* * *The Marriage Contract (1733); The Pool of Bethesda (1736); The Country Dance (1745); Moses Brought before Pharaoh's Daughter (1746); Calais Gate, or O The Roast Beef of Old England (1748); The March to Finchley (1749-50); Sigismunda (1759); The Lady's Last Stake (1758-59); Paul before Felix (1748).Brief analyses of all these paintings by Neil McWilliam.
* * *Alvan Bregman, "Hogarth's Christian Doctrine".Review of Ronald Paulson's Hogarth's Harlot: Sacred Parody in Enlightenment England (Johns Hopkins University Press, 2003).
Most of those persons have incongruities of their own in their shape, dress, or attitude, and all of them are incongruous in respect of one another; thus far the assemblage displays contrariety or want of relation: and they are all united in the same dance; and thus far they are mutually related.
On page 608 is a passage on Plate 2 of The Analysis of Beauty: "A country dance of men and women, like those exhibited by Hogarth in his Analysis of Beauty, could hardly fail to make a beholder merry, whether he believed their union to be the effect of design or accident.
Includes many details on Hogarth and some of his contemporaries, such as John Wilkes, Alexander Pope and Jean André Rouquet, in the chapters "On Some Books And Their Associations", "Bramston's 'Man Of Taste' " and "M.
The essay reconsiders the origin of one of Sir Joshua Reynolds's earliest published articles, which appeared in Samuel Johnson's Idler magazine in 1759 and parodied the self-styled "Connoisseur".
* * *Annie Richardson, "Hogarth and the aesthetics of dance".Abstract of a paper read at the Dance Symposium, "So Publick an Approbation": Attitudes to dance in eighteenth-century England, New College, Oxford, 26 April 2000.
* * *Valentina-Andreea Dimulescu, "The Masters of English Painting: Hogarth - Gainsborough - Constable".Short history of British art by a Romanian author, primarily dealing with the Rococo period and Romanticism and with the lives and works of William Hogarth, Thomas Gainsborough and John Constable.