1. PREPARED BY LIMONOVA N.A. The magic world of painting in Britain in the 18 th century

2. William Hogarth (1697-1764) William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, and Anne Gibbons. In his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the street life of the metropolis and the London fairs, and amused himself by sketching the characters he saw. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St.Jone’s Gate, was imprisoned for debt in Fleet Prison for five years. Hogarth never spoke of his father's imprisonment. By 1720 Hogarth had own business engraving book plates and painting portraits. Around this time Hogarth met the artist, Sir James Thornhill. Impressed by his history paintings, Hogarth made regular visits to Thornhill's free art academy in Covent Garden.

3. GIN LANE William Hogarth is a famous artist in England. For the most part he studied himself, got a few lessons on art skill from Engraver Gamble. Maybe that's why his works distinguished by their unique style. His subjects for pictures the artist took of life, walking along the streets, he watched and remembered everything what was interesting to him. Later, he drew pictures on current life situations. He created several canvases devoted to a particular socially relevant issue. His care and observation helped him to create paintings with "real" people with their emotions and grimaces. Creating a series of "live" canvases he tried to show people their behavior on the part of the necessary and prompted changes in themselves. In his first series “A Harlot’s Progress", which includes 6 paintings, the painter, demonstrated the danger of the big city for the inexperienced provincial girl. Moll Hackabout arrives in London at the Bell Inn, CheapsideLondonCheapside Moll is now a kept woman, the mistress of a wealthy merchant mistress Moll has gone from kept woman to common prostitute prostitute Moll beats hemp in Bridewell Prisonhemp Bridewell Prison Moll dying of syphilissyphilis Moll's wakewake

4. Later there were no less successful series of paintings, such as “A Rake’s Progress", “Marriage a la Mode" and others. 1. The Marriage Settlement 2. The Tête à Tête 3. The Inspection 4. The Toilette 5. The Bagnio 6. The Lady's Death

5. The satirical series " Marriage a la Mode " was the first in England, mocking manners of high society. It was displayed the history of marriage and the subsequent marriage of an impoverished nobleman's son and daughter of a wealthy merchant. All six pictures were clearly elaborated figures of characters and well thought out the interior. In this series, the artist made fun of the situation faced by people because of the immorality of society so the characters caused and cause our pity. Truly series was assessed only in the 20th century. Now all six paintings of the series are in the National Gallery of London. A distinctive feature of the biography of William Hogarth was a recognition of his paintings and his talent during his lifetime. Many of his students have inherited his style of drawing. Hogarth made ​​ a tremendous contribution to world art. Also, his work had a great influence on the development of art in England. Throughout his creative life Hogarth painted portraits. The ability to convey the character of the man brought the artist the great success. The portrait was a favourite genre of painting in England. Portrait of Mary Edwards, 1740 Frick collection, New York David Garrick and his wife, 1757 Royal collection, Windsor

6. THOMAS GAINSBOROUGH (1727-1788) The most accomplished and the most influential English painter of the 18 th century was T. Gainsborough. Until 1774 Gainsborough painted landscapes and portraits in various provincial centres before settling in London for the last 14 years of his life..Although the elegant attenuation of his lords and ladies is indebted to his study of Van Dyck, Gainsborough achieved in his full-length portraits a freshness and lyric grace all his own. Occasional objections to the lack of structure in his weightless figures are swept away by the beauty of his colour and the delicacy of his touch. The figure in “Mary Countess Howe”, painted in the mid-1760s, is exquisitely posed in front of a landscape background. Gainsborough has expended his ability on the soft shimmer of light over the embroidered organdy of her overdress and cascades of lace at her elbows, sparkling in the soft English air, the only solid accents in the picture are her penetrating eyes. Although Gainsborough was country-born, his landscape elements seem artificial, added like bits of scenery to establish a spatial environment for the exquisite play of colour in the figure. In later life Gainsborough painted more freely and openly. Although his landscapes, which he preferred to his portraits, exhale a typically English freshness, they were painted in the studio on the basis of small models put together from moss and pebbles. Constructed in the grand manner of Hobbema, a 17-th century Dutch master, and painted with soft strokes of wash like those of Watteau, “The Market Cart”, of 1787, shows an almost rhapsodic abandonment to the mood of nature, which led to the great English landscapists of the early 19-th century.

7. JOSHUA REYNOLDS (1723-1792) Sir Joshua Reynolds was in his own day a commanding figure, whose authority outlived him and who eventually became a target for Romantic attacks. In Reynolds’s day society portraiture had become a monotonous repetition of the same theme, with the most limited possible variations. According to the formula, the sitter was to be posed centrally, with the background disposed like a back-drop behind; normally the head was done by the master, the body by a pupil or “drapery assistant”, who might serve several painters. Pose and expression tended to be regulated to a standard of polite and inexpressive elegance; the portrait told little about their subjects other than that they were that sort of people who had their portraits painted. They were effigies; life departed. It was Reynolds who insisted in his practice that a portrait could and should be also full, complex work of art on many levels; he conceived his portraits in terms of history-painting. Each fresh sitter was not just a physical fact to be recorded, but rather a story to be told. His people are no longer static, but caught between one moment and the next. Reynolds was indeed a consummate producer of character, and his production methods reward investigation. For them he called upon the full repertoire of the Old Masters. The duchess of Devonshire and her daughter Portrait of Lady Sara Bunbury Portrait of Nelly O’Brien

8. Reynolds’s success as a portraitist was so great that he was employing studio assistants to lay out the canvases for him and to do much of the mechanical work. The artist’s technique was sound, and many of his works of art suffered as a result. After his visit to the Netherlands where he studied the works of Rubens Reynolds’s picture surface became far richer.

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