To celebrate the 300th anniversary of the Hanoverian period,
Radio 3 presented a mix of essays on key figures of the Georgian era. Writer and political cartoonist Martin Rowson
provided an essay on the satiric genius of William Hogarth and his lasting influence on the development of the political cartoon. His essay wrote:
"In his history of the first Australian penal settlements, "The Fatal Shore", the art critic Robert Hughes described the standard modern perception of Georgian England thus:
"A passing reference to violence, dirt and gin; a nod in the direction of the scaffold; a highwayman or two, a drunken judge, and some whores for local colour; but the rest is all curricles and fanlights. Modern squalor is squalid but Georgian squalor is ‘Hogarthian’, an art form in itself."
Note that adjective. By now it’s so well entrenched we instinctively know what it means, though it’s probably not the meaning Hogarth himself would have wanted. He had definite ambitions for his name to be associated with his practice, and yet the paint strokes or engraved lines and slashes aren’t, of themselves, "Hogarthian".
And however much he wanted - pretty successfully - to found an entirely new school of British art, there’s nothing really "Hogarthian" in his proto-impressionist study "The Shrimp Girl" or in his innovatively realistic portrait of the philanthropic sea-captain Thomas Corum, or his portrait of David Garrick or his murals in the Inns of Court or for Bart’s Hospital. These are all by Hogarth, for sure; they might even be "Hogarthish"; but