Ronald Paulson

Ronald Paulson is the author of a three-volume study of Hogarth, two volumes of which have so far been published.

Crossed Palettes

Ronald Paulson, 4 November 1993

There are two British world-class painters, Turner and Constable; but there are a number of others – at least as original and interesting as their contemporaries on the Continent – who created the English School of painting in the first two thirds of the 18th century. Starting with Hogarth, the first major native-born painter, they can be roughly divided into those who followed academic precepts, often slavishly but sometimes imaginatively (Reynolds, Wilson, Barry and West), and those whose paintings were, in important ways, anti-academic, or ‘English’: Hogarth himself, Zoffany, Wright of Derby, Stubbs, Gainsborough, Rowlandson and Blake. The second group all shared something of Hogarth’s anti-authoritarian scepticism. Turner acknowledged his allegiance to it when he donated Hogarth’s palette to the Royal Academy, while Constable donated Reynolds’s.’


Whose Hogarth?

4 November 1993

While I appreciate John Barrell’s generous review of my Hogarth (LRB, 7 April), at the risk of being argumentative I feel I should comment on the fact that he uses his review as a pretext for answering my criticism of David Solkin’s Painting for Money in an earlier LRB (LRB, 4 November 1993). (The reader might not guess from Barrell’s review that Solkin devotes 15 pages to Hogarth...

The view from the street

John Barrell, 7 April 1994

In the early Eighties, the main debate – though quarrel might be the better word – among historians of British art in its ‘great century’, from Hogarth to Turner, was...

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The New York art scene in the Eighties presented spectacle of almost unrelieved decadence, in which the ‘virtues’ of the Reagan era ruled. In this desert of greed, vanity and...

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