The Four Times of Day: Evening

Label

Outside of the city, among livestock and greenery, a humble family returns home after an evening stroll. Hogarth comments on their class, their social aspirations, and their restricted activities due to a lack of disposable income for entertainment. Rather than truly enjoying themselves on this walk, the family drags along in the summer heat, presumably exhausted from working during the day. The boy falling behind cries, and even the dog hangs his head. The family dynamic is satirized by the reversal of gender roles: the father, holding the child, is shorter and smaller in stature than his wife, and hidden behind her extravagant dress. The children mimic the roles modeled by their parents. The man walks in front of a bull, whose horns appear to protrude from the man’s head. This identifies him as a cuckold, or a man who cares for a child that is not his own, and further dramatizes his slightness compared to his wife.

This print lists Bernard Baron as the engraver, whereas the other three, and the rest of the prints hanging in this exhibition, are engraved by William Hogarth. Baron was a French engraver who spent much of his life in England reproducing works by famous artists—with and without their permission—and selling his copies for high prices. In this instance, Hogarth employed Baron to engrave this particular plate and help produce quality prints of Hogarth’s original art. It is not known whether Hogarth actually engraved the other three plates in this series. Do you see differences in this image compared to the other plates from the Four Times of Day?

From the 2019 exhibition A Space for Dialogue 94, Society Engraved, curated by Jules Wheaton '19, Levinson Intern Campus Engagement

Course History

ARTH 48.05, Satire: Art, Politics & Critique, Kristin O'Rourke, Winter 2022

ARTH 48.05, Satire: Art, Politics & Critique, Kristin O'Rourke, Winter 2022

ARTH 28.05, Art & Society in the Rococo, Kristin O'Rourke, Spring 2022

ARTH 28.05, Art & Society in the Rococo, Kristin O'Rourke, Spring 2022

ARTH 48.05, Satire: Art, Politics, & Critique, Kristin O'Rourke, Fall 2022

Exhibition History

18th Century English Graphics, Lower Jewett Corridor, Hopkins Center Art Galleries, Dartmouth College, Hanover, New Hampshire, September 29-December 10, 1978.

A Space for Dialogue 94, Society Engraved, Jules Wheaton, Class of 2019, Levinson Intern, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, June 22-August 4, 2019.

Hogarth and 18th Century Print Culture, Mary and Leigh Block Gallery, Northwestern University, Evanston, Illinois, April 17-June 22, 1997.

Pictur'd Morals: Prints by William Hogarth, Harrington Gallery Teaching Exhibition, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 16-October 26, 1997.

Satirical Prints from the Permanent Collection, Lower Jewett Corridor, Hopkins Center Art Galleries, Dartmouth College, Hanover, New Hampshire, May 5-June 4, 1978.

Publication History

Ronald Paulson, Hogarth's Graphic Works, Yale University Press, 1965, V.1.

Bernadette Fort and Angela Rosenthal, eds., The Other Hogarth: The Aesthetics of Difference, Princeton, New Jersey and Oxfordshire, England: Princeton University Press, 2001, 320 pp., ill. p.132, Fig. 47, p. 133(detail), Fig. 48.

Jules Wheaton, Class of 2019, Levinson Intern, A Space for Dialogue 94, Society Engraved, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019.

Provenance

Frederick B. Daniell & Son, London, England; sold to present collection, 1961.

Catalogue Raisonne

R. Paulson, Hogarth's Graphic Works, London, 1989, no. 148.

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