British 1697-1764 William Hogarth Galleries Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault. Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square. Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).  Related Paintings of William Hogarth :. | Gemadefolge | A modern midnight conversation | Strode family | Jones family | Veteran family |
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Alexandre Cabanel
1823-1889 French Alexandre Cabanel Locations French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.
Cornelia Kuemmel
1863-1938
Philips Wouwerman
Dutch Baroque Era Painter, 1619-1668 Dutch painter and draughtsman. He was the eldest son of the painter Paulus [Pauwels] Joostens Wouwerman of Alkmaar (d 28 Sept 1642), whose two other sons, Pieter Wouwerman (1623-82) and Johannes Wouwerman (1629-66), also became painters. Philips probably received his first painting lessons from his father, none of whose work has been identified. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals, although no trace of Hals's influence is discernible in Wouwerman's work. Wouwerman is also reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker (d 1647). While in Hamburg, he married Annetje Pietersz. van Broeckhof. On 4 September 1640 Wouwerman joined the Guild of St Luke in Haarlem, in which in 1646 he held the office of vinder (agent or 'finder'). Given the many southern elements in his landscapes, it has repeatedly been suggested that Wouwerman must have travelled to France or Italy, but there is no documentary evidence that he left his native Haarlem for more than short periods.