The text includes a great number of original quotations from contemporary periodicals, pamphlets and treatises, concerning the theory of art (eclecticism, picture auctions, criticism of connoisseurship, the profane and blasphemy in art), the history of religion and religious tradition (English Puritanism, deism, Methodism [particularly George Whitefield], antipapism, witchcraft and demonology, iconoclasm, anti-Semitism, antitrinitarianism, the debate on transubstantiation), as well as social, cultural and medical history (the anatomy of the brain, the maltreatment of dogs, physiognomy, eroticism, sex murder, eighteenth-century melancholy, madness, and enthusiasm).
Some of these sources are reprinted for the first time and may be of interest not only to art historians, but also to theologians, members of the Methodist Church, general historians, philologists or other scholars working on eighteenth-century England.
This is an indispensible study for the serious student of William Hogarth and for all art historians, general historians, philologists, and other scholars working with reference to eighteenth-century England.
A novelty in Hogarth research, the study also contains a thorough formal analysis of the print.
This book will give you many more new insights in the vast amount of primary and secondary source literature on the famous English artist William Hogarth.
In the last three centuries many books, exhibition catalogues, articles and scholarly essays have been written on William Hogarth, his work, his life and times and his literary relationships, but attempts at a bibliography have been rare and indeed imperfect.
A detailed study in iconology against a background of religion, society and culture in mid-eighteenth-century England. Enlarged and slightly revised version of the author's Ph D thesis of 1994, now containing, in volume 2, apart from the contemporary sources and the 446 illustrations, a summary for English readers and a comprehensive index.
See also the German abstract by the author and the English review by Thomas Krämer, (1761) is an artist's manifesto which could well be renamed "Hogarth Delineated".
