One of the most visible, popular, and significant artists of his generation, William Hogarth (1697-1764) is best known for his acerbic, strongly moralising works, which were mass-produced and widely disseminated as prints during his lifetime. This volume is a fascinating look into the notorious English satirical artist's life, presenting Anecdotes of William Hogarth, Written by Himself-a collection of autobiographical vignettes supplemented with short texts and essays written by his contemporaries, first published in 1785.

William Blake (1757-1827), hailed as 'the glorious luminary' by William Rossetti, is one of the great mystics in the history of Western art. His hallucinatory paintings, watercolours and, in particular, the illustrations he made for his books of poetry are instantly recognisable, and have inspired generations of artists in his wake. Although he was largely ignored by his contemporaries, or de rided as mad, a number of perceptive critics and commentators took great interest in both the man and his work. This volume brings together some of the most illuminating writings by people who knew Blake, and brings this astonishing visionary to life. They include the frank appraisal by the hugely percep tive diarist Crabb Robinson, never before published in full in English, and the first full biography by Blake's friend and fellow artist John Thomas Smith, as well as Alexander Gilchrist's Preliminary, whihc heralded the arrival of Blake in the 19th Century.

First published in 1999, this volume examines antiquarianism which had its roots in Renaissance thought and was a popular intellectual and cultural pursuit throughout the eighteenth and nineteenth centuries. The antiquarian work of collecting, compiling and presenting material which exposed the past was seminal to the formation of social and national identities. These essays evaluate the cultural and poltical implications of antiquarianism in the period 1700-1850. The volume also considers how the antiquarians laid the foundations of later museum culture and the discipline of history. With a preface by Stephen Bann and introduced by Martin Myrone and Lucy Peltz, Producing the Past has contributions from Stephen Bending, Alexandrina Buchanan, Susan A. Crane, David Haycock, Maria Grazia Lolla, Heather MacLennan, Martin Myrone, Lucy Peltz, Annegret Pelz, Sam Smiles and Johann Reusch.

First published in 1999, this volume examines antiquarianism which had its roots in Renaissance thought and was a popular intellectual and cultural pursuit throughout the eighteenth and nineteenth centuries. The antiquarian work of collecting, compiling and presenting material which exposed the past was seminal to the formation of social and national identities. These essays evaluate the cultural and poltical implications of antiquarianism in the period 1700-1850. The volume also considers how the antiquarians laid the foundations of later museum culture and the discipline of history. With a preface by Stephen Bann and introduced by Martin Myrone and Lucy Peltz, Producing the Past has contributions from Stephen Bending, Alexandrina Buchanan, Susan A. Crane, David Haycock, Maria Grazia Lolla, Heather MacLennan, Martin Myrone, Lucy Peltz, Annegret Pelz, Sam Smiles and Johann Reusch.

Exploring the myths and realities of the origins of the "modern artist" in Britain The artist has been a privileged figure in the modern age, embodying ideals of personal and political freedom and self-fulfillment. Does it matter who gets to be an artist? And do our deeply held beliefs stand up to scrutiny? Making the Modern Artist gets to the root of these questions by exploring the historical genesis of the figure of the artist. Based on an unprecedented biographical survey of almost 1,800 students at the Royal Academy of Arts in London between 1769 and 1830, the book reveals hidden stories about family origins, personal networks, and patterns of opportunity and social mobility. Locating the emergence of the "modern artist" in the crucible of Romantic Britain, rather than in 19th-century Paris or 20th-century New York, it reconnects the story of art with the advance of capitalism and demonstrates surprising continuities between liberal individualism and state formation, our dreams of personal freedom, and the social suffering characteristic of the modern era. Distributed for the Paul Mellon Centre for Studies in British Art

An authoritative look at William Blake's life and enduring relevance as a prophetic artist, poet, and printmaker William Blake (1757-1827) created some of the most iconic images in the history of art. He was a countercultural prophet whose personal struggles, technical innovations, and revelatory vision have inspired generations of artists. This marvelously illustrated book explores the biographical, artistic, and political contexts that shaped Blake's work, and demonstrates why he was a singularly gifted visual artist with renewed relevance for us today. The book explores Blake's relationship with the art world of his time and provides new perspectives on his craft as a printmaker, poet, watercolorist, and painter. It makes sense of the profound historical forces with which he contended during his lifetime, from revolutions in America and France to the dehumanizing effects of industrialization. Readers gain incomparable insights into Blake's desire for recognition and commercial success, his role as social critic, his visionary experience of London, his hatred of empire, and the bitter disappointments that drove him to retire from the world in his final years. What emerges is a luminous portrait of a complicated and uncompromising artist who was at once a heretic, mystic, saint, and cynic. With an afterword by Alan Moore, this handsome volume features many of the most sublime and exhilarating images Blake ever produced. It brings together watercolors, paintings, and prints, and draws from such illuminated masterpieces as Songs of Innocence and of Experience, Europe a Prophecy, and apocalyptic works such as Milton and Jerusalem. Published in association with Tate Exhibition Schedule Tate Britain, London September 11, 2019-February 2, 2020

It was a century of war (mostly) and peace (occasionally), of extraordinary wealth and grinding poverty, gargantuan appetites and desperate famines, high ideals and hypocrisy, a century of intellectual, social and religious turmoil. In this fertile turbulence flourished one of Britain's greatest artists: painter, printmaker, satirist, and social critic William Hogarth, of whom the essayist and poet Charles Lamb once said, 'Other pictures we look at; his pictures we read'. Illustrating the full range of Hogarth's most important paintings and prints, this book shows them in a new light, juxtaposed with work by major European contemporaries who influenced him or took their inspiration from him in their painting of modern life - including Watteau, Chardin, Troost and Longhi. Hogarth is revealed not only as a key figure in British art history, but also as a major European artist. It is also a tale of four cities: London, Paris, Venice and Amsterdam, represented in maps from the period. The themes of city life, social protest, sexuality and satire which come to the fore in the art of Hogarth and his contemporaries are very much live today.

This original book explores the radical transformation of the heroic male body in late eighteenth-century British art. It ranges across a period in which a modern art world was established, taking into account the lives and careers of a succession of major figures--from Benjamin West and Gavin Hamilton to Henry Fuseli, John Flaxman and William Blake--and influential institutions, from the Royal Academy to the commercial galleries of the 1790s.Organized around the historical traumas of the Seven Years' War (1756-63), the War of American Independence (1775-83) and the French Revolution and Revolutionary Wars (1789-1815), "Bodybuilding" places the visual representation of the hero at the heart of a series of narratives about social and economic change, gender identity, and the transformation of cultural value on the eve of modernity. The book offers a vivid image of a critical period in Britain's cultural history and establishes a new framework for the study of late-eighteenth-century art and gender.