Hogarth’s Analysis of Beauty
Analysis
of the title page of Hogarth’s Analysis
of Beauty and a discussion of how the artist’s concept of “Variety’, is
explained in his text, can be related to his design for the page.
Throughout Hogarth’s
Analysis of Beauty, there is a recurrent theme throughout his chapters, namely
of variety and its incorporation throughout nature. From his text we can see
that he strongly regards the concept of “variety” and the “line of beauty” as
the source of beauty, which is naturally around us in every aspect, not only in
art but life also. I am going to be looking at his text including specific
chapters and seeing how these ideas have influenced his design ideas for the
title page “Analysis of Beauty”.
“Entertaining the eye
with the pleasure of variety”1. Hogarth describes variety as being a
necessity, such an element given to us by nature and therefore radiates such
beauty. Throughout the analysis of beauty, different elements noted in various
chapters of the book all combine together to define beauty, in Hogarth’s
opinion. His title page for the book incorporates some of these elements and it
is interesting to see the comparison from the text based theories to the actual
design. It is commonly known that the
human eye and moreover, the brain prefers variety to such simplicity and
Hogarth’s states that not just the eyes, but all the senses “delight in it”2.
A further example of this is used with the idea of the ears reacting to sound.
Music has many textures as well as the textures the eyes can see in a painting,
and the various textures you can feel with your skin are countless, again
brining more pleasure from variety. It is predominant that variety is the
source of pleasure and the way in which Hogarth explores its ideas makes us
believe it more so. This states the reason why Hogarth would incorporate the
words variety into the design for the title page, amongst other important
symbols of his ideas. The design itself is very carefully composed, relating to
the fact that Hogarth mentions, “...and without design, is confusion and
deformity”3. From the
justification and spacing of the text, to the pictorial design and decoration, the
whole page is simply but uniformly designed. There is in every line of the title page
design an attribute which is of subject matter in the text, which in itself
leads to variation. The title page also incorporates variation of perspective,
which is evident in the pyramid shape that sits upon the variety plaque. Hogarth
explains that “the pyramids diminishing from its basis to its
point....gradually lessening to the centre, are beautiful forms”4. Again
this image is incorporated into the title page design; of course the four
pointed lines adjoining at the top create variation of perspective, adding
beauty. Hogarth addresses this idea in the chapter of simplicity or
distinctiveness, “There is no object composed of straight lines that has so
much variety, with so few parts”5. The main point I think Hogarth is
making here is that beauty doesn’t have to be complicated and that it is
visible to everyone, but a number of attributes create such variety, in terms
of light and shape and form and that simplicity is therefore more pleasing to
the eye. This theory is very much used in his design for the title page, a
variety of text and images all in different forms but hold the simplicity which
in turn pleases the eye and therefore considers beauty, “Thus we see simplicity
gives beauty even to variety, as it makes it more easily understood”6.
Another major implement
of design for Hogarth’s title page is the use of lines. In chapter five he
introduces the use of “wavering and serpent lines”7, which “that
lead the eye a wanton kind of chase”8. This is not pictorially
evident in the title page design, but is linked to the quote of Milton in the
centre of the page. Milton is describing the scene in the Garden of Eden, when
Eve is fighting temptation of the serpent. Of course, this very much relates to
the imagery of “serpentine line”9, analysing its variation and
becoming allured by its beauty. The “line of beauty”10 is also
present in the design. It is situated inside the pyramid shape at the centre of
the page. This is not surprising as Hogarth emphasised a considerable amount of
importance of the line of beauty. It is interesting that he has positioned the
line of beauty around straight lines, again adding variety as he explains in
the text, “vast variety of changing circumstances keeps the eye and the mind in
constant play”11. Here he is suggesting that straight lines have
only the ability to vary in length but not in degrees, but still hold
ornamental value. Whereas curved lines, such as the line of beauty, also obtain
this feature as well as the ability to vary in “degrees of curvature”12
which is said to be even more ornamental and pleasing not only to the eye but
to the hand whilst drawing it with a pencil, again referencing to the different
variety of senses involved in the perception of beauty. But when a variety of
different lines are put adjacent to one another, it creates beauty for the eye
and mind, as Hogarth states, “varied contents; therefore all its variety cannot
be expressed on paper by one continued line, without the assistance of
imagination”13. This statement very much illustrates Hogarth’s
reasoning for designing the lines the way he has, positioning the lines close
together and explaining it to us visually by incorporating the word “variety”
underneath them.
Another way in which
Hogarth has used the concept of variety is through the use of composition and
proportion. It is obvious that the whole
page is substantially varied in content, as it contains, text, again varied in
different fonts and sizes, drawings, extracts from a poem, and use of straight
lines. Hogarth suggests “In a word, it may be said, the art of composing well
is the art of varying well”14. The design demonstrates this
statement, through the use of space which is used and equally importantly, the
space which has not. It is as if there is a heavy bold occupancy of space at
the top of the title page, but as your eye is drawn down towards the bottom, there
is a lighter, more delicate feel to the composition. The different proportions
used in the design create much variety. Hogarth used bolder, bigger text to
emphasise certain words on the title page and though it seems there is less
body to the latter of the title page, it is brought into balance by the pyramid
shape, creating an illusion of strong variety, whilst the mind is satisfied by
a sense of symmetry. This point can be backed up by Hogarth, “...the nature of
variety, and then its effects on the mind; with the manner how such impressions
are made by means of the different feelings given to the eye, from its
movements”15. In another chapter Hogarth mentions that “simplicity
in the disposition of a great variety, is best accomplished by following
nature’s constant rule, of dividing composition into five parts”16,
this concept is evident in the title page design, by the use of lines. The four
line separate varying pieces of the page, but brings a certain compositional
variety, even if simple.
The movement of the eye
from the top to the bottom of the page is also greatly affected by the use of
light and shade, especially concerning the pyramid shape. There is a
predominant contrast across the whole page; again with the bigger text being
larger, darker tones have been applied. Then lighter areas of the page are
created through smaller text and finer lines. Again this is another aspect of
variety Hogarth included in his design and the text illustrates this, “All
which again receives still more distinctness, as well as a greater degree of
variety, when the sun shines bright, and casts broad shadows of one object upon
another....fine opposition of shades, give life and spirit”17.
There is no doubt a
certain emphasis on the way natures own variety is the source of such beauty. Hogarth
seems to take a very humble approach to seeing beauty in most things. He
explains the importance of nature being the foundation on which beauty can
flourish. “How much the reverse are natures! The greater the variety her
movements have, the more beautiful are the parts cause them”18. Here
he is saying that nature is so diverse, which creates such variety in the
world, thus creating beauty. This also relates to the idea that all of the
various senses can delight in variety, as all of them were produced from nature
herself.
In conclusion, “entertaining
the eye with the pleasure of variety”19 as mentioned before is
certainly what Hogarth set out to do whilst designing his title page for the
Analysis of Beauty. Through his use of varying lines, the line of beauty,
different positioning of straight lines etc, he creates variety on the page. It
is the imagery that he uses in the pyramid object, gradually diminishing in
shape, creating such variety of degrees of angles. The difference between
degrees and angles in nature is so diminutive; therefore the extent of variety
creates such beauty. Hogarth’s concept of variety is actually given to us in
text form on the page which suggests to the reader that straight away, the
analysis of beauty is in large part in accordance with variety and without it,
beauty may not be so diverse. The way in
which the title page is designed with such simplicity yet also incorporates
variety is very proficient. His views on composition, “dividing composition
into five parts”20 is evident in the design, and creates different
sections which are all of varying sizes, again emphasising the point of
variety. But one of the main points I think Hogarth is trying to deliver is that
to view beauty, is a natural instinct that can be attuned with a certain amount
of artistic knowledge “Thus we see simplicity gives beauty even to variety, as
it makes it more easily understood”21. Hogarth seems to use moral
ideas as well as artistic ones, creating a sense of reality for the reader by
using ideas in the form of human being and animals, which of course are
primarily sculpted by nature. All of the chapters in the book do in accordance
relate to the design for the title page , in one way or another, and as the
reader it quite interesting to see how his ideas and knowledge become so
apparent in the actual practical side of his work.
Bibliography
1-21, Hogarth. W, The Analysis of Beauty, Yale
University press, New Haven & London, 1997.
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