His deftness and spontaneity reflected the drawings of Honoré Daumier, William Hogarth, and Thomas Rowlandson.
The famous prints Beer Street and Gin Lane (1751) by William Hogarth, helped to lobby for what became the "Gin Act" of 1751 which taxed and regulated gin.
Another leitmotif is the humorous written portrayal of politicians as ridiculous caricatures, in the style of a modern-day William Hogarth cartoon.
As late as William Hogarth, portraitists were doing studies of (in his case), Nine heads. The artist performing a character sketch attempts to capture an expression or gesture that goes beyond coincident actions and gets to the essence of the individual.
The Foundling Hospital Collection includes works of art by Britain's most prominent eighteenth-century artists: William Hogarth, Thomas Gainsborough, Joshua Reynolds, Louis-Francois Roubiliac and many others.
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The museum examines the work of the Foundling Hospital's founder Thomas Coram, as well as the artist William Hogarth and the composer George Frideric Handel, both major benefactors of the institution.
Henley was the subject of contemporary caricatures, among them works by George Bickham the Younger and William Hogarth.
Initially influenced by Scotland's David Wilkie, England's William Hogarth and America's Benjamin West, he soon turned to direct observation of life for his genre scenes.
His works, not very appreciated in his days, dealt with very moralising subjects and had a clear influence of William Hogarth.
Hallett is best known for his writings on eighteenth-century graphic satire and on Georgian portraiture, and on the artists William Hogarth and Joshua Reynolds.
Among the historically important items in its collection are Voltaire's masonic apron (1778), Lafayette's masonic sword, a first edition of James Anderson's Constitutions of the Free Masons (1723), satirical prints by William Hogarth (1697-1764), Meissen porcelain figurine (1740), etc.
Pavel Andreyevich Fedotov (Russian: Павел Андреевич Федотов; 1815 – 1852) was an amateur Russian painter known as a Russian Hogarth.
The elaborate wig that he wore on becoming Lord Mayor in 1761 was depicted in William Hogarth's 1761 engraving Five Orders of Periwigs.
William Hogarth's A Rake's Progress (1732–33) displays in a series of paintings the spiralling fortunes of a wealthy but spendthrift son and heir who loses his money, and who as a consequence is imprisoned in the Fleet Prison and ultimately Bedlam.
It also holds the Hogarth altarpiece which was originally painted for St Mary Redcliffe Church, Bristol, and removed from there by the Victorians.
In his diary, Samuel Pepys mentions seeing magicians performing in this fashion and one can see street magicians in depictions by Hieronymous Bosch, William Hogarth, and Pieter Brueghel.
The libretto, written by W. H. Auden and Chester Kallman, is based loosely on the eight paintings and engravings A Rake's Progress (1733–1735) of William Hogarth, which Stravinsky had seen on 2 May 1947, in a Chicago exhibition.
Prints by Albrecht Dürer, William Hogarth, Jose Guadalupe Posada, and Max Beckmann were featured alongside Huck's "The Transformation of Brandy Baghead Pts. 1, 2, & 3".
Bedlam (1946) suggested by the eighth (and last) engraving in the series "A Rake's Progress" by William Hogarth
William Shakespeare | William Laud | William Blake | William | William III of England | William Morris | William McKinley | William Howard Taft | William Ewart Gladstone | William the Conqueror | William S. Burroughs | William Shatner | William Faulkner | William Randolph Hearst | William Wordsworth | William Tecumseh Sherman | William Hogarth | Prince William, Duke of Cambridge | William Penn | William Jennings Bryan | William Gibson | William Wilberforce | William James | William Makepeace Thackeray | Fort William | William Hanna | William Hague | William III | William Hurt | William Walton |
Elmore seems to have been associated with The Clique, a group of young artists who saw themselves as followers of Hogarth and David Wilkie.
William Hogarth (1697–1764) painted his portrait as Bishop of Winchester and "Prelate of the Most Noble Order of the Garter" about 1743, etched by Bernard Baron (1696–1762).
His daughter, Martha (Marthe) married another Huguenot apothecary in London, John (Jean) Misaubin, in 1709, who also had premises on St. Martin's Lane and was famously depicted by William Hogarth in a painting in the series, A Harlot's Progress.
He was a member of the Rose and Crown Club, with William Hogarth, Peter Tillemans and other artists and connoisseurs, and kept some records of it.
The caves were used as a meeting place for Sir Francis Dashwood's notorious Hellfire Club, whose members included various politically and socially important 18th century figures such as William Hogarth, John Wilkes, Thomas Potter and John Montagu, 4th Earl of Sandwich.
Paintings by Velázquez, Titian, Poussin, and Claude Lorraine, as well as an unrivalled series of 18th-century family portraits by artists such as Gainsborough, Reynolds, Vigee-Lebrun, Batoni, Angelica Kauffman, Ramsay, Van Loo, and Hogarth.
In 1749, he engraved the picture of Lady Boyd, after Allan Ramsay, and the portrait by William Hogarth of Thomas Coram in 1750, the Duke of Dorset, after Kneller, and ‘The Sons of the Duke of Buckingham,’ after Anthony van Dyck.
At this time descriptions state that the Old Red Lion was a small brick house with three trees in its forecourt, visited by William Hogarth (who portrayed it in the middle distance of his painting "Evening", with the foreground being Sadler's Wells), Samuel Johnson and Thomas Paine (who wrote The Rights of Man in the shade of the trees in its forecourt).
Besides the pictures already mentioned, the painting in São Paulo Museum of Art served as inspiration for the Portrait of John Pine, undertaken by the English Sculptor and painter William Hogarth in 1755, currently kept in the Beaverbrook Art Gallery in Fredericton, Canada.
In the 18th-century St. Martin's Lane was noted for the Academy founded by William Hogarth and later for premises of cabinet-makers and "upholsterers" such as Thomas Chippendale, who moved to better premises there in 1753, Vile and Cobb, and William Hallett around the corner in Newport Street.
The song provided the popular title for a 1748 painting by William Hogarth: O the Roast Beef of Old England (The Gate of Calais).
The shacks can be seen in many of the contemporary depictions of the piazza and features prominently in William Hogarth's Four Times of the Day (although it is rotated from its true position for the artistic effect of contrasting it with Inigo Jones' Church of St Paul).
The album cover detail from "The Tavern Scene" from A Rake's Progress by William Hogarth.