His early works were were paintings of small groups and portraiture, and by the time he was in his early 30s, his work was already quite well known.

In the late 1720s he married Sir James Thornhill's daughter. He also changed from portraiture to his best-known works, the moralities. The first of the moral subjects was Harlot's Progress, depicting a country girl's downfall at the hands of the wicked Londoners. The original paintings are now lost and were probaly executed around 1731, but it is not these but the engravings Hogarth made of them the following year that ensured its popularity. Indeed, so great was the succes of the series that they were so frequently pirated that Hogarth was instrumental in getting a Copyright Act passed three years later.

From then on, he continued to produce the engravings of moral subjects and it is these that his fame has been chiefly built on. Rather than being works of art in themselves, they have to be read, detail by detail.

What is less remembered about Hogarth though is that he continued to paint portraits whilst producing the engravings. It should also be remembered that his work was hugely popular with the public at the time.

Trivia:

• He wrote a treatise on aesthetics, The Analysis of Beauty (1753)
• He was anti-French and with Francis Hayman (1708-76) was arrested as a spy for drawing the fortifications of Calais
• One of the people attacked in a Hogarth engraving was John Wilkes
• Hogarth's friend, the actor David Garrick wrote the inscription on his tombstone

Selected Works:

• Before and After (Fitzwm, Cambridge)
• Beggar's Opera
• Harlot's Progress (1731/2)
• Harlot's Progress (engraving series) (1732)
• Rake's Progress (paintings; engraving series) (Soane Mus., London) (1735)
• Pool of Bethesda (St. Bartholomew's Hospital, London) (1735-6)
• Good Samaritan (St. Bartholomew's Hospital, London) (1735-6)
• Captain Coram (Coram Fdn, London) (1740)
• Marriage a la Mode (engraving series) (National Gallery, London) (1743-5)
• O the Roast Beef of Old England! ('Calais Gate') (NG, London) (1748)
• Election (engraving series) (Soane Mus., London) (1754)
• Sigismunda (Tate, London) (1759)

Collections:

• Aberdeen
• Birmingham
• Bristol (St Nicholas Church Mus.)
• Buffalo
• Cardiff
• Detroit
• Edinburgh (NG)
• Glasgow (Burrell)
• Liverpool
• London (NG, National Portrait Gallery, Tate, Nat. Marit. Mus., Dulwich, Soane Mus., Coram Fdn, i.e. the Doundling Hospital)
• Manchester
• Minneapolis
• Montreal
• New York (Met. Mus., Frick Coll.)
• Northampton Mass.
• Norwich
• Ottawa
• Philadelphia
• St Louis
• Toledo Ohio
• Vancouver
• Washington (Corcoran, Nat. Coll.)
• Worcester Mass.
• Yale (CBA)

//Gallery//

//ADVERTISE//
//HOGARTH RARITIES//

After the Wedding Large Canvas Print

The Arrest for Theft Large Canvas Print

Before the Gate of Calais (The Roast Beef of Old England) Large Canvas Print

The Countess's Dressing Room Large Canvas Print

David Garrick and His Wife Large Canvas Print

An Election Entertainment Large Canvas Print

The Election - Canvassing for Votes Large Canvas Print

Fountaine Family Portrait Large Canvas Print

The Graham Children Large Canvas Print

The Heir Large Canvas Print

The Lady's Death Large Canvas Print

The March to Finchley Large Canvas Print

The Marriage Contract Large Canvas Print

The Member's Triumph Large Canvas Print

The Morning Reception Large Canvas Print

The Painter and His Pug Large Canvas Print

The Painter's Servants Large Canvas Print

Portrait of Bishop Benjamin Hoadly Large Canvas Print

Portrait of Lord George Graham in His Cabin Large Canvas Print

Portrait of Sarah Malcolm in Prison Large Canvas Print

The Prison Large Canvas Print

A Rake's Progress - Marriage Large Canvas Print

Scene in a Tavern Large Canvas Print

Strode Family Portrait Large Canvas Print

Suicide of the Countess Large Canvas Print

Tete a Tete Large Canvas Print

The Wedding of Stephen Beckingham and Mary Cox Large Canvas Print