045

  • Marriage a-la-Mode: The Marriage Contract, Plate I

  • 1745
  • William Hogarth (English/British 1697-1764)
  • Etching with engraving, from series of six plates, fourth state of seven
  • 38.4 x 46.8 cm., 15-1/8 x 18-1/2" image
  • Catherine Carter Goebel, Paul A. Anderson Chair in the Arts Purchase, Paul A. Anderson Art History Collection, Augustana College 2000.22

Essay by Kristin McLinden, Class of 2008

Hogarth's general philosophy was that art should not be extremely fancy. He rebelled against the feminine frills and idyllic scenes of the contemporary French Rococo style. He believed paintings should instead be didactic and deliver a message, often deeming that several moralistic scenes would more accurately tell the story, rather than limiting himself to just one. For instance, Marriage-A-la-Mode (1743), a series of six images, makes a mockery of the wealthy upper class and their extravagant lifestyle. In traditional English manner, he advanced the storytelling potential of his art. Hogarth drew the faces of the characters in the original painted scenes himself, both since he was an experienced portrait painter and also because he understood, like a novelist, that proper character sketches made the scene palpable.

The Marriage Contract is the first of the six plates in this series. The setting is the home of Lord Earl Squanderfield, who is the father of the groom. He is seated to the left and holds a document containing a family tree which traces his family's aristocratic lineage back several generations. At the beginning, at the tree's base, is William the Conqueror, thus attesting to the Earl's long line of royal blood. In the background, through the window, a large building is under construction. This palace alludes to the reason why the marriage is taking place. Lord Earl Squanderfield is building a new home with such extravagant plans that it has put him into debt. He has no money left, only his noble title. The father of the bride, however, has made a great deal of money from his employment as a merchant, yet he is still not considered a member of the socially elite. Through this union, Lord Earl Squanderfield will acquire needed funds and the father of the bride will elevate his family's status through his daughter's new position (Cowley 29-30). The prospective bride and groom are located on the right side of the engraving. Although physically seated together, they display absolutely no psychological interest in one another.