Podcast appearances and mentions of William Hogarth

Politická satira, pouze psaná, ilustrovaná anebo čistě výtvarná je kategorie vzniklá velmi dávno a lidstvo provází zřejmě už od starověku. A pokud jde o tu výtvarnou, připomenout lze velkou pozdější postavu, jakou byl v 18. století tvořící předchůdce politické karikatury Angličan William Hogarth.Všechny díly podcastu Názory a argumenty můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

(No, not that Hellfire Club.) The Loremen return for series 6 and it's a saucy start to the year. We travel to the county of Buckinghamshire to meet some rich and powerful men who are behaving disgracefully — what a twist! William Hogarth, Sir Francis Dashwood and The Notorious John Booth set up a secret drinking society in the 18th century. The first rule of the Hellfire Club was that you had to have been to Italy, and the second rule was that you had to be drunk. (A bar for entry that has been pretty much smashed by low-cost airlines and duty free.) From cavorting in monasteries to tangling with Satan himself, these utter legends lived by the motto, "Do what thou will!" This episode was edited by Joseph Burrows - Audio Editor Join us LIVE in Leicester on the 9th February 2025 (2025): comedy-festival.co.uk/events/loremen-live Join the LoreFolk here... patreon.com/loremenpod ko-fi.com/loremen Check the sweet, sweet merch here... https://www.teepublic.com/stores/loremen-podcast?ref_id=24631 @loremenpod youtube.com/loremenpodcast www.instagram.com/loremenpod www.facebook.com/loremenpod Learn more about your ad choices. Visit megaphone.fm/adchoices

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark's HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ  Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF  Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul's Church, London. William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot's Progress Plate 1. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake's Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Eight oil on canvas paintings. Sir John Soane's Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady's Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.

In episode 26 of Locust Radio, Adam Turl is joined by Omnia Sol – a comic, video, and sound artist in Chicago. This episode is part of a series of interviews of current and former Locust Collective members and contributors. This series is being conducted as research for a future book by Adam Turl on the conceptual and aesthetic strategies of the collective in the context of a cybernetic Anthropocene. The featured closing music / sound art, “Overview” and “Wilhelmina,” are from Omnia Sol's forthcoming vs. Megalon. Check out their bandcamp. Locust Radio hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl. Producers include Alexander Billet, Omnia Sol, and Adam Turl. Related texts and topics: Arte Povera; Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Michael Betancourt, Glitch Art in Theory and Practice (2017); William Blake; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Stan Brakhage ; Bertolt Brecht - see also Brecht, “A Short Organum for the Theater” (1948);  Cybernetic Culture Research Unit; Mark Fisher, “Acid Communism (Unfinished Introduction)”; Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Scott Dikkers, Jim's Journal (comic by the co-founder of the Onion); Dollar Art House; Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014); Mark Fisher, K-Punk: The Collected and Unpublished Writings of Mark Fisher (2019); Flicker Films; Fully Automated Luxury (Gay) Space Communism; Glitch Art; Jean-Luc Godard; Grand Upright Music, Ltd. vs. Warner Brothers Records (Biz Markie) (1991); William Hogarth; Tamara Kneese, Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond (2023); Holly Lewis, “Toward AI Realism,” Spectre (2024); Karl Marx, The Communist Manifesto (1848); Nam June Paik and TV Buddha; Harvey Pekar (comic artist); Gregory Sholette, Dark Matter: Art and Politics in the Age of Enterprise Culture (2010); Grafton Tanner, Babbling Corpse: Vaporwave and the Commodification of Ghosts (2016); TOSAS (The Omnia Sol Art Show); Nat Turner; Wildstyle and Style Wars (1983 film); YOVOZAL, “My Thoughts about AI and art,” YouTube video (2024)

In this History of Prints episode of Platemark, host Ann Shafer and subject matter expert Tru Ludwig explore the extraordinary life and legacy of Maria Sibylla Merian. Celebrated for her pioneering work on insect metamorphosis and her detailed illustrations of flora and fauna, Merian's journey took her to Suriname where she documented local species with the help of native people and slaves. Despite the societal constraints of the 17th century, she made significant contributions to both science and art, influencing future generations. The discussion also situates her achievements within the broader context of the Enlightenment and printmaking evolution, drawing comparisons with other naturalists like Audubon. The episode concludes with a teaser for an upcoming feature on William Hogarth, noted for his political satire. George Peabody Library, Baltimore, MD. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Maria Sibylla Merian (Dutch, 1647–1717) on the 500 Deutsche Mark. Maria Sibylla Merian (Dutch, 1647–1717) on a German postage stamp. Jacob Marrel (German, 1613–1681). Portrait of Maria Sibylla Merian, 1679. Oil on canvas. 59 x 50.5 cm. Kunstmuseum Basel. [DETAIL] Joachim von Sandrart I (German, 1606–1688) and Philipp Kilian (German, 1628–1693). Detail of Portraits of Michel le Blond, Aegidius Sadeler, Georg Petele, Matthaus Merian, Renbrant a Rhen, Carol Screta, c. 1683. Engraving. Plate: 12 1/4 × 7 7/8 in. (31.1 × 20 cm.); sheet: 12 3/4 × 8 3/8 in. (32.4 × 21.3 cm.). Detroit Institute of Arts, Detroit. Wenceslaus Hollar (Flemish, 1607–1677). Muff with a band of brocade, 1647. Etching. Plate: 11.3 x 8.3 cm. Museum of New Zealand Te Papa Tongarewa, Wellington,  New Zealand. Matthäus Merian (Swiss, 1593–1650). Todten-Tantz Wie derselbe in der Weitberümbten Statt Basel als ein Spiegel Menschlicher beschaffenheit gantz Künstlich mit Lebendigen Farben Gemahlet, nicht ohne nutzliche Verwunderung zusehen ist. Basel: Mieg, 1621. Thüringer Landesmuseum Heidecksburg. Jacob Marrel (German, 1613–1681). Four Tulips: (Boterman, Joncker, Grote geplumaceerde, and Voorwint), c. 1635–45. Watercolor on vellum. 13 3/8 x 17 11/16 in. Metropolitan Museum of Art, New York. Rachel Ruysch (Dutch, 1664–1750). Festoon with Flowers and Fruit, 1682. Oil on canvas. 38 x 33 cm. National Gallery of Prague. Maria Sibylla Merian (Dutch, 1647–1717 ). Plate 5 from volume 1 of Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679. Jan Goedaert (German, 1617–1668). Study for and engraving of metamorphosis of a moth. Tru Ludwig (American, born 1959). Dumb Luck, 2009. Two-plate etching, printed à la poupée. Plate: 37 ½ x 27 in.; sheet (42 x 30 in.). Courtesy of the Artist. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving with hand coloring, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.   Maria Sibylla Merian (Dutch, 1647–1717). Neues Blumenbuch. Nuremberg: self-published, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Blumenbuch. Nuremberg: Johann Andreas Graff, 1675. Maria Sibylla Merian (Dutch, 1647–1717). Illustration of a Turk's cap lily (Lilium superbum) from Merian's New Book of Flowers, 1680. Maria Sibylla Merian (Dutch, 1647–1717). Titlepage from Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679. Jim Dine (American, born 1935). The Temple of Flora, 1984. San Francisco, Arion Press, 1984. Maria Sibylla Merian (Dutch, 1647–1717). A Pineapple Surrounded by Cockroaches, c. 1701–05. Watercolor and gouache on vellum. British Museum, London. Maria Sibylla Merian (Dutch, 1647–1717). Merian's 'forest rat' or opossum (Didelphimorphia) carrying her young. Detail from plate 66 of Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (frog) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, 1702–03. Watercolor and gouache with gum arabic over lightly etched outlines on vellum. 43.5 x 28.8 cm. Royal Collection Trust, London. Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, from the book, Metamorphosis Insectorum Surinamensis. Amsterdam: Johannes Oosterwyk, 1718. Maria Sibylla Merian (Dutch, 1647–1717). Plate (praying mantes) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. [DETAIL] Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (croc eating snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (pineapple and cockroaches) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Watercolor study of Toucan for Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705. Maria Sibylla Merian (Dutch, 1647–1717). Plate (black tegu) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705. Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.  Thomas Bewick (British, 1753–1828). Title page from History of British Birds. Newcastle: Beilby & Bewick, 1797. Thomas Bewick (British, 1753–1828). Title page from The Supplement to the History of British Birds. London: Longman and Co., 1821. Dr. Robert Thorton (British). Flowering Cereus from The Temple of Flora, 1807. Color mezzotint. London: self-published, 1812. Sotheby's auction house workers David Goldthorpe, left, and Mary Engleheart, go through a rare copy of a book of illustrations by John James Audubon's Birds of America, in central London, Thursday Sept. 9, 2010. (AP / Lefteris Pitarakis) John James Audobon (French-American, 1785–1851). The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Flamingo fron The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Carolina Parakeets from The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Northern Loons The Birds of America. London: self-published, 1827–38. John James Audobon (French-American, 1785–1851). Hawks eating dinner from The Birds of America. London: self-published, 1827–38.      

Vi börjar i kålgården i Humlegården och halkar in på civilförsvar och ministern Carl-Oskar Bohlin. Susanna har hittat en artikel om Elizabeth II som alltid sade "interesting" när hon satte punkt för ett samtal. Johan Har varit på grannpodden Stig och Cyril i otakt med samtiden, efter att ha gått vilse bland alla tjejer i kalasbyxor och yogamattor i Hammarby sjöstad. Birgitte Bonnesen döms till fängelse, men är det bra att hennes advokat är förvånad? Klarna får bannor från Finansinspektionen men spelar oförstående. Och apropå skandaler: sosselotteriet. Vad tror man händer om man ger någon kommission för att sälja prenumerationer på lotter? Att sossarna inte vill att den här frågan ska dyka upp är självklart, men är regeringspartierna verkligen så intresserade av den? Johan är tveksam. det fins för stora risker att det exploderar bakåt, när de lurade gamlingarna är bortglömda. Debatten mellanTrump och Harris visade att journalister inte begriper hur partiska de är och att Harris faktiskt hittat ett sätt att vrida lite av kraften ur Trumps händer. Detvar som när Göran Persson förvånades över att inte rå på Reinfeldt. Och den 9 oktober ska Johan få visa Barry Lyndon på härliga biografen Fågel Blå. Det glädjer honom mycket, eftersom han är en William Hogarth-fan. Och allt detta medan hantverkare väsnas på taket. Become a member at https://plus.acast.com/s/hakeliuspopova. Hosted on Acast. See acast.com/privacy for more information.

Satt macht nur die Liebe. Igor Strawinskys Moritat um einen Wüstling nach den berühmten Kupferstichen von William Hogarth aus dem 18. Jahrhundert gelingt am Staatstheater Augsburg als zeitgemäßes Moralstück.

Laundress-turned-murderess, Sarah Malcolm horrified Georgian London in 1733 when she was found guilty of killing three women she worked for while they slept. For wealthy Georgians this was a nightmare come true: a servant killing the household they served. Sarah became a celebrity killer and was painted by none other than William Hogarth while she sat in jail.Anthony Delaney tells Maddy Pelling this dark history.Written by Anthony Delaney. Edited by Freddy Chick. Senior Producer is Charlotte Long.Discover the past on History Hit with ad-free original podcasts and documentaries released weekly presented by world renowned historians like Kate Lister, Dan Snow, Suzannah Lipscomb, Lucy Worsley, Mary Beard and more.Get 50% off your first 3 months with code AFTERDARK. Download the app on your smart TV or in the app store or sign up at historyhit.com/subscribe.You can take part in our listener survey here.

In the first of this new series of A brush with…, Yinka Shonibare talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Shonibare was born in 1962 in London to Nigerian parents and moved to Lagos in Nigeria when he was a child. He returned to London for his fine art studies at Byam Shaw School of Art and Goldsmiths College. He explores race, class and constructions of cultural identity through sculpture, installation, painting, photography, film and other media. His signature material is Dutch wax fabric, which he is able endlessly to repurpose and recontextualise. He chose this material precisely for its complex and loaded history: it was originally inspired by Indonesian batik, mass-produced by the Dutch and then sold to European colonies in West Africa. Dutch wax fabric eventually became a signifier of independence and culture in Africa and its diaspora. Through references to Western art history, film and literature Shonibare uses this textile to playfully, even provocatively, explore the validity of national identities and the cultures that inform them. He discusses his perennial fascination with William Hogarth and Francisco Goya, and his admiration for contemporary artists as diverse as Cindy Sherman, David Hammons and Paul McCarthy, who he describes as “Hogarth x100”. He explains his love of opera—the total artwork—and contemporary dance. And he reflects on the consistent environmentalist strand in his work. Plus he gives insight into his studio life and answers our usual questions, including the ultimate: what is art for?Yinka Shonibare CBE RA: Free The Wind, The Spirit, and The Sun, Stephen Friedman Gallery, London, 6 October-11 November; Yinka Shonibare CBE: Ritual Ecstasy of the Modern, Cristea Roberts Gallery, London, 22 September-4 November; Shonibare's public work Hibiscus Rising, commissioned by the David Oluwale Memorial Association for Aire Park, Leeds, as part of Leeds 2023, is unveiled on 25 November. Between April and September 2024, Shonibare will have a solo exhibition at the Serpentine Galleries, London. He will also participate in Nigeria's Pavilion at the 60th International Venice Biennale from April 2024. Hosted on Acast. See acast.com/privacy for more information.

The publication of Thomas Hutchinson's secret letters to London politicos outraged Massachusetts citizens, as Hutchinson advised the British establishment on how to suppress colonial dissent and insulted those who disagreed with British policy.  Ultimately, when it was learned that Benjamin Franklin had leaked the letters, Franklin's reputation was ruined in England, and he became an undisputed revolutionary.  But how did Franklin get the secret letters?  Jeremy Bell, author of three books on William Hogarth, joins us to unravel this 250-year old mystery, and tell us about Franklin as an associate of Sir Francis Dashwood and other members of the "Hell-Fire Club" one of many stories that Jeremy weaves in  "Ben Franklin's Sit-down Walking Tour of Boston," at the Bell in Hand.  He shares some of this, as well as other enduring questions, and tells us his own favorite dramatic portrayal of Franklin, was in "Sons of Liberty," with Dean Norris from "Breaking Bad" as "Bad Ass Ben."  

JOHN SAYLES chats to Paul Burke about his historical novel JAMIE MacGILLIVRAY, the dialogue of Peter Cooke & Dudley Moore, British grub, perspectives of history and historical fiction. JAMIE MacGILLIVRAY: It begins in the highlands of Scotland in 1746, at the Battle of Culloden, the last desperate stand of the Stuart 'pretender' to the throne of the Three Kingdoms, Bonnie Prince Charlie, and his rabidly loyal supporters. Vanquished with his comrades by the forces of the Hanoverian (and Protestant) British crown, the novel's eponymous hero, Jamie MacGillivray, narrowly escapes a roadside execution only to be recaptured by the victors and shipped to Marshalsea Prison (central to Charles Dickens's Hard Times) where he cheats the hangman a second time before being sentenced to transportation and indentured servitude in colonial America 'for the term of his natural life.' His travels are paralleled by those of Jenny Ferguson, a poor, village girl swept up on false charges by the English and also sent in chains to the New World. The novel follows Jamie and Jenny through servitude, revolt, escape, and romantic entanglements pawns in a deadly game. The two continue to cross paths with each other and with some of the leading figures of the era - the devious Lord Lovat, future novelist Henry Fielding, the artist William Hogarth, a young and ambitious George Washington, the doomed General James Wolfe, and the Lenape chief feared throughout the Ohio Valley as Shingas the Terrible.John Sayles is an American independent film director, screenwriter, actor, and novelist. He has twice been nominated for the Academy Award for Best Original Screenplay, for Passion Fish (1992) and Lone Star (1996). He has written seven novels, the most recent being Yellow Earth (2020) and A Moment in the Sun (2011).RecommendationsJosé LatourMartin LimónJohn le Carré The Pigeon TunnelWalter MosleyFilm: Emily The CriminalDiana GabaldonMentions:Bury My Heart at Wounded Knee Dee BrownHoward ZinnThe Lady Vanishes Zadie SmithA Moment in the Sun - John SaylesJames DickieBruce SpringsteenBill ForsythProduced by Junkyard DogMusic courtesy of Southgate and LeighCrime TimePaul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2022 . Produced by Junkyard DogMusic courtesy of Southgate and LeighCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023&CWA Daggers 2023

Comedian and author Alexei Sayle meets his friend, graphic novelist Oscar Zarate, at the Cartoon Museum in London, where they explore highlights from a collection of thousands of cartoons. Picking out some of their favourite artists, they follow the evolution of the art form, from William Hogarth and Thomas Rowlandson's depictions of Georgian society to the present day. Chatting to the museum's experts, they look at how different drawing styles bring social and political commentary to life, and even make their own cartoon.Notes:The exhibition ‘This Exhibition is a Work Event!' is at the Cartoon Museum until 16 April 2023. Hosted on Acast. See acast.com/privacy for more information.

Marriage a la Mode II: The Tete a Tete works like a meme rather than just a painting. That's because William Hogarth was more than a mere master painter. He was a writer and satirist with an unabashed bawdiness and humor that made Hogarth an icon. In fact, his work punctuated a significant part of the social milieu to the point that "Hogarthian" refers to art done in his satirical style even today. Read LadyKflo's collected works. Learn about this painting and many more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo

In this latest episode, the Unexpected duo, Professor James Daybell and Dr Sam Willis uncover the fascinating and remarkably unexpected history of OLD AGE! Which is all about being rude about old people and the gendering of the muff, via William Hogarth's 1746 etching 'A Taste of the High Life' and Piercy Roberts ‘Comfort for an Old Maid'. It's also all about intergenerational oral history projects between school pupils and residents in car homes, the history of isolation and loneliness; the photograph and William Turner's famous painting The Fighting Temeraire! Who knew! Hosted on Acast. See acast.com/privacy for more information.

The Jury re-considered their verdict, and returned a general verdict – Guilty – Death.

In this episode, we read Chapters 26 to 30 of Mansfield Park. We talk about Fanny's preparations for the ball, the amber cross, her emotion reactions after Edmund gives her the chain, her post-ball meeting with Mary, and the scene where Henry tells Mary he plans to marry Fanny.We discuss Lady Bertram, then Ellen talks about what is meant by being ‘out', and Harriet follows this with some information about balls and dancing. Harriet also talks about how adaptations and modernisations treat these chapters. Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Helena Kelly, Jane Austen, the Secret Radical (2016) [sees the amber cross and chain as a metaphor for slavery and Christianity]Jillian Heydt-Stevenson, Jane Austen's Unbecoming Conjunctions: Subversive Laughter, Embodied History (2005) [sees the amber cross, chain and necklace as a sexual metaphor]The topaz crosses that belonged to Jane and Cassandra Austen:Credit: Jane Austen's House Museum, photography by Peter SmithAdrian Dickens, Jewels of the Regency (2022 – YouTube video of presentation to the Jane Austen Society of Australia)Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) The Daily Knightley (2021) [podcast]John Sutherland, Can Jane Eyre be happy?(2000)William Hogarth, The Painter and his Pug (1745)The Regency novels of Georgette Heyer (1902-1974)Historical discussion:Tea with Cassiane YouTube videos about Regency dancing5 Things That Jane Austen Films Always Get Wrong About the Dancing (2020)A Regency Dancer Analyzes Jane Austen's Ballroom Scenes (2021)A Regency Dancer Reads Jane Austen Part 2 (Mansfield Park, Sense and Sensibility, and The Watsons) (2022)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015) For a list of music used, see this episode on our website.  

This week we're going back to 17th century Virginia with Disney's Pocahontas! Join us to learn about pugs, the promises of the Virginia Company, tattoos, Governor Ratcliffe, and more! Sources: IMDB, Pocahontas: https://www.imdb.com/title/tt0114148/?ref_=nv_sr_srsg_0 The Making of Pocahontas, Documentary available at https://youtu.be/-78sG39u-3g Pocahontas, Rotten Tomatoes: https://www.rottentomatoes.com/m/1063452-pocahontas Roger Ebert Review, Pocahontas: https://www.rogerebert.com/reviews/pocahontas-1995 John White, "Woman of the Secotan-Indians of North Carolina," 1585, available at https://commons.wikimedia.org/wiki/File:North_carolina_algonkin-kleidung01.jpg Edward L Bond, "Source of Knowledge, Source of Power: The Supernatural World of English Virginia, 1607-1624," Virginia Magazine of History and Biography, 108, 2 (2000) AT Sinclair, "Tattooing of the North American Indians," American Anthropologist 11, 2 (1909) Pocahontas, Powhatan Museum of Arts and Indigenous Culture, available at http://www.powhatanmuseum.com/Pocahontas.html Joseph Highmore, Portrait of a Lady with a Pug Dog, painting reproduction available at https://artuk.org/discover/artworks/portrait-of-a-lady-with-a-pug-dog-70968 Portrait of a Lady From the Order of the Pug, available at https://commons.wikimedia.org/wiki/File:Attributed_to_Anna_Rosina_Lisiewska_-_Portrait_of_a_Lady_from_the_Order_of_the_Pug.png William Hogarth, the Painter and His Pug, available at https://commons.wikimedia.org/wiki/File:The_Painter_and_His_Pug_by_William_Hogarth.jpg Photo of Mausoleum of William the Silent, available at https://www.flickr.com/photos/87453322@N00/14806345853 Pugs, American Kennel Club, available at https://www.akc.org/expert-advice/dog-breeds/pug-history-ancient-companion-origins/ Laura D. Gelfand, Our Dogs, Ourselves: Dogs in Early Modern Art, Literature, and Society. Brill, 2016 Forrest K. Lehman, "Settled Place, Contested Past: Reconciling George Percy's "A Trewe Relacyon" with John Smith's "Generall Historie," Early American Literature 42:2 (2007): 235-61. https://www.jstor.org/stable/25057497  Jeffrey L. Sheler, "Rethinking Jamestown," Smithsonian Magazine (January 2005) https://www.smithsonianmag.com/history/rethinking-jamestown-105757282/  John Smith, The generall historie of Virginia, New England & the Summer Isles: together with The true travels, adventures and observations, and A sea grammar. Library of Congress, https://www.loc.gov/resource/lhbcb.0262a/?st=gallery  (82-106) Captain John Smith: A Select Edition of His Writings ed. Karen Ordahl Kupperman (University of North Carolina, 1988) 79-132. https://www.jstor.org/stable/10.5149/9780807839317_kupperman.9    Martin H. Quitt, "Trade and Acculturation at Jamestown, 1607-1609: The Limits of Understanding," The William and Mary Quarterly 52:2 (1995): 227-258. https://www.jstor.org/stable/2946974  Walter L. Hixson, ""No Savage Shall Inherit the Land": The Indian Enemy Other, Indiscriminate Warfare, and American National Identity, 1607-1783," U.S. Foreign Policy and the Other eds. Michael Patrick Cullinane and David Ryan, 16-41 (Bergahn Books, 2015). https://www.jstor.org/stable/j.ctt9qct9n.4  Virginia Bernhard, "Poverty and the Social Order in Seventeenth-Century Virginia," The Virginia Magazine of History and Biography 85:2 (1977): 141-155. https://www.jstor.org/stable/4248117   Misha Ewen, ""Poore Soules": Migration, Labor, and Visions for Commonwealth in Virginia," in Virginia 1619: Slavery and Freedom in the Making of English America eds. Paul Musselwhite, Peter C. Mancall, and James Horn, 133-149 (University of North Carolina Press, 2019). https://www.jstor.org/stable/10.5149/9781469651811_musselwhite.11  Hugh T. Lefler, "Promotional Literature of the Southern Colonies," The Journal of Southern History 33:1 (1967): 3-25. https://www.jstor.org/stable/2204338     

Tim and Eleri visit Tate Britain's Hogarth exhibit, and reflect on the pissed-up paintings from Beer Street to Gin Lane.Follow along with these images:A Harlot's Progress:https://commons.wikimedia.org/wiki/File:A-Harlots-Progress.jpgA Rake's Progress:https://en.wikipedia.org/wiki/A_Rake%27s_ProgressA Modern Midnight Conversation:https://www.royalacademy.org.uk/art-artists/work-of-art/a-midnight-modern-conversation-1Charity in the Cellar:https://www.britishmuseum.org/collection/object/P_1882-0610-54Francis Matthew Schutz in Bed:http://norfolkmuseumscollections.org/collections/objects/object-3907514260.htmlBeer Street:https://www.royalacademy.org.uk/art-artists/work-of-art/beer-street-1Gin Lane:https://www.tate.org.uk/art/artworks/hogarth-gin-lane-t01799Four Stages of Cruelty:https://commons.wikimedia.org/wiki/File:William_Hogarth_-_The_First_Stage_of_Cruelty-_Children_Torturing_Animals_-_Google_Art_Project.jpghttps://www.royalacademy.org.uk/art-artists/work-of-art/the-reward-of-crueltyThe Cockpit:https://www.rct.uk/collection/811986/the-cockpitThe Painter and His Pug:https://en.wikipedia.org/wiki/Trump_(dog)#/media/File:The_Painter_and_His_Pug_by_William_Hogarth.jpgCaptain Lord George Graham in his Cabin:https://en.wikipedia.org/wiki/Captain_Lord_George_Graham_in_his_Cabin#/media/File:Captain_Lord_George_Graham,_1715-47,_in_his_Cabin.jpg

The gin myth of “Mother's Ruin,” which was depicted in William Hogarth's 1751 print, Gin Lane, has colored the perception of alcohol consumption by women for nearly 300 years. Dr. Nicola Nice, who built her brand, Pomp & Whimsy, in an effort to write women back into cocktail history, joins Linda Pelaccio to talk about the history of gin and women.Photo Courtesy of William HogarthHeritage Radio Network is a listener supported nonprofit podcast network. Support A Taste of the Past by becoming a member!A Taste of the Past is Powered by Simplecast.

DescriptionEver wondered what is Neoclassicism in music? And how did Igor Stravinsky play his part? Join me, as we take a minute to get the scoop!Fun FactFrom 1948 to 1951, Stravinsky worked on his only full-length opera, The Rake's Progress, a Neoclassical work based on a series of moralistic engravings by the 18th-century English artist William Hogarth. The Rake's Progress flirts with the late 18th-century grand opera but with the hard edges and twists of the Stravinsky wit and refinement.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

In this latest episode, the Unexpected duo, Professor James Daybell and Dr Sam Willis uncover the unexpected history of GIN! Which is all about dutch courage, crime in the eighteenth century, addictive architecture, liquid poison, female drinkers and of course William Hogarth! Who knew! See acast.com/privacy for privacy and opt-out information.

This 2017 episode covers an early 18th century engraver-turned-artist who made his mark on the art world by producing satirical prints in series that commented on morality and society. And some of his work is used today as a teaching tool. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Versione audio: La scuola pittorica inglese, sviluppatasi nel Settecento a seguito della crescita industriale, economica, politica e culturale del paese, riuscì ad affrancarsi progressivamente dall'egemonia artistica degli italiani e dei fiamminghi. William Hogarth (1697-1764), pittore, incisore, nonché autore di un trattato di estetica, L'analisi della bellezza (1753), uno dei contributi teorici più significativi del Rococò, […] L'articolo Il matrimonio alla moda di William Hogarth proviene da Arte Svelata.

Обычно среднестатистический турист тратит на поход в музей от 2 до 4 часов. На самом же деле, чтобы увидеть все экспонаты, например, в Эрмитаже и потратить на просмотр каждого не менее 1 минуты, вам понадобится более 5 лет. В этом выпуске подкаста Катерина, Наталья, Гэри и Мария говорят об искусстве и музеях, в которых им удалось побывать. Помимо этого ведущие рассуждают о том, почему картины Ван Гога больше известны аудитории, чем работы Караваджо или Уильяма Хогарта, а также, есть ли смысл в современном искусстве и почему оно стоит таких больших денег. СОДЕРЖАНИЕ: 00:00:00 — Introduction. Hosts for today: Katerina (a), Gary (b), Natalie (c), Maria (d). 00:03:45 — What role does art play in our life? Do you go to museums? Museums in different countries (e). 00:22:55 — Different styles of art (f): impressionism, cubism, surrealism etc. and their differences. 00:37:15 — Your thoughts about modern art. Does it have any meaning? Why is it so ridiculously expensive? 00:47:50 — The most popular artists of all time (g) — what brought them fame? Van Gogh and Dali — why are they more popular and famous than, say, Caravaggio or William Hogarth? 01:02:25 — Paintings we want to see with our own eyes. 01:08:19 — Sculpture and our attitude to it. Why are paintings typically more popular than sculptures? Materials sculptures made of. The most popular sculptures of all time (h). 01:15:00 — Follow us on VK (i), Instagram (j), Telegram (k), Yandex (l), Apple Podcasts (m), Google Podcasts (n). СКРИПТ ЭПИЗОДА: Для повышения эффективности обучения наш подкаст содержит текстовую расшифровку. Скрипт диалога оформлен в виде субтитров и доступен к просмотру на сайте во время проигрывания эпизода: BigAppleSchool.com/p/wtc_119 ПОЛЕЗНЫЕ ССЫЛКИ: a. bigappleschool.com/teachers/katerina b. bigappleschool.com/teachers/gary c. bigappleschool.com/teachers/natalya d. bigappleschool.com/teachers/maria e. nationalgeographic.com/travel/article/museum-galleries f. thoughtco.com/art-styles-explained-realism-to-abstract-2578625 g. timeout.com/newyork/art/most-famous-artists-of-all-time h. timeout.com/newyork/art/top-famous-sculptures-of-all-time i. vk.com/bigappleschool j. instagram.com/bigappleschool k. t.me/BigAppleSchool l. music.yandex.ru/album/11372406 m. podcasts.apple.com/ru/podcast/id1456514983 n. podcasts.google.com/search/bigappleschool

What is art? Throughout the course of human existence, critics, academics, and common people have all attempted to unpack the meaning and value of art as part of society, as well as its role as a reflection of the current discourse. Art can be political. It can be reflective. It can be a weapon. And it can be history in itself. In her latest piece for Good Beer Hunting, titled “Gin Lane vs. Beer Street — How One Artist Captured a Pivotal Century in Our Drinking History,” published on July 1, 2021, writer Courtney Iseman takes a look at how art has shaped the way we perceive and interact with alcohol from as early as the 17th century up to the present day, specifically focusing on 18th-century Europe.  For our podcast conversation, we talk about how beer was positively perceived by the middle and upper classes of the time. Working-class people, meanwhile, faced hand-wringing and public outcry for imbibing what was once considered a cheap and debaucherous beverage: gin. Iseman shares where she found the inspiration to dive into this piece after seeing an exhibit of Dutch masters at the Metropolitan Museum of Art. Calling the writing process a “fever dream,” she wonders aloud about the 18th-century artist William Hogarth's motives for creating the groundbreaking and not-so-subtle pair of prints that gave the piece its title.  We explore how alcohol plays into class lines and how consumption habits have evolved over the centuries. We also look at how both alcohol and art can divide as much as they can unite. She describes how the story unraveled—and how there's still more to tell.

Jacqueline Riding discusses her new biography of William Hogarth, which charts the life and work of the famed artist and satirist. Hogarth was a larger-than-life figure whose many engravings and portraits highlighted the morals and vices of the 18th century.(Ad) Jacqueline Riding is the author of Hogarth: Life in Progress (Profile, 2021). Buy it now at Waterstones: https://go.skimresources.com?id=71026X1535947&xcust=historyextra-social-hexpod&xs=1&url=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Fhogarth%2Fjacqueline-riding%2F9781788163477 See acast.com/privacy for privacy and opt-out information.

William Hogarth's painting 'O the Roast Beef of Old England'Holbein and the TudorsQueen Elizabeth ICult of PersonalityEnglish Civil warNapoleonic WarsWorld War IWorld War IINazi & the Third ReichSoviet PropagandaAllied PropagandaThe Modern DayIn both peace and war, propaganda plays its part.  It is the mood music, the manipulation of information, the nudging of a population in a certain direction.  Whether Hogarth's famous depiction of an English side of beef or Josef Goebbels' Nazi disinformation, propaganda has the power to move and persuade.  As the Soviets proved, its influence extends beyond wartime and can control and direct citizens during peace time as well.  From heroic statues to demonic posters, from the broadcasts of Lord Haw Haw to the uplifting speeches of Winston Churchill, everyone has used propaganda to spread their message and point of view.  Often it is only when a leader kills himself in a Berlin bunker that the full scale of the lie behind the propaganda is revealed. This podcast is about both the power and fragility of propaganda and how its use has served to both sway and destroy millions.So it GoesTom Assheton & James Jackson Ref.Lord Haw Haw (Joyce) audio extract 1941Mein Kampf, Adolf Hitler See also:YouTube: BloodyViolentHistoryhttps://www.instagram.com/bloodyviolenthistory/https://www.jamesjacksonbooks.comhttps://www.tomtom.co.uk If you enjoy the podcast, would you please leave a short review on Apple Podcasts/iTunes, Spotify or Google Podcast App? It takes less than 60 seconds, and it really helps to spread the word See https://simplecast.com/privacy/ for privacy information

English artist William Hogarth's paintings were so detailed and clever they could be read like books. The Rake's Progress series of 8 pictures show the ultimate destination of a reckless life - the Bedlam madhouse in London. Just in case anyone was unclear each picture was accompanied by a poem capturing perfectly just how awful that destination was. Great painting met great writing and Thomas Rakewell's life remains a classic work to this day.

Since our last episode was a NinS installment, the most natural progression is to follow it with a SinN episode, and we've got a great one this week. Sometimes it takes time for art to inspire a composer, and this pairing was worth the two-century wait. In the mid-18th century, English painter William Hogarth created a series of 8 works entitled, A Rake's Progress; and not until the middle of the 20th century did Russian composer Igor Stravinsky write an opera inspired by that very series. We're very excited for this combination, and we hope you enjoy it as much as we did!   Art:  William Hogarth (1697-1764): A Rake's Progress (1732-34)  Music:  Igor Stravinsky (1882-1971): The Rake's Progress (1951)   Listen to the great selections from Stravinsky's opera in this week's Spotify playlist!   Follow us on Instagram and Facebook to stay up-to-date with everything we're doing!  Visit our Patreon page to see how you can support us!  Email us any time! notesandstrokespodcast@gmail.com   

Almost three hundred years ago, the English artist William Hogarth created a series of paintings called A Rake’s Progress, which tell the tragic story of a man whose life spirals out of control after inheriting an unexpected fortune. He leaves behind a fiancée, and it is her story of devotion that reverberates through Igor Stravinsky’s opera The Rake’s Progress and the aria “No Word from Tom.”  In this episode, you’ll visit with Hogarth’s paintings, hear how Stravinsky captured the undying loyalty of the forgotten lover and get an inside look at how unexpected fortune and fame upended the family of Vivian Liberto and Johnny Cash. Yes, that Johnny Cash. And, yes, in this podcast about Igor Stravinsky.  And here’s the best part: the incomparable Dawn Upshaw will sing it for you from the stage of the Metropolitan Opera. The Guests: Soprano Dawn Upshaw has performed The Rake’s Progress many times and says that some of her happiest moments on an opera stage were when she was singing the role of the devoted fiancée, Anne Trulove. Tara Cash is the youngest daughter of Johnny Cash and his first wife, Vivian Liberto. When she was growing up, everyone always wanted to hear about her father’s life. Now, she welcomes the opportunity to share her mother’s side of the story.   Joanna Tinworth is the Curator at Sir John Soane’s Museum in London, where the original paintings, A Rake’s Progress by William Hogarth, have resided for nearly 200 years. Hogarth’s paintings are among the museum’s most popular exhibits. Michael Bragg is the Music Planning Associate and Librarian at San Francisco Opera. He gives lectures and talks about opera around the Bay area, and he loves Stravinsky because of the composer’s unique approach to blending old and new styles of music.  Below is the first painting in Hogarth's series A Rake's Progress, entitled "The Heir." You can see the complete set of paintings here, courtesy of Sir John Soane's Museum. William Hogarth, "The Heir," from "A Rake's Progress" series, the inspiration for Stravinsky's opera. (Photo: Sir John Soane's Museum, London)  

Keturah discusses two forms of adaptation in this episode.Her first conversation is with tenor, William Burden, who chats with her about Igor Stravinsky and W.H. Auden’s adaptation of William Hogarth’s paintings, The Rake’s Progress.  They go into detail about one aria in the piece, then speak about how text and music get to the heart of our emotional world.Next up is a conversation with two time Pulitzer Prize winning playwright, Lynn Nottage, discussing adapting her award-winning play, Intimate Apparel, into an opera of the same name with Ricky Ian Gordon.  They go into what it was like to self-adapt, why the piece was tailor made for a musical adaptation, and what her experience of collaborating with Ricky Ian Gordon was like.Lynn Nottage - http://www.lynnnottage.com/William Burden - https://www.opus3artists.com/artists/william-burden/Igor Stravinsky - https://www.britannica.com/biography/Igor-StravinskyW.H. Auden - https://www.poetryfoundation.org/poets/w-h-audenRicky Ian Gordon - https://www.rickyiangordon.com/The Rake’s Progress - https://www.opera-online.com/en/items/works/the-rakes-progress-auden-stravinsky-1951Intimate Apparel - https://www.lct.org/shows/intimate-apparel/William Hogarth - https://www.nationalgallery.org.uk/artists/william-hogarthA Rake’s Progress - https://www.artble.com/artists/william_hogarth/paintings/a_rake's_progress

In 1696, Isaac Newton, then Lucasian Professor of Mathematics at Cambridge University, moved rather suddenly to London. There he took the position of Master of the Royal Mint, residing at first nearby the mint in the Tower of London. He would by the end of his life have spent more time living in London then in Cambridge. Yet historians have often been reticent, even embarrassed, to delve into the second act of Newton's life. After gravity, the calculus, and optics it all seems so pedestrian. Fortunately Patricia Fara, Emeritus Fellow at Clare College, Cambridge, has taken Newton's London life seriously. In her book Life After Gravity: Isaac Newton's London Career she unpacks Newton's other life: as a royal official, a courtier, a builder of institutions, a proponent and beneficiary of empire, and an acquirer of worldly goods. Along the way she shares such gems with us as the number of silver chamberpots Newton owned when he died (two); what Newton changed about Britain's money;  his favorite book of the Bible (Daniel); where he invested his money; and his time in Parliament as Member for the University of Cambridge. And, connecting the various episodes of the book, is an analysis of a painting by William Hogarth, in which there are many Newtonian resonances.

Episode 44 features Bombay Sapphire London Dry Gin, a very popular gin in a blue bottle. Bottled in 750mL at 47% ABV, or 94 proof for me in the US market, 40% and 80 proof through most of the rest of the world, it retails for about $22. Enjoy this episode with a classic Gin & Tonic! Bombay Sapphire's official website: https://www.bombaysapphire.com/ (https://www.bombaysapphire.com/) Brief Historical Timeline: 1761 - Thomas Dakin founds a distillery and creates a list of botanicals for a gin recipe 1961 - G&J Greenall's of Warrington, England, expands production with room for contract distilling 1960s - American Allan Sorbin begins importing Greenall's Warrington Gin to the United States that is rebranded as Bombay Dry Gin 1987 - Bombay Sapphire is launched 2000 - Bombay Sapphire sells a million cases that year 2019 - Bombay Sapphire sells 4.7 million cases that year, making it the third most popular gin worldwide Key Cocktails: Bombay Sapphire is perfect for a Gin & Tonic. The St-Germain Cocktail: 1 part Bombay Sapphire Gin 3 parts quality tonic, like Fever-Tree Indian Tonic Water Lime wedge garnish Combine all the ingredients over ice in a glass, stir gently and serve with a lime wedge. References: https://www.amazon.com/Gin-Made-Beautifully-Botanical-Cocktails/dp/0008280304 (Gin Made Me Do It) - Book by Jassy Davis https://www.amazon.com/Proof-Science-Booze-Adam-Rogers/dp/0544538544 (Proof: The Science of Booze) - Book by Adam Rogers https://www.bonappetit.com/story/different-types-of-gin (Bon Appetit Article on Types of Gin) https://theginisin.com/regulations/what-is-london-dry-gin/ (London Dry Gin Regulations Overview) https://en.wikipedia.org/wiki/Gin_Craze (Wikipedia Article on the Gin Craze) https://en.wikipedia.org/wiki/Beer_Street_and_Gin_Lane (Wikipedia Article on Gin Lane by William Hogarth) https://www.diffordsguide.com/producers/169/gandj-distillers (Difford's Guide Article on G&J Greenall's) https://en.wikipedia.org/wiki/Bombay_Sapphire (Wikipedia Article on Bombay Sapphire) https://en.wikipedia.org/wiki/Star_of_Bombay (Wikipedia Article on the Star of Bombay) https://www.statista.com/statistics/259743/leading-gin-brands-worldwide-based-on-sales-volume/#:~:text=Global%20gin%20market%3A%20leading%20brands%20based%20on%20sales%20volume%202019&text=In%202019%2C%20Ginebra%20San%20Miguel,of%20the%20distilled%20alcoholic%20drink (Statista Report on Top Selling Gin Brands) https://www.statista.com/statistics/308830/bombay-gin-global-sales-volume/ (Statista Report on Bombay Sapphire Sales Volume) https://www.thespiritsbusiness.com/2015/09/bombay-sapphire-a-brand-history/ (The Spirits Business Article on Bombay Sapphire History) Contact Information: Official show website is: https://www.liquorandliqueurconnoisseur.com/ (www.liquorandliqueurconnoisseur.com) Join my mailing list: http://eepurl.com/hfyhHf (http://eepurl.com/hfyhHf) Facebook: https://www.facebook.com/liquorandliqueurconnoisseur (https://www.facebook.com/liquorandliqueurconnoisseur) Instagram: https://www.instagram.com/LiquorandLiqueurConnoisseur/ (https://www.instagram.com/LiquorandLiqueurConnoisseur/) Twitter: @LLConnoisseur

It's Episode 17 and if you, like the rest of the world, have fallen in love with Bridgerton - THIS EPISODE IS FOR YOU. Join me as I take you on an in-depth tour of the first ever depiction of a Bridgerton style marriage drama series in the form of William Hogarth's Marriage A-la-Mode. This six part series has it all!! Love, loss, money and betrayal! It's very messy with a very serious warning - when you marry for anything other than love, no good can come of it. Let me introduce you to Hogarth's characters of Earl Squander-field, the slippery Silver-tongue lawyer and the beautiful, yet not so innocent, Countess Squander-field! This series is jam packed full of clues and symbols which tell the viewer the story behind the canvas. And I mean it when I say jam packed. So, who is the innocent party? Are these two victims of their father's plans or does this series stand as a warning to all who marry for money and not love? Host: Jo McLaughlin Instagram: https://www.instagram.com/josarthistory/ Youtube: https://linktr.ee/josarthistory Website: https://linktr.ee/josarthistory Khan Academy Video: https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/reformation-counter-reformation/v/william-hogarth-s-marriage-a-la-mode-c-1743 Join the Culture London Lecture on the series: https://www.youtube.com/watch?v=kW-nNj6KFGw William Hogarth - One Man and His Pug - there is a reference to Marriage A La Mode: https://www.youtube.com/watch?v=iOMO7ugELaA&t=763s A great mini series made for BBC four. Hogarth at the National Gallery Catalogue: https://www.worldofbooks.com/en-gb/books/judy-egerton/hogarth-s-marriage-a-la-mode/9781857091762?gclid=CjwKCAiA9bmABhBbEiwASb35V8VLICgxvSnKuGt_byRvmrplX2lUmbmnLgs527C767zeYY3H7Nm2TxoCazAQAvD_BwE National Gallery Marriage A La Mode - Series description: https://www.nationalgallery.org.uk/paintings/william-hogarth-marriage-a-la-mode-1-the-marriage-settlement

Oliver Twist - Charles Dickens - Book 2, Part 3 Title: Oliver Twist Overview: Oliver Twist; or, the Parish Boy's Progress, Charles Dickens's second novel, was published as a serial from 1837 to 1839, and as a three-volume book in 1838. Born in a workhouse, the orphan Oliver Twist is sold into apprenticeship with an undertaker. After escaping, Oliver travels to London, where he meets the "Artful Dodger", a member of a gang of juvenile pickpockets led by the elderly criminal Fagin. Oliver Twist unromantically portrays the sordid lives of criminals and exposes the cruel treatment of the many orphans in London in the mid-19th century. The alternative title, The Parish Boy's Progress, alludes to Bunyan's The Pilgrim's Progress, as well as the 18th-century caricature series by painter William Hogarth, A Rake's Progress, and A Harlot's Progress. In an early example of the social novel, Dickens satirizes child labor, domestic violence, the recruitment of children as criminals, and the presence of street children. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of working as a child laborer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own experiences as a youth contributed as well. Oliver Twist has been the subject of numerous adaptations, including a highly successful musical, Oliver!, the multiple Academy Award-winning 1968 motion picture, and Disney's animated film Oliver & Company in 1988. Published: 1837 List: 100 Classic Book Collection Author: Charles Dickens Genre: Novel, Serial Novel, Social Criticism Novel, Novella, Bildungsroman, Fiction Novel Episode: Oliver Twist - Charles Dickens - Book 2, Part 3 Part: 3 of 3 Length Part: 6:11:41 Book: 2 Length Book: 17:25:14 Episodes: 37 - 53 of 53 Narrator: Mil Nicholson Language: English Edition: Unabridged Audiobook Keywords: determination, persistence, prison, debt, morality play, perception, discovery Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Oliver Twist - Charles Dickens - Book 2, Part 1 Title: Oliver Twist Overview: Oliver Twist; or, the Parish Boy's Progress, Charles Dickens's second novel, was published as a serial from 1837 to 1839, and as a three-volume book in 1838. Born in a workhouse, the orphan Oliver Twist is sold into apprenticeship with an undertaker. After escaping, Oliver travels to London, where he meets the "Artful Dodger", a member of a gang of juvenile pickpockets led by the elderly criminal Fagin. Oliver Twist unromantically portrays the sordid lives of criminals and exposes the cruel treatment of the many orphans in London in the mid-19th century. The alternative title, The Parish Boy's Progress, alludes to Bunyan's The Pilgrim's Progress, as well as the 18th-century caricature series by painter William Hogarth, A Rake's Progress, and A Harlot's Progress. In an early example of the social novel, Dickens satirizes child labor, domestic violence, the recruitment of children as criminals, and the presence of street children. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of working as a child laborer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own experiences as a youth contributed as well. Oliver Twist has been the subject of numerous adaptations, including a highly successful musical, Oliver!, the multiple Academy Award-winning 1968 motion picture, and Disney's animated film Oliver & Company in 1988. Published: 1837 List: 100 Classic Book Collection Author: Charles Dickens Genre: Novel, Serial Novel, Social Criticism Novel, Novella, Bildungsroman, Fiction Novel Episode: Oliver Twist - Charles Dickens - Book 2, Part 1 Part: 1 of 3 Length Part: 5:42:17 Book: 2 Length Book: 17:25:14 Episodes: 1 - 18 of 53 Narrator: Mil Nicholson Language: English Edition: Unabridged Audiobook Keywords: determination, persistence, prison, debt, morality play, perception, discovery Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Oliver Twist - Charles Dickens - Book 2, Part 2 Title: Oliver Twist Overview: Oliver Twist; or, the Parish Boy's Progress, Charles Dickens's second novel, was published as a serial from 1837 to 1839, and as a three-volume book in 1838. Born in a workhouse, the orphan Oliver Twist is sold into apprenticeship with an undertaker. After escaping, Oliver travels to London, where he meets the "Artful Dodger", a member of a gang of juvenile pickpockets led by the elderly criminal Fagin. Oliver Twist unromantically portrays the sordid lives of criminals and exposes the cruel treatment of the many orphans in London in the mid-19th century. The alternative title, The Parish Boy's Progress, alludes to Bunyan's The Pilgrim's Progress, as well as the 18th-century caricature series by painter William Hogarth, A Rake's Progress, and A Harlot's Progress. In an early example of the social novel, Dickens satirizes child labor, domestic violence, the recruitment of children as criminals, and the presence of street children. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of working as a child laborer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own experiences as a youth contributed as well. Oliver Twist has been the subject of numerous adaptations, including a highly successful musical, Oliver!, the multiple Academy Award-winning 1968 motion picture, and Disney's animated film Oliver & Company in 1988. Published: 1837 List: 100 Classic Book Collection Author: Charles Dickens Genre: Novel, Serial Novel, Social Criticism Novel, Novella, Bildungsroman, Fiction Novel Episode: Oliver Twist - Charles Dickens - Book 2, Part 2 Part: 2 of 3 Length Part: 5:31:14 Book: 2 Length Book: 17:25:14 Episodes: 19 - 36 of 53 Narrator: Mil Nicholson Language: English Edition: Unabridged Audiobook Keywords: determination, persistence, prison, debt, morality play, perception, discovery Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Merriam-Webster's Word of the Day for November 10, 2020 is: bailiwick • BAY-lih-wik • noun 1 law enforcement : the office or jurisdiction of a bailiff 2 : the sphere in which one has superior knowledge or authority : a special domain Examples: "Until his death in 1764, at 67, [William Hogarth's] soul resided in Drury Lane and Grub Street, the bailiwick of actors, tradesmen and engravers like himself." — Michael Kimmelman, The New York Times, 30 Nov. 1997 "Staging theater in unusual but thematically appropriate locations is nothing new to Seghers, who once … seated theatergoers in a barn to watch a young man's obsession with horses play out in 'Equus.' 'This is right in his bailiwick,' said John DiDonna, who chairs the theater department at Valencia College. 'Jeremy lives to do shows that are site-specific or environmental.'" — Matthew J. Palm, The Orlando Sentinel, 6 Aug. 2020 Did you know? The first half of the word bailiwick comes from the Middle English word for "bailiff"—in this case, a term referring to a sheriff or chief officer of a town in medieval England, not the officer who assists today in U.S. courtrooms. Bailiff derives, via Anglo-French, from Latin bajulare, meaning "to carry a burden." The second half of bailiwick comes from wik, a Middle English word for "dwelling place" or "village," which ultimately derives from Latin vicus, meaning "village." (This root also gave us -wich and -wick, suffixes used in place names like Norwich and Warwick.) Although bailiwick dates from the 15th century, the "special domain" sense did not appear in English until the middle of the 19th century.

As the ramifications of the US election are set to continue for weeks, where do we stand in the art world? We look at the economics and the response of artists and art communities over the last four years and into the future. We talk to Felix Salmon, the chief financial correspondent at Axios, about the economic situation and its potential effects; Carolina Miranda of the Los Angeles Times reflects on individualism and collective action in the cultural sphere; and the Mexican artist Pedro Reyes talks about his project in New York City, Mañanaland, timed to coincide with the election. For this week’s Work of the Week, Martin Rowson, a cartoonist for the Guardian and the Daily Mirror, among others, talks about William Hogarth’s Gin Lane (1751), drawing President Trump, and the power of satire to address moments of crisis. See acast.com/privacy for privacy and opt-out information.

Welcome to the Jo's Art History Podcast, a podcast which celebrates all things art historical every single day! On today's podcast, Jo sits down with Illustrator Nyassa HInde to discuss a topic close to her heart - PUGS! Yip, that's right! Today we track the development and representation of this popular little dog through three paintings by artist William Hogarth. Hogarth was a super star painter in the 1700s and was known for his love of the breed but, his inclusion of his pugs were not as innocent as they first seem. Join Jo and Nyassa as they discuss the history of pug representation, poking fun at the wealthy and just what exactly is pugnacious? Guest: Nyassa Hinde. Illustrator, designer & maker Website: www.nyassahindeillustration.com Instagram: @nyassahindeillustration Host: Jo McLaughlin Website: www.josarthistory.com Instagram: @josarthistory Artwork: William Hogarth: The Strode Family, c.1738 William Hogarth: Captain Lord George Graham in his Cabin, 1745 William Hogarth: The Painter & his Pug, 1745 All images referred to on the show can be found on my website here: www.josarthistory.com or on my Instagram page @josarthistory

A series of short features made for Soho Radio. Each week we talk to a different person about somebody in the Spirit of Soho Mural. This week, the subject is William Hogarth and Dom talks to art historian and Hogarth's biographer, Dr Jacqueline Riding. Originally broadcast on The Soho Hour on October 4th 2020.

This week, in the aftermath of the killing of George Floyd, we talk about the history of black resistance in the US and how the art world can respond to this latest tragedy. As protests grow throughout the country, Margaret Carrigan, one of The Art Newspaper’s senior editors in New York, speaks to Spencer Crew, the interim director of the National Museum of African American History and Culture, about the museum’s Talking About Race online portal. Also this week, we pay tribute to Christo, who died earlier this week. With his collaborator and wife Jeanne-Claude, Christo most famously wrapped the Pont Neuf in Paris and the Reichstag in Berlin in coloured fabric. And in the latest in our series of Lonely Works behind the doors of closed museums, Caro Howell, the director of the Foundling Museum in London, explores William Hogarth’s portrait of Thomas Coram, the painting that is the cornerstone of the Foundling’s collection—which she now hasn’t seen for months because of the coronavirus lockdown. See acast.com/privacy for privacy and opt-out information.

Was einem Tierquäler im Laufe seines Lebens alles blühen kann, hält William Hogarth in einem der ersten Comics fest. Wie eine Hinrichtungsstätte zum Synonym für Jahrmarkt wurde erzählen wir euch außerdem.

Spanning time and culture, Marriage takes the cake as a source of inspiration for artists and composers alike. From joyful to depressing to downright comical, art and music inspired by this topic marry the full gamut of human emotion. Walk down the aisle alongside us as we take a look at a handful of beautiful creations inspired by Marriage! ----more---- Art works discussed and links to images Martin van Meytens (1695-1770) - Wedding Supper (1763) William Hogarth (1697-1764) - Marriage A-la-Mode Cycle (1743-1745) Marriage Settlement / Marriage Contract Tete a Tete The Inspection / Visit to a Quack Doctor The Toilette The Bagnio / Killing of the Earl The Lady's Death / The Suicide of the Countess ----more---- Compositions discussed Felix Mendelssohn (1809-1847) - "Wedding March" (1842) from his incidental music to A Midsummer Night's Dream (1826, 1842) Vladimir Horowitz (1903-1989) - "Wedding March and Variations" Wolfgang Amadeus Mozart (1756-1791) - Le Nozze di Figaro (1786)

During the last thirty years of his life, Isaac Newton lived in London, where as head of the Royal Mint he moved in wealthy aristocratic circles, exerted substantial political influence, and profited financially from imperial trade and exploitation. To illustrate these themes, this lecture examines an oil painting by William Hogarth illustrating a children's performance of John Dryden's play The Indian Emperour, a dramatized version of the tussle for power between Hernando Cortez and Montezuma. This lecture is held in conjunction with the Science Museum's Science City 1550-1800: The Linbury Gallery as part of its Science Museum Lates. N.B. 7pm starthttps://www.sciencemuseum.org.uk/see-and-do/latesA lecture by Patricia Fara 26 FebruaryThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/newtons-londonGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

All good things must end! We review BEDLAM (1946) from director Mark Robson and starring Boris Karloff and Anna Lee. It's our final horror film from Lewton and his team at RKO, does he go out with a bang? Plus, what's the connection to William Hogarth's art? Why is it called Bedlam? Why is this the last Lewton horror film? Listen and find out! Context setting 00:00; Synopsis 33:21; Discussion 49:40; Ranking 1:30:58

Michael Caines reports on an unprecedented gathering of work by William Hogarth, “replete with a bitter exuberance, folly finely observed and sin satirized”; “Sometimes a dark and stormy night calls for nothing more innovative than a classic chilling tale.” Joanna Scutts considers three new compendiums of the spooky and the macabre; Les Green makes a case for changing the UK's constitution (writing it down in one place being a good start...)Hogarth: Place and progress, at the Sir John Soane’s Museum, until January 5, 2020A Quaint and Curious Volume: Tales and poems of the gothicWomen’s Weird: Strange stories by women, 1890–1940, edited by Melissa EdmundsonPromethean Horrors: Classic tales of mad science, edited by Xavier Aldana Reyes See acast.com/privacy for privacy and opt-out information.

“The painter must give a completely free rein to any feeling or sensations he may have.” So said the celebrated artist Lucian Freud. His biographer William Feaver tells Andrew Marr how Freud’s work revealed not only something about the subject of the painting, but also what the artist was feeling. The two are combined in a new exhibition of Freud’s self-portraits in which the painter turns his unflinching eye on himself. In 2006 the artist Humphrey Ocean started making a series of portraits of visitors to his studio. Using simple forms and bold colours the painter illuminated something unique about each person. Ocean is the RA Schools’ Professor of Perspective and his work details his observations of everyday life. The underbelly of everyday life in the 18th century is very much in evidence in William Hogarth’s work. As an exhibition at Sir John Soane’s Museum brings together all Hogarth’s painted series for the first time, the art critic Kate Grandjouan explains what he reveals about people from all strata of society, in a London devoid of morality. Producer: Katy Hickman

We discuss the wonders of Bonhams jewellery sale and the historical references contained within jewellery design Still Processing podcast: https://www.nytimes.com/column/still-processing-podcast Emily Barber: https://www.instagram.com/gemilybarber/ Bonhams Jewels: https://www.instagram.com/bonhamsjewels/?hl=en London Jewels auction, Bonhams (24 September 2019): https://www.bonhams.com/auctions/25315/ Buccellati: http://uk.buccellati.com/en/private-collection London’s Fashion Alphabet, G – Garnet (17 September 2019): https://www.youtube.com/watch?v=EgS1RK-nIFQ Alice Cicolini: http://www.alicecicolini.com/ William Hogarth, Miss Mary Edwards (1742), The Frick Collection: https://collections.frick.org/objects/details/207/miss-mary-edwards

First Draft Episode #195: Jennifer Donnelly Jennifer Donnelly, New York Times bestselling author of A Northern Light, Revolution, These Shallow Graves, and The Tea Rose series (incl. The Tea Rose; The Winter Rose; The Wild Rose) and Waterfire Saga series (incl. Deep Blue; Rogue Wave; Dark Tide; Sea Spell), Beauty and the Beast: Lost in a Book, among others, who is back with the New York Times bestselling Stepsister. Jennifer talks about being raised on bedtime stories about life under the Hitler regime; how to deep-dive into writing a historical novel; and the joy of being obsessed. Links and Topics Mentioned In This Episode Learn more about The First Draft Listener Club The New York Teen Author Carnival When Jennifer visited Portobello Road in East London, she felt like she was stepping back into the London of Charles Dickens (author of Great Expectations and A Tale of Two Cities), artist William Hogarth, Jack the Ripper (learn more with The Complete History of Jack the Ripper by Phillip Sugden), The Labour Movement, the London Dock Worker Strike Simon Lipskar of Writer’s House was interested in Jennifer’s first crack at writing a novel, which was 1,100 words(!) Sally Kim, VP and Editor in Chief at Putnam, was then at St. Martin’s, when she purchased Jennifer’s first book Steven Malk at Writer’s House became Jennifer’s agent to sell A Northern Light and subsequent books Jennifer’s mom bought her a copy of An American Tragedy by Theodore Dreiser, and that sparked the obsession that led to A Northern Light. (Non-fiction accounts of the murder of Grace Brown include Adirondack Tragedy: The Gillette Murder Case of 1906, written by Joseph W. Brownell and Patricia Enos; and Murder in the Adirondacks: An American Tragedy Revisited, by Craig Brandon.) The murder case of Laci Peterson, documented in true crime novel A Deadly Game: The Untold Story of the Scott Peterson Investigation by Catherine Crier Jennifer was stopped short by a New York Times article about the heart of Louis Charles, Dauphin of France, the imprisoned son of the king of France who was toppled by the French Revolution. The story was likely either “Genetics Offers Denouement To Mystery of Prince's Death,” by Suzanne Daley, or “MEANWHILE : Learning from a heart stilled by revolution,” by Catherine Field. Jennifer was inspired by “Savage Beauty,” the Met’s retrospective of fashion designer Alexander McQueen’s work Jennifer’s short story in Fatal Throne: The Wives of Henry VIII Tell All led her to explore the themes of beauty and how we reinforce those standards on young women in Stepsister I blow up Maurene Goo’s spot (author of I Believe in a Thing Called Love, The Way You Make Me Feel, and her newest, Somewhere Only We Know) getting obsessed with the Supernatural TV show (listen to Maurene’s First Draft episodes here, here, and here) I’m obsessed with The Dyatlov Pass Incident, which was covered in Dead Mountain: The Untold True Story of the Dyatlov Pass Incident by Donnie Eichar   Subscribe To First Draft with Sarah Enni Every Tuesday, I speak to storytellers like Veronica Roth, author of Divergent; Michael Dante  DiMartino, co-creator of Avatar: The Last Airbender; John August, screenwriter of Big Fish, Charlie’s Angels, and Charlie and the Chocolate Factory; or Rhett Miller, musician and frontman for The Old 97s. Together, we take deep dives on their careers and creative works. Don’t miss an episode! Subscribe in Apple Podcasts, Spotify, Stitcher, or wherever you get your podcasts. It’s free! Rate, Review, and Recommend How do you like the show? Please take a moment to rate and review First Draft with Sarah Enni in Apple Podcasts, Google Play, or wherever you listen to podcasts. Your honest and positive review helps others discover the show -- so thank you! Is there someone you think would love this podcast as much as you do? Please share this episode on Facebook, Twitter, Pinterest, or via carrier pigeon (maybe try a text or e-mail, come to think of it). Just click the Share button at the bottom of this post! Thanks again!

Evento histórico que se declara en 1720 que casi destruye Londres, historia directamente vinculada con el origen del Ginebra de Londres derivado de la Jenever Holandesa. Hablaremos sobre obras de arte relevantes como los de William Hogarth de 1751 que reflejaban la crudeza de la época ante esta situación y datos curiosos como el de la primera "maquina vending" la Puss and Mew.

“Children, my dear boy, children.” [GREE]      When you glance across the Sherlock Holmes stories, there really aren't that many instances of children. Some of the tales are just not suitable for little ears, after all.    But there were key instances in which children played a vital role in the plot or moving the action forward. We explore some of those, as well as the warning signs that you might want to spend a little more (or less) time with the young ones. It is just a Trifle...      Have you left us a rating and review on iTunes yet? You don't need to own an Apple device, and every review helps more people find the show.  And please consider supporting our efforts through Patreon  or PayPal.     Links / Notes This episode: ihose.co/trifles97 RadioPublic The Four Stages of Cruelty - William Hogarth   Sponsor The Baker Street Journal   Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra Publisher Info.: Washington, DC: United States Marine Band Copyright: Creative Commons Attribution 3.0

Almost getting in a plane crash with Jedward, Why Adam from the Bible was a Cuck, the art of William Hogarth See acast.com/privacy for privacy and opt-out information.

In the early 18th century, an engraver-turned-artist made his mark on the art world by producing satirical prints in series that commented on morality and society. And some of his work is used today as a teaching tool. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Almost three hundred years ago, a woman called Mary Toft was interrogated a bunch of doctors in London. She was interrogated after having given birth to a litter of rabbits. Or so she claimed. But, in that era, one of the strangest things about the case wasn’t just the rabbits: it was that doctors — “male midwives” — were muscling into the giving birth business. Amelia Dale teaches at Sydney University and talked about Toft in her PhD thesis. Links from this episode: Learn more about Mary Toft here, or listen to the BBC’s take on her story. What Hogarth print where? William Hogarth was a visual satirist, who made fun of the scandal around Toft with this engraving:   Songs from Midwives, Doctors and Rabbits: Ojos Del Sol — Y La BambaAkogare — Super Magic HatsCopza Luca — Adrian Simionescu and Orchestre Marin Ioan (Gajo Dilo soundtrack)Slip Away — Kim Boekbinder

In September 1726, a Surrey woman called Mary Toft claimed to be giving birth to rabbits. The case became a sensation which gripped Georgian England - but the real story may have been much darker. Witness hears eye-witness accounts from the time, and historian Karen Harvey puts the story into context.IMAGE: "Cunicularii or the wise men of Godliman in consultation", etching by William Hogarth illustrating the Mary Toft story, 1726. Credit: Wellcome Library, London.

In September 1726, a Surrey woman called Mary Toft claimed to be giving birth to rabbits. The case became a sensation which gripped Georgian England - but the real story may have been much darker. Witness hears eye-witness accounts from the time, and historian Karen Harvey puts the story into context. IMAGE: "Cunicularii or the wise men of Godliman in consultation", etching by William Hogarth illustrating the Mary Toft story, 1726. Credit: Wellcome Library, London.

Emily Knight talks at the Ashmolean Museum about eighteenth-century portraits of children. Throughout history we have attempted to capture the transience of childhood in images, whether through portraits painted in the eighteenth century or photos taken on a phone and shared on social media today. In this short talk Emily Knight takes us back to the eighteenth century, when artists including Thomas Gainsborough, William Hogarth, Joshua Reynolds, Henry Fuseli and George Romney were painting children’s portraits. Ideas of childhood had begun to shift in the era, which was reflected in the portraiture. At the time infant mortality rates were high, meaning parents felt an even greater desire to have an image of their child to capture those fleeting early moments. Emily shows how these ideas were reflected in the portraiture through recurring motifs like the butterfly. Emily Knight is a DPhil candidate in History of Art at the University of Oxford researching posthumous portraiture in the late eighteenth to early nineteenth centuries in Britain, considering the ways in which these works became a language for mourning and commemoration.

As Dirty Rotten Scoundrels extends its West End run, star Robert Lindsay reflects on the challenges of staging a hit musical, and father son kora stars Toumani and Sidiki Diabaté perform music from their new album. Also tonight, Rachel Cooke reviews series two of the hit Netflix drama Orange is the New Black, and London's Foundling Museum celebrates its 10th birthday and marks the 250th anniversary of William Hogarth's death with a new exhibition of work by David Hockney, Yinka Shonibare, Grayson Perry and Jessie Brennan, inspired by Hogarth's A Rake's Progress.

Matthew Sweet discusses online identity theft and religious belief with American novelist Joshua Ferris, as he publishes his new novel To Rise Again at a Decent Hour. As the London Festival of Architecture opens with a debate on whether London needs more tall towers, Matthew talks to Sir Terry Farrell, Owen Hatherley, Nicholas Boys Smith, Angela Brady, about how London should look in the future. And we head to the Foundling Museum, whose latest exhibition marks the 250th anniversary of the death of William Hogarth to find out how artist Jessie Brennan has re-imagined ‘A Rake's Progress' without people, just a famous London tower block.

In today's essay shedding light on key figures of the Georgian era, the writer and cartoonist Martin Rowson discusses the satiric genius of William Hogarth and his lasting influence on the development of the political cartoon.Producer: Mohini Patel.

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Alex and Rob cast an irreverent eye over local news from their respective home towns. Listeners can submit stories from their local area to:lapodcast.net@gmail.com Stories this week include: Local idiot considers buying lock after theft of eighth consecutive bicycle. Pizza restaurant moves to trademark dish after ceiling falls into customer's dessert. Miserable child believed to be reincarnation of William Hogarth.  War veteran claims WWII was due to Third Reich's automated financial transactions.  Also revealed: Alex's alarming inability to name everyday household objects.  And much, much more...

In this episode, David Coke describes life at Vauxhall Pleasure Gardens, and recounts how the artist William Hogarth helped it survive during a period when its future seemed uncertain. See acast.com/privacy for privacy and opt-out information.

With Mark Lawson. Charlize Theron plays a writer of teen literature who returns to her small hometown to reclaim her happily married high school sweetheart, in her new film Young Adult. But things don't go according to plan. The film is directed by Jason Reitman, who also brought us Juno and Up in the Air. Ryan Gilbey reviews. The Orange Prize-winning novelist Kate Grenville discusses her novel Sarah Thornhill in which she returns to early Australia and the story of the Thornhill family, whose story she told in her novel The Secret River. The Singing Detective, the TV drama series written by Dennis Potter and starring Michael Gambon, returns to our screens 26 years after it was first shown. Chris Dunkley and Rebecca Nicholson re-assess this TV classic. And writer Joanne Harris visits a new exhibition in Sheffield with a focus on the family, with artists ranging from William Hogarth to Rachel Whiteread. Producer Jerome Weatherald.

Infamous rake (and Chancellor of the Exchequer), Sir Francis Dashwood was the founder of the Hellfire Club whose avowed flouting of all moral and sexual decency and the deliberate offending of religion brought about...

Show notes for Episode 8:“Tales from the Tables” by Bob Woolley(a.k.a. Rakewell, the Poker Grump)The “Poker Grump” offers sketches of three characters he has encountered at the tables in the Vegas card rooms as well as while playing on the virtual felt.For more of Bob's tales from the tables, check out his blog. In particular, take a look at this recent post in which Bob recounts a number of characters he encountered during an evening at the Hard Rock. “Silver Dollars” by Billy Collins (1977)After a bit of background regarding Wild Bill Hickok -- gleaned in part from Des Wilson's book Ghosts at the Table (2008) & James McManus' CardPlayer article titled “Aces and Eights” (8/21/2007 issue) -- I read a poem by Billy Collins that humorously revisits the story of Hickok's demise.Collins' poem originally appeared in his first collection of poems, titled Pokerface. It is also anthologized in John Stravinsky's Read 'Em and Weep (2004).“Aces and Eights,” Frontier Gentleman (originally aired April 20, 1958) Written, produced, and directed by Antony Ellis. Starring John Dehner, John McIntyre, Jeanette Nolan, Jack Moyles, Larry Dobkin, Stacy Harris, and Vic Perrin.Here's the Wikipedia entry on the show, and here is a link to an archive of what I believe is all 41 episodes of the show. Download.

An audio recording from the Hogarth Study Day held at Tate Britain. William Hogarth is recognised as the first great artistic chronicler of modern urban experience.

An audio recording from the Hogarth study day held at Tate Britain. William Hogarth is recognised as the first great artistic chronicler of modern urban experience.

William Hogarth is recognised as the first great artistic chronicler of modern urban experience.

William Hogarth is recognised as the first great artistic chronicler of modern urban experience. Alan Morrison, lecturer at the University of Westminster, explores Hogarth’s sharp-witted and often satirical observations of life in eighteenth-century Londo

Igor Stravinsky first saw William Hogarth’s A Rake’s Progress engravings in Chicago in 1946 and soon embarked on writing his own operatic fable on the subject in collaboration with WH Auden and Chester Kallman. Musicologist Gavin Plumley explores how musi

Gallery tour: Let the Guardian's Steve Bell, Jonathan Jones and Andrew Dickson take you round Tate Britain's new William Hogarth exhibition

This year's Reith lecturer is Dr Nikolaus Pevsner, the German-born British scholar of history of art and architecture, and author of the county guide series, The Buildings of England (1951–74). In this series, Dr Pevsner explores the qualities of art which he regards as particularly English, as illustrated in the works of several English artists, and what they say about the English national character. In his second lecture, Dr Pevsner considers the 'Englishness' of the artist and satirist William Hogarth (1697-1764). He explores the characteristics which he says make Hogarth a particularly English artist, and argues that his work embodies the ideals of the Age of Reason.

This year's Reith lecturer is Dr Nikolaus Pevsner, the German-born British scholar of history of art and architecture, and author of the county guide series, The Buildings of England (1951–74). In this series, Dr Pevsner explores the qualities of art which he regards as particularly English, as illustrated in the works of several English artists, and what they say about the English national character. In his second lecture, Dr Pevsner considers the 'Englishness' of the artist and satirist William Hogarth (1697-1764). He explores the characteristics which he says make Hogarth a particularly English artist, and argues that his work embodies the ideals of the Age of Reason.