Live models for figures, landscape oil sketching in front of the motif, the sensuous nude, narratives with multiple readings, incredibly loose brushwork, and so much more than portraits.
His sketches and studies are wonderfully painterly, but was he painting what he saw, or what he envisaged?
Their working methods could hardly have been more different, but they shared a common interest.
This series was Hogarth’s attempt to reduce the amount and severity of cruelty to animals by linking that to crime and murder of humans.
The concluding prints and drawings for them in this narrative series. Includes two drawings which never became prints.
First of two parts looking at the narrative in this series of prints, and Hogarth’s process from drawing to final print.
The nineteenth century saw the successful introduction of more new pigments than had the preceding two millenia.
The period 1700 to 1850 saw the introduction of the first modern pigments, such as Prussian blue and emerald green, which started to transform paintings.