Fine Art Poster
From £37
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Self-Portrait Painting the Comic Muse - William Hogarth
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£37.00 GBP
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£37.00 GBP
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Beschrijving
A self-portrait by William Hogarth showing the artist at work in his studio, captured in a moment of creative focus.
William Hogarth, a central figure in eighteenth-century British art, produced this self-portrait during the latter part of his career. The composition depicts the artist in profile, seated before an easel, engaged in the act of painting a figure of the Comic Muse. This work offers a direct view into the professional life of an artist of the period, showing the tools of the trade, including a palette, brushes, and a wooden easel.
Hogarth wears a casual cap and a green coat, suggesting a studio setting rather than a formal portrait session. The painting on the easel is a sketch of the Comic Muse, a subject that reflects his interest in satire and the theatre. The background is muted, focusing the viewer on the artist and his creative process. The lighting is controlled, casting a soft glow on the canvas and the artist's profile, while the rest of the room remains in shadow.
Technically, the work demonstrates Hogarth's ability to capture character and narrative within a single frame. His brushwork is precise, particularly in the rendering of the fabric and the wooden textures of the chair and easel. The painting is held in the collection of the National Portrait Gallery in London. It remains a primary example of how artists of the Enlightenment era chose to represent themselves, balancing professional identity with personal character. The work avoids the grandiosity often associated with portraiture of the time, opting instead for a grounded, observational approach that aligns with Hogarth's broader body of work in social commentary and moral narrative.
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Productie
Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Archiefbestendig mat fine-art papier, FSC-gecertificeerd
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- Lijsten in zwart, naturel hout, donker hout of wit
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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Self-Portrait Painting the Comic Muse - William Hogarth
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
William Hogarth
Hogarth invented the comic strip three hundred years early. A Rake's Progress (1733) and A Harlot's Progress (1732) are narrative sequences of paintings and prints that tell moral stories through sequential images, each one packed with visual detail that rewards close reading. The drunk in the tavern, the debtor in prison, the madman in Bedlam: each scene is a chapter. Together they form a novel in pictures.
He was born in Smithfield, London, near the meat market. His father, a schoolteacher, was imprisoned for debt when William was a child. The experience of debtors' prison appears throughout his work. He apprenticed to a silver engraver and taught himself painting by copying old masters and observing London street life with the attention of a novelist.
He was shrewd about money and copyright. The Engraving Copyright Act of 1735 ('Hogarth's Act') was passed largely through his lobbying. It gave printmakers legal ownership of their designs for the first time, preventing pirated copies. He was protecting his income: the popular prints were his main revenue source.
He painted portraits, historical scenes, and the extraordinary Shrimp Girl, an unfinished head study of a street vendor that anticipates Impressionism by a century. The brushwork is loose, fresh, and immediate. It does not look like anything else painted in the 1740s. He also wrote The Analysis of Beauty (1753), a treatise on aesthetics that argued beauty derived from serpentine lines, which was mocked but was not wrong.
He died in 1764, at sixty-six. He is buried in Chiswick, west London. His tomb has a modest inscription. His influence on British satirical art, from Gillray to Banksy, has no inscription and no end.
He was born in Smithfield, London, near the meat market. His father, a schoolteacher, was imprisoned for debt when William was a child. The experience of debtors' prison appears throughout his work. He apprenticed to a silver engraver and taught himself painting by copying old masters and observing London street life with the attention of a novelist.
He was shrewd about money and copyright. The Engraving Copyright Act of 1735 ('Hogarth's Act') was passed largely through his lobbying. It gave printmakers legal ownership of their designs for the first time, preventing pirated copies. He was protecting his income: the popular prints were his main revenue source.
He painted portraits, historical scenes, and the extraordinary Shrimp Girl, an unfinished head study of a street vendor that anticipates Impressionism by a century. The brushwork is loose, fresh, and immediate. It does not look like anything else painted in the 1740s. He also wrote The Analysis of Beauty (1753), a treatise on aesthetics that argued beauty derived from serpentine lines, which was mocked but was not wrong.
He died in 1764, at sixty-six. He is buried in Chiswick, west London. His tomb has a modest inscription. His influence on British satirical art, from Gillray to Banksy, has no inscription and no end.
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Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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