Who painted The Wedding of Stephen Beckingham and Mary Cox?

The Wedding of Stephen Beckingham and Mary Cox was painted by William Hogarth in 1729-01-01.

Where can I see The Wedding of Stephen Beckingham and Mary Cox?

The Wedding of Stephen Beckingham and Mary Cox is held by Metropolitan Museum of Art.

What movement is The Wedding of Stephen Beckingham and Mary Cox?

The Wedding of Stephen Beckingham and Mary Cox is associated with Academic Art.

Can I buy a print of The Wedding of Stephen Beckingham and Mary Cox?

Museum-quality prints of The Wedding of Stephen Beckingham and Mary Cox are available made-to-order from Artifact World Gallery.

Artwork

The Wedding of Stephen Beckingham and Mary Cox

William Hogarth , 1729

The Wedding of Stephen Beckingham and Mary Cox is an oil painting by the Academic Art artist William Hogarth. It dates from 1729 and is held in the collection of the Metropolitan Museum of Art.

About this work

Subject & Meaning

Painted in 1729, this oil on canvas work by William Hogarth depicts the specific historical event of the marriage between Stephen Beckingham and Mary Cox.

Painted in 1729, this oil on canvas work by William Hogarth depicts the specific historical event of the marriage between Stephen Beckingham and Mary Cox. The composition features a man and a woman situated within an interior setting, directly illustrating the wedding ceremony or its immediate celebration. As a representation of academic art from the early eighteenth century, the painting serves as a formal record of this union, capturing the couple and the domestic environment associated with their nuptials.

The work functions primarily as a commemorative portrait, preserving the likeness of the bride and groom during this significant life event.

Technique & Style

The Wedding of Stephen Beckingham and Mary Cox is an oil on canvas painting executed by William Hogarth in 1729. The work measures approximately 128.3 cm in height by 103 cm in width, matching the dimensions recorded for the piece in the Metropolitan Museum of Art collection. It exemplifies the academic art movement, employing a formal composition that arranges the bride and groom within an interior setting, emphasizing clarity of line and balanced spatial relationships.

The surface is built up with traditional oil pigments applied to a stretched canvas support, a technique typical of Hogarth’s mature practice and reflective of the period’s emphasis on polished technique and narrative clarity.

History & Provenance

The Wedding of Stephen Beckingham and Mary Cox is a 1729 oil on canvas painting by William Hogarth. The work, measuring 128.3 × 103 cm, portrays a domestic interior wedding scene with a man and a woman. It is classified within the academic art movement and is housed in the Metropolitan Museum of Art.

The painting’s creation history is documented through its date of inception in 1729 and its material composition of oil paint on canvas.

The Wedding of Stephen Beckingham and Mary Cox is held in the collection of the Metropolitan Museum of Art. The work, an oil painting on canvas created by William Hogarth in 1729, measures 128.3 cm in height and 103 cm in width. While the provided sources confirm the institution housing the piece and its physical dimensions, they do not specify a unique inventory or accession number for the painting.

Furthermore, the available documentation does not record a specific exhibition history for this work, listing only its creation date and current location within the museum's holdings.

Overview

William Hogarth's 1729 oil painting, The Wedding of Stephen Beckingham and Mary Cox, captures a formal gathering within a church interior. The work, executed with oil paint, reflects the light and playful aesthetic characteristic of the Rococo movement. It depicts a specific ceremonial event, showcasing the artist's early engagement with social observation and narrative painting, a theme he would explore further in his career.

Context

William Hogarth, an influential English artist, is widely recognized for his satirical narrative series, such as A Harlot's Progress and Marriage A-la-Mode. While this painting is a more conventional depiction of a social event, it predates some of his more overtly critical works. His diverse output encompassed portraiture, sequential storytelling, and political commentary, establishing him as a significant figure in 18th-century British art.