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Oil Paintings Come From United Kingdom
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William Hogarth
British 1697-1764 William Hogarth Galleries Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault. Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square. Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).

 

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William Hogarth Mariage a la Mode oil painting

Painting ID::  90850

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William Hogarth
Mariage a la Mode
Oleo sobre lona Dimensions Deutsch: 68,5 x 89 cm cyf
   
   
     

 

 

William Hogarth David Garrick with His Wife oil painting

Painting ID::  90942

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William Hogarth
David Garrick with His Wife
1757(1757) Medium oil on canvas Dimensions 132.7 x 104 cm (52.2 x 40.9 in) cyf
   
   
     

 

 

William Hogarth Der Lebensweg eines Wustlings oil painting

Painting ID::  91209

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William Hogarth
Der Lebensweg eines Wustlings
1732-1735 Medium oil on canvas Dimensions Deutsch: 62,5 x 75 cm cjr
   
   
     

 

 

William Hogarth The murder of the count oil painting

Painting ID::  91338

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William Hogarth
The murder of the count
Oleo sobre lona Dimensions Deutsch: 68,5 x 89 cm cyf
   
   
     

 

 

William Hogarth Theaterauffuhrung der Kinder im Hause des John Conduit oil painting

Painting ID::  92715

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William Hogarth
Theaterauffuhrung der Kinder im Hause des John Conduit
1731-1732 Medium oil on canvas Dimensions Deutsch: 131 X 146,5 cm cjr
   
   
     

 

 

William Hogarth The Assembly at Wanstead House. Earl Tylney and family in foreground oil painting

Painting ID::  94396

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William Hogarth
The Assembly at Wanstead House. Earl Tylney and family in foreground
Oil on canvas 25 1/2 x 30 inches (64.8 x 76.2 cm) cjr
   
   
     

 

 

William Hogarth The Ladys Death oil painting

Painting ID::  94900

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William Hogarth
The Ladys Death
1743 Type Oil on canvas Dimensions 69.9 cm x 90.8 cm cyf
   
   
     

 

 

William Hogarth The Bagnio oil painting

Painting ID::  94901

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William Hogarth
The Bagnio
1743 Type Oil on canvas Dimensions 69.9 cm x 90.8 cm cyf
   
   
     

 

 

William Hogarth The Inspection oil painting

Painting ID::  94902

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William Hogarth
The Inspection
1743 Type Oil on canvas Dimensions 69.9 cm x 90.8 cm cyf
   
   
     

 

 

William Hogarth Der Triumphzug des Abgeordneten oil painting

Painting ID::  95040

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William Hogarth
Der Triumphzug des Abgeordneten
1754-1755 Medium oil on canvas cyf
   
   
     

 

 

William Hogarth Sunshine oil painting

Painting ID::  97427

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William Hogarth
Sunshine
Oil on board, 30.2 x 22.5 cm Date 1851(1851) cyf
   
   
     

 

 

William Hogarth Wahlzyklus oil painting

Painting ID::  97623

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William Hogarth
Wahlzyklus
1754-1755 Medium oil on canvas cyf
   
   
     

 

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William Hogarth
British 1697-1764 William Hogarth Galleries Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault. Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square. Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).