlightenment: a Sourcebook and Reader. Routledge, 2003. Lionel, Abrahams. Marriage a la Mode. 2011. http://litmed.med.nyu.edu/Annotation?action=view&annid=10348 (accessed October 31, 2011). Outram, Dorinda. The Enlightenment. Cambridge University Press, 2005. Peters, Connie. Art of the Print. http://www.artoftheprint.com/aboutus.html (accessed October 31, 2011). The British Museum. http://www.britishmuseum.org/explore/highlights/highlight_objects/pd/w/william_hogarth,_marriage_a-la.aspx (accessed October 31, 2011). Read More