Low life: William Hogarth, visual culture and sociologies of art.

Eamonn Carrabine

doi:10.1111/1468-4446.12849

Abstract

This paper is an effort to understand Hogarth's unique position in early eighteenth century London, so as to grasp the rich complexity of his work. It begins by tracing two rival competing positions in the sociology of art, derived from Becker and Bourdieu, before taking a closer look at how Hogarth's work conjures up a new vision of the world, providing shape and meaning to the nation's changing understandings of morality, society, and the city. A fundamental transformation in the field of representation appears halfway through the eighteenth century and the interweaving of art theory, national identity, and systems of patronage are at the centre of this dynamic period. It is no accident that in Hogarth's world the main targets are those who seek to transgress their stations in life and cross class barriers. By combining two different sociological approaches to art the study builds a more nuanced picture of the artist and his work.

Highlights

The sociology of art and culture is becoming one of the liveliest fields in the discipline
The publication of two landmark texts, Howard Becker's (2008/1982) Art Worlds and Pierre Bourdieu's (1984) Distinction, did much to establish the case that the arts are thoroughly social and demand sociological attention
Their interventions gave rise to two distinct approaches: one associated with Becker and his insistence that art is a form of collective action, while Bourdieu offers a more structural engagement with how artistic fields function

Summary

Introduction

The sociology of art and culture is becoming one of the liveliest fields in the discipline. Their interventions gave rise to two distinct approaches: one associated with Becker and his insistence that art is a form of collective action, while Bourdieu offers a more structural engagement with how artistic fields function.

Results

Conclusion