William Hogarth잉글랜드, 1697–1764After
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〈After〉는 지금 어디에 있나요? 소장처: 미니애폴리스 미술관, 미니애폴리스. 현재 전시하지 않습니다. 확인일 2026년 11월 2일.
미니애폴리스, 미국
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작품 소개
Hogarth brings his usual insightful humor to the role reversals pictured in these two images (P.68.349 and P.68.350). In Before the woman appears anxious after having invited her enthusiastic lover into her bedroom. She futilely pushes him away amid the barks of her dog. The man clings to her body wildly, his face excited and his bald head becoming exposed under his wig-a sight that in the eighteenth century carried sexual overtones. In After, by contrast, the man appears panicked and distant, and the woman now passionately reaches to embrace his fleeing figure. As was typical, Hogarth peppered his scene with details to develop his narrative further. In After a number of objects are symbolically broken-the dressing table, chamber pot, and bed curtains-and the rocket ignited by the putto in the painting in the background has been extinguished.
미니애폴리스 미술관
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- 소장품 번호
- P.68.350
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출처
- 미니애폴리스 미술관
- 이미지: 미니애폴리스 미술관 — public domain
William Hogarth의 생애 속 이 작품
생애 전체 보기1712–1764 · 작업 장소
London
1735
Founds the St Martin’s Lane Academy
In 1735 Hogarth founded the St Martin’s Lane Academy in London — in essence a drawing studio that grew out of a circle of painters, draughtsmen and engravers who met at Slaughter’s coffee house on St Martin’s Lane. It became a forerunner of the Royal Academy of Arts and spread new artistic ideas in England.
25 June 1735
“Hogarth’s Act”: copyright for engravings
When the success of the two series produced numerous pirated copies, Hogarth lobbied Parliament for a law protecting engravers: the Engravers’ Copyright Act, known as “Hogarth’s Act”, became law on 25 June 1735 — the first copyright law to cover visual works and to recognise the authorial rights of an individual artist.
