Juan Munoz Paperback – Illustrated, May 1, 2008

As a social history of London in the early 18th century, this book is an excellent introduction. As a survey of Hogarth's art, it falls short. The content is presented through thematic essays rather than a chronological narrative, which is difficult to follow for those unfamiliar with Hogarth's life. It's a terrific study of London's cultural history, which is important to understand Hogarth's art, but the biographical aspects are lacking. Don't read this book expecting to learn about Hogarth's technique and legacy in art history. Another factor to consider is that owing to its size, the book features small reproductions (32 color, 28 b&w) of playing card to postcard size.Overall, Matthew Craske's analysis of Hogarth's art is rather superficial. Although he occasionally explores Hogarth's satirical pictures with some depth, in many instances he merely scratches the surface of what's going on. I'm left looking at so many pictures wondering what this object means, what that person is doing, why are these irrational actions happening, etc. Hogarth's images are often as detailed and busy as Brueghel's. But much of the symbolism of Hogarth's work is unexplained here, which I found disappointing. The author also frequently cites some of Hogarth's images that aren't reproduced in the book.I will say there are some fascinating nuggets to be learned here, though. Craske examines what Hogarth's depictions of the lower classes reveal about the artist, how Hogarth invented a genre of morality tale through imagery, and why he strove to found a British school of painting. You'll also appreciate what Hogarth meant when his pug appears in his paintings.Bottom line: The book is an enlightening read if you want to learn about London's cultural history and Hogarth's attitudes, but as a portrayal of Hogarth the artist, this little volume is wanting. I recommend  Hogarth: The Artist and the City  instead.

This is a concise and extremely well written summary of Hogarth and his times, containing many insights into 18th century cultural history. This was a time in which social critics and "self-help" authors were beginning to take over some of the authority formerly held by the church on moral issues, and Hogarth was in the vanguard of those attempting to illustrate how personal liberty if unchecked by good behavior could descend into licentiousness and ruin. Among other interesting topics covered are Hogarth's feelings about the British class system (having risen from modest origins through an apprenticeship as a silver engraver to fame and fortune as an artist and printmaker), his sympathy for the lower classes, and his antipathy to the artistic establishment which overvalued trite and derivative Continental art on religious and mythological themes.

This is a fascinating, well-written and well-researched look at William Hogarth's art, life and ideas. It is arranged thematically rather than chronologically, and includes nice reproductions of a sampling of Hogarth's work (although the sizes of some of the images are small). The author includes a very refreshing common sense in his interpretations of Hogarth's motives, with a good, clear understanding of the 18th-Century British context in which Hogarth lived and worked.

An interesting insight into the mind of this much underrated genius. Excellent book.