109:
146:. In the painting on the wall, the transitory nature of fashion is represented by the cupids at left, who use a bellows to blow up a fire of discarded petticoats and wigs; at right, the classical form of the female sculpture is contrasted with the cutaway rear view of her enormous hoop underskirt stiffened with whalebone, "the mode 1742" as the painting's legend has it. The fashionable hoops make the seated lady's dress rise up ridiculously behind her, and in a vignette on the fire-screen at right, a lady is shown trapped in a
126:, was intended to satirise and poke fun at the types of dress and garbs that were in fashion at the time, and the superficiality of the tastes and nature of the aristocracy in general. Several figures are seen in the painting, all of whom are dressed in heavily caricatured renditions of the fashion that reigned in the 1740s. Most prominently exhibited is an elderly woman wearing a sacque covered with satirically overblown roses expanded by a large hoop. Standing near her is an opulently dressed man, thought to be
31:
138:, an actor and writer, in his youth – both of whom are also dressed as exquisitely as the first two. The black page, holding a type of Chinese porcelain figure, is a servant, and was painted in as an element of irony in the work; as a slave, he mocks his masters, who themselves bowed before fashions and the latest frivolities of upper-class life. Even the
130:(the dress he wears is said to be the very same he wore to his birthday in the year of the painting's creation) The two huddle together in admiration over the minute porcelain cup held by the lady and saucer held by the lord. Also part of the company is another woman clutching the chin of a black page boy wearing a
177:. On this occasion she engaged the services of Hogarth with the specific intent of commissioning a painting that would humorously mock what she considered to be the ridiculous fashions and indulgences of the upper class of the time, and "female adornment". It is reported that she did this as an act of
168:
of
Kensington, a consistent patron of Hogarth's. Miss Edwards, who had inherited a sum of more than £50,000 a year at the age of twenty-four, was considered eccentric, having common lawed married a son of the fourth Duke of Hamilton,
185:, Hogarth agreed to fulfil her request, but it is known that he was not particularly fond of his work; Hogarth often felt less enthusiastic about productions for which a specific commission was made, that were executed to order.
142:
standing in the centre foreground wears a flowing, cuffed robe as he examines the list of purchases made by one of the four – it is not known whom – at a recent
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for a posthumous edition of
Hogarth's works, but Phillips's final, third state was not published until 1808.
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96:. The version seen on the right was engraved by Samuel Phillips in 1798, under commission from
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She had sat to several portraits and a conversation piece and had purchased
Hogarth's
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that is filled by her hoops—this woman appears again in the background of
Hogarth's
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63 cm × 75 cm (25 in × 30 in)
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seen from the back, but she wears high-heeled shoes.
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Charles
Colyear, 2nd Earl of Portmore (1700–1785). (
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William
Hogarth: Painter, Engraver, and Philosopher
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890:Sigismunda mourning over the Heart of Guiscardo
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173:whom she discarded when he turned out to be
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553:Emblematical Print on the South Sea Scheme
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415:Art and Culture in the Eighteenth Century
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802:Captain Lord George Graham in his Cabin
669:Credulity, Superstition, and Fanaticism
490:Trusler, John; William Hogarth (1833).
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597:Strolling Actresses Dressing in a Barn
464:English Painters, Hogarth to Constable
211:
209:
134:– thought to be designed after
7:
746:Scene from Shakespeare's The Tempest
379:. Colonial Williamsburg Foundation.
128:"Beau" Colyear, 2nd Earl of Portmore
842:The March of the Guards to Finchley
14:
778:Portrait of Captain Thomas Coram
569:A Just View of the British Stage
417:. University of Delaware press.
195:List of works by William Hogarth
16:1742 painting by William Hogarth
866:Hogarth Painting the Comic Muse
704:The Assembly at Wanstead House
481:Sala, George Augustus (1986).
1:
447:. Stanford University Press.
398:. Adamant Media Corporation.
276:, ii, 158, iii.333, noted in
164:The work was commissioned by
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1057:Paintings by William Hogarth
810:David Garrick as Richard III
493:The Works of William Hogarth
435:Anecdotes of William Hogarth
661:Satire on False Perspective
462:Ritchie, Andrew C. (1968).
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645:The Four Stages of Cruelty
621:Characters and Caricaturas
589:The Company of Undertakers
375:Baumgarten, Linda (2002).
120:The work, a forerunner of
653:Columbus Breaking the Egg
561:The Bad Taste of the Town
432:Hogarth, William (1833).
28:
637:Beer Street and Gin Lane
485:. Smith, Elder & co.
309:Her pose is that of the
914:The Marriage Settlement
677:Five Orders of Periwigs
438:. J.B. Nichols and son.
413:Goodman, Elise (2001).
394:Dobson, Austin (2000).
92:) from around 1742, by
971:The Analysis of Beauty
850:Humours of an Election
443:Porter, David (2001).
272:Nichols and Steevens,
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1036:Mary Edwards (Patron)
882:The Lady's Last Stake
754:Four Times of the Day
629:Industry and Idleness
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613:The Enraged Musician
219:A Taste in High Life
818:Painter and his Pug
794:The Graham Children
724:A Harlot's Progress
466:. Ayer Publishing.
377:What Clothes Reveal
903:Marriage A-la-Mode
834:Hogarth's Servants
826:The Gate of Calais
786:Taste in High Life
286:"Ignatius Sancho".
171:Lord Anne Hamilton
123:Marriage à-la-mode
118:
78:Taste in High Life
24:Taste in High Life
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958:
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762:The Distrest Poet
732:A Rake's Progress
605:The Distrest Poet
240:Baumgarten, p.238
90:seen on the right
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949:The Lady's Death
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858:Sealing the Tomb
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685:John Wilkes Esq.
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496:. Jones and co.
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136:Ignatius Sancho
114:Joshua Reynolds
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94:William Hogarth
42:William Hogarth
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547:List of works
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473:0-8369-0124-X
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454:0-8047-3203-5
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424:0-87413-740-3
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405:1-4021-8472-7
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386:0-87935-216-7
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361:Hogarth, p.37
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352:Goodman, p.97
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322:Ritche, p. vi
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300:Dobson, p. 82
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263:Porter, p.189
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160:Commissioning
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83:oil-on-canvas
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62:Oil-on-canvas
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1031:Hogarth Club
969:
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935:The Toilette
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224:. Retrieved
218:
166:Mary Edwards
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98:John Boydell
86:
77:
76:
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18:
445:Ideographia
343:Sala, p.270
254:Sala, p.273
221:— Tate.org"
153:Beer Street
148:sedan chair
1051:Categories
942:The Bagnio
735:(1732–33,
368:References
175:profligate
85:painting (
67:Dimensions
874:The Bench
719:(1730–31)
696:Paintings
226:11 August
179:vengeance
156:in 1752.
88:engraving
982:Theories
837:(c.1750)
773:(c.1740)
749:(c.1735)
189:See also
104:Analysis
1014:Related
998:Museums
183:guineas
144:auction
974:(1753)
906:(1745)
893:(1759)
885:(1759)
877:(1758)
869:(1757)
861:(1755)
853:(1755)
845:(1750)
829:(1748)
821:(1745)
813:(1745)
805:(1745)
797:(1742)
789:(1742)
781:(1740)
765:(1736)
757:(1736)
727:(1731)
712:Before
688:(1763)
680:(1761)
672:(1761)
664:(1754)
656:(1752)
648:(1751)
640:(1751)
632:(1747)
624:(1743)
616:(1741)
608:(1741)
600:(1738)
592:(1736)
584:(1736)
577:Before
572:(1724)
564:(1724)
556:(1721)
540:Prints
470:
451:
421:
402:
383:
140:monkey
132:turban
81:is an
59:Medium
38:Artist
1021:Trump
963:Books
716:After
581:After
201:Notes
714:and
579:and
468:ISBN
449:ISBN
419:ISBN
400:ISBN
381:ISBN
284:s.v.
228:2008
54:1742
48:Year
279:DNB
1053::
291:^
282:,
245:^
208:^
52:c.
741:)
525:e
518:t
511:v
476:.
457:.
427:.
408:.
389:.
230:.
217:"
116:)
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