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Hogarth's Analysis of Beauty, 1753.

The Painter and his Pug (detail). William Hogarth, 1745. Oil on canvas  90 x 69.9 cm. Tate Gallery, London

William Hogarth, 1697-1764. In addition to producing some of the most important paintings and engravings in the 18th century, Hogarth campaigned to improve the status of the artist.  He showed that artists could be independent of wealthy patrons by publishing engravings based on their own paintings. During his lifetime Hogarth saw England emerge as the most prosperous country in Europe.  More people had access to learning and involvement in public affairs.  There was a rapid growth in all types of printed words and images.  Social criticism abounded.  The country was  obsessed with the tension between liberty and libertinism, between the notions of self-improvement and personal opportunism

The Analysis of Beauty. by William Hogarth.  London:  Printed by J. Reeves for the author, 1753.
"Mr. Hogarth, having proposed to publish by Subscription a Tract, call'd The Analysis of Beauty, together with two explanatory Prints, thinks it expedient to add, that the Subjects of the said prints will be a Country Dance and a Statuary's Yard; that these will be accompanied with a great Variety of Figures, tending to illustrate the new System contain'd therein; and that he has endeavour'd to render it useful and interesting to the Curious and Polite of both Sexes, by laying down the Principles of Personal Beauty and Deportment, as also of Taste in general, in the plainist, most familiar and entertaining Manner." (Hogarth  London Evening Post 1752).
	The Analysis of Beauty: A New Edition. by Willliam Hogarth. London: Printed by W. Strahan for Mrs. Hogarth. 1772.

The Analysis of Beauty (1753) was the first treatise in Europe to make formal values its central theme. Some of its ideas: Line of beauty In the preface Hogarth explains that The Analysis of Beauty grew out of his need to justify his aesthetic commentaries on a "line of beauty" in art. This line had appeared on the palette in the corner of his self portrait of 1745.  Lines with too shallow a curve are described as "mean and poor".  Lines with too generous a curve are described as "gross and clumsy". Variety is symbolized by a wavy line in two dimensions and a serpentine line in three dimensions, as opposed to unvarying geometrical shapes like straight lines and circles Respect for nature Hogarth writes that artists should turn from studying paintings to nature. He opposes the artificial.  He does not recommend copying. Previous art treatises had paid much attention to style, artistic manners and schemata. Hogarth urges the artist "to see objects truly", "to see with our own eyes". Appeal to the general reader Hogarth endeavours to be understood by every reader, and not just by painters and connoisseurs . He uses common domestic objects to train the eye and demonstrate his observations. He writes: "I know not how further to prove this matter than by appealing to the reader's eye and common observation as before." Note: Hogarth's quotations are from The Analysis of Beauty.

Critical Reception of The Analysis of Beauty. A torrent of controversy and discussion ensued.  Critics included the view painter and caricaturist Paul Sandby (1725-1809), who produced a series of etchings lampooning Hogarth's ideas. In spite of his fellow artists' abuse, The Analysis of Beauty was received favourably. A German edition was printed in 1754 and an Italian in 1761. "I sufferd [sic] more uneasiness from the abuse it occations [sic] me than satisfaction from its successs altho [sic] it was nothing less than I expected as may be seen by my preface to that work." (Hogarth  Autobiographical notes c1764, 203) To Mr. Hogarth on his Analysis of Beauty Hogarth, thy Fate is fix'd; the   Critic Crew, The Connoisseur and Dablers in   Vertu, Club their united Wit, in ev'ry   Look Hint, shrug and whisper, they   Condemn thy Book; Their guitless Minds will ne'er   Forgive the Deed; What Devil prompted thee to   Write and Read? (Murphy 1753)

Bibliography Clayton, Tim. The English print, 1688-1802. New Haven, Conn.: Published for the Paul        Mellon Centre for Studies in British Art by Yale University Press, 1997. Craske, Matthew. William Hogarth.  Princeton, NJ : Princeton University Press, c2000.  Hogarth, William. The Analysis of Beauty. London: Printed by J Reeves for the author, 1753.  Hogarth, William. "Autobiographical notes." London: British Library, Add. MS. 27991,        c1764. In The Analysis of Beauty, ed. Joseph Burke, 201-236. Oxford: Clarendon Press,        1955.  Hogarth, William. London Evening Post, 20 June-2 July 1752).  Lichtenberg, G. C. Lichtenberg's Commentaries on Hogarth's engravings; translated from       the German and with an introduction by Innes and Gustav Herdan. London:  Cresset P.,       1966. Murphy, Arthur. "Bedford Coffee-house, Dec. 12." Gray's Inn Journal, 38, 15 December 1753. Paulson, Ronald. Hogarth; his life, art and times. New Haven, Conn.: Published for the Paul       Mellon Centre for Studies in British Art (London) by the Yale University Press, 1971. Whitworth Art Gallery. William Hogarth (1697-1764), the artist and the city. Manchester :       Whitworth Art Gallery, 1997.

Location: Fine Arts Library Date: Winter 2001/2002

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