The Battalion. (College Station, Tex.) 1893-current, September 14, 1995, Image 4

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When picturing old London in the 17th and
18th century, many envision the London of
Shakespeare — a society of aristocracy, royalty,
and nobility.
However, William Hogarth’s vision of his home
was quite different. This vision is portrayed in 99
etchings which depict middle- and lower-class Lon
don as seen through Hogarth’s eyes.
The collection, on loan from the Sarah Camp
bell Blaffer Foundation of Houston, is being pre
sented in the J. Wayne Stark Galleries in the MSC
until Oct. 10.
Hogarth, who was born in 1697 in England,
spent his early years in a debtor’s prison. Hoga
rth trained as an apprentice with a London sil
ver engraver and eventually sold and auctioned
his own works.
Dr. James Clifton, director of the Blaffer Foun
dation, said Hogarth’s etchings and paintings are
typically very straight-forward and easily under
stood by the observer.
“They typically can be read like a story,” Dr.
Clifton said.
Hogarth, who had strong anti-French senti
ments, used the French as the subjects of many of
his etchings and paintings. Hogarth’s feelings
could be attributed to his fear of the French con
stantly trying to import their culture into Eng
land. Throughout his works, the French are de
picted as emaciated and poor, and Hogarth uses
these images to create feelings toward the French
that mirror his own.
Catherine Hastedt, registrar and curator of the
Stark Gallery, said that Hogarth had a particular
dislike for art dealers, who were subjectsofij
of his works.
“He saw art dealers as people who broughw^iti
standard art over to England from Europtffhf
sold them to unsuspecting Englishmen asms '°P
pieces,” Hastedt said. the
The focus of the majority of the etchin[ ISSH
satire and moral narrative. His works arei ™ c '
highly topical. Hogarth etched on numerousdi ^P 1
ent subjects, including London, politics, bes ^ e i
and what he called progresses, or a series off ^ U1
ings that depict a related storyline. n ^ r
For example, Hogarth’s “Harlot’s Progress' 16 ^
series of etchings that depicts an English I
just arriving into the city, only to meet the
madam. As the progress begins to focus on her ewa
er life, the once innocent woman is seen in less
tractive surroundings and accompanied by pet sts,
who are clearly of a lower social class thanoi 'fflcy
with whom she previously associated with.
n addition to etchings, Hogarth also receii
recognition for his works in novels, most notal
the English version of Don Quixote.
During his life, Hogarth was immensely pop
lar, and Clifton said he was an extremely influt
tial artist
“Hogarth was one of the two most importai
artists of the 18th century, the other being Jos
Reynolds,” Clifton said. "He had the ability torea
the human condition.”
In a brochure available at the exhibit, artcriti ln
Sean Shesgreen \said his work was well-receiv«
by all
“Hogarth’s work is delightful and instrucfivein
ways in which his commentators can neverade
quately explicate and which time can onbjen-
hance,” he said. , .
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lance
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