File:Drawing (BM 1960,0409.113).jpg

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Summary

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A nude woman by a pyramid; seated, inclining to left, on drapery   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Artist
William Hogarth  (1697–1764)  wikidata:Q171344 s:en:Author:William Hogarth q:en:William Hogarth
 
William Hogarth
Description English-British painter and engraver
Date of birth/death 10 November 1697 Edit this at Wikidata 25 October 1764
Location of birth/death London London
Work location
London, Chiswick
Authority file
artist QS:P170,Q171344
Title
A nude woman by a pyramid; seated, inclining to left, on drapery
Description
English: A nude woman by a pyramid; seated, inclining to left, on drapery, a fold of which she holds in her right hand, her head in profile to left, her legs crossed, her left hand upraised and pointing to the pyramid behind her, right, after 1720
Black chalk, heightened with white, on grey paper
Date 1720-1725 (?)
Medium paper
Dimensions
Height: 436 millimetres
Width: 287 millimetres
institution QS:P195,Q6373
Current location
Prints and Drawings
Accession number
1960,0409.113
Notes

Stainton & White 1987 This drawing was attributed to Hogarth when it was acquired by the British Museum, and there seems no reason to doubt the attribution. Like other comparable examples noted in A. P. Oppé, 'The Drawings of William Hogarth', London, 1948, nos 25 and 28, this life study was very probably drawn during Hogarth's membership of the academy founded by John Vanderbank and Louis Chéron in St Martin's Lane - Hogarth being one of the initial subscribers in October 1720 - and is among his earliest surviving drawings. The cross-hatched shading shows the influence of Chéron (see 1953,1021.11(86) and 1953,1021.11(71)), although Hogarth's drawing is softer in execution. Hogarth later recalled that at the academy he had begun "copying in the usual way and had learnt by practice to do it with tolerable exactness", until "it ocur'd to me that there were many disadvantages attended going on so well continually copying Prints and Pictures . . . nay in even drawing after the life itself at academys ... it is possible to know no more of the original when the drawing is finish'd than before it was begun". As he observed, in his opinion the best artist was one whose visual memory was so highly developed that he could reproduce complicated forms at will, without the original in front of him, and thus concentrate on his proper business, that of invention: "Whoever can conceive part [of] a Human [figure] with all its circumstances variation[s] when absent as distinct as he doth the 24 letters with their combination[s] is perhaps a greater painter sculptor than ever yet existed" (M. Kitson, 'Hogarth's 'Apology for Painters, 'Walpole Society', xli (1966-8), p. 106). Nevertheless, his early training in drawing from the life was to be valuable to him and he seems never to have entirely abandoned the practice.

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It is possible that this drawing was in "A parcel of academy figures and studies, by Mr Hogarth and others", Lot 25 in Mrs Hogarth's sale, sold for £11.6s.
Source/Photographer https://www.britishmuseum.org/collection/object/P_1960-0409-113
Permission
(Reusing this file)		 © The Trustees of the British Museum, released as CC BY-NC-SA 4.0

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Date/TimeThumbnailDimensionsUserComment
current07:56, 15 April 2023Thumbnail for version as of 07:56, 15 April 20231,683 × 2,500 (633 KB)WideAngleEyes (talk | contribs)Higher resolution version of the same file from the same source with the same colors
22:40, 10 May 2020Thumbnail for version as of 22:40, 10 May 20201,077 × 1,600 (266 KB)Copyfraud (talk | contribs)British Museum public domain uploads (Copyfraud/BM) Prints by William Hogarth in the British Museum 1720 #72/1,429

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