ABSTRACT
Admiration for Hogarth as a moralist and graphic artist has been continuous in Germany since the artist's own lifetime. His Analysis of Beauty (1753) was published in Hanover in a translation by Christlob Mylius only a year after it appeared in England, and was taken far more seriously as a contribution to aesthetics in Germany than in the artist's native country. When setting out to produce his excoriating satires on capitalist society in Germany immediately after the First World War, the Dadaist Georg Grosz wanted, according to his friend Harry Kessler 'to become the "German Hogarth", consciously objective and moral; to preach, better, to reform - he has no interest in abstract art'. Recent readings of Hogarth's work have stressed the extent to which his art had an intellectual base, and have shown how far his work was from being the simple outpourings of a populist.
