Презентации по теме "Английские художники"

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William Hogarth was one of the greatest of English artists and a man of remarkably individual character and thought.

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The aim of our project is to find out  more information about William Hogarth and to tell you about him. After this text we will ask you some questions. Be attentive.

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He was born in London. His father was a schoolmaster. From childhood, Hogarth showed a talent for drawing. He was sent to a silverplate engraver until 1720 when he went into his own business as an engraver. In 1720 Hogarth joined the St. Martin's Lane Academy, it was the important step in his training as a painter. During this period of intense activity as an engraver, he laid the foundation for his remarkable knowledge of prints.

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Around this time Hogarth met the artist, Sir James Thornhill. Impressed by his history paintings, Hogarth made regular visits to Thornhill's free art academy in Covent Garden. Hogarth kept close ties with James Thornhill, an English baroque painter of the time and in 1723 he joined and helped establish Thornhill's English School of Painting.  The two men became close friends and Hogarth eventually married Thornhill's daughter, Jane.

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By 1728 Hogarth was ready to make his debut as a painter, and he quickly established a reputation as a master of the conversation piece.  By the 1730s Hogarth was an artist and became a well-known person. So, he is rightly considered the founder of the modern English school of painting.

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As for me, William Hogarth is the most colourful figure, whose paintings attract by their singular originality. Hogarth wrote series of paintings which, like acts of a drama, were bound together by a plot. His famous series are, «A Rake’s Progress»…

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» and «Marriage a la Mode»….

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In a few years came another series «Elections». In them Hog¬arth displays the English state system, her statesmen and the evil practices going on during election campaigns.

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Hogarth didn’t want to follow the tendency and copy the old masters: the truth of life, the everyday reality seemed so boring to him. He breaks off with the old style. Hogarth is the creator of his own method. His contemporaries called Hogarth’s style the «modern moral subject». Hogarth’s rea¬lism paved new ways for English art.

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 At the end of his life he was ill. He spent his last months working on his autobiography, and died on 26th October 1764.

Hogarth suffered from a paralytic seizure and became seriously ill. He passed away in London in 1764 at the age of 67.

In his creative work Hogarth was heavily influenced by 18th century life, culture and his middle-class upbringing. He believed that art should have moral as well as aesthetic qualities and tried to bring this into all the work he produced.

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Hogarth's works fall naturally into four categories: conversation pieces, satirical moralities, portraits, and historical paintings. Because these pictures are special in a way, at times Hogarth's talent as a fine portrait painter has been overlooked. His portraits show the same harmony in colour, direct handling of subject, and excellent composition as his storytelling pictures.

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Most of Hogarth's pictures can be seen in the National Gallery in London.

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When the National Gallery acquired this portrait in 1898 the true identity of the sitter had long been forgotten. The portrait was identified as the artist's sister, Ann. It was not until 1933 that a hitherto unnoticed inscription, 'Mrs Salter', in the bottom centre of the picture showed the true identity of the woman.

At the time Hogarth painted this portrait Mrs Salter was twenty-one years old, and still unmarried since, according to a signature appended to the picture, it was made in 1741. But she was married in 1744! She lived with her husband until his death in May 1778. What happened with her after that is unknown.

The format employed by Hogarth in this portrait, depicting a bust-length sitter within a feigned oval, was something of a cliché by the 1740s. However, Hogarth chose it as a means of exploring the relationship between painting and sculpture.

In Mrs Salter Hogarth has applied the paint in thick broad strokes for further heighten the sculptural aspect of the work. Similarly, the white lace on the bodice appear to stand proud from the dress as an independent feature, forming an 's' curve. This device is surely an early attempt by Hogarth to give visual form in a portrait to his so-called 'Line of Beauty and Grace', a serpentine curve which gave rise to the most beautiful forms to be found in art and nature.

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 This picture, one of Hogarth's most successful bust-length male portraits, depicts the actor James Quin (1693-1766). Quin's pose is deliberately theatrical, his head turned to the right, his eyes raised upwards as if in search of divine inspiration. Quin's expressive face accentuated by the inventive way in which Hogarth has painted his long wig, the right side cascading down his coat, while the left is swept back behind the shoulder. Indeed, it is the main sign of the Baroque. 'The full-bottom wig, like the lion's mane, hath something noble in it', wrote Hogarth. Quin's clothing too proclaims his sense of importance, his fine ruffles of Flemish lace and his brown velvet coat heavily trimmed with elaborate gold 'frogging'. The whole portrait has an air of archaic glory.

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QUESTIONS

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