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This print was used as the ticket for "Marriage a la Mode" later the receipt was cut off and it was sold by itself. The purpose of the print is to illustrate a relevant distinction made by Henry Fielding in … Read Full Description
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This print was used as the ticket for "Marriage a la Mode" later the receipt was cut off and it was sold by itself. The purpose of the print is to illustrate a relevant distinction made by Henry Fielding in the Preface to Josph Andrews.
William Hogarth (1697 - 1794)
Hogarth was born in London, the son of an unsuccessful schoolmaster and writer from Westmoreland. After apprenticeship to a goldsmith, he began to produce his own engraved designs from 1710. He later took up oil painting, starting with small portrait groups called conversation pieces. He went on to create a series of paintings satirising contemporary customs, but based on earlier Italian prints, of which the first was ‘The Harlot’s Progress’ (1731), and perhaps the most famous ‘The Rake’s Progress’. His engravings were so plagiarised that he lobbied for the Copyright Act of 1735 as protection for writers and artists.
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