British 1697-1764 William Hogarth Galleries Early satirical works included an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride" and this shows the stupidity of people in following the crowd in buying stock in The South Sea Company, which spent more time issuing stock than anything else. The people are scattered around the picture with a real sense of disorder, which represented the confusion. The progress of the well dressed people towards the ride in the middle shows how foolish some people could be, which is not entirely their own fault. Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormogons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print, Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington's prot??g??, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket. In 1726 Hogarth prepared twelve large engravings for Samuel Butler's Hudibras. These he himself valued highly, and are among his best book illustrations. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from 12 to 15 in. high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. One of his masterpieces of this period is the depiction of an amateur performance of John Dryden's The Indian Emperor, or The Conquest of Mexico (1732?C1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square. Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (Consultation of Quacks) (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed (some modern authorities, however, no longer attribute this to Hogarth).  Related Paintings of William Hogarth :. | Veteran family | Self-Portrait with a Pug | Gemadefolge | The Inspection | The Ladys Death |
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thomas creswick
Thomas Creswick (5 February 1811 - 28 December 1869) was an English landscape painter and illustrator, born in Sheffield, son of Thomas Creswick and Mary Epworth and educated at Hazelwood, near Birmingham. At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy the two pictures named Llyn Gwynant, Morning, and Carnarvon Castle. About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape painter, and had a career of uniform and encouraging, though not signal success. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then too much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, color rather grey in tint, especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract. Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial, a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, after a few years of declining health. Among his principal works may be named England (1847); Home by the Sands, and a Squally Day (1848); Passing Showers (1849); The Wind on Shore, a First Glimpse of the Sea, and Old Trees (1850); A Mountain Lake, Moonrise (1852); Changeable Weather (1865); also the London Road, a Hundred Years ago; The Weald of Kent; the Valley Mill (a Cornish subject); a Shady Glen; the Windings of a River; the Shade of the Beech Trees; the Course of the Greta; the Wharfe; Glendalough, and other Irish subjects, 1836 to 1840; the Forest Farm Frith for figures, and Ansdell for animals, occasionally worked in collaboration with Creswick.
Zygmunt Waliszewski
(1897-1936) was a Polish painter, a member of the Kapist movement. Waliszewski was born in Saint Petersburg to the Polish family of an engineer. In 1907 his parents moved to Tbilisi where Waliszewski spent his childhood. In Tbilisi began his studies at a prestigious art school. In 1908 he had his first exhibition and participated in the life of artistic avant-garde. During World War I he fought with the Russian army, returning to Tbilisi in 1917. He visited Moscow several times and became inspired by the Russian Futurists. He, later, became a member of a Futurist group. In the early 1920s, he departed for Poland, and settled in Krakew. Between 1921 and 1924 he studied at Academy of Fine Arts in Krakew in the studios of Wojciech Weiss and Jezef Pankiewicz. In 1924 he went to Paris with his avante-garde group and continued his studies in painting there under the guidance of Pankiewicz. He was a participant in the Capists' plein-air painting workshops in Cagnes, Valence, Cap Martin, and Avignon. At the Louvre, he painted copies and travesties of the works of old masters like Titian, Veronese, Velezquez, Vermeer, Goya, and Delacroix. He was also fascinated by the art of Cezanne, van Gogh, and Matisse. In 1931 he returned to Poland, residing in Warsaw, Krzeszowice, and Krakew. During this time Waliszewski designed scenery and posters, created book illustrations, drew and painted caricatures and grotesque scenes. In Krakew he befriended the Polish Formists. Waliszewski painted primarily portraits and figural compositions and landscapes of the rural countryside. He died suddenly in 1936.
Adrianus Eversen
Dutch, 1818-1897