Art and politics, 1750-1764
著者
書誌事項
Art and politics, 1750-1764
(Hogarth / Ronald Paulson, v. 3)
Lutterworth Press, 1993
- : hard
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and indexes
内容説明・目次
内容説明
This final volume of Paulson's magnificent biography takes Hogarth from his fifty-third year to his death at sixty-seven. The period opens with Hogarth at the height of his powers; a figure of influence with the literary generation of Richardson and Fielding, he was known to an unprecedented spectrum of English men and women. At this point, Hogarth chose to philosophise about art, extending his successful practice in aesthetic theory, in The Analysis of Beauty, partly in reaction to the agitation for an art academy based on the French model, partly out of the conviction that his art required verbal validation, and partly (some contemporaries felt) out of hubris. And at the same moment, the hard won fabric of his reputation began to unravel. A new generation had arisen, some friendly and interested in building on Hogarth's achievement, but some determined to supersede what seemed to be, in England of the 1750s, too insular a figure to represent English art and culture to the world.
The consequences - given his own doggedness and the shifting allegiances of former friends - were tumultuous and darkened the last years of Hogarth's life, pushing him to extremes of theory, practise and self-justification. For the first time in his career he found himself apparently out of step with his times. Although these cannot be called happy years, they elicited form Hogarth some of his most brilliant and audacious works, in writing as well as painting and engraving. In many ways he had already, by 1750, anticipated the Reynold's generation pointing the way into the Promised Land, but disagreeing over the nature of that promise. More than the earlier two volumes, Art and Politics focuses on the reception of Hogarth and his works. The paranoid strain in Hogarth responded to the notion of being attacked; and this also reflected his increasing fear of the general audience he had himself helped to create as no longer a public but a crowd.
目次
1. Hogarth's Reputation and the Idea of an Academy. 2. Popular and Polite Prints, 1751-1752. 3. Aesthetics, Erotics and Politics: The Analysis of Beauty, 1752-1753: The Text. 4. The Analysis of Beauty, 1752-1753: The Illustrations. 5. The Analysis of Beauty, 1752-1753: Reception. 6. Electoral Politics: Four Prints of an Election, 1754-1758. 7. The Politics of Art, 1754-1758. 8. Last History Paintings, 1755-1759. 9. Covert Politics: Beautiful versus Sublime, 1758-1760. 10. Special Commissions. 11. Portraits and Likenesses. 12. The Art Exhibitions of 1760-1761. 13. The Sign Painters' Exhibition of 1762. 14. Over Politics: The Times, Plate 1, 1762. 15. The Times, Plate 2, 1762-1763. 16. "Finis": The Tail Piece, 1763-1764.
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