William Hogarth, 1731 - Sonra - təsviri sənət çapı

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In 1731 rəssam William Hogarth bu klassik sənət əsərini çəkdi Sonra. It is in the the digital collection of The J. Paul Getty Museum, which is part of the J. Paul Getty trust and is one of the world's largest arts organizations worldwide. It seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting, and interpreting works of art of outstanding quality and historical importance.. This ictimai artpiece is included with courtesy of The J. Paul Getty Museum.The creditline of the artpiece is the following: . The alignment of the digital reproduction is in portrait format şəkil nisbəti ilə 1: 1.2, Bu o deməkdir ki, uzunluğu enindən 20% qısadır. William Hogarth was a illustrator, painter, graphic artist, caricaturist, whose artistic style can be attributed primarily to Rococo. The Rococo artist was born in the year 1697 in London, Greater London, England, United Kingdom and deceased at the age of 67 in the year 1764.

Muzeyin internet saytından sənət əsərləri haqqında məlumat (© - J. Paul Getty Muzeyi tərəfindən - J. Paul Getty Muzeyi)

In this companion piece to the Before [the Seduction], a man stands and hurriedly pulls up his breeches after successfully seducing a young woman. Cap and clothing askew, the disheveled woman implores his discretion. The overturned table and broken mirror symbolize the woman's shattered life now that she has lost her virginity. The dog sleeping in the foreground refers to post-coital exhaustion.

In the Biographical Anecdotes of William Hogarth, published in 1785, John Nichols wrote that a "certain vicious nobleman," the Duke of Montague, supposedly commissioned this painting and its partner. According to an old tradition, the scene's protagonist was said to have been Sir John Willes, later Chief Justice of the Court of Common Pleas.

Many artists created engravings, some of them scandalous, after these two paintings. Hogarth's own engravings stayed truer to his paintings.

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