Fine Art Poster
From £28
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.
Äktenskap på modet: 2, Tête à Tête - William Hogarth
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Tillverkad på beställning
Beskrivning
Den andra plåten från William Hogarths serie Marriage A-la-Mode, som visar en scen av inhemsk utmattning och ekonomisk försummelse i 1700-talets London.
Detta tryck är den andra plåten från William Hogarths sexdelade serie, Marriage A-la-Mode. Den skildrar morgonscenen i viscontens och hans frus hem, efter en natt av separat utsvävning. Visconten sitter i en stol, utmattad, med en hund som nosar på en mössa som sticker ut från hans ficka, vilket antyder ett nyligen romantiskt möte någon annanstans. Hans fru sitter mittemot honom och sträcker på sig med en uttråkad blick, medan en förvaltare går i bakgrunden, med en hög obetalda räkningar.
Hogarth använder miljön för att förmedla moralisk kommentar. Rummet är fyllt med tecken på överflöd och försummelse. Ett musikinstrument ligger på golvet, och en notbok är bortkastad, vilket indikerar ytligheten i deras intressen. Spiselkransen är belamrad med kitschiga prydnader, och målningarna på väggen inkluderar ett religiöst motiv delvis skymt av en gardin, vilket kontrasterar mot det sekulära kaoset nedanför. Förvaltaren, som håller en enda kvittens, representerar den ekonomiska ruin som följer av sådant slösaktigt beteende.
Tekniskt sett visar verket Hogarths mästerskap i den etsade linjen. Han använder varierad skraffering för att definiera strukturerna hos mattan, klädseln och figurernas kläder. Kompositionen är strukturerad för att leda ögat från det centrala paret till den reträttande förvaltaren, vilket effektivt berättar om den inhemska disharmonin. Detta tryck fungerar som en kritik av de arrangerade äktenskap som var vanliga bland 1700-talets aristokrati, där status och rikedom prioriterades framför personlig kompatibilitet. Scenen saknar värme och fångar ett ögonblick av djup alienation mellan två personer bundna av kontrakt snarare än tillgivenhet. Genom sitt exakta teckningsarbete förvandlar Hogarth en inhemsk interiör till en scen för social observation, och dokumenterar sina samtidas vanor och brister med skarp, observerande klarhet.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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Äktenskap på modet: 2, Tête à Tête - William Hogarth
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 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.
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
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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Material av museikvalitet
Artistbiografi
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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