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The Toilette, 5. William Hogarth. The Toilette. The drawing room is a battleground for the silent dislike between the couple and the disharmony of their possessions. Scene 4: The Toilette: After the death of the old Earl the wife is now the Countess, with a coronet above her bed and over the dressing table, where she sits. Hogarth, A Rake's Progress William Hogarth, Marriage A-la-Mode (including Tête à Tête) Practice: Hogarth, Marriage a la Mode This is the currently selected item. The Graham Children. $14. Marriage A-la-Mode was Hogarth’s first moralising series satirising the upper classes, which exposed the shallowness and stupidity of people with more money than taste who are unable to distinguish good from bad. The Viscountess may be signalling to someone with her small folding pocket mirror. This image is licensed for non-commercial use under a Creative Commons agreement. English painter and printmaker William Hogarth is best known for his moral and satirical engravings and paintings, such as his eight-scene A Rake’s Progress (begun in 1732) and Marriage à la Mode (begun in 1745). These are the four Graham children. Oil on canvas. Hogarth View of Room 9 at Tate Britain The Lady’s Death. Two fiddle cases lie on top of one another on an overturned chair, suggesting that the Viscountess has been spending the evening in activities more intimate than simply playing whist. This image of the Viscount is probably the best-known single figure in all Hogarth’s work. The bride stretches sleepily, apparently after spending the whole night playing cards. Two fiddle cases lie on top of one another on an overturned chair, suggesting that the Viscountess has been spending the evening in activities more intimate than simply playing whist. The engravings were instantly popular and gave Hogarth’s work a wide audience. The six pictures were painted in about 1743 to be engraved and then offered for sale after the engravings were finished. The Tête à Tête is the second canvas in the series of six satirical paintings known as Marriage A-la-Mode, painted by William Hogarth. © www.WilliamHogarth.org 2020. The Viscount is seated with his child mistress beside him, he has apparently given her the venereal disease syphilis, as indicated by the black spot on his neck. Shop for william hogarth art from the world's greatest living artists. The engravings are uncoloured, reversed versions of the paintings. William Hogarth. He has the same patch in the series' first painting, which depicts a scene before the marriage. Although the painting's story is up to interpretation, it clearly depicts a couple disinterested with each other. The Tête à Tête. Le mariage est un échec. The popularity of the moralising series helped Hogarth reach a wider audience. The pictures were painted to be engraved and then offered for sale ‘to the Highest Bidder’ after the engravings were finished. You must agree to the Creative Commons terms and conditions to download this image. Now a Countess, she is following the aristocratic French fashion of receiving visitors as she finishes getting dressed. The William Hogarth paintings listed in this section are confidently attributed to his hand and accompany explanatory descriptions on each artwork. This superb exhibition is the most comprehensive showing of the artist’s work in a generation and incorporates the full range of Hogarth’s work. A slovenly servant still in his hair curlers stumbles about in the adjoining room and the steward of the household rolls his eyes up to heaven as he exits with a wad of unpaid bills. Help keep us free by making a donation today. The Breakfast Scene (also known as The Tête à Tête); Part of the six-part series 'Marriage-à-la-Mode'; Modelled on the painting by William Hogarth; Engraving print on paper; Engraved by Bernard Baron; Finished by William Hogarth; English School; c.1745. They show the disastrous results of an ill-considered marriage for money or social status, and satirises patronage and aesthetics. Hogarth intended to demonstrate that an infinite variety of characters could be shown without resorting to caricature. The Methodist, a servant, is seen walking out of the opulently decorated room. Marriage A-la-Mode: 4, The Toilette. An apothecary scolds the servant whom he accuses of obtaining the poison. The single piece of paper on the steward’s spike records the date of the painting itself: 1743. For centuries, the English have been fascinated by the sexual exploits and squalid greed of the aristocracy, and these are the subjects of one of the supreme achievements of British painting – Hogarth’s six-part series Marriage A-la-Mode, which illustrates the disastrous consequences of marrying for money rather than love. Londres National Gallery. Over and above the title itself, Marriage A-la-Mode includes Italian and Dutch Old Masters, French portraiture and furnishings, oriental decorative arts, an Italian castrato singer and a French dancing master, a turbaned black pageboy, a masquerade reference, a bagnio and an aristocratic toilette. Above the fireplace is a painting of Cupid among ruins, while overturned furniture suggests a disagreement. William Hogarth est né dans le quartier de Bartholomew Close, à Londres, de Richard Hogarth, un professeur de latin et rédacteur de manuels d'enseignement, et Ann Gibbons, le couple a trois enfants, dont deux filles, Mary et Ann. The Marriage Settlement, 2. Le père, originaire du Westmorland, fait modestement vivre sa famille de son métier de maître d'école. Witty, satirical, subversive and hugely talented, William Hogarth remains one of the most fascinating and innovative artists from the eighteenth century. The Viscount returns exhausted from a night spent away from home, probably at a brothel: the dog sniffs a lady’s cap in his pocket. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. It is now a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. The Marriage Settlement. The frustrated and exaggerated expressions on the servants reinforce the sense of a household that is on shaky ground. Londres. Hogarth probably worked on the paintings of Marriage A-la-Mode throughout 1743, and perhaps in the early part of 1744. More from This Artist Similar Designs. The Tête à Tête is the second work in a set of six distinct (but interrelated) paintings that together, in a chronological order, form a coherent, meaningful (and silly!) William Hogarth. Scene 6: The Lady’s Death: The final scene takes place in the house of the Countess’s father. The Tete-a-Tete. The word was traditionally used to describe coffee houses which offered Turkish baths, but by 1740 it meant a place where rooms were provided for the night with no questions asked. $17. All william hogarth artwork ships within 48 hours and includes a 30-day money-back guarantee. They were painted to be engraved and then sold after the engravings were finished. The large black spot on his neck denotes syphilis. $17. Several mismatched details continue the theme of a home in chaos, including a mix of glass jars, Indian figurines, a broken Roman bust and other ornaments on the fireplace mantle. Painter and his Pug. Marriage à la Mode: The Tête à Tête by William Hogarth. 20% off all wall art! Scene 1: The Marriage Settlement: The Earl of Squander is arranging the marriage of his son to the daughter of a rich Alderman of the City of London. This is the fifth scene of Hogarth’s series of six paintings titled Marriage A-la-Mode. License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. The series shows the tragic consequences of choosing to marry for money. The fourth scene of Hogarth’s Marriage A-la-Mode takes place in the wife’s bedroom. The crossed carnations (funeral flowers) beside him are a tender reminder of death. The Alderman, who is plainly dressed, holds the marriage contract, while his daughter behind him listens to a young lawyer, Silvertongue. The paintings were offered for sale by twelve noon on 6 June 1751. Sign up to our emails for updates. For centuries, the English have been fascinated by the sexual exploits and squalid greed of the aristocracy, and these are the subjects of the six-part series Marriage A-la-Mode, which illustrates the disastrous consequences of marrying for money rather than love. Download a low-resolution copy of this image for personal use. English painter and printmaker William Hogarth is best known for his moral and satirical engravings and paintings, such as his eight-scene A Rake’s Progress (begun in 1732) and Marriage à la Mode (begun in 1745). Hogarth uses paintings within his paintings very extensively in this series, to add meaning from their content. She is talking to her admirer Silvertongue while having her hair dressed. Another servant is standing in an adjacent room. The phrase ‘tête à tête’ implies an intimate conversation but the newly-weds in their new home (completed with the Alderman’s money) look anything but intimate. Instead of looking bored and dishevelled like her husband, The Viscountess is content and satisfied. William Hogarth (1697–1764), Marriage A-la-Mode: 2, The Tête à Tête (c 1743), oil on canvas, 69.9 × 90.8 cm, The National Gallery, London. The Gate of Calais. The series is held by The National Gallery in London. It was Hogarth’s first moralising series satirising the upper classes. The fourth scene of Hogarth’s Marriage A-la-Mode takes place in the wife’s bedroom. Perhaps the subjects had become too familiar in the form of engravings as one of only two bidders, John Lane, came forward and he purchased the set of paintings for £126. William Hogarth. Marriage A-la-Mode: 2, The Tête à Tête. No preliminary studies are known and none may have been made. It is a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. The third scene in the series of six paintings by Hogarth titled Marriage A-la Mode is set in the consulting room of the French doctor M. de la Pillule. Send information to Art Detective. The Tête à Tête3, The ... William Hogarth, Marriage A-la-Mode, c. 1743, oil on canvas, 69.9 x 90.8 cm (The National Gallery, London)1. The characters in Hogarth’s ’modern moral subjects' are far from heroic but are equally intended to educate. He had engraved his earlier series A Harlot’s Progress and A Rake’s Progress himself, but he decided to employ three French engravers who were working in London for Marriage A-la-Mode, each working on two plates in the series. “The Tête à Tête” is an oil on canvas painting by the English artist, William Hogarth, from circa 1743. The painting covered with a curtain in the adjoining room reveals a large bare foot resting on a bed, causing one to think it depicts an activity so indecent that the picture cannot be displayed and also that something clandestine has been going on. William Hogarth, Marriage A-la-Mode, c. 1743, series of six paintings, oil on canvas, 69.9 x 90.8 cm (The National Gallery, London) Hogarth’s series consists of six paintings which served as models for the engravings: 1. A keen and humorous observer of human behavior, Hogarth depicted the exuberant life around him, from couples carousing in bawdy houses and taverns to scenes of fairs and theaters. The Inspection. The marriage proved stable and contented, though childless. All william hogarth paintings ship within 48 hours and include a 30-day money-back guarantee. Her relaxed pose with stretched legs and a moist spot on her skirt imply she recently had sex. The paintings were offered for sale by twelve noon on 6 June 1751, but only attracted two bidders, one of whom bought them all for £126. The pictures are held in the National Gallery in London. The drawing room is a battleground for the silent dislike between the couple and the disharmony of their possessions.The unmistakable message of the whole scene is that the Squanderfields have bad taste – the battered antique bust on the mantelpiece is placed among a collection of fashionable but bogus Chinese figures. The bride stretches sleepily, apparently after a whole night playing cards. A dog sniffs out what looks like a lady’s nightcap in The Viscount's pocket, perhaps suggesting adultery. Marriage a la Mode II The Tete a Tete Painting. Dimensions: 91 x 70 cm. Overview / In-depth. The image file is 800 pixels on the longest side. The groom sprawls in his chair, his hands thrust in his pockets, exhausted from a night of debauchery on the town – the small dog tugs a girl’s muslin cap out of his pocket, and a second muslin cap is wound round the hilt of his sword. Marriage A-la-Mode[fn 1] is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. The Lady's Death. This is the second scene in Hogarth’s series of six paintings titled Marriage A-la-Mode, which satirise the upper classes. Scene 3: The Inspection: The third scene takes place in the room of a French doctor (M. de la Pillule). c. 1743 C.E. The first of his ’modern moral subjects‘ was A Harlot’s Progress, in six scenes completed in 1731 and engraved by Hogarth himself as a set of six prints published in 1732. Hogarth est un peintre satiriste. The Viscount is seated on the right and his wife is across from him. The engravings, published in 1745, are uncoloured, reversed versions of the paintings. A man’s head carved on the mantelpiece beside her suggests that there is a third party in this tête à tête. And even syphili… William hogarth marriage a la mode 4 Indeed lately has been hunted by consumers around us, maybe one of you. We are temporarily closed. Painted in 1743, the series was Hogarth's first to satirise the upper classes. A Rake’s Progress in eight scenes followed; the paintings were completed by mid-1734 and the engravings published in June 1735. The sword is broken, perhaps implying that the Viscount himself is impotent. Scene five was largely worked out on the canvas as Hogarth went along. 1697-1764. La jeune femme trompe son mari. She has taken poison on learning that her lover has been hanged for the murder of the Earl, reported in the broadsheet at her feet. The Tête à Tête, 3. Several details imply she is probably enjoying an affair of her own. Published in 1745, the engravings were offered to subscribers at a guinea a set. The Countess and the lawyer have retired there after the masquerade. The lawyer Silvertongue invites her to a masquerade, like the one depicted on the screen to which he points. They proved instantly popular and gave Hogarth’s work a wide audience. The tête à tête 3. William Hogarth. After the masquerade, the Countess and her lover Silvertongue have taken a room above the Turk’s Head – a Turkish baths, or Bagnio. In his ‘Autobiographical Notes’ compiled in 1763, Hogarth recalls that after ‘a few years’ of painting portraits and conversation pieces, he realised that this ‘manner of painting was not sufficiently paid to do everything my family required‘. This is the second in Hogarth’s series of six paintings titled Marriage A-la-Mode. The satirical thrust of Marriage A-la-Mode is as much about patronage, aesthetics and taste as it is about marriage and morals. The wall clock is of a particularly absurd design, comprising two fish, a cat and a Buddha with a pair of twisted candleholders sticking out of his loins, all emerging from an excess of foliage. Photo credit: The National Gallery, London . The tired Viscountess, who appears to have given a card party the previous evening, is at breakfast in the couple’s expensive house, which is now in disorder. Il décide d'ouvrir en 1703 une sorte de coffee-house réservé aux adeptes de la langue latine, mais il fait faillit… The dog's master also has a red patch on his neck, symbolic of a sexually transmitted disease. The title, though little else, is taken from John Dryden’s play Marriage A-la-Mode first performed in 1672. The Tête à Tête. Although he did traditional portraits and realistic scenes, Hogarth is most remembered for his satire works and social criticisms. The Marriage Settlement2. Scroll down. Marriage A-la-Mode: 1, The Marriage Settlement, Research, private study, or for internal circulation within an educational organisation (such as a school, college or university), Non-profit publications, personal websites, blogs, and social media. Courtesy of The National Gallery London, inventory NG114. Hogarth was a devoted play-goer and made his name as a painter with a scene from John Gay’s The Beggar’s Opera. Marriage A-la-Mode: 2, The Tête à Tête William Hogarth (1697–1764) The National Gallery, London Back to image. There are heads everywhere. The Distressed Poet, Circa 1736 Painting. It was Hogarth’s first moralising series satirising the upper classes. Style: Rococo. File:Marriage A-la-Mode 2, The The Tête à Tête - William Hogarth.jpg (file redirect) File:Marriage A-la-Mode 2, The Tête à Tête - William Hogarth.jpg File:William Hogarth - Marriage A-la-Mode 2 The Tête à Tête.jpg Location: National Gallery, London, UK. He decided to try the new approach of painting and engraving ‘modern moral subjects’ which he described as so novel as to be a ’Field unbroke up in any Country or any age‘. The large black spot used by Hogarth to denote syphilis is clearly visible on his neck. But for this series he invented the characters, plot and the title of each scene. William Hogarth. The writer Henry Fielding described Hogarth as a ‘Comic History Painter’, but one whose characters are free from the ’distortions and exaggerations of caricature‘. The Earl’s son, the Viscount, admires his face in a mirror. Her child, deformed and crippled by congenital syphilis, embraces her and her father takes a ring from her finger. It was also offered as uncoloured, reversed engravings for a guinea. The basic story is of a marriage arranged by two self-seeking fathers – a spendthrift nobleman who needs cash and a wealthy City of London merchant who wants to buy into the aristocracy. My Daily Art Display today is the second painting in the series entitled The Tête à Tête. The Tête à Tête, from Marriage à la Mode. $14. A clock in shows the time as 12:20, although it is not clear if the painting illustrates a moment in the morning or the afternoon. The deliberate and assured design of the first three scenes is not matched in the last three. The six pictures were painted in about 1743 to be engraved and then offered for sale after the engravings were finished. Two dogs, chained together in the bottom left corner, perhaps symbolise the marriage. Individuals now are accustomed to using the net in gadgets to see image and video information for inspiration, and according to the name of the post I will discuss about William Hogarth Marriage A La Mode 4. The Inspection, 4. All Rights Reserved. They were painted to be engraved and then sold after the engravings were finished.The Earl of Squander is negotiating the marriage of his son to the daughter of a rich Alderman of the City of London. She has also become a mother, and a child’s teething coral hangs from her chair. William Hogarth, Marriage à-la-mode, The tête à tête; 1743. Hogarth claimed that he designed in his mind’s eye without directly drawing it at the time. A wall clock shows the time to be shortly after noon. Genre: genre painting. Marriage A-la-Mode. Like A Harlot’s Progress, they were offered to subscribers at a guinea a set. Scene 5: The Bagnio: This episode takes place in a bagnio. How you can use this image. William Hogarth. Thomas, in his gilded baby carriage adorned with a bird, had already died when Hogarth was working on the picture.

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