CRITICISM

Brewer, David A. “Making Hogarth Heritage.” Representations 72 (fall 2000): 21-63.

Contends that elements of Hogarth's work were cited and appropriated by such a wide variety of writers and artists that by the early nineteenth century Hogarth was considered “part of the English national heritage,” with a reputation second only to Shakespeare's.

Cantrell, Pamela. “Writing the Picture: Fielding, Smollett, and Hogarthian Pictorialism.” Studies in Eighteenth Century Culture 24 (1995): 69-89.

Suggests that Hogarth's work was ideologically closer to Tobias Smollett's than to Henry Fielding's, as is maintained by numerous critics.

Chandler, David. “A Sign's Progress: Lamb on Hogarth.” Charles Lamb Bulletin 94 (April 1996): 50-63.

Analysis of Charles Lamb's essay “On the Genius and Character of Hogarth,” published in 1811.

Cohen, Michael M. “Hogarth's A Rake's Progress and the Techniques of Verse Satire.” Studies in Iconography 5 (1979): 159-72.

Maintains that Hogarth's satiric techniques are similar to those employed by verse satirists, particularly Alexander Pope and John Dryden.

Davis, Paul B. “Dickens, Hogarth, and the Illustrated Great Expectations.” The Dickensian 80, no. 3 (autumn 1984): 131-43.

Explores Charles Dickens's indebtedness to Hogarth's series Industry and Idleness in the writing of Great Expectations.

Holtz, William. “The Journey and the Picture: The Art of Sterne and Hogarth.” In A History of Book Illustration: 29 Points of View, edited by Bill Katz, pp. 315-32. Metuchen, N.J.: Scarecrow Press, 1994.

Discussion of Hogarth's illustrations for the second edition of Laurence Sterne's Tristram Shandy.

Krysmanski, Bernd. “Hogarth's A Rake's Progress: An ‘Anti-Passion’ in Disguise.” In 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era, edited by Kevin L. Cope, pp. 137-82. New York: AMS Press, 1998.

Discusses Hogarth's allusions to the life of Christ in his series A Rake's Progress.

Lindberg, Mary Klinger. “‘A Delightful Play upon the Eye’: William Hogarth and Theatrical Dance.” Dance Chronicle 4, no. 1 (1981): 19-45.

Discussion of Hogarth's use of dance and dancers in his graphic representations and in his writing.

Meltzoff, Stanley. “Rhetoric, Semiotics, and Linguistics Look at the Strolling Actresses of Hogarth.” New Literary History 9, no. 3 (spring 1978): 561-79.

Analysis of Strolling Actresses using linguistics to interpret its words, semiotics to interpret its visual codes, and the principles of pictorial rhetoric to interpret the overall meaning of the work.

Petry, Alice Hall. “Gin Lane in the Bowery: Crane's Maggie and William Hogarth.” American Literature 56, no. 3 (October 1984): 417-26.

Contends that Hogarth's 1751 engraving was a source for Stephen Crane's 1896 novel of American slum life.

Wagner, Peter. “Hogarth's Graphic Palimpsests: Intermedial Adaptation of Popular Literature.” Word & Image 7, no. 4 (October-December 1991): 329-47.

Discussion of Hogarth's allusions to popular drama and ballads, both of which addressed plebeian rather than patrician audiences.

———. “Hogarth's Industry and Idleness: Subversive Lessons on Conduct.” In The Crisis of Courtesy: Studies in the Conduct-Book in Britain, 1600-1900, edited by Jacques Carré, pp. 51-62. Leiden, The Netherlands: E. J. Brill, 1994.

Situates Hogarth's pictorial series within the context of contemporary written discourse and suggests that Hogarth's ambiguous approach to his subject matter undercuts its moralistic message.

Walker, John. “Hogarth's Painting The Beggar's Opera: Cast and Audience at the First Night.” In Essays in Honor of Paul Mellon: Collector and Benefactor, edited by John Wilmerding, pp. 363-80. Washington, D.C.: National Gallery of Art, 1986.

Contends that Hogarth's group portraits of the cast of John Gay's Beggar's Opera helped revive national art in England.

Additional coverage of Hogarth's life and career is contained in the following source published by Thomson Gale: Authors and Artists for Young Adults, Vol. 56.