Bauhaus-Universität Weimar

Titel:
A history of caricature and grotesque in literature and art
Person:
Wright, Thomas Fairholt, Frederick William
Persistente ID:
urn:nbn:de:gbv:wim2-g-1429385
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/resolver?urn=urn:nbn:de:gbv:wim2-g-1434313
in 
and Art. 
Literature 
the fees exafted for the flight indulgence he has obtained in prifon are 
unpaid, and even the pot-boy refufes to deliver him his beer without firli 
receiving his money. It is but a Hep further to Bedlam, which, in the 
next plate, clofes his unbleifed career. 
Ten years almoli from this time had pafied away before Hogarth gave 
to the world his next grand feries of what he called his " modern moral 
fubjeets." This was " The Marriage cl la mode," which was publifhed in 
fix plates in 1745, and which fully fuftained the reputation built upon the 
" Harlot's Progrefs " and the " Rake's Progrefs." Perhaps the beit plate 
of the " Marriage d la mode," is the fourth-the rnufic fcene-in which 
one principal group of figures efpecially arreils the attention. It is repre- 
fented in our cut No. 204.. William Hazlitt l1as jutily remarked upon it 
that, " the prepoilerous, overftrained admiration of the lady of quality; 
the fentimental, infipid, patient delight of the man with his hair in 
papers, and tipping his tea; the pert, fmirking, conceited, half-diltorted 
approbation of the figure next to him; the traufition to the total infenii- 
bility of the round face in profile, and then to the wonder of the negro 
boy at the rapture of his miitrefs, form a perfeet whole." 
In
        

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