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Hogarth
Hogarth
Hogarth
Ebook81 pages52 minutes

Hogarth

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Release dateNov 27, 2013
Hogarth

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    Hogarth - C. Lewis (Charles Lewis) Hind

    The Project Gutenberg EBook of Hogarth, by C. Lewis Hind

    This eBook is for the use of anyone anywhere at no cost and with

    almost no restrictions whatsoever.  You may copy it, give it away or

    re-use it under the terms of the Project Gutenberg License included

    with this eBook or online at www.gutenberg.org

    Title: Hogarth

    Author: C. Lewis Hind

    Release Date: January 12, 2013 [EBook #41824]

    Language: English

    *** START OF THIS PROJECT GUTENBERG EBOOK HOGARTH ***

    Produced by sp1nd, Matthew Wheaton and the Online

    Distributed Proofreading Team at http://www.pgdp.net (This

    file was produced from images generously made available

    by The Internet Archive)


    MASTERPIECES

    IN COLOUR

    EDITED BY—T. LEMAN HARE

    HOGARTH

    (1697—1764)



    PLATE I.—THE SHRIMP GIRL.

    (In the National Gallery, London)

    This brilliant, impressionist sketch, done long before the era of impressionism, is something of a marvel. The Shrimp Girl cries out from Hogarth’s works, a tour de force, done without premeditation, in some happy hour when the unerring hand unerringly followed the quick eye.


    HOGARTH

    BY C. LEWIS HIND

    ILLUSTRATED WITH EIGHT

    REPRODUCTIONS IN COLOUR

    IN SEMPITERNUM.

    LONDON: T. C. & E. C. JACK

    NEW YORK: FREDERICK A. STOKES CO.

    The plates are printed by

    Bemrose & Sons, Ltd.

    , Derby and London

    The text at the

    Ballantyne Press

    , Edinburgh


    CONTENTS


    LIST OF ILLUSTRATIONS



    I

    AN AUCTION AND A CONVERSATION

    The auction was proceeding leisurely and without excitement. It was an off day. I was present because these pictures of the Early British School included a Conversation Piece ascribed to Hogarth, and a medley of prints after him, worn impressions, the vigour gone, merely the skeletons of his bustling designs remaining. They fetched trivial prices: they were not the real thing. And there was little demand for the portraits by half-forgotten limners of the period, portraits of dull gentlemen in eighteenth-century costume, examples of wooden Thomas Hudson, famous as the master of Sir Joshua Reynolds, and of such mediocrities as Knapton and Shackleton. Yet they evoked a sort of personal historical interest, recreating, as portrait after portrait passed before our eyes, the level highway of art of those days before Hogarth delivered it from the foreign thraldom.

    Tranquilly I contemplated the procession of lifeless portraits, noting with amusement the

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