Four Heads From the Raphael Cartoons at Hampton Court 1781

Editor: This engraving from 1781 by William Hogarth, "Four Heads From the Raphael Cartoons at Hampton Court," features stark, almost severe renderings of men. It looks like Hogarth wanted to capture a raw emotional intensity in their faces. What do you see in this piece? Curator: This work exemplifies the 18th-century artist’s attempt to democratize access to art. The use of printmaking as a medium meant multiple copies could be made and distributed relatively cheaply. How does this accessibility relate to Hogarth’s broader social critique, evident in his other works? Editor: It makes sense that prints could reach a broader audience! Were these studies originally intended for other artists? Curator: Exactly. By reproducing Raphael's heads, Hogarth challenged the art establishment’s control over artistic education. Rather than being confined to the elite academy, the means of artistic production, specifically learning through copying, becomes something disseminated through the marketplace. Consider how the industrial processes of printmaking mirrors other shifts in labor and production during the late 18th century. Editor: So, it is not just about the images themselves but about how they were produced and circulated? Curator: Precisely. The act of copying, typically seen as a derivative skill, is elevated here through mechanical reproduction, making artistic skill more broadly available. It reframes notions of artistic genius as well. Editor: This gives me a whole new perspective on Hogarth's intention. I thought he was just interested in portraiture! Curator: His focus extends far beyond portraiture, engaging with contemporary issues of labor, accessibility, and the changing landscape of art production itself. Editor: Thank you, this was fascinating to unpack the social context within the very materiality of the artwork!