Search results for ""hogarth""

Ends of Enlightenment explores three realms of eighteenth-century European innovation that remain active in the twenty-first century: the realist novel, philosophical thought, and the physical sciences, especially human anatomy. The European Enlightenment was a state of being, a personal stance, and an orientation to the world. Ways of probing experience and knowledge in the novel and in the visual arts were interleaved with methods of experimentation in science and philosophy. This book's fresh perspective considers the novel as an art but also as a force in thinking. The critical distance afforded by a view back across the centuries allows Bender to redefine such novelists as Defoe, Fielding, Goldsmith, Godwin, and Laclos by placing them along philosophers and scientists like Newton, Locke, and Hume but also alongside engravings by Hogarth and by anatomist William Hunter. His book probes the kinship among realism, hypothesis, and scientific fact, defining in the process the rhetorical basis of public communication during the Enlightenment.

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The hidden art of London is for the ever-curious roamer of both the back streets and the familiar places you never quite see - churches, gardens, graveyards, pubs. What little garden finds the poet John Keats sitting in the corner of a bench? Which abandoned building tells the story of a great Roman Road?There are always marvels hidden in plain view - the back corner of a museum containing great sculptures by Rodin or the naked, street-corner golden boy, who marks where the Great Fire of London finally petered out. A famous literary cat or a painting by Hogarth on the bend of a stairs in an ancient hospital.This guidebook takes you exploring London beyond its most famous sights to find the art we have never quite noticed before: the hidden statues, paintings, and murals that have escaped from the official museums, and often live unnoticed lives in tucked away places.

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This is the exceptionally rich story of Rembrandt’s fame and influence in Britain. No other nation has witnessed such a passionate – and sometimes eccentric – craziness for Rembrandt’s works. His imagery has become ubiquitous, making him one of the most recognised artists in history. In this book, the world’s leading experts reveal how the taste for Rembrandt’s paintings, drawings and prints evolved, growing into a mania that gripped collectors and art lovers across the country. This reached a fever pitch in the late 1700s, before the dawn of a new century ushered in a re-evaluation of Rembrandt’s reputation and opportunities for the wider public to see his masterpieces for themselves. The story of Rembrandt’s profound and inspirational impact on the British imagination is illustrated by over 130 lavish paintings and drawings by the master himself, as well as by some of Britain’s best-loved artists, including William Hogarth, James Abbott McNeill Whistler, Eduardo Paolozzi and John Bellany.

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Look Again: Reimagining the National Collection of British Art for today. An incisive exploration of the relationship between social class and art by an extraordinarily gifted young writer. Class is a subject that has shaped the art world in Britain for as long as it has existed. At a moment when galleries and museums are seen to be upholding outdated and damaging class structures and systems, how is it possible to trace and tackle the legacy and impact of class in art throughout history, and today? Class is a radical reframing of some of our most relevant and respected artworks, recasting the national collection of art in socio-political rather than chronological or art-historical terms, and by doing so, broadening access to art for all. It journeys from the London of Henry James and Hogarth, through Gilbert and George’s Swinging Sixties and beyond, past the Young British Artists to a new generation tackling the question of class, and the intersection of social, racial and political inequality.

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Dogs have been the animal companion of choice for millenia. For just as long artists have been capturing their position as hunter, signifier of status or fidelity, religious image of purity and above all, loyal friend. From pampered pooches to working dogs, moping mutts to stately hounds, this delightful book brings together a selection of endearing, thoughtful and amusing images of dogs. Including a wide variety of work from artists including Edwin Henry Landseer, Sidney Nolan, Chris Killip, Giacomo Amiconi, Hamo Thornycroft, William Hogarth, Joshua Reynolds, Cedric Morris, Peter Doig and Edward Ruscha, images of compassion, bravery, loyalty and joy accompanied by short, insightful texts, track how the dog has influenced artists around the world, and shed light on our relationship with these sentient, emotional creatures. Featuring images that are sometimes traditional, sometimes contemporary, often touching and occasionally telling, this book is a joyful visual journey through the portrayal of canines in Western art, and is the perfect homage to man’s best friend.

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In 1739, the London Foundling Hospital opened its doors to take in the abandoned children of the city. It was the culmination of seventeen years of campaigning by Captain Thomas Coram, driven by his horror at seeing children die in the streets. He was supported in his endeavours by a royal charter and by William Hogarth and George Frideric Handel. The Hospital would continue as both home and school for over 215 years, raising thousands of children until they could be apprenticed out.London’s Forgotten Children is a fascinating history of the first children’s charity, charting the rise of this incredible institution and examining the attitude towards illegitimate children over the years. The story comes alive with the voices of children who grew up in the Hospital, and the concluding, fully updated, account of today’s children’s charity Coram is an ongoing testament to the vision of its founder.

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Following the bestselling Festival of Brexit and A Prat's Progress, star satirist Cold War Steve returns with a viral vengeance with his Journal of the Plague Year. Dubbed ‘the modern-day William Hogarth’, the collage artist casts a searing eye back at the last year on ‘Plague Island’ Britain and abroad: featuring a global pandemic, an inept government at home and the US election’s absurdist saga, his chronological journal spans lockdowns, G7 summits, crises and scandals, to leave no-one unscathed. Featuring the usual suspects in despicable settings, and rife with art historical references, Journal of the Plague Year brilliantly blends world news and art in signature-style collages, each accompanied by witty commentary. Published in an enlarged format, this new tome will delight Cold War Steve’s huge fanbase, and anyone in need of humour after the grimness of this past plague yearWith 100 illustrations in colour

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** Selected as a Book of the Year in The Times, Sunday Times and Observer **'Compulsively readable - the pages seem to turn themselves' John Carey, Sunday Times 'Brings one of the very greatest [artists] vividly to life' Literary Review Thomas Gainsborough lived as if electricity shot through his sinews and crackled at his finger ends. He was a gentle and empathetic family man, but had a shockingly loose, libidinous manner and a volatility that could lead him to slash his paintings. James Hamilton reveals the artist in his many contexts: the talented Suffolk lad, transported to the heights of fashion; the rake-on-the-make in London, learning his craft in the shadow of Hogarth; the society-portrait painter in Bath and London who earned huge sums by charming the right people into his studio. With fresh insights into original sources, Gainsborough: A Portrait transforms our understanding of this fascinating man, and enlightens the century that bore him.

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Una niña que le cuenta a su abuelo ciego las cosas que pasan en el mundo, un friegaplatos empeñado en aprender a leer, una mujer que no ha podido tener hijos, un aprendiz que no se atreve a empezar su primera obra, una reina sin reino, un actor de segunda del que nadie se acuerda, un verdugo arrepentido, una vendedora ambulante que pregona a voces su mercancía por las calles ruidosas de Londres? Los protagonistas de los relatos que componen Línea de penumbra pertenecen a épocas distintas, a países distintos, a mundos distintos, pero todos tienen algo que los une: sus historias desvelan las vidas invisibles de algunos de los personajes pintados por Artemisia Gentileschi, José Arrúe, Hans Memling, Francis Bacon, Ercole de?Roberti, William Hogarth, Caravaggio, Edward Hopper, El Bosco, Domenico Ghirlandaio, Juan de Flandes?Como ya hiciera en Invierno (Pepitas, 2017), construida a partir de otras historias, Elvira Valgañón desgrana en Línea de penumbra los azares que han ido componi

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When the story of modern art is told, British artists are mentioned infrequently or not at all. In this book, distinguished art historians attempt to explain the marginal position of British modern art by examining the development of the London art world—its institutions and individual artists—over the past two centuries.Chapters discuss artists as diverse as William Hogarth, Sir Joshua Reynolds, W.P. Frith, Walter Sickert, and Henry Moore and also describe academies, public exhibitions, and commercial galleries throughout the era. Introduced by David Solkin, the volume consists of contributions from Caroline Arscott, Ann Bermingham, John Brewer, Marilyn Butler, Julie Codell, Peter Funnell, John Gage, Charles Harrison, Andrew Hemingway, Ludmilla Jordanova, Ronald Paulson, Martin Postle, and Stella Tillyard.This volume is the first of a new serial publication, Studies in British Art, published for the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art.Published for the Paul Mellon Center for Studies in British Art

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Ends of Enlightenment explores three realms of eighteenth-century European innovation that remain active in the twenty-first century: the realist novel, philosophical thought, and the physical sciences, especially human anatomy. The European Enlightenment was a state of being, a personal stance, and an orientation to the world. Ways of probing experience and knowledge in the novel and in the visual arts were interleaved with methods of experimentation in science and philosophy. This book's fresh perspective considers the novel as an art but also as a force in thinking. The critical distance afforded by a view back across the centuries allows Bender to redefine such novelists as Defoe, Fielding, Goldsmith, Godwin, and Laclos by placing them along philosophers and scientists like Newton, Locke, and Hume but also alongside engravings by Hogarth and by anatomist William Hunter. His book probes the kinship among realism, hypothesis, and scientific fact, defining in the process the rhetorical basis of public communication during the Enlightenment.

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1000-PIECE PUZZLE that makes a perfect gift for fans of Virginia Woolf and her work. INCLUDES A PULL-OUT POSTER so you can spot all the characters and read their stories. 'THE WORLD OF...' JIGSAWS are a fun way of celebrating the lives and works of creative greats. Also available in the series: The World of Frida Kahlo, The World of Jane Austen, The World of the Brontës, The World of James Joyce and more. SCREEN-FREE FUN from one of the world's leading publishers of books and gifts on the creative arts A GOOD-SIZED PUZZLE that measures 48.5 x 68 cm (19 x 27 in.) when completed. Piece together the world of Virginia Woolf and the Bloomsbury Group, finding a host of famous characters both real and fictional along the way. From the beaches of Cornwall to the streets of Bloomsbury and from Hogarth House to the colleges of Cambridge, spot Leonard Woolf, Clive and Vanessa Bell and Vita Sackville-West, a

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- Following the style of the most famous book of Renaissance art history, Lives of the Most Excellent Painters, Sculptors, and Architects by Giorgio Vasari, this is one of the most comprehensive books of British art history covering the early period to the early nineteenth century.- Alain Cunningham compiled this monumental work with the support of his contemporaries, such as John Gibson Lockhart, the editor of Quarterly Review and Robert Southey. It took several years to complete.- The book selected forty-seven British artists; not only famous painters and architects like William Hogarth, William Blake, Joshua Reynolds, and Inigo Jones, but also some relatively forgotten figures from the Elizabethan period up to the nineteenth century.- Contains detailed bibliographic information, together with both historical and aesthetic background of the times in which the artists flourished.- An essential addition to the holdings of all art libraries (and universities with art courses) which do not hold the original book.

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Virginia Woolf's most unusual and fantastic creation, a funny, exuberant tale that examines the very nature of sexuality. WITH INTRODUCTIONS BY PETER ACKROYD AND MARGARET REYNOLDS As his tale begins, Orlando is a passionate young nobleman whose days are spent in rowdy revelry, filled with the colourful delights of Queen Elizabeth's court. By the close, he will have transformed into a modern, thirty-six-year-old woman and three centuries will have passed. Orlando will not only witness the making of history from its edge, but will find that his unique position as a woman who knows what it is to be a man will give him insight into matters of the heart. The Vintage Classics Virginia Woolf series has been curated by Jeanette Winterson and Margaret Reynolds, and the texts used are based on the original Hogarth Press editions published by Leonard and Virginia Woolf. **One of the BBC’s 100 Novels That Shaped Our World**

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In this clever reimagining of Charles Dickens’s life, he and fiancée Kate Hogarth must solve the murder of a spinster wearing a wedding gown . . . London, June 1835: In the interest of being a good neighbor, Charles checks in on Miss Haverstock, the elderly spinster who resides in the flat above his. But as the young journalist and his fiancée Kate ascend the stairs, they are assaulted by the unmistakable smell of death. Upon entering the woman’s quarters, they find her decomposing corpse propped up, adorned in a faded gown that looks like it could have been her wedding dress, had she been married. A murderer has set the stage. But to what purpose? As news of an escaped convict from Coldbath Fields reaches the couple, Charles reasonably expects the prisoner, Ned Blood, may be responsible. But Kate suspects more personal motives, given the time and effort in dressing the victim. When a local blacksmith is found with cut m

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Britain has played a key part in the history of the last five centuries, and its art reflects this in absorbing and complex ways. The distinguished art historian Andrew Wilton traces the story of British painting from its hesitant beginnings under the influence of Holbein through its maturity in the time of Hogarth and Reynolds, when it reflected a prosperous society with growing imperial influence. The pioneering role of Constable and Turner in the revolutions of the Romantic period is fully explored, and the enigmatic position of artists in Victorian England, when a stiff moral code came into conflict with the uncertainties of the age of Darwin. Consistent undercurrents revealed include Britain’s preference for the real world (landscape, portraiture) as against ‘high’ art and abstraction. Andrew Wilton offers new insights into the great personalities of British painting, and assesses afresh the latest flowering, in which many threads of modern art come together in sometimes startling guises.

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Gin Glorious Gin is a vibrant cultural history of London seen through the prism of its most iconic drink. Leading the reader through the underbelly of the Georgian city via the Gin Craze, detouring through the Empire (with a G&T in hand), to the emergence of cocktail bars in the West End, the story is brought right up to date with the resurgence of class in a glass - the Ginnaissance.As gin has crossed paths with Londoners of all classes and professions over the past three hundred years it has become shorthand for metropolitan glamour and alcoholic squalor in equal measure. In and out of both legality and popularity, gin is a drink that has seen it all.Gin Glorious Gin is quirky, informative, full of famous faces - from Dickens to Churchill, Hogarth to Dr Johnson - and introduces many previously unknown Londoners, hidden from history, who have shaped the city and its signature drink.

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Winner of the 2014 Guyana Prize for Fiction, Johnson's Dictionary is set variously in 18th century London and Demerara in British Guiana. It is a celebration of the skills of the enslaved as organisers, story-tellers, artists and mathematicians, hidden in the main from their white masters and mistresses, that is resonant with an undying human urge for freedom.Galley, gallery, gallimaufry: In a novel set in 18th century London and Demerara (in British Guiana), that might be dreamed or remembered by Manu, a revenant from Dabydeen’s epic poem, “Turner”, we meet slaves, lowly women on the make, lustful overseers, sodomites and pious Jews – characters who have somehow come alive from engravings by Hogarth and others.Hogarth himself turns up as a drunkard official artist in Demerara, from whom the slave Cato steals his skills and discovers a way of remaking his world.The transforming power of words is what enlightens Francis when his kindly (or possibly pederastic) master gifts him a copy of Johnson’s Dictionary, whilst the idiot savant, known as Mmadboy, reveals the uncanny mathematical skills that enable him to beat Adam Smith to the discovery of the laws of capital accumulation – and teach his fellow slaves their true financial worth. From the dens of sexual specialities where the ex-slave Francis conducts a highly popular flagellant mission to cure his clients of their man-love (and preach abolition), to the sugar estates of Demerara, Dabydeen’s novel revels in the connections of Empire, Art, Literature and human desire in ways that are comic, salutary and redemptive.David Dabydeen was born in Guyana in 1957. He is only the second West Indian writer, following VS Naipaul, to be named a fellow of the Royal Society of Literature. Turner: New and Selected Poems (Cape, 1994) was republished by Peepal Tree in 2002. His 1999 novel A Harlot's Progress was shortlisted for the James Tait Black Memorial Prize. His other novels include Disappearance (Peepal Tree, 2005) and Molly and the Muslim Stick (2008). He co-edited the Oxford Companion to Black British History (2007), and his documentaries on Guyana have appeared on BBC TV and radio. David is now Professor at the Centre for Caribbean Studies, University of Warwick.

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A lavishly illustrated biography of James Gillray, inventor of the art of political caricature James Gillray (1756–1815) was late Georgian Britain’s funniest, most inventive, and most celebrated graphic satirist and continues to influence cartoonists today. His exceptional drawing, matched by his flair for clever dialogue and amusing titles, won him unprecedented fame; his sophisticated designs often parodied artists such as William Hogarth, Joshua Reynolds, and Henry Fuseli, while he borrowed and wittily redeployed celebrated passages from William Shakespeare and John Milton to send up politicians in an age—as now—where society was fast changing, anxieties abounded, truth was sometimes scarce, and public opinion mattered. Tim Clayton’s definitive biography explores Gillray’s life and work through his friends, publishers—the most important being women—and collaborators, aiming to identify those involved in inventing satirical prints and the people who bought them. Clayton thoughtfully explores the tensions between artistic independence, financial necessity, and the conflicting demands of patrons and self-appointed censors in a time of political and social turmoil. Distributed for the Paul Mellon Centre for Studies in British Art

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With an Introduction by Lionel Kelly, University of Reading. Translated by C.J. Hogarth. Fathers and Sons is one of the greatest nineteenth century Russian novels, and has long been acclaimed as Turgenev's finest work. It is a political novel set in a domestic context, with a universal theme, the generational divide between fathers and sons. Set in 1859 at the moment when the Russian autocratic state began to move hesitantly towards social and political reform, the novel explores the conflict between the liberal-minded fathers of Russian reformist sympathies and their free-thinking intellectual sons whose revolutionary ideology threatened the stability of the state. At its centre is Evgeny Bazorov, a strong-willed antagonist of all forms of social orthodoxy who proclaims himself a nihilist and believes in the need to overthrow all the institutions of the state. As the novel develops Bazarov's political ambitions become fatally meshed with emotional and private concerns, and his end is a tragic failure. The novel caused a bitter furore on its publication in 1862, and this, a year later, drove Turgenev from Russia.

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A child is born and everything is made anew. In this blur of new beginnings there are tears and laughter, new words and new silences: this is an unmaking and remaking of the self. From short stories about unnerved fathers and lost mothers, to poems about 'half-built Lego palaces' and friends who share their deepest secrets, Blood & Cord is a raw exploration of new parenthood. Voicing silenced conversations about loss, grief, and loneliness, as well as the joys and laughter that are part and parcel of becoming a parent, the stories told within offer a refreshingly honest account of life after new life. This collection is a hand in the dark, offering comfort and solidarity to any new parent. Edited by Abi Curtis, with prose pieces from Naomi Booth, Jennifer Cooke, Rebecca Goss, Daisy Hildyard, Caleb Klaces and Malcolm Taylor, and poems from Liz Berry, Rachel Bower, Tommy Brad, Janine Bradbury, Ruth Charnock, Abi Curtis, Paige Davis, Gail McConnell, Elizabeth Hogarth, Alex McRae Dimsdale, Sandra Simonds and Sylvie Simonds.

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Presented in a beautiful gift format, this engaging book aims to introduce to a general audience the National Trust’s vast collection of paintings through a selection of 100 important examples from the 14th to the 20th centuries. Paintings displayed in properties now cared for by the National Trust across England, Wales and Northern Ireland amount to one of the finest collections of historic fine art in the world. Indeed, many National Trust houses should perhaps be considered miniature ‘National Galleries’ for their counties as they display works by some of the most renowned European artists of all time including Titian, El Greco, Holbein, Rubens, van Dyck, Rembrandt, Velázquez, Gainsborough, Reynolds, Canaletto, Hogarth, Stubbs, Angelica Kauffman, Edward Burne-Jones, James Tissot, Max Ernst, Vanessa Bell, Barbara Hepworth and Stanley Spencer, to name but a few. Selected by National Trust curators from over 13,000 works, the 100 paintings showcased in this book are arranged chronologically, each accompanied by an illuminating, easy-to-read caption. The book ends with a handy glossary of terms and a list of National Trust properties that house important paintings.

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By the end of her life, Sophie Curly was essentially a bag lady you might have walked past on a park bench, or ignored, as she looked for something over and over again in her handbag. She was blown about the streets of Nottingham, one of those crumpled figures, half frightening, half pitiful . . . Kids threw stones at her. But this was only one of my Grandmother's lives: she hadn't always been Sophie Curly. Back in the 1930s she was Joan Adeney Easdale, a teenage girl with two volumes of poetry published by Leonard and Virginia Woolf at the Hogarth Press. She grew up in Hampstead and in a cottage in Kent with her mother Gladys and her brother Brian, who later won an Oscar for writing the music for The Red Shoes.'From the British literary world of the 1930s to first-hand experience of post-war emigration, psychiatric practices in the 1950s and 1960s and the grim realities of modern day city life this a granddaughter's beautifully told account of the search for the truth about her grandmother's extraordinary life.

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Edward Gorey (1925–2000) was a fascinating and prolific author and artist. Of the one hundred delightful and fascinating books that Gorey wrote and illustrated, he rarely revealed their specific inspirations or their meanings. Where did his intriguing ideas come from? In Gorey Secrets: Artistic and Literary Inspirations behind Divers Books by Edward Gorey, Malcolm Whyte utilizes years of thorough research to tell an engrossing, revealing story about Gorey’s unique works. Exploring a sampling of Gorey’s eclectic writings, from The Beastly Baby and The Iron Tonic to The Curious Sofa and Dracula, Whyte uncovers influences of Herman Melville, Agatha Christie, Edward Lear, the I Ching, William Hogarth, Rene Magritte, Hokusai, French cinema, early toy books, eighteenth-century religious tracts for children, and much more.With an enlightening preface by Gorey collaborator and scholar Peter F. Neumeyer, Gorey Secrets brings important, uncharted insight into the genius of Edward Gorey and is a welcome addition to collections of both the seasoned Gorey reader and those who are just discovering his captivating books.

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The cutting edge of scientific reporting . . . PROGRESS in Inorganic Chemistry Nowhere is creative scientific talent busier than in the world of inorganic chemistry experimentation. Progress in Inorganic Chemistry continues in its tradition of being the most respected avenue for exchanging innovative research. This series provides inorganic chemists and materials scientists with a forum for critical, authoritative evaluations of advances in every area of the discipline. With contributions from internationally renowned chemists, this latest volume offers an in-depth, far-ranging examination of the changing face of the field, providing a tantalizing glimpse of the emerging state of the science. "This series is distinguished not only by its scope and breadth, but also by the depth and quality of the reviews." -Journal of the American Chemical Society "[This series] has won a deservedly honored place on the bookshelf of the chemist attempting to keep afloat in the torrent of original papers on inorganic chemistry." -Chemistry in Britain CONTENTS OF VOLUME 53 * Main Group Dithiocarbamate Complex (Peter J. Heard) * Transition Metal Dithiocarbamates-1978-2003 (Graeme Hogarth)

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From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur’s fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in “raree-shows” and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.Published for the Paul Mellon Centre for Studies in British Art

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Fear never diesThese stories from eighteen masters of the craft will curdle your blood, haunt your dreams and redefine terror.An exploited child worker in the silver mines of Bolivia finds an ally but at what cost? A young woman''s workplace affair has terrifying repercussions when her lover''s wife dies. A sailor''s wife takes her communion with Nature a little too farFrom a hungry young woman who is not what she seems, to a boy who has taken his mother''s advice a touch too seriously; from disfigured girls willing to pay any price to fit in, to an immigrant who cannot escape his tormentor; from a new home with a sinister secret, to the discovery that a long-dead parent's corpse is perfectly preserved decades later; this collection plumbs the depths of the psyche and dredges up some very modern horrors.Featuring stories by: Susan Barker, J K Chukwu, Bridget Collins, Mariana Enríquez, Michel Faber, Lewis Hancox, Emilia Hart, Ainslie Hogarth, Robert Lautner, Adorah Nworah, Irenosen Oko

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'So you need help. What's your name and trouble?'Private Investigator Philip Marlowe's latest client is Orfamay Quest. She's come all the way from Manhattan, Kansas, to find her missing brother Orrin. Or at least that's what she tells Marlowe, offering him just twenty dollars for his trouble. Feeling charitable, Marlowe accepts - though it's not long before he wishes he hadn't. Soon the trail leads to a succession of Hollywood starlets, uppity gangsters, suspicious cops and corpses with ice picks jammed into their necks . . .The Little Sister is Raymond Chandler's fifth novel featuring laconic PI Philip Marlowe.'Marlowe remains the quintessential urban private eye' Los Angeles Times'Chandler grips the mind from the first sentence' Daily Telegraph 'One of the greatest crime writers, who set standards others still try to attain' Sunday Times'Chandler is an original stylist, creator of a character as immortal as Sherlock Holmes' Anthony BurgessDiscover the newest addition to the inimitable Philip Marlowe series - Only to Sleep by Lawrence Osborne - out 6 September 2018 in hardback and ebook from Hogarth.

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Fear never diesThese stories from eighteen masters of the craft will curdle your blood, haunt your dreams and redefine terror.An exploited child worker in the silver mines of Bolivia finds an ally but at what cost? A young woman''s workplace affair has terrifying repercussions when her lover''s wife dies. A sailor''s wife takes her communion with Nature a little too farFrom a hungry young woman who is not what she seems, to a boy who has taken his mother''s advice a touch too seriously; from disfigured girls willing to pay any price to fit in, to an immigrant who cannot escape his tormentor; from a new home with a sinister secret, to the discovery that a long-dead parent's corpse is perfectly preserved decades later; this collection plumbs the depths of the psyche and dredges up some very modern horrors.Featuring stories by: Susan Barker, J K Chukwu, Bridget Collins, Mariana Enríquez, Michel Faber, Lewis Hancox, Emilia Hart, Ainslie Hogarth, Robert Lautner, Adorah Nworah, Irenosen Oko

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What does money really stand for? How can the abstractions of high finance be made visible? Show me the money documents how the financial world has been imagined in art, illustration, photography and other visual media over the last three centuries in Britain and the United States. It tells the story of how artists have grappled with the increasingly intangible and self-referential nature of money, from the South Sea Bubble to our current crisis.Show me the money sets out the history and politics of representations of finance through five essays by academic experts and curators, and is interspersed with provocative think pieces by notable public commentators on finance and art. The book, and the exhibition on which it is based, explore a wide range of images, from satirical eighteenth-century prints by William Hogarth and James Gillray to works by celebrated contemporary artists such as Andreas Gursky and Molly Crabapple. It also charts the development of an array of financial visualisations, including stock tickers and charts, newspaper illustrations, bank adverts and electronic trading systems.

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The pie, to quote one Victorian writer, is a great human discovery which has universal estimation among all civilized eaters'. "Pie" explores the development of this most esteemed article of food, from the ancient pie, its crust inedible and used for preserving the contents, to its elevation as the highest expression of culinary art. The pie symbolizes family, celebration and ritual, and appears in literature from Chaucer to Jane Austen and in art from Monet to Hogarth. It is the most adaptable of foods, portable, nutritious and tasty, and its contents vary throughout the world, from fish to meat, from sweet to savoury, to the mysterious and sinister Old Maid' or Scrap' pie. A pie can be an economical investment for all miscellaneous savings', as Dickens called it, or a momentous and expensive work of art; it can even contain nothing but live birds, frogs or dancing girls. A celebration of the pie as well as a hugely informative history, with a selection of recipes from throughout the life of the pie, "Pie" will satisfy the appetite of anyone interested in the history of food and cookery.

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Art in Britain 1660–1815 presents the first social history of British art from the period known as the long 18th century, and offers a fresh and challenging look at the major developments in painting, drawing, and printmaking that took place during this period. It describes how an embryonic London art world metamorphosed into a flourishing community of native and immigrant practitioners, whose efforts ultimately led to the rise of a British School deemed worthy of comparison with its European counterparts. Within this larger narrative are authoritative accounts of the achievements of celebrated artists such as Peter Lely, William Hogarth, Thomas Gainsborough, and J.M.W. Turner. David H. Solkin has interwoven their stories and many others into a critical analysis of how visual culture reinforced, and on occasion challenged, established social hierarchies and prevailing notions of gender, class, and race as Britain entered the modern age. More than 300 artworks, accompanied by detailed analysis, beautifully illustrate how Britain’s transformation into the world’s foremost commercial and imperial power found expression in the visual arts, and how the arts shaped the nation in return.Published for the Paul Mellon Centre for Studies in British Art

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A New York Times best art book of 2022An A to Z exploration of the Enlightenment’s quest for understanding and change, as revealed in the era’s prints and drawingsAre volcanoes punishment from God? What do a fly and a mulberry have in common? What utopias await in unexplored corners of the earth and beyond? During the Enlightenment, questions like these were brought to life through an astonishing array of prints and drawings, helping shape public opinion and stir political change. Dare to Know overturns common assumptions about the age, using the era’s proliferation of works on paper to tell a more nuanced story. Echoing the structure and sweep of Diderot’s Encyclopédie, the book contains 26 thematic essays, organized A to Z, providing an unprecedented perspective on more than 50 artists, including Henry Fuseli, Jean-Honoré Fragonard, Francisco Goya, Jean-Baptiste Greuze, William Hogarth, Giovanni Battista Piranesi, and Giambattista Tiepolo. With a multidisciplinary approach, the book probes developments in the natural sciences, technology, economics, and more—all through the lens of the graphic arts. Distributed for the Harvard Art Museums Exhibition Schedule:Harvard Art Museums, Cambridge, MA (September 16, 2022–January 15, 2023)

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'I was neat, clean, shaved and sober, and I didn't care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.'Los Angeles Private Investigator Philip Marlowe is hired by wheelchair-bound General Sternwood to discover who is blackmailing him. A broken, weary old man, Sternwood just wants Marlowe to make the problem go away. However, with Sternwood's two wild, devil-may-care daughters prowling LA's seedy backstreets, Marlowe's got his work cut out. And that's before he stumbles over the first corpse.The Big Sleep is Raymond Chandler's first novel featuring laconic PI Philip Marlowe.'One of the greatest crime writers, who set standards others still try to attain' Sunday Times'Chandler grips the mind from the first sentence' Daily Telegraph 'One of the greatest crime writers, who set standards others still try to attain' Sunday Times'Chandler is an original stylist, creator of a character as immortal as Sherlock Holmes' Anthony BurgessDiscover the newest addition to the inimitable Philip Marlowe series - Only to Sleep by Lawrence Osborne - out 6 September 2018 in hardback and ebook from Hogarth.

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A new account of painting in early modern England centered on the art and legacy of Anthony van Dyck As a courtier, figure of fashion, and object of erotic fascination, Anthony van Dyck (1599–1641) transformed the professional identities available to English artists. By making his portrait sittings into a form of courtly spectacle, Van Dyck inspired poets and playwrights at the same time that he offended guardians of traditional hierarchies. A self-consciously Van Dyckian lineage of artists, many of them women, extends from his lifetime to the end of the eighteenth century and beyond. Recovering the often surprising responses of both writers and painters to Van Dyck’s portraits, this book provides an alternative perspective on English art’s historical self-consciousness. Built around a series of close readings of artworks and texts ranging from poems and plays to early biographies and studio gossip, it traces the reception of Van Dyck’s art on the part of artists like Mary Beale, William Hogarth, and Richard and Maria Cosway to bestow a historical specificity on the frequent claim that Van Dyck founded an English school of portraiture.Distributed for the Paul Mellon Centre for Studies in British Art

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"Five thousand years have now elapsed since the creation of the world, and still it is undecided whether or not there has even been an instance of the spirit of any person appearing after death. All argument is against it; but all belief is for it." --Samuel Johnson Ghosts are woven into the very fabric of life. In Britain, every town, village, and great house has a spectral resident, and their enduring popularity in literature, art, folklore, and film attests to their continuing power to fascinate, terrify, and inspire. Our conceptions of ghosts--the fears they provoke, the forms they take--are connected to the conventions and beliefs of each particular era, from the marauding undead of the Middle Ages to the psychologically charged presences of our own age. The ghost is no less than the mirror of the times. Organized chronologically, this new cultural history features a dazzling range of artists and writers, including William Hogarth, William Blake, Henry Fuseli, Dante Gabriel Rossetti, John Everett Millais, Susan Hiller and Jeremy Deller; John Donne, William Shakespeare, Samuel Pepys, Daniel Defoe, Percy and Mary Shelley, Emily Bronte, Charles Dickens, Wilkie Collins, Henry James, Thomas Hardy, Muriel Spark, Hilary Mantel, and Sarah Waters.

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A HARLOT'S PROGRESS reinvents William Hogarth's famous painting of 1732 which tells the story of a whore, a Jewish merchant, a magistrate and a quack doctor bound together by sexual and financial greed. Dabydeen's novel endows Hogarth's characters with alternative potential lives, redeeming them for their cliched status as predators or victims. The protagonist - in Hogarth, a black slave boy, in Dabydeen, London's oldest black inhabitant - is forced to tell his story to the Abolitionists in return for their charity. He refuses however to supply parade of grievances, and to give a simplistic account of beatings, sexual abuses, etc. He will not embark upon yet another fictional journey into the dark nature of slavery for the voyeuristic delight of the English reader. Instead, the old man ties the reader up in knots as deftly as a harlot her client: he spins a tale of myths, half-truths and fantasies; recreating Africa and eighteenth-century London in startlingly poetic ways. What matters to him is the odyssey into poetry, the rich texture of his narrative, not its truthfulness. In this, his fourth novel, David Dabydeen opens up history to myriad imaginary interpretations, repopulating a vanished world with a strange, defiantly vivid and compassionate humanity.

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Arguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theory-which came about despite the longstanding occlusion of the intellectual and theoretical in British culture-did not take place or have effects exclusively in Britain. Theory has always travelled with art and vice versa. Using the frequently resurgent discourse of cosmopolitanism as a frame for his discourse, Cheetham asks whether English traditions of artwriting have been judged inappropriately according to imported criteria of what theory is and does. This book demonstrates that artwriting in the English tradition has not been sufficiently studied, and that 'English Art Theory' is not an oxymoron. Such concerns resonate today beyond academe and the art world in the many heated discussions of resurgent Englishness.

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Touch is our first sense. Through touch we make art, stake a claim to what we own and those we love, express our faith, our belief, our anger. Touch is how we leave our mark and find our place in the world; touch is how we connect. Drawing on works of art spanning four thousand years and from across the globe, this book explores the fundamental role of touch in human experience, and offers new ways of looking. In a series of lavishly illustrated essays, the authors explore anatomy and skin; the relationship between the brain, hand, and creativity; touch, desire and possession; ideological touch; reverence and iconoclasm. A final section collects a range of reflections, historic and contemporary, on touch. Objects range from anonymous ancient Egyptian limestone sculpture, to medieval manuscripts and panel paintings, to devotional and spiritual objects from across the world, to love tokens and fede rings. Drawings, paintings, prints and sculpture by Raphael, Michelangelo, Rembrandt, Carracci, Hogarth, Turner, Rodin, Degas, and Kollwitz are explored, along with work by contemporary artists Judy Chicago, Frank Auerbach, Richard Long, the Chapman Brothers, and Richard Rawlins. The events of 2020 have made us newly alive to the preciousness and the dangers of touch, making this exploration of our most fundamental sense particularly timely and resonant.

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In 1732, a blasphemous burlesque of the Christian Atonement was published in England without comment from the government or the Church of England. In Hogarth's Harlot, Ronald Paulson explains this absence of official censure through a detailed examination of the parameters of blasphemy in eighteenth-century England and the changing attitudes toward the central tenets of the Christian Church among artists in this period. Discerning a profound spiritual and cultural shift from atonement and personal salvation to redemption, incarnation, and acts of charity and love, Paulson focuses on such influential factors as English antipopery and anti-Jacobitism, as well as the ideas of the English Enlightenment. Offering imaginative and deeply informed readings of a wide range of artistic works-engravings by Hogarth; poems by Milton, Pope, Christopher Smart, and Blake; plays by Nicholas Rowe and George Lillo; paintings and sculptures by Benjamin West, John Zoffany, Joseph Wright of Derby, and Louis-Francois Roubiliac; and oratorios by George Frederic Handel-Paulson explores the significance of the medium in which artists produced "sacred parody" and how these works both reflected and influenced attitudes toward the nature of Christianity in England. As England's faithful began to worry less about everlasting felicity in heaven and more about life on earth, these diverse artists provided them with new ways of thinking about both their spiritual and their social existence.

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The National Gallery in London houses one of the richest collections of Western European paintings in the world, ranging from the 13th to the 20th century. In this beautiful book, one hundred of the greatest works from the collection, each by a different artist, are presented in chronological order, and accompanied by a lively, informative text and full-page color reproductions. From the earliest—a remnant of an Italian altarpiece dating from around 1265—to the most recent—Paul Cézanne’s great Bathers, of about 1894–1905—each painting has been carefully chosen for the unique significance it holds; whether representing a particular artist, place or time, or simply for its beauty and the pleasure it provides to the viewer. The painters featured here include some of the most famous names in European art—Duccio, Giotto, Dürer, Holbein, van Eyck, Botticelli, Leonardo, Michelangelo, Raphael, Titian, Rubens, Rembrandt, El Greco, Velázquez, Zurbarán, Goya, Caravaggio, Claude, Poussin, Hogarth, Gainsborough, Reynolds, Constable, Turner, Courbet, Manet, Monet, Renoir, Degas, Rousseau, and Van Gogh—and some of the most iconic paintings in the world—The Wilton Diptych, The Arnolfini Portrait, The Ambassadors, and Sunflowers. These selected highlights introduce some of the most inspiring paintings ever made. The reader can dip in to explore individual paintings, or read from cover to cover for a full survey.Published by the National Gallery Company/Distributed by Yale University Press

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The Tate Britain Companion to British Art draws on Tate Britain's unrivalled collection to provide a lively, orginal and informative introduction to the story of art in Britain over the last five hundred years. Considering themes such as fashion, eating, childhood, occultism, science, empire, religion and Postmodernism, Richard Humphreys examines works by all the major artists, both in their own right and placed in broader contexts to convey their full richness and beauty. The cast of characters includes great historical figures such as Holbein, Van Dyck, Hogarth, Blake, Constable, Turner, Rossetti and Sargent; modern masters, and mistresses, such as Gwen John, Stanley Spencer, Henry Moore, Barbara Hepworth and Francis Bacon; and leading contemporary artists from David Hockney, Peter Blake and Lucian Freud to Gilbert and George, Damien Hirst and Rachel Whiteread. Beginning in Tate Britain's legendary restaurant and the strangely familiar land of Epicurania, the book offers a varied menu of treats, including Sir Thomas More and his monkey, Cromwellian art-smasher William Dowsing, gay connoisseur and spy Baron von Stosch, soft pornographer-vicar Matthew Peters, sheep farmer and pioneer photographer Samuel Butler, Simpkin the cat, a metaphysical garden or two, Robby the Robot, James Bond, and an exploding garden shed.

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'I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room'Cynical Los Angeles Private Investigator Philip Marlowe always falls for a sob story. Eight years ago Moose Malloy and cute little redhead Velma were getting married - until Malloy was framed for armed robbery. Now he's out and he wants Velma back. Marlowe meets Malloy one hot day in Hollywood and, out of the generosity of his jaded heart, agrees to help. Dragged from one smoky bar to another, Marlowe's search for Velma turns up plenty of gangsters with a nasty habit of shooting first and talking later. And soon what started as a search for a missing person becomes a matter of life and death . . .Farewell, My Lovely is Raymond Chandler's second novel featuring laconic PI Philip Marlowe.'Chandler grips the mind from the first sentence' Daily Telegraph 'One of the greatest crime writers, who set standards others still try to attain' Sunday Times'Chandler is an original stylist, creator of a character as immortal as Sherlock Holmes' Anthony BurgessDiscover the newest addition to the inimitable Philip Marlowe series - Only to Sleep by Lawrence Osborne - out 6 September 2018 in hardback and ebook from Hogarth.

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Derided as seventies throwbacks upon their arrival and misremembered by the wider population as one-hit wonders, Marillion rode the 1980s as one of the most successful bands in Britain. Delivering the musical and conceptual density of early progressive rock with the caustic energy of punk, the Aylesbury heroes both spearheaded the neo-prog revival and produced its crown jewel in their number one album Misplaced Childhood and its Top 5 singles 'Kayleigh' and 'Lavender.' Musically, their influence reaches from prog legends Dream Theater and Steven Wilson to household names like Radiohead and Muse. The 1980s encapsulated Marillion's birth, commercial apex, and near-implosion. This book combines meticulous history with careful musical analysis to chronicle their most turbulent decade from their first gig, through the dizzying success and destructive decadence of their time with frontman Fish, to his bitter departure and replacement by Steve Hogarth. It turns an experienced critical eye not only on their five albums of the decade - from the seminal Script For A Jester's Tear to Season's End - Hogarth's debut - and a line-up that remains as active as ever. The book also discusses demos, singles, and Fish's solo debut to dissect a band which critics still love to hate, even as today's music industry stands upon their shoulders as pioneers of self-promotion and internet-based crowd funding

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The marriage of Virginia and Leonard Woolf is best understood as a dialogue of two outsiders about ideas of social and political belonging and exclusion. These ideas infused the written work of both partners and carried over into literary modernism itself, in part through the influence of the Woolfs' groundbreaking publishing company, the Hogarth Press. In this book, the first to focus on Virginia Woolf's writings in conjunction with those of her husband, Natania Rosenfeld illuminates Leonard's sense of ambivalent social identity and its affinities to Virginia's complex ideas of subjectivity. At the time of the Woolfs' marriage, Leonard was a penniless ex-colonial administrator, a fervent anti-imperialist, a committed socialist, a budding novelist, and an assimilated Jew who vacillated between fierce pride in his ethnicity and repudiation of it. Virginia was an "intellectual aristocrat," socially privileged by her class and family background but hobbled through gender. Leonard helped Virginia elucidate her own prejudices and elitism, and his political engagements intensified her identification with outsiders in British society. Rosenfeld discovers an aesthetic of intersubjectivity constantly at work in Virginia Woolf's prose, links this aesthetic to the intermeshed literary lives of the Woolfs, and connects both these sites of dialogue to the larger sociopolitical debates--about imperialism, capitalism, women, sexuality, international relations, and, finally, fascism--of their historical place and time.

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The Life of Captain Cipriani (1932) is the earliest full-length work of nonfiction by the Trinidadian writer C. L. R. James, one of the most significant historians and Marxist theorists of the twentieth century. It is partly based on James's interviews with Arthur Andrew Cipriani (1875–1945). As a captain with the British West Indies Regiment during the First World War, Cipriani was greatly impressed by the service of black West Indian troops and appalled at their treatment during and after the war. After his return to the West Indies, he became a Trinidadian political leader and advocate for West Indian self-government. James's book is as much polemic as biography. Written in Trinidad and published in England, it is an early and powerful statement of West Indian nationalism. An excerpt, The Case for West-Indian Self Government, was issued by Leonard and Virginia Woolf's Hogarth Press in 1933. This volume includes the biography, the pamphlet, and a new introduction in which Bridget Brereton considers both texts and the young C. L. R. James in relation to Trinidadian and West Indian intellectual and social history. She discusses how James came to write his biography of Cipriani, how the book was received in the West Indies and Trinidad, and how, throughout his career, James would use biography to explore the dynamics of politics and history.

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The Life of Captain Cipriani (1932) is the earliest full-length work of nonfiction by the Trinidadian writer C. L. R. James, one of the most significant historians and Marxist theorists of the twentieth century. It is partly based on James's interviews with Arthur Andrew Cipriani (1875–1945). As a captain with the British West Indies Regiment during the First World War, Cipriani was greatly impressed by the service of black West Indian troops and appalled at their treatment during and after the war. After his return to the West Indies, he became a Trinidadian political leader and advocate for West Indian self-government. James's book is as much polemic as biography. Written in Trinidad and published in England, it is an early and powerful statement of West Indian nationalism. An excerpt, The Case for West-Indian Self Government, was issued by Leonard and Virginia Woolf's Hogarth Press in 1933. This volume includes the biography, the pamphlet, and a new introduction in which Bridget Brereton considers both texts and the young C. L. R. James in relation to Trinidadian and West Indian intellectual and social history. She discusses how James came to write his biography of Cipriani, how the book was received in the West Indies and Trinidad, and how, throughout his career, James would use biography to explore the dynamics of politics and history.

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With this sixth volume The Hogarth Press completes a major literary undertaking - the publication of the complete essays of Virginia Woolf. In this, the last decade of her life, Woolf wrote distinguished literary essays on Turgenev, Goldsmith, Congreve, Gibbon and Horace Walpole. In addition, there are a number of more political essays, such as 'Why Art To-Day Follows Politics', 'Women Must Weep' (a cut-down version of Three Guineas and never before reprinted), 'Royalty' (rejected by Picture Post in 1939 as 'an attack on the Royal family, and on the institution of kingship in this country'), 'Thoughts on Peace in an Air Raid', and even 'America, which I Have Never Seen...' ('['Americans are] the most interesting people in the world - they face the future, not the past'). In 'The Leaning Tower' (1940), Virginia Woolf faced the future and looked forward to a more democratic post-war age: 'will there be no more towers and no more classes and shall we stand, without hedges between us, on the common ground?' Woolf stimulates her readers to think for themselves, so she 'never forges manifestos, issues guidelines, or gives instructions that must be followed to the letter' (Maria DiBattista).In providing an authoritative text, introduction and annotations to Virginia Woolf's essays, Stuart N. Clarke has prepared a common ground - for students, common readers and scholars alike - so that all can come to Woolf without specialised knowledge.

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