| Columbus Breaking the Egg | |
|---|---|
 | |
| Artist | William Hogarth |
| Year | 1752 |
| Type | Engraving |
Columbus Breaking the Egg is a 1752 engraving by English artist William Hogarth. Issued as the subscription ticket for his treatise on art, The Analysis of Beauty , it depicts an apocryphal tale (the "Egg of Columbus") concerning Christopher Columbus's response to detractors of his discovery of the New World. Hogarth uses the story as a parallel to what he considered his own discoveries in art.
The tale of the "Egg of Columbus" is apocryphal and was ascribed to Filippo Brunelleschi with regard to the construction of the dome of the Duomo in Florence before it was related pertaining to Columbus. The story told by Girolamo Benzoni in his Historia del Mondo Nuovo of 1565 was that at a meal several of Columbus's detractors began to comment that any number of other people could have found their way to the New World and that Columbus's feat was unremarkable because of its simplicity. Columbus replied that it was only easy now that he had demonstrated how it was done, and by way of an example, he challenged anyone present to stand an egg on its end. After all those attempting the feat had admitted defeat Columbus demonstrated the simplicity of the challenge by crushing one end of the egg against the table which allowed it to remain upright.
Hogarth's print was issued in April 1752 as the subscription ticket for his forthcoming book on art The Analysis of Beauty. Various copies of the ticket are extant, some of which are held by the British Museum, Fitzwilliam Museum and the Hunterian Museum. [1] The print shows Columbus having just demonstrated the method for making the egg stay upright. His audience look on in amazement and one man behind him beats his forehead in frustration at the simplicity of the solution. At either end of the table are men caught still in the act of attempting to balance eggs.
Below the print is the following text:
Rec'd ... of ... five Shillings being the first Payment for a Short Tract in Quarto call'd the Analysis of Beauty; wherin Forms are consider'd in a new light, to which will be added two explanatory Prints Serios and Comical Engrav'd on large Copper Plates fit to frame for Furniture.
A small note informing the reader that the price will be raised once the subscription is over is added alongside Hogarth's signature. The price for the Analysis was ten shillings: five shillings on subscription and five shillings on delivery, with the price rising to fifteen shillings for those purchasing once the subscription period had finished. [2]
While simply executed with no great attention to detail or fineness of engraving, the ticket served a satirical purpose. Hogarth expected much the same reaction to his book as Columbus had received. Hogarth considered that he too had discovered a "New World", but one with the sphere of art rather than geography, and just as Columbus's detractors had mocked the navigator's accomplishment as simple and inevitable, Hogarth expected the art connoisseurs to mock his thesis on the serpentine "Line of Beauty" as self-evident and unimaginative. According to Trusler, Hogarth was correct in his assumption:
In the print of Columbus there is evident reference to the criticisms on what Hogarth called his own discovery and in truth the connoisseurs remarks on the painter were dictated by a similar spirit to those of the critics on the navigator they first asserted there was no such line, and when he had proved that there was, gave the honour of discovery to Lomazzo, Michael Angelo, &c &c. [3]
To strengthen the connection between himself and the Columbus of the tale he included two eels in a bowl in the centre of the table their bodies demonstrating the "Line of Beauty" as they coiled around a pair of eggs. Trusler sees a further example of Hogarth's serpentine line in the twisted tablecloth and a hint of it in the knife blade. [3] To further underline the ironic nature of the print the composition is based on Da Vinci's The Last Supper , with the bowl containing the eels and eggs replacing the Host. [4] Hogarth expert, Ronald Paulson also sees echoes of Hogarth's early picture of Sancho's Feast (which was probably produced in the 1720s) [5] and connections to the final plate of A Harlot's Progress where the body of Moll Hackabout takes the role of the Host. [6] Another of Hogarth's ideas on the nature of Beauty is also illustrated: the ugly, coarse, common, "lower class" attributes are given to Columbus's critics while Columbus himself is portrayed with the refined lines of the nobility—Hogarth proposed that ugliness arose where "beauty seems to submit, in some degree, to use", [7] but here, as in many of his images, the inner qualities are reflected in the outward appearances. [8]
The print was produced in a single state, although there are variations on the printing. The British Museum has a number of copies of the subscription ticket, made out to various subscribers, and an example of a later version, which lacked the subscription information but had the addition of "Design'd and Etch'd by Wm Hogarth Decem 1. 1753." below the image, survives in the Hunterian Museum. [1] The unannotated version is believed to have been used as a frontispiece for some copies of the Analysis of Beauty. In 1754, Hogarth was advertising separate copies of Columbus Breaking the Egg for one shilling. [9] Unusually, the original copperplate survived the First World War when many of Hogarth's plates were scrapped to produce material for munitions and aircraft. Quaritch, the owner of a large number of Hogarth's original plates, donated many to the Government to help the war effort, but the plate of Columbus Breaking the Egg was sold to Charles Scribner's Sons in 1921 and later sold on to a private collector. The Royal Library has an unfinished version of the scene, which Nichols believed to be a proof, [10] but Paulson dismisses as an "extremely cunning copy ... left unfinished or purposely made to resemble an unfinished proof." [1]
William Hogarth was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".
Ronald Howard Paulson is an American professor of English, a specialist in English 18th-century art and culture, and the world's leading expert on English artist William Hogarth.
A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–1734, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital (Bedlam). The original paintings are in the collection of Sir John Soane's Museum in London, where they are normally on display for a short period each day.
Marriage A-la-Mode is a series of six pictures painted by William Hogarth between 1743 and 1745, intended as a pointed skewering of 18th-century society. They show the disastrous results of an ill-considered marriage for money or social status, and satirize patronage and aesthetics. The pictures are held in the National Gallery in London.
A Harlot's Progress is a series of six paintings and engravings (1732) by the English artist William Hogarth. The series shows the story of a young woman, M. Hackabout, who arrives in London from the country and becomes a prostitute. The series was developed from the third image. After painting a prostitute in her boudoir in a garret on Drury Lane, Hogarth struck upon the idea of creating scenes from her earlier and later life. The title and allegory are reminiscent of John Bunyan's Pilgrim's Progress.
The Four Stages of Cruelty is a series of four printed engravings published by English artist William Hogarth in 1751. Each print depicts a different stage in the life of the fictional Tom Nero.
Four Times of the Day is a series of four oil paintings by English artist William Hogarth. They were completed in 1736 and in 1738 were reproduced and published as a series of four engravings. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as A Harlot's Progress, A Rake's Progress, Industry and Idleness, and The Four Stages of Cruelty, it does not depict the story of an individual, but instead focuses on the society of the city in a humorous manner. Hogarth does not offer a judgment on whether the rich or poor are more deserving of the viewer's sympathies. In each scene, while the upper and middle classes tend to provide the focus, there are fewer moral comparisons than seen in some of his other works. Their dimensions are about 74 cm (29 in) by 61 cm (24 in) each.
The Gate of Calais or O, the Roast Beef of Old England is a 1748 painting by William Hogarth, reproduced as a print from an engraving the next year. Hogarth produced the painting directly after his return from France, where he had been arrested as a spy while sketching in Calais. The scene depicts a side of beef being transported from the harbour to an English tavern in the port, while a group of undernourished, ragged French soldiers and a fat friar look on hungrily. Hogarth painted himself in the left corner with a "soldier's hand upon my shoulder."
Characters and Caricaturas is an engraving by English artist William Hogarth that he produced as the subscription ticket for his 1743 series of prints, Marriage à-la-mode, and which was eventually issued as a print in its own right. Critics had sometimes dismissed the exaggerated features of Hogarth's characters as caricature and, by way of an answer, he produced this picture filled with characterisations accompanied by a simple illustration of the difference between characterisation and caricature.
The Bench is the title of both a 1758 oil-on-canvas painting by the English artist William Hogarth, and a print issued by him in the same year. Unlike many of Hogarth's engravings produced from painted originals, the print differs considerably from the painting. It was intended as a demonstration of the differences between character painting, caricature and outré—developing on the theme he had begun to address in Characters and Caricaturas —but Hogarth was unhappy with the result as it showed only "characters", and he continued to work on the piece until his death.
The Enraged Musician is a 1741 etching and engraving by English artist William Hogarth which depicts a comic scene of a violinist driven to distraction by the cacophony outside his window. It was issued as companion piece to the third state of his print of The Distrest Poet.
The Distrest Poet is an oil painting produced sometime around 1736 by the British artist William Hogarth. Reproduced as an etching and engraving, it was published in 1741 from a third state plate produced in 1740. The scene was probably inspired by Alexander Pope's satirical poem The Dunciad. It depicts a scene in a small, dingy attic room where a poet sits at his desk in the dormer and, scratching his head, stares at the papers on the desk before him, evidently looking for inspiration to complete the poem he is writing. Near him sits his wife darning clothes, surprised by the entrance of a milkmaid, who impatiently demands payment of debts.
Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society and towards a more cutting satire on the problems of poverty and crime.
The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. Hogarth was well known for his satirical works, and The March of the Guards to Finchley has been said to have given full scope to this sense of satire; it was described by Hogarth himself as "steeped in humour".
Emblematical Print on the South Sea Scheme is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–21. The print is often considered the first editorial cartoon or as a precursor of the form.
The Bad Taste of the Town is an early print by William Hogarth, published in February 1723/24. The small print – 5 inches (13 cm) by 6 inches (15 cm) – mocks the contemporary fashion for foreign culture, including Palladian architecture, pantomimes based on the Italian commedia dell'arte, masquerades, and Italian opera. The work combines two printmaking techniques – etching and engraving – with etched lines made in the plate using acid and engraved lines marked using a burin.
Revd John Trusler (1735–1820) was an eccentric English divine, literary compiler, and medical empiric.
Trump was a pug owned by English painter William Hogarth. The artist included the dog in several works, including his 1745 self-portrait Painter and his Pug, held by the Tate Gallery. In the words of the Tate's display caption, "Hogarth's pug dog, Trump, serves as an emblem of the artist's own pugnacious character."
Jane Hogarth (c.1709–1789) was a British printseller and businesswoman who preserved the rights to the artwork of her husband, William Hogarth, following his death. She successfully continued to produce and sell his work for many years.