William Hogarth And Who's George Cruikshank

William H. Johnson was a successful painter who was born on March 18, 1901 in Florence, South Carolina. Johnson began exploring his level of creativity as a child, and it only amplified from there because he discovered that he wanted to be an artist. After making this discovery he attended the National Academy of Design in New York which is where he met his mentor Charles Webster Hawthorne who had a strong influential impact on Johnson. Once Johnson graduated he moved to Paris where he was exposed to different artists, various artistic abilities, and evolutionary creations. Throughout Johnson’s time in Paris he grew as an artist, and adapted a “folk” style where he used lively colors and flat figures. Johnson used the “folk” style to express the experience of most African-Americans during the years of the 1930s and 1940s.

Janson, H W, Penelope J. E. Davies, and H W. Janson. Janson's History of Art: The Western Tradition. Upper Saddle River, NJ: Prentice Hall, 2011. Print.

By the time he was seventeen, Monet was already making money from his work and had won a local reputation as a caricaturist. Skillful and amusing, his caricatures were displayed in the window of a local frame maker, Monsieur Gravier, where they drew crowds of appreciative viewers. Gravier also displayed paintings by the landscape painter Eugene Boudin, who was an old friend of his. Monet's development of friendship and informal tutelage of Boudin proved to be formative for Monet's future direction as a landscape painter. (Gordon, 38)

The story “lord of the flies’’ by William Golding, the novel correlates to the philosophical views of John Locke and Thomas Hobbes. John Locke was an English philosopher that surmised man's natural moral compass would point towards good, Locke's philosophical writings stated “ that individuals in a state of nature would have stronger moral limits on their actions. Essentially, Locke thought that our human nature was characterized by reason and tolerance. People, Locke believed, were basically good’’ ( Locke and Hobbes Overview 2). John Locke thought if people were given no rules they would make a paradise, flourishing in law, order, and structure, Thomas Hobbes believed people were naturally cruel and chaotic, with a need of a strong ruler to make decisions. Hobbes stated, “Who felt that mankind was inherently evil and required a strong central authority to ward off this inclination toward an immoral behavior, Locke believed that human nature allowed men to be selfish’’( Locke and Hobbes Overview 2 ). Thomas Hobbes believed a strong iron-fisted ruler was needed for the safety and well being of a society. The ideals of man in a natural state, follow Thomas Hobbes philosophical view represented through Jack's brutish and monarch like attitude which lead to them living in a dystopian society.

He started studying at the Royal Academy in London and married Esther Kenworthy in 1883 then moved to St. John’s Wood. They lived in a purpose built artistic colony .”Early in his career his works appeared similar to the the works of Sir Lawrence Alma-Tadema” and he painted many distinctive painting and was influenced by many talented artist before him. He produced over 200 paintings during his lifetime including “The Lady of Shalott,” “Boreas,” and,“The Crystal Ball.” “ He painted many excellent portraits of women”. His paintings were rich for their color, and was neglected through most of the 20th century. He produced works of mythological and literary themes through the 1890s and 1900s. He taught at St. John’s Wood art school between 1892 and 1913. He left no diaries or journals, and died of cancer in 1917.

In England and France, illustrators were tasked with composing satirical prints, books, journals and posters; as long as they had some formal education or prior workshop experience. When illustrating these forms of media, especially books, it was their job to devise artwork that would entice the reader to pick up the novel,or provide inspiration for the writers themselves. Overall, the early 1800s saw illustration still in its general stages of development. However, eventually that all changed (www.illustrationhistory.org)

Wyeth's art has long been controversial. As a representational artist, Wyeth's paintings have sharply contrasted with the prevailing trend of abstraction that gained currency in American art in the middle of the 20th century. Museum exhibitionists of Wyeth's work have set attendance records, but many art critics have derided his paintings. The most common criticisms are that Wyeth's art verges on illustration, and that his predominantly rural subject matter is heavily weighted with sentiment. Admirers of Wyeth's art believe that his paintings, in addition to sometimes displaying overt beauty, contain strong emotional currents, symbolic content and underlying abstraction. Most observers of Wyeth's art agree that he is exceptionally skilled at handling the mediums of watercolor and egg tempera. Except for early

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

Nature and wilderness were very important ideas, to some extent, for St. John de Crevecoeur and Ralph Waldo Emerson. Each had their own opinions and ideas that contrasted against each other and were somewhat similar to each other; Emerson valued nature greatly, whether it be from looking at it as something to be proud of, to using nature as an example in his work, such as how we are a part of it and how random it can be. Crevecoeur believed that every land has its own form of culture as it does its own kind of nature. He describes how the land and nature was, and how it will be, by giving details of it in his pieces of work.

These images are some of the most amazing and extravagant images of their time. The elegance of this Rococo painting cannot be duplicated, it has a total of five other scenes that go along with Marriage A-la-Mode. Like many Rococo paintings it uses themes of romantic and erotic love. The allegory of Rococo artist William Hogarth, Marriage A-la-Mode is the choice between vice and virtue, to marry for money or for love (Zucker &Harris). In the Two Ways of Life photograph by realist artist Oscar Gustav Rejlander, was made by composite printing. This photo also shows an elaborate allegory of the choice between vice and virtue, represented by a bearded man leading two young men from the countryside onto the stage of life (The Collection). Both paintings give an excellent example of hedonism.

Secondly, when we ask the question, what is freedom, we are not simply asking for a definition. We are seeking to find some truth in regards to liberty. We don’t ask this difficult question in order to get some sort of dictionary definition, we ask this question in order to gain insight. We ask this question to know how we should live our lives and how our government and other institutions should act in respect to liberty and our freedoms. Berlin’s two conceptions not only provide us with a definition, but also helps us determine how our society and laws should progress.

The artwork of William Hogarth is influenced greatly by social factors and the culture of eighteenth century England. In many of his works, Hogarth satirizes English society, rich and poor alike. His paintings and engravings depict the society of which he lived, with the costumes and ways of life of the times all shown in his work. Much of the time he is being satirical, exaggerating some of the faults of the people, other times he is being bitingly realistic in his views. It seems no-one is safe from his caricatures, from the lords and ladies, to slaves, servants, prostitutes, criminals and the poor.

The role which morality should play in art has been contested for as long as art has existed. Some say that art is to be used to influence society to become better, to teach the audience, while others say that art should be for arts sake, independent of society’s current view on morality. Three paintings from three different art periods will be explored to see how morality’s role in art is approached differently. David’s “The Death of Marat” shows how art can be a vehicle for moral education, Daumier’s “The Laundress on the Quai d’Anjou” honours character produced from suffering, and Manet’s “Olympia” harshly criticises France’s moral hypocrisies. Although not all artists set out to show morals in their art, their paintings subconsciously reflect the time that they were in, which involves society’s morals.

In the top story of one the buildings fortunate to still be standing, is a man who has hung himself from the rafters. Willaim Hogarth used all these startling scenes to grab the attention of the viewer and give them an insight on London at its lowest. Through “Gin Lane,” Hogarth expressed the ravenous effects gin had on the people of London and how it affected the living environment as well.

Discuss the fascinating parallels between William of Ockham and David Hume, highlighting for example, the Regularist View of Causality.