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قراءة كتاب Hogarth

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‏اللغة: English
Hogarth

Hogarth

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دار النشر: Project Gutenberg
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HOGARTH

ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR

IN SEMPITERNUM.

LONDON: T. C. & E. C. JACK
NEW YORK: FREDERICK A. STOKES CO.

The plates are printed by Bemrose & Sons, Ltd., Derby and London
The text at the Ballantyne Press, Edinburgh


CONTENTS


LIST OF ILLUSTRATIONS

Plate
I. The Shrimp Girl Frontispiece
  In the National Gallery, London Page
   
II. Hogarth’s Sister 14
  In the National Gallery, London
III. Miss Fenton 24
  In the National Gallery, London
IV. James Quin 34
  In the National Gallery, London
V. Marriage à la Mode 40
  In the National Gallery, London
VI. Sarah Malcolm 50
  In the National Gallery of Scotland, Edinburgh
VII. Simon Fraser, Lord Lovat, 1666-1747 60
  In the National Portrait Gallery, London
VIII. Peg Woffington 70
  In Sir Edward Tennant’s Collection


I
AN AUCTION AND A CONVERSATION

The auction was proceeding leisurely and without excitement. It was an “off day.” I was present because these pictures of the Early British School included a “Conversation Piece” ascribed to Hogarth, and a medley of prints after him, worn impressions, the vigour gone, merely the skeletons of his bustling designs remaining. They fetched trivial prices: they were not the real thing. And there was little demand for the portraits by half-forgotten limners of the period, portraits of dull gentlemen in eighteenth-century costume, examples of wooden Thomas Hudson, famous as the master of Sir Joshua Reynolds, and of such mediocrities as Knapton and Shackleton. Yet they evoked a sort of personal historical interest, recreating, as portrait after portrait passed before our eyes, the level highway of art of those days before Hogarth delivered it from the foreign thraldom.

Tranquilly I contemplated the procession of lifeless portraits, noting with amusement the contrast between the grimy but very real hands of the attendant who supported the canvases upon the easel, and the painted hands in the pictures. The attendant’s body was hidden by the canvas, but his hands appeared on either side of the frame clutching it. I indicated the contrast to my companion, a connoisseur, but he saw no humour in the comparison. He was almost sulky. A decorative Francis Cotes, and a luminous Richard Wilson, that he hoped to acquire for a few pounds, had gone into the fifties. He indignantly refused to make a bid for the “Conversation Piece” ascribed to Hogarth. “What a period! what an outlook!” he cried. “William Kent the arbiter of taste, portraits with the clothes done by drapery men. Conversation Pieces with stupid gentlemen and stupid ladies doing nothing stupidly, and Hogarth flooding the town with his dreadful

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