Hogarth Rejected And Suppressed Plates: Unveiling the Unseen

HOGARTH’S REJECTED and SUPPRESSED PLATES: CONSISTING OF THE SEVEN DISCARDED PLATES TO ILLUSTRATE CERVANTES’S DON QUIXOTE AND THE “ TWO LITTLE PICTURES, CALLED BEFORE AND AFTER, FOR MR.THOMPSON

by Jane Sullivan

4.7 out of 5

Language	:	English
File size	:	3690 KB
Text-to-Speech	:	Enabled
Screen Reader	:	Supported
Enhanced typesetting	:	Enabled
Print length	:	78 pages
Lending	:	Enabled

FREE

William Hogarth, renowned for his satirical engravings and witty social commentaries, produced a remarkable body of work that captured the essence of 18th century England. However, not all of his creations saw the light of day. A collection of his rejected and suppressed plates serves as a testament to the artist's artistic vision and the societal norms that shaped his times.

The Plates that Defied Convention

Hogarth's satirical engravings often pushed the boundaries of what was considered acceptable in polite society. In "The Four Stages of Cruelty," he depicted the horrific consequences of animal abuse, earning the ire of those who found it too graphic and disturbing. "The Harlot's Progress" and "The Rake's Progress" exposed the pitfalls of moral decay, but their frank depiction of vice and prostitution was deemed too scandalous for public consumption. These plates were rejected by publishers and faced intense censorship.

Artistic Vision vs. Societal Norms

Hogarth's rejected plates reveal the tension between artistic expression and prevailing societal norms. In "The Operation of the Lottery," he satirized the popular lotteries of his time, exposing the greed and despair they fostered. However, the government, heavily invested in the lottery, saw it as a threat to their revenue and demanded its suppression.

Other plates were rejected for their political content. "The Roast Beef of Old England" celebrated the country's military victories but was considered too nationalistic and potentially offensive to foreign powers.

The Power of Art as Social Commentary

Despite facing censorship and rejection, Hogarth's plates remained a powerful form of social commentary. They offered a glimpse into the hidden realities of 18th century society, exposing its vices, follies, and injustices. His rejected engravings became symbols of artistic freedom and the importance of challenging societal norms.

Today, Hogarth's rejected and suppressed plates stand as a testament to the artist's unwavering determination to express his artistic vision. They serve as a reminder of the power of art to provoke thought, inspire change, and ultimately shape the course of history.

Hogarth's rejected and suppressed plates provide an invaluable glimpse into the artist's unfettered creativity and the complexities of 18th century England. They offer a testament to the power of art as social commentary, reflecting the ongoing struggle between artistic expression and the boundaries imposed by society. By exploring these hidden works, we gain a deeper understanding of Hogarth's genius and the enduring significance of his artistic legacy.

HOGARTH’S REJECTED and SUPPRESSED PLATES: CONSISTING OF THE SEVEN DISCARDED PLATES TO ILLUSTRATE CERVANTES’S DON QUIXOTE AND THE “ TWO LITTLE PICTURES, CALLED BEFORE AND AFTER, FOR MR.THOMPSON

by Jane Sullivan

4.7 out of 5

Language	:	English
File size	:	3690 KB
Text-to-Speech	:	Enabled
Screen Reader	:	Supported
Enhanced typesetting	:	Enabled
Print length	:	78 pages
Lending	:	Enabled

FREE