s2e34 History of Prints William Hogarth (part two)
Platemark: Prints and the Printmaking Ecosystem
Release Date: 11/26/2024
s3e83 solarplate etching with Dan Welden
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann sits down with the legendary artist and printmaker Dan Welden. The artist is known for his pioneering work in solarplate etching, a revolutionary, chemical-free printmaking process. Welden recounts his experiences and collaborations with significant artists like Eric Fischl and Elaine and Willem de Kooning. He also delves into his personal creative struggles, preferences for classical music, and tales of his distinctive handmade house filled with artist tiles and unique craftsmanship. The episode is a compelling insight into Welden's artistic journey...
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s3e82 topology- and philosophy-imbued domestic scenes with Ellen Heck
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, I talk with Ellen Heck about her artistic journey and work. We talk about the intricacies of printmaking techniques, Ellen's various portrait series, and the conceptual ideas behind her work. Ellen shares her journey from studying philosophy at Brown, to printmaking at the School of the Art Institute of Chicago, and finally working at the Kala Art Institute in Berkeley. They also explore topics like the influence of Mary Cassatt, the use of color wheels in organizing compositions, and Ellen's fascination with topology in her artwork. Our insightful conversation...
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s3e81 building and fixing presses with Mike Stark
Platemark: Prints and the Printmaking Ecosystem
In this episode of the Platemark, I interview Mike Stark, the co-founder and owner of Stark Press Company. The New Jersey-based company, run by Mike and his brother Tom, builds new presses, services old presses, and aids in moving them. They often collaborate with Perry Tymeson, a legendary press repairman. Mike shares insights into designing new presses, managing a small business, and balancing creative work. We talk about studying print media at SAIC in Chicago and establishing Stark Press. We talk about his experiences in moving heavy presses, sometimes in challenging conditions, and the...
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s3e80 melding printing and publishing with curatorial work with Mae Shore
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating...
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s3e79 contemporary Japanese prints with Michael Verne
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, I talk with Michael Verne, the owner of the Verne Collection in Cleveland, Ohio. Mike's gallery specializes in contemporary Japanese art and works by American artists residing in Japan. We talk about the challenges and rewards of running a small gallery amid larger competitors, and the importance of finding and promoting new artists. Mike shares insights about his journey in the art world, from his childhood surrounded by art to becoming a successful gallerist without a formal art education. He recounts various personal anecdotes, including his experiences at art...
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s3e78 electronic arts in printmaking with Myles Calvert
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Myles Calvert, a printmaker and professor, shares his extensive journey from growing up in Ontario, Canada, to studying and working in the UK, and eventually returning to Alfred University in New York, to become director of the Institute of Electronic Arts. Myles discusses his experiences working at prestigious galleries in London, giving up a tenure-track position, and the pivotal moments that shaped his career. He delves into his role as the Director of IEA at Alfred, including the intricacies of managing residencies, the use of technology in printmaking, and...
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s3e77 documenting the printmaking ecosystem with Susan Goldman
Platemark: Prints and the Printmaking Ecosystem
In this interview with the director and founder of Lily Press and the Printmaking Legacy Project, Susan Goldman shares her passion for printmaking and documentary film making. Susan discusses her journey from discovering printmaking at Indiana University, Bloomington, to founding Lily Press and creating impactful documentaries like Midwest Matrix. She highlights her educational experiences, mentors, and the vibrant printmaking community she's built over time. Goldman also delves into her personal work, her love for screenprinting, and the balance of managing a studio while collaborating with...
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s3e76 the print studio as sanctuary with Bryan Raymundo
Platemark: Prints and the Printmaking Ecosystem
In this episode, Ann talks with Bryan Raymundo, owner of the Black Fragment Press. They discuss their meeting at the Mid America Print Council conference and Bryan’s background, from growing up in Mexico and Kansas to his love for Black Sabbath and printmaking. Bryan reveals his journey into art, inspired by comforting his sick grandmother with drawings, and his challenges in balancing his family’s immigrant expectations with his artistic aspirations. They delve deeply into his evolving art practice, the importance of mentors like Marco Hernandez and Jason Scuilla, and his passion for...
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s3e75 posters vs prints with Angelina Lippert
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation. Platemark Sign-up for...
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s3e74 Dürer's connection to the Islamic East with Susan Dackerman
Platemark: Prints and the Printmaking Ecosystem
In this episode of Platemark, Ann talks with Susan Dackerman, a curator and art historian specializing in Northern European print culture. They discuss Susan's recent book, Dürer's Knots: Early European Print and the Islamic East, which looks at the artist's relationship to the Islamic world, revealing groundbreaking insights about the intersection of early modern printmaking and contemporary history. Susan's book covers three of Dürer's prints or print series. The first section looks at The Sea Monster (Das Meerwunder), c. 1498, and postulates that it chronicles the return to Venice...
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.
