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Marriage A La Mode - Death of the Countess c19th century. Artist: Mansell
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Marriage A La Mode - Death of the Countess c19th century. Artist: Mansell
Marriage A La Mode - Death of the Countess c19th century. Marriage a-la-mode is a series of six pictures painted by William Hogarth between 1743 and 1745. They are a criticism of upper class 18th century society. Hogarth moralistises on the disastrous results of an ill-considered marriage for money and satirises patronage and aesthetics. The original paintings are held in the National Gallery, London. [Jones & Co. Finsbury Square, London]
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Media ID 14967443
© The Print Collector
Chaos Countess Eating Faint Fainted Hogarth Jones Jones Co Mansell Messy National Gallery Overturned Sick Sickness Social Class Society Untidy Upper Class W Hogarth William Hogarth A La Mode Aristocracy Aristocrat
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This print captures a scene from William Hogarth's renowned series, "Marriage A La Mode - Death of the Countess" painted in the 18th century. The six paintings serve as a scathing critique of upper-class society during that era, shedding light on the disastrous consequences of marriages driven by financial gain and satirizing themes of patronage and aesthetics. The original artworks are housed in London's esteemed National Gallery, but this particular print is brought to us by Jones & Co. , located in Finsbury Square. Within the frame, we witness an array of characters amidst chaos; men and women dressed in fashionable attire occupy an opulent interior while a dog observes their untidy surroundings. Intriguingly monochrome, this image portrays a lady fainting dramatically onto an overturned chair. The composition exudes a sense of disorder and sickness within aristocratic circles. As we delve into this nineteenth-century narrative, it becomes evident that Hogarth masterfully employs his artistic skills to convey societal concepts through visual storytelling. Mansell's skillful engraving brings forth every intricate detail with precision, allowing us to appreciate Hogarth's profound social commentary even more deeply. This print serves as both an aesthetic delight for art enthusiasts and a thought-provoking piece that invites contemplation on class dynamics and the consequences of ill-advised unions for material gain.
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