s2e34 History of Prints William Hogarth (part two)
Platemark: Prints and the Printmaking Ecosystem
Release Date: 11/26/2024
S3e94 arts law with Yayoi Shionoiri
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann talks with Yayoi Shionoiri, an arts lawyer and Vice President of External Affairs & General Counsel at Powerhouse Arts. Yayoi, who has over two decades of experience in art law, discusses her unique career path, from her initial interest in art history to working in law supporting artists and cultural workers. They talk about working together on the Brooklyn Fine Art Print Fair, the significance of transparency in art production, the evolving field of art law, and the intersections of technology and art, particularly generative AI. The conversation also...
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S3e93 printing Peter Milton etchings with Robert Townsend
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann delves into the intricate world of prints and printmaking with master printer Robert Townsend. With over 55 years of experience, Bob shares his journey, techniques, and notable collaborations with artists like Peter Milton, Jim Dine, and Michael Mazur. They take a deep dive into plate wiping, steel facing, and other essential intaglio processes. Tune in to learn about the nuances of printing detailed etchings, and gain insights into the collaborative efforts that bring them to life. IG @retownsendstudio !!
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s2e35 History of Prints James Gillray
Platemark: Prints and the Printmaking Ecosystem
In this History of Prints episode, Tru and Ann look at the considerable output of British satirist James Gillray (1756–1857). Younger than William Hogarth by nearly sixty years, Gillray took Hogarth’s social commentary, its energy, and caustic approach, and used his skills to skewer politicians and kings, laugh at Napoleon and his empire building, point out the absurdity of the fear of vaccines, and make clear the debauchery of public executions. In fact, he’s now called the father of the political cartoon. With scary parallels to current events, Gillray’s acerbic eye nails it every...
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s3e92 collagraph with artist Evan Summer
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann talks with Evan Summer, who shares his journey from studying chemistry to becoming a printmaker and educator. We talk about the technical aspects and challenges of collagraph, a lesser-known printmaking technique, discussing its potential and common pitfalls. Evan also offers some essential hot tips on the technique. Evan explains the intersection of science and art in printmaking, emphasizing safety and technical precision. We also explore his dark, apocalyptic-themed landscapes contrasted with his occasional, whimsical animal prints. We talk about his his...
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s3e91 watercolor monotypes with artist and printer Sue Oehme
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann talks with Sue Oehme, owner of Oehme Graphics in Steamboat Springs, Colorado. Sue shares her journey into printmaking, starting with her initial foray into lithography before discovering her love for etching. We talk about the unique process and intricate technique behind her renowned watercolor monotypes, including how different surfaces and types of paper influence the final artwork. We also talk about her collaborative approach and highlight her experience with artists at Oehme Graphics. Sue also touches on her previous significant work experience at Tyler...
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s3e90 Printing Black America with William Villalongo and Shraddha Ramani
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Shraddha Ramani and William Villalongo discuss their monumental project Printing Black America: Du Bois’s Data Portraits in the 21st Century, which is being published in fall 2025. This modern update of W.E.B. Du Bois's data visualizations from 1900, which was created in response to the George Floyd protests, focuses on the lives of Black Americans today, incorporating contemporary data and research. The project includes 30 prints produced by six major printshops across the U.S., aiming to reflect the geographic and demographic shifts of Black populations since...
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s3e89 monoprints with artist Nicholas Ruth
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann talks with artist and educator Nick Ruth to discuss his multifaceted approach to art. Nick, who lives in Rochester and teaches at Hobart and William Smith Colleges, shares insights into his work across various media, including painting, drawing, and printmaking. They talk about his creative process, particularly his use of monoprints as a space for experimentation and growth. They talk about his inspirations, such as the bizarre charm of cell towers and the intriguing backs of road signs, and how these elements serve as metaphors for human communication. They...
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s3e88 art consulting X ministry with Quahana Hendree
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Dr. Quahana Hendree, owner of Q Hendree Art Consulting in St. Louis, Missouri, shares her unique journey as an art consultant. Despite not being directly involved in the printmaking scene, Dr. Hendree brings a wealth of knowledge about art and its importance in various settings including corporate, commercial, and government spaces. She discusses the multifaceted role of an art consultant, detailing how she helps businesses curate collections that reflect their identity and values, manages existing collections, and advocates for the intrinsic value of art. The...
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HoP deep dive on ONE PRINT: Peter Milton's The Train from Munich
Platemark: Prints and the Printmaking Ecosystem
In Platemark's history of prints series, Ann Shafer and Tru Ludwig present a second installment of their ONE PRINT series, this time on Peter Milton's The Train from Munich, 1991. In this episode, Ann and Tru take a single work considered to be a high point in the history of prints, and pull it apart to explore its subject matter, technique, style, and composition. It's a deep, deep dive into a single work--what a luxury. All images of Peter’s art are © 2025 Peter Milton / Artists Rights Society (ARS), New York. Show me the !!
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s3e87 color printing in the 18th century with Meg Grasselli and Elizabeth Savage
Platemark: Prints and the Printmaking Ecosystem
In this episode Ann talks with Margaret Morgan Grasselli and Elizabeth Savage about their new, massive book, Printing Colour 1700–1830: Histories, Techniques, Functions, and Receptions (Oxford: Oxford University Press and the British Academy, 2025). The book, coming in at nearly 450 pages with 350 illustrations, is a landmark study blowing open a new field of study in print history. It offers a deep dive into a rich period of invention, experimentation, and creativity surrounding color printing in Europe between two critically important developments: four-color separation printing...
info_outlineIn this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art. We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society’s faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment.
Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
Useful Links
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris.
Inigo Jones (British, 1573–1652). Banqueting House, 1622. London.
William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 paintings. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London.
After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master’s Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis.
William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.
