Commentators are undecided whether this is late at night or the afternoon but in either case, the implications are damning: If it's 12:20 in the morning, the house has clearly been the scene of a wild and debauched party; the Viscount has been out until all hours and neither are interested in each other. Shortly afterward it is pulled back into the tie wig. Marriage à-la-Mode: 2. She is slyly looking to the right through half closed eyes and holding a pocket-mirror above her head – she seems to be signalling to someone, perhaps her lover, out of the picture. Login to download. Like A Harlot’s Progress, they were offered to subscribers at a guinea a set. In contrast to her husband, the wife looks content and pleased with herself as she takes a satisfied stretch. The paintings were offered for sale by twelve noon on 6 June 1751, but only attracted two bidders, one of whom bought them all for £126. Description: Marriage A-la-Mode' was the first of Hogarth's satirical moralising series of engravings that took the upper echelons of society as its subject. The Alderman, who is plainly dressed, holds the marriage contract, while his daughter behind him listens to a young lawyer, Silvertongue. Marriage A-la-Mode: 2, The Tête à Tête William Hogarth (1697–1764) The National Gallery, London Back to image. The story focuses on two fathers, one an extravagant nobleman who is short on money and a … Marriage à la mode is a series of six paintings painted by William Hogarth between 1743 and... Exposition de reliques dans une galerie d'art à Londres - Tête de St Jean-Baptiste censée renfermer une goutte de sang séché du saint. Marriage à-la-mode: 3. INFORMAL PORTRAITS. Media in category "Marriage à-la-mode: 2. “The Tête à Tête” as well as the rest of the original Marriage A-la-Mode paintings are currently in the collections of the National Gallery in London, England. TÊTE-À-TÊTE… The Bagnio 6. Technischer Kommentar . William Hogarth 1697-1764 Marriage à la Mode: 2. L'oeuvre d'art Marriage à-la-mode. The phrase ‘tête à tête’ implies an intimate conversation but the newly-weds in their new home (completed with the Alderman’s money) look anything but intimate. Room: 1650-1730. An apothecary scolds the servant whom he accuses of obtaining the poison. The fourth scene of Hogarth’s Marriage A-la-Mode takes place in the wife’s bedroom. It is a few months after the wedding of the Earl of Squander's son to the Alderman's daughter. The tired Viscountess, who appears to have given a card party the previous evening, is at breakfast in the couple’s expensive house, which is now in disorder. They were painted to be engraved and then sold after the engravings were finished.The Earl of Squander is negotiating the marriage of his son to the daughter of a rich Alderman of the City of London. REPORTAGE. The lawyer Silvertongue invites her to a masquerade, like the one depicted on the screen to which he points. They were painted to be engraved and then sold after the engravings were finished. We are temporarily closed. Scene 6: The Lady’s Death: The final scene takes place in the house of the Countess’s father. Marriage à-la-mode: 2. The bride stretches sleepily, … Now a Countess, she is following the aristocratic French fashion of receiving visitors as she finishes getting dressed. The modelling of the face was particularly praised for the way it expressed both the Viscount’s youth and the physical evidence of his dissipation. HOME. Contents. She has taken poison on learning that her lover has been hanged for the murder of the Earl, reported in the broadsheet at her feet. Scene 1: The Marriage Settlement: The Earl of Squander is arranging the marriage of his son to the daughter of a rich Alderman of the City of London. She has also become a mother, and a child’s teething coral hangs from her chair. ABOUT. She sits in an un-ladylike pose with her legs wide apart, and has a large and strategically placed damp patch on the front of her skirt implying she has recently had sex. Size is 35.4 H x 31.5 W x 17.7 in. FORMAL PORTRAITS. The characters in Hogarth’s ’modern moral subjects' are far from heroic but are equally intended to educate. The crossed carnations (funeral flowers) beside him are a tender reminder of death. This is the second in Hogarth's series of six paintings titled Marriage A-la-Mode. The engravings were instantly popular and gave Hogarth’s work a wide audience. Original Sculpture: Found Objects, Fabric, Wood on N/A. The Viscountess may be signalling to someone with her small folding pocket mirror. The deliberate and assured design of the first three scenes is not matched in the last three. Wright of Derby, A Philosopher Lecturing on the Orrery. Thomas Gainsborough, Mr. and Mrs. Andrews. 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