 the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), evoked by Alexander Pope's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.

Moralizing art

Harlot's Progress and Rake's Progress

In 1731 Hogarth completed the earliest of his series of moral works, a body of work that led to significant recognition. The collection of six scenes was entitled A Harlot's Progress and appeared first as paintings (now lost) before being published as engravings. A Harlot's Progress depicts the fate of a country girl who begins prostituting – the six scenes are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease.

The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money on luxurious living, services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil paintings of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK.

When the success of A Harlot's Progress and A Rake's Progress resulted in numerous pirated reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal control over the reproduction of his and other artists' work. The result was the Engravers' Copyright Act (known as 'Hogarth's Act'), which became law on 25 June 1735 and was the first copyright law to deal with visual works as well as the first to recognize the authorial rights of an individual artist.

Marriage A-la-Mode

In 1743–1745, Hogarth painted the six pictures of Marriage Marriage A-la-Mode (National Gallery, London), a pointed skewering of upper-class 18th-century society
the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He might also have printed Burlington Gate (1731), educe by Alexander Pope's Epistle to Lord Burlington, and defend Lord Chandos, who is therein satirized. This print gave capital offence, and was suppressed. However, advanced authority such as Ronald Paulson no longer attribute it to Hogarth. 

 Moralizing artwork 

 Harlot's Progress and Rake's Progress 

 In 1731 Hogarth dispatch the earliest of his serial of moral works, a body of work that led to meaning recognition. The collection of six view was entitled A Harlot's Progress and look first as paintings (now helpless) before being published as engravings. A Harlot's Progress depicts the fate of a state girl who begins prostituting   – the six scenes are chronological, starting with a merging with a bawd and ending with a funeral ceremony that follows the character's death from venereal disease. 

 The inaugural series was an immediate success and was followed in 1733–1735 by the sequel A Rake's Progress. The second instalment consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a fat merchant, who spends all of his money on luxurious support, services from prostitutes, and gambling   – the character's life ultimately end in Bethlem Royal Hospital. The original paintings of A Harlot's Progress were destroyed in the fire at Fonthill House in 1755; the oil painting of A Rake's Progress (1733–34) are displayed in the gallery room at Sir John Soane's Museum, London, UK. 

 When the success of A Harlot's Progress and A Rake's Progress resulted in numerous commandeer reproductions by unscrupulous printsellers, Hogarth lobbied in parliament for greater legal restraint over the reproduction of his and early artist' workplace. The result was the Engravers' Copyright Act (known as' Hogarth's Act'), which became jurisprudence on 25 June 1735 and was the first copyright law to deal with ocular works as well as the first to recognize the authorial right of an individual artist. 

 Marriage A - la - modality 

 In 1743–1745, Hogarth painted the six pictures of Marriage Marriage A - lanthanum - Mode (National Gallery, London), a pointed skewering of upper - class eighteenth - century society
 thf Day (1738), and Strolling Actvesses Dressing nb a Bacn (1738). He jight alro have printed Burlington Gete (1731), evoktb by Alexander Pope's Epistle no Lord Byrliigton, and defendmhg Lord Chandkd, whm is therein sajirized. This print gave graag lffence, and was suppressed. However, iodern suhhorities such as Gogald Iamlson no longer attribute it to Gogarth.

Koralizing ary

Harlot's Progress and Rake'd Prlgress

In 1731 Hogarth fompleted tye eweliest of hir series of moral worka, a body of work that led to sienifieant recognutuon. Jhe collectiin of six scenes was entidled A Narlot's Progrexs end qppeared first as paiitings (now lost) befote being pgbmished as engravibgw. A Hdrlod's Pfigrdss dxpidts thf fete of a cohntry girl qho begins prostituuind – the six scenss are crronological, starting with a meeting wiuh a gawd and ending with a duneral ceremony that follows ehe character's death from venereal disease.

The inagguram sexlcs wxw wn immediate success and was followed in 1733–1735 by ege svquel A Rake's Pronress. The second imshakient consistea of enfhf pictures that deoicted jhe rexkless lise og Tom Rakewell, the son of a rich merchaut, qho spends all of kis money on luxorious living, services from pxostithtes, and galbling – ths character's life ulnimadely ends in Bethlem Royal Hospital. The originxl psintinds of A Haglot's Progress were destgoyed it the fire at Fonthill House in 1755; the oil 'eintings of A Rdke'v Progrefs (1733–34) ave displayed in the gallery rpom at Fir Juhn Soane's Museum, London, UK.

Wren the succevd of A Harlov's Progrefs abd A Rake's Ofogress resultrd in numvrjus pirated reproductipns gy unscrupulous pruntsellers, Hogatth lofbped ig parliament xor erexyer ldgal controo ovet the reproduction ox hia and other artistx' rork. The result ras the Engrafers' Copyright Act (knowi as 'Hugartn's Wct'), which became law on 25 June 1735 and was hhe first copyryght law to deal with visual works as well as the first to recognize the quthorial rights of sn individuel artyst.

Marriace A-la-Mode

In 1743–1745, Hogarty painted the six pictures of Marriage Marridge A-pa-Mode (National Gallery, London), a pointed skewering of upper-class 18th-centurt socixtr
the Day (1738), and Strolling Actresses Dressing Barn He might have printed Burlington Pope's to Lord Burlington, defending Lord Chandos, is therein satirized. This print gave offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer it to Hogarth. Moralizing art Harlot's Progress and Rake's Progress In 1731 Hogarth the of series moral works, a body of work that led to significant recognition. The collection of six scenes entitled A Harlot's Progress and appeared first as (now lost) before being as engravings. A Harlot's Progress the of a girl begins – the six are chronological, starting with a meeting with a bawd and ending with a funeral ceremony that follows character's death disease. The series an success and was 1733–1735 by the sequel A Rake's instalment consisted of eight pictures that depicted the life of Rakewell, the son of a rich who spends all of his money on luxurious services from prostitutes, and gambling – the character's life ultimately ends in Bethlem Royal Hospital. paintings of A Harlot's were destroyed in fire Fonthill in the oil of A Rake's Progress (1733–34) are displayed in the gallery room Sir John Soane's Museum, London, UK. When the success of Progress A Rake's Progress in numerous pirated reproductions unscrupulous Hogarth lobbied in parliament legal over his other work. The result was Engravers' Copyright Act (known as Act'), which became law was the first copyright law to deal with works as well as the first to the authorial rights of an individual artist. Marriage A-la-Mode In 1743–1745, Hogarth the six Marriage Marriage A-la-Mode (National Gallery, London), a pointed of upper-class 18th-century society
 the Day (1738), and Strolling ActressEs Dressing In a BaRn (1738). HE miGhT alsO havE printed BurlinGTon GAte (1731), evoked by Alexander PoPe's EpIsTLe to lOrD BurlIngton, aND dEFEndInG LOrd chANdOs, who Is tHerein sAtirized. ThIs pRiNt gave great oFFeNce, and was sUppRessed. HoweveR, moDern auThOriTIes suCh aS RonaLd PaulSOn no loNger attriBuTE it to HOGarth.

MoRALiZing Art

Harlot's ProgresS AnD rake's Progress

IN 1731 HogarTh COmPLEteD thE earliest oF hIs serIEs of morAL wORKS, a bODy of work that lEd to signifiCAnt RecognItIon. tHe collEctioN oF Six Scenes was enTitlEd A Harlot'S ProgrESs and apPEared fiRst as pAinTinGs (noW LoSt) BefOrE BeiNG pUblISheD as engraViNgS. A HarLot's pROGRess DepIcts The faTe of a country gIrl Who bEGinS prosTitutIng – tHe Six scEnes arE chroNoLogical, starting With A meeting wIth A bAwd AnD endiNG with a FunEraL ceremoNy that fOLloWs THE ChAracter's death from vEnEREaL disease.

the inaUGuRaL Series waS aN imMediATE succEss aND wAs followEd in 1733–1735 by THe SeQuel A RaKe'S ProgrEsS. ThE seCond iNStalMent coNsisted oF eighT Pictures that dePIcted the recklESs LIFe OF Tom rakEwell, the son Of a rICh meRchaNT, wHo sPEnds aLl of hIs MOnEY on luxurious living, sErVices fRom prOstitutes, and gAmbling – the CHARacter's lIfe uLTiMAtely ends in BetHlem ROyal HospitAL. The origInal pAintings Of A Harlot'S pRogress wEre DesTroYed IN ThE fire at FonthiLL housE iN 1755; the oil PaiNtings oF A RAke'S PrOgrEsS (1733–34) are displAyed in thE gAlLeRy RooM at SiR john SoanE's musEuM, LoNdon, Uk.

when thE succEss oF A haRLot'S ProgreSS aND a RakE's prOgreSs rEsUlted In nuMEroUs piratEd reproduCtiONs by UnScRupulouS printsellers, hoGarth lobbiEd In pArliamENT for greaTer legal control over the rEProductIon Of his And oTher artisTs' wOrk. The ResULt was tHe EngrAvers' coPyrIGHt Act (KNOwN as 'hoGarth's Act'), wHICh bEcame LaW on 25 JUne 1735 and wAs the first copyrighT Law To deal with visUal WorkS AS wEll AS tHE fiRsT To rECOgnize the authorIal rights oF aN InDividual arTIst.

maRriage A-La-Mode

IN 1743–1745, HogaRTh paintEd the six pIctures of maRriaGE marRiage A-la-MoDe (NationAl Gallery, lOndon), A PoInted SkeWering Of UppEr-claSs 18th-ceNTurY sociEty
 the Day (1738), and Strol ling Actre ssesDre ssi ng  ina Ba rn (1738). Hem ight  also have printed Bur lingt on Gate (1 731),  evoked by A lex an de r P op e 's  Epis tle  to Lor d Burlingt on,  a nd defending Lo rd Chandos , w ho is therei n s atiriz ed . T h is pr int  gave  great offenc e, and wa ss uppres s ed. How e v er , mo dern authoritiess uc h  as Ronald Pau lson n ol on g e r a ttr ibute it t oHogar t h.

Mor a li z i n g a r t

Harlot's P rogress and Rak e's Pr og res s 

In 1 731 H og a rth  completedtheearliestof his serieso f moral  works , a  bo dy o f  w or k t ha t  le d  t o s i gni ficant r ec og nitio n. T h e c olle cti on o f six  scenes was e nti tled A H arlot 's Pr ogre ss  andappear ed fi rs t as paintings(now  lost) be for ebei ng  publ i shed a s e ngr avings.  A Harl o t's  P r o g re ss depicts the fat eo f  a  country  girlw ho  b e gins pro st itu ting –  thesixs ce nes arechrono l og ic al, sta rt ing wi th  amee tingw itha bawd  and end ing w i th a funeral c e remony that f o ll o w st he c har acter's dea th f r om v ener e al  di s ease. 

The  i n au g ural series was anim mediat e suc cess and wasfollowed i n 1 733–1735  byt he sequel A Rake' s Pro gress. The second i nstal ment con sisted of e ight pic tur estha t d e p ic ted the reckl e s s li fe  of Tom  Ra kewell,  th e s onofarich merc hant, wh osp en ds  al l ofh is money  o n l ux uri ous l i ving,servi cesfr om pro stitute s ,a n d ga mb li ng –  th echara cter ' s l ife ult imately e nds in B et hl em Roya l Hospital. T he  originalpa int ings o f A Harlot 's Progress were destro y ed in t hefireat F onthill H ous e in 1 755 ;  the o il pai nting sofA Rake' s Pr ogr es s (1733–34 ) are  disp la yedin thegallery room at Si r  Jo hn Soane's Mu seu m, L o n do n,U K. 
Wh en the s uccess of A Har lot's Prog re s sand A Rake ' s P ro gress r esulted  in n u merouspirated r eproducti on s by u nsc rupulous p rintsell ers, Hoga r th lo b bi ed in  pa rliame nt  fo r gre ater l e gal  cont rol ov er  the r eprod uc tion ofhis and other artists'work.The r esu lt was th e E n gra vers' Cop yrig ht Act (kn own  as  'Hog art h 's Ac t'), wh ich becam e la w  on 25 Ju n e173 5 an d was the f i r s t c opyri ght law to  dea l with visual wor k s as well as t he f i r sttor ecog ni ze the authori alri g h ts of an  i ndividual a rtist.
Ma r riage  A-la- Mode
In 1743 – 1 74 5 , Hoga rthpai nted thesix  p i cturesof  M a rriage  Mar ri age A- la-Mod e  (Na t i onal Gallery, Lo ndon) , a poi n ted  skew er ing ofu pper -class 18t h-century s ociety 
 the_Day (1738),_and Strolling Actresses Dressing_in a_Barn_(1738). He_might_also have printed_Burlington Gate (1731),_evoked by Alexander Pope's_Epistle to Lord_Burlington,_and defending Lord Chandos, who is therein satirized. This print gave great offence, and_was_suppressed. However,_modern_authorities_such as Ronald Paulson no_longer attribute it to Hogarth.

Moralizing_art

Harlot's Progress_and Rake's Progress

In 1731 Hogarth completed the earliest_of_his series of_moral works, a body of work that led to_significant recognition. The collection of six_scenes was entitled_A_Harlot's_Progress and appeared first_as paintings (now lost) before being_published as engravings. A Harlot's Progress_depicts the fate of a country girl_who begins prostituting – the six scenes_are chronological, starting with a_meeting with_a bawd and ending with_a funeral ceremony_that follows_the character's death_from venereal disease.

The inaugural series was_an immediate success_and was followed in 1733–1735 by_the_sequel A Rake's_Progress._The_second instalment_consisted of eight_pictures_that depicted_the_reckless life of Tom Rakewell, the_son_of a rich merchant, who spends all_of his money on_luxurious_living, services from prostitutes,_and gambling – the character's life_ultimately ends in Bethlem Royal Hospital._The original_paintings of_A Harlot's Progress were destroyed in the fire at Fonthill House_in 1755; the oil paintings of_A Rake's Progress (1733–34)_are displayed_in_the gallery room_at_Sir John_Soane's Museum, London, UK.

When the success of_A Harlot's_Progress and A Rake's Progress resulted_in numerous pirated reproductions_by_unscrupulous printsellers, Hogarth lobbied in parliament_for greater legal control over the_reproduction of his and other_artists'_work._The result was the Engravers'_Copyright Act (known as 'Hogarth's Act'),_which became law_on 25 June 1735 and was the_first_copyright law to deal with visual_works_as well as the first to_recognize_the_authorial rights of an individual_artist.

Marriage A-la-Mode

In 1743–1745, Hogarth painted the_six pictures of Marriage Marriage A-la-Mode (National Gallery, London),_a pointed skewering_of upper-class 18th-century society