the tête à tête william hogarth

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 deliberate and assured design of the first three scenes is not matched in the last three. My Daily Art Display today is the second painting in the series entitled The Tête à Tête. The pictures were painted to be engraved and then offered for sale ‘to the Highest Bidder’ after the engravings were finished. Now a Countess, she is following the aristocratic French fashion of receiving visitors as she finishes getting dressed. Sign up to our emails for updates. Series: Mariage à la Mode. The popularity of the moralising series helped Hogarth reach a wider audience. The Tête à Tête. They show the disastrous results of an ill-considered marriage for money or social status, and satirises patronage and aesthetics. 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. The six pictures were painted in about 1743 to be engraved and then offered for sale after the engravings were finished. 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. Media: oil, canvas. William Hogarth. All Rights Reserved. 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. 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. Above the fireplace is a painting of Cupid among ruins, while overturned furniture suggests a disagreement. Marriage à la Mode: The Tête à Tête by William Hogarth. The Viscount is seated on the right and his wife is across from him. 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 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. The frustrated and exaggerated expressions on the servants reinforce the sense of a household that is on shaky ground. 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. This is the second scene in Hogarth’s series of six paintings titled Marriage A-la-Mode, which satirise the upper classes. Scene 5: The Bagnio: This episode takes place in a bagnio. Published in 1745, the engravings were offered to subscribers at a guinea a set. The groom sprawls in his chair, 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 broken sword. But for this series he invented the characters, plot and the title of each scene. Both series sold out and proved extremely successful with people from all walks of life. She is talking to her admirer Silvertongue while having her hair dressed. Photo credit: The National Gallery, London . The Marriage A-la-Mode. This is the second in Hogarth’s series of six paintings titled Marriage A-la-Mode. The Distressed Poet, Circa 1736 Painting. Hogarth uses paintings within his paintings very extensively in this series, to add meaning from their content. The engravings, published in 1745, are uncoloured, reversed versions of the paintings. Now a Countess, she is following the aristocratic French fashion of receiving visitors as she finishes getting dressed. 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. Marriage A-la-Mode: 2, The Tête à Tête William Hogarth (1697–1764) The National Gallery, London Back to image. These are the four Graham children. 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. Dimensions: 91 x 70 cm. c. 1743 C.E. 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. Marriage A-la-Mode. The title, though little else, is taken from John Dryden’s play Marriage A-la-Mode first performed in 1672. The bride stretches sleepily, apparently after a whole night playing cards. Hogarth probably worked on the paintings of Marriage A-la-Mode throughout 1743, and perhaps in the early part of 1744. The Earl’s son, the Viscount, admires his face in a mirror. The Marriage Settlement, 2. It is a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. $14. She seems to regard her husband with an air of sly triumph. A wall clock shows the time to be shortly after noon. Il décide d'ouvrir en 1703 une sorte de coffee-house réservé aux adeptes de la langue latine, mais il fait faillit… 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. William Hogarth. Le père, originaire du Westmorland, fait modestement vivre sa famille de son métier de maître d'école. 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. 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. After the masquerade, the Countess and her lover Silvertongue have taken a room above the Turk’s Head – a Turkish baths, or Bagnio. A dog sniffs out what looks like a lady’s nightcap in The Viscount's pocket, perhaps suggesting adultery. The writer Henry Fielding described Hogarth as a ‘Comic History Painter’, but one whose characters are free from the ’distortions and exaggerations of caricature‘. William Hogarth's The Tête à Tête is the second painting in the six-part Marriage A-la-Mode. 1697-1764. The drawing room is a battleground for the silent dislike between the couple and the disharmony of their possessions. Londres National Gallery. Date: 1743. The Tete-a-Tete. Oil on canvas. Londres. No preliminary studies are known and none may have been made. All william hogarth artwork ships within 48 hours and includes a 30-day money-back guarantee. 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. The satirical thrust of Marriage A-la-Mode is as much about patronage, aesthetics and taste as it is about marriage and morals. 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. Genre: genre painting. 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. 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. Hogarth est un peintre satiriste. Jun 29, 2014 - The Tête à Tête, from Marriage à la Mode. William Hogarth. Choose your favorite william hogarth designs and purchase them as wall art, home decor, phone cases, tote bags, and more! Marriage A-la-Mode: 4, The Toilette. The marriage proved stable and contented, though childless. Their father was Royal Apothecary to George I and George II. William Hogarth. Location: National Gallery, London, UK. Style: Rococo. More from This Artist Similar Designs. 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. It was Hogarth’s first moralising series satirising the upper classes. The Tête à Tête. Scene five was largely worked out on the canvas as Hogarth went along. The crossed carnations (funeral flowers) beside him are a tender reminder of death. William Hogarth. 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. Courtesy of The National Gallery London, inventory NG114. $14. 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. 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 image is licensed for non-commercial use under a Creative Commons agreement. All william hogarth paintings ship within 48 hours and include a 30-day money-back guarantee. We are temporarily closed. Witty, satirical, subversive and hugely talented, William Hogarth remains one of the most fascinating and innovative artists from the eighteenth century. 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). “The Tête à Tête” “The Tête à Tête” is an oil on canvas painting by the English artist, William Hogarth, from circa 1743.Although he did traditional portraits and realistic scenes, Hogarth is most remembered for … 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. They were painted to be engraved and then sold after the engravings were finished. His new focus on morality was characteristic of his own approach to life, satirising vice and folly. Hogarth claimed that he designed in his mind’s eye without directly drawing it at the time. The figure was based on Edward Swallow, a butler to Thomas Herring when he was Archbishop of York. The Gate of Calais. The Inspection. The tête à tête 3. The Toilette. William hogarth marriage a la mode 4 Indeed lately has been hunted by consumers around us, maybe one of you. Scene 3: The Inspection: The third scene takes place in the room of a French doctor (M. de la Pillule). Several details imply she is probably enjoying an affair of her own. A man’s head carved on the mantelpiece beside her suggests that there is a third party in this tête à tête. License and download a high-resolution image for reproductions up to A3 size from the National Gallery Picture Library. The Marriage Settlement2. 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. c. 1743 C.E. 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. narrative. 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 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. A book, Hoyle on Whist and a pack of cards are at her feet. The modelling of the face was particularly praised for the way it expressed both the Viscount’s youth and the physical evidence of his dissipation. The six pictures were painted in about 1743 to be engraved and then offered for sale after the engravings were finished. William Hogarth. Painted in 1743, the series was Hogarth's first to satirise the upper classes. William Hogarth - William Hogarth - Reputation and success: Hogarth eloped in March 1729 with Thornhill’s daughter Jane. Download a low-resolution copy of this image for personal use. Marriage A-la-Mode: 2, The Tête à Tête. The fourth scene of Hogarth’s Marriage A-la-Mode takes place in the wife’s bedroom. 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. At least, not with each other. Hogarth View of Room 9 at Tate Britain The Graham Children. The Tête à Tête" — by William Hogarth; 1743, oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 In Hogarth's " Marriage à-la-mode " series of 6 Rococo paintings . The steward of the household rolls his eyes up to heaven as he exits with a wad of unpaid bills. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. 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!) The Viscountess may be signalling to someone with her small folding pocket mirror. The image file is 800 pixels on the longest side. Instead of looking bored and dishevelled like her husband, The Viscountess is content and satisfied. As a receipt for payment of the first half-guinea, subscribers were issued with a print of Hogarth’s etching Characters and Caricaturas, based on one of the sixteenth-century Italian artist Agostino Carracci’s sheets of caricatures. The single piece of paper on the steward’s spike records the date of the painting itself: 1743. It is a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. Hogarth intended to demonstrate that an infinite variety of characters could be shown without resorting to caricature. William Hogarth. The bride stretches sleepily, apparently after spending the whole night playing cards. Help keep us free by making a donation today. This series were not received as well as his other moral tales, A Harlot's Progress and A Rake's Progress, and when they were finally sold in 1751, it w An oil on canvas, The Tête à Tête measures 69.9 by 90.8 centimetres (27.5 by 35.7 inches). The Tête à Tête, 3. Her relaxed pose with stretched legs and a moist spot on her skirt imply she recently had sex. Dans cette suite de tableaux il fait le procès des mariages arrangés pour des motifs sociaux et d'argent. © www.WilliamHogarth.org 2020. It is now a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. The Methodist looks pious and disgusted, and has a book titled Regeneration in his coat pocket and is holding unpaid bills. 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. 20% off all wall art! Although he did traditional portraits and realistic scenes, Hogarth is most remembered for his satire works and social criticisms. The Tête à Tête. Published in 1745, the engravings were offered to subscribers at a guinea a set. 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. There are heads everywhere. An apothecary scolds the servant whom he accuses of obtaining the poison. Hogarth was a devoted play-goer and made his name as a painter with a scene from John Gay’s The Beggar’s Opera. The paintings were offered for sale by twelve noon on 6 June 1751. The Methodist, a servant, is seen walking out of the opulently decorated room. The pictures are held in the National Gallery in London. 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. They proved instantly popular and gave Hogarth’s work a wide audience. Although the painting's story is up to interpretation, it clearly depicts a couple disinterested with each other. Send information to Art Detective. The William Hogarth paintings listed in this section are confidently attributed to his hand and accompany explanatory descriptions on each artwork. Image Source. The engravings were instantly popular and gave Hogarth’s work a wide audience. The large black spot used by Hogarth to denote syphilis is clearly visible on his neck. The story focuses on two fathers, one an extravagant nobleman who is short on money and a … La jeune femme trompe son mari. Like A Harlot’s Progress, they were offered to subscribers at a guinea a set. 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 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. 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. William Hogarth, Marriage à-la-mode, The tête à tête; 1743. The dog's master also has a red patch on his neck, symbolic of a sexually transmitted disease. “The Tête à Tête” is an oil on canvas painting by the English artist, William Hogarth, from circa 1743. How you can use this image. A Rake’s Progress in eight scenes followed; the paintings were completed by mid-1734 and the engravings published in June 1735. You must agree to the Creative Commons terms and conditions to download this image. Another servant is standing in an adjacent room. The Marriage Settlement. 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). This is the first in Hogarth’s series of six paintings titled Marriage A-la-Mode. The Toilette, 5. The young Earl has followed them and is dying from a wound inflicted by Silvertongue, who escapes through the window, while the Countess pleads forgiveness. The Tête à Tête, from Marriage à la Mode. Thomas, in his gilded baby carriage adorned with a bird, had already died when Hogarth was working on the picture. 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