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They became widely popular and mass-produced via prints in his lifetime, and he was by far the most significant English artist of his generation. Charles Lamb deemed Hogarth's images to be books, filled with "the teeming, fruitful, suggestive meaning of words. Other pictures we look at; his pictures we read."
London: Charles Knight and Co. Lamb, Charles (1811). "On the genius and character of Hogarth: with some remarks on a passage in the writings of the late Mr. Barry". The Reflector. 2 (3): 61– 77. Archived from the original on 2 March 2008. Paulson, Ronald (1992). Hogarth: High Art and Low, 1732–50 Vol 2. Lutterworth Press. ISBN 0-7188-2855-0.
Charles Vincent Lamb was born in Portadown, County Armagh on 30 August 1893. He was the son of a painter and decorator, and a Justice of the Peace, John Lamb. He was the eldest of seven children, [1] having three sisters and three brothers. [2] Lamb served an apprenticeship with his father where he won a gold medal as Housepainter of the Year ...
Charles Lamb dismissed the series as mere caricature, not worthy to be included alongside Hogarth's other work, but rather something produced as the result of a "wayward humour" outside of his normal habits. [26] Art historian Allan Cunningham also had strong feelings about the series: [27] I wish it had never been painted.
Numbers in square brackets refer to the catalogue numbers in Ronald Paulson's third edition of Hogarth's Graphic Works (those with asterisks are classified as "After Hogarth" by Paulson). The works are all paintings, prints or drawings, apart from Hogarth's 1753 book The Analysis of Beauty.
The painting depicts a company of actresses preparing for their final performance before the troupe is disbanded as a result of the Licensing Act 1737.Brought in as a result of John Gay's Beggar's Opera of 1728, which had linked Robert Walpole with the notorious criminal Jonathan Wild, the Licensing Act made it compulsory for new plays to be approved by the Lord Chamberlain, and, more ...
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More predictably, in his Epistle to William Hogarth, Charles Churchill sympathised with Sigismunda as the "helpless victim of a dauber's hand". [10] After ten days of the exhibition, Hogarth replaced the painting with another of his canvases, Chairing the Member, the fourth and last piece in his Humours of an Election series. [7]