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    <title><![CDATA[Children and Youth in History]]></title>
    <link>http://cyh.rrchnm.org/items/browse?tag=William+Hogarth&amp;output=rss2</link>
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    <pubDate>Wed, 11 Aug 2021 03:25:08 +0000</pubDate>
    <managingEditor>chnm@gmu.edu (Children and Youth in History)</managingEditor>
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      <title><![CDATA[The Graham Children (1742) [Painting]]]></title>
      <link>https://cyh.rrchnm.org/items/show/163</link>
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                                    <div class="element-text"><em>The Graham Children</em> (1742) [Painting]</div>
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                                    <div class="element-text"><p>This beautiful life-size painting of four children is by William Hogarth, who also specialized in engravings such as <em>Gin Lane</em>. It was commissioned by Daniel Graham, a rich apothecary (pharmacist) to the royal family and to Chelsea Hospital in London. It shows Daniel's three children by his second wife, Mary Crisp, and Mary's daughter, Henrietta, by her first marriage. The children are (from left to right) the infant Thomas sitting in a gold-leaf gilded go-cart (age 2); Henrietta in a blue dress holding two cherries (age 9); Anna Maria in a flower-print dress (age 5); and Richard who plays the sérinette or bird organ (age 7). Hogarth was a patron of the Foundling Hospital in London and painted portraits of many of the children there. His skill led to commissions such as this one.</p> 
<p>At first glance Hogarth literally paints childhood as a time of innocence and happiness. But there are clues that point to the fragility of children's lives. The clock on the mantelpiece is decorated with a figure of Cupid holding a scythe, a symbol of death. Standing beside it is an hourglass, yet another symbol of mortality. The cat gazes greedily at the caged bird to remind us that there are predators even in such a happy scene as this. In fact Thomas died while Hogarth was completing the portrait and what we have here is a posthumous representation of the infant, as if he was still alive at the age of two. The crossed carnations at Thomas's feet symbolize that like flowers, his life faded quickly, while the dove on the go-cart may represent his soul flying to heaven.</p></div>
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                                    <div class="element-text">William Hogarth</div>
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                                    <div class="element-text">Hogarth, William. <em>The Graham Children</em>. Oil on canvas, 1742. Annotated by Lynda Payne.</div>
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                                    <div class="element-text">2008-10-14</div>
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                                    <div class="element-text">Lynda Payne</div>
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                                    <div class="element-text">166</div>
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                                    <div class="element-text">image/jpeg</div>
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                                    <div class="element-text">Color painting, realistic. This beautiful life-size painting of four children is by William Hogarth, who also specialized in engravings such as Gin Lane. It was commissioned by Daniel Graham, a rich apothecary (pharmacist) to the royal family and to Chelsea Hospital in London. It shows Daniel&#039;s three children by his second wife, Mary Crisp, and Mary&#039;s daughter, Henrietta, by her first marriage. The children are (from left to right) the infant Thomas sitting in a gold-leaf gilded go-cart (age 2); Henrietta in a blue dress holding two cherries (age 9); Anna Maria in a flower-print dress (age 5); and Richard who plays the sérinette or bird organ (age 7). Hogarth was a patron of the Foundling Hospital in London and painted portraits of many of the children there. His skill led to commissions such as this one.

At first glance Hogarth literally paints childhood as a time of innocence and happiness. But there are clues that point to the fragility of children&#039;s lives. The clock on the mantelpiece is decorated with a figure of Cupid holding a scythe, a symbol of death. Standing beside it is an hourglass, yet another symbol of mortality. The cat gazes greedily at the caged bird to remind us that there are predators even in such a happy scene as this. In fact Thomas died while Hogarth was completing the portrait and what we have here is a posthumous representation of the infant, as if he was still alive at the age of two. The crossed carnations at Thomas&#039;s feet symbolize that like flowers, his life faded quickly, while the dove on the go-cart may represent his soul flying to heaven.</div>
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                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/102/fullsize"><img src="/files/display/102/square_thumbnail" class="thumb" alt="&lt;em&gt;The Graham Children&lt;/em&gt; (1742) [Painting]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 14 Oct 2008 21:07:28 +0000</pubDate>
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      <title><![CDATA[Gin Lane (1751) [Engraving]]]></title>
      <link>https://cyh.rrchnm.org/items/show/158</link>
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                                    <div class="element-text"><em>Gin Lane</em> (1751) [Engraving]</div>
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                                    <div class="element-text"><p>This is one of the best-known prints by the famous artist, William Hogarth. He designed it to support the British government's attempt to regulate the price and popularity of drinking gin (known as Geneva) in the Gin Act of 1751. The print is accompanied by the following verse:</p>

<p>Gin, cursed Fiend, with Fury fraught,<br />
Makes human Race a Prey.<br />
It enters by a deadly Draught<br />
And steal our Life away.<br />
Virtue and Truth, driv'n to Despair<br />
Its Rage compells to fly,<br />
But cherishes with hellish Care<br />
Theft, Murder, Perjury.<br />
Damned Cup! that on the Vitals preys<br />
That liquid Fire contains,<br />
Which Madness to the heart conveys,<br />
And rolls it thro' the Veins.</p>

<p>Gin had originally been marketed as a medicine for upset stomachs in the Netherlands. It was imported into Britain after 1689 and quickly became the choice drink of the poor. Many distilled and sold it from their homes. Some historians claim that by 1750, one out of every fifteen houses in London sold it. Children would often be sent to buy gin for their parents and sampled it themselves. It was also regularly given to calm babies. Hogarth shows here the poverty, public drunkenness, and crime, which resulted from the cheap availability of gin. The most shocking figure in <em>Gin Lane</em> is the drunken mother. She may be partially based on a real person, Judith Dufour. Due to the mother's neglect, the two-year old child had been taken from her and placed in a workhouse. Dufour reclaimed her child and shortly afterwards strangled it and left the body in a ditch. She sold the clothes that the workhouse had provided the child for a few pennies, and then used the money to buy gin. Dufour was publicly hanged for the murder.</p></div>
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                                    <div class="element-text">William Hogarth</div>
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                                    <div class="element-text"><em>Gin Lane</em> (1751). Etching and Engraving by William Hogarth. Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs. The New York Public Library, Astor, Lenox and Tilden Foundations. Reproduced online: <em>Gin Lane</em>, The Norton Anthology of English Literature, <a class="external" href=http://www.wwnorton.com/college/english/nael/18century/topic_1/illustrations/imginlane.htm>http://www.wwnorton.com/college/english/nael/18century/topic_1/illustrations/imginlane.htm</a> (accessed March 26, 2008). Annotated by Lynda Payne.</div>
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                                    <div class="element-text">2008-10-12</div>
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                                    <div class="element-text">Lynda Payne</div>
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                                    <div class="element-text">image/jpeg</div>
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                                    <div class="element-text">Etching and Engraving by William Hogarth, titled Gin Lane (1751). Depicts a street scene in England. Chaotic people, many of whom appear to be drunk. Most prominent figure is of a drunken mother in rags who has dropped her child, who is in the act of falling over a railing.

Image caption reads: 
&quot;Gin, cursed Fiend, with Fury fraught,
Makes human Race a Prey.
It enters by a deadly Draught
And steal our Life away.
Virtue and Truth, driv&#039;n to Despair
Its Rage compells to fly,
But cherishes with hellish Care
Theft, Murder, Perjury.
Damned Cup! that on the Vitals preys
That liquid Fire contains,
Which Madness to the heart conveys,
And rolls it thro&#039; the Veins.&quot;</div>
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                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/79/fullsize"><img src="/files/display/79/square_thumbnail" class="thumb" alt="&lt;em&gt;Gin Lane&lt;/em&gt; (1751) [Engraving]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Mon, 13 Oct 2008 05:23:19 +0000</pubDate>
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