Hogarth employs the Rococo style of loose strokes in free-flowing nature, whether wide or delicate, in his portraits and historical paintings. Even in his moral works, where the canvas is congested, he continues to utilize a heavy paint-laden brush in fluid, free strokes over the canvas.
He also uses this technique to great effect in his drawings. The thick black lines used by Hogarth are an integral part of his vocabulary as a draftsman and have much in common with the lines used by Joseph Mallord William Turner.
Together they formed one of the most influential drawing schools in history. They were both self-taught artists who learned their trade on the streets, and they shared many similar techniques including using dark, solid lines to create moody scenes full of action.
Hogarth also uses the more traditional approach to painting, especially in his biblical subjects, where he mixes oil paints with egg yolk and wine for a glossy finish. However, even in these scenes he keeps a very loose hand so that his work does not become too realistic.
In conclusion, Hogarth's main style was Rococo but combined with the techniques of Turner and Joseph Mallory William Turner it is clear to see why he has been called the father of modern art.
The Painter and His Pug, by William Hogarth, 1745. Hogarth's works are largely humorous caricatures, occasionally bawdily sexual, and generally of the top order of realistic portraiture, influenced by French and Italian painting and engraving. He began his career as an artist's apprentice in London, working under James Thornhill and Henry Bunbury before setting up on his own in about 1730. In spite of occasional setbacks due to ill health (he was once imprisoned for debt) he became one of the leading artists of his day. His drawings and paintings are found in the British Museum, the National Gallery, the Royal Academy, and other major European museums.
Hogarth was born into a poor family in Southwark, south London, the son of a wig maker. His father wanted him to become a lawyer but when that didn't work out, he decided to make wigs instead. Hogarth learned the trade from him but also had a chance to learn about art from some of London's most important painters at the time, including Thornhill and George Lambert.
When he was only eighteen, Hogarth moved to Paris where he worked as an assistant to a prominent painter named Charles Le Brun.
Hogarth aimed to prove that an unlimited number of characters may be shown without resorting to caricature. Hogarth most likely worked on the Marriage A-la-Mode paintings throughout 1743 and maybe into early 1744. The series consists of eight scenes showing various couples in awkward or seductive situations. In many cases, the pictures comment on political events of the day through visual metaphors.
Hogarth used everyday objects such as clocks, watches, and musical instruments as his main subjects. He also included figures in historical contexts for dramatic effect. Some of these pictures feature groups of people listening to musicians playing music behind a curtain. When the curtain is pulled back, it is revealed that the musicians are actually serving alcohol to several older men dressed in black suits with white wigs. These men seem to be part of a club who meet regularly at different locations around London to drink wine and tell jokes about the marriage negotiations between France and Spain.
Hogarth also included some animals in his paintings. One picture shows a dog looking up at a telescope. Through this device, the observer can see what the animal's owner is doing from a distance. Another scene includes a cat trying to catch a bird in its mouth; however, the bird escapes through a window as someone else walks by. Still other pictures show rabbits caught in snares or lions eating sheep.