Portal:William Hogarth
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Introduction
William Hogarth FRSA (/ˈhoʊɡɑːrθ/; 10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", perhaps best known being his moral series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".
Hogarth was born in London to a lower middle-class family. In his youth he took up an apprenticeship where he specialised in engraving. His father underwent periods of mixed fortune, and was at one time imprisoned in lieu of outstanding debts; an event that is thought to have informed William's paintings and prints with a hard edge.
Selected general articles
- A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–34, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital (Bedlam). The original paintings are in the collection of Sir John Soane's Museum in London, where they are normally on display.
The filmmaker Alan Parker has described the works as an ancestor to the storyboard. Read more...
Scene from Shakespeare's The Tempest, also known as Ferdinand courting Miranda (c. 1736–1738) is an oil painting by the English painter William Hogarth. It has been displayed at Nostell Priory since 1766, and was acquired by the National Trust in 2002. The National Trust claims that it is "the first known painting of a scene from Shakespeare".
The painting is a rich and vibrant example of Hogarth's work, painted c.1730-5 as a special project for one of his devoted band of patrons—The Earl of Macclesfield—as part of Hogarth's attempt to found an distinctively British school of history painting. It is thought that Hogarth was hoping that more commissions for similar scenes would come flowing in after painting this scene, but this did not happen. Read more...
The Five Orders of Perriwigs as they were Worn at the Late Coronation Measured Architectonically, William Hogarth, 1761.
The Five Orders of Periwigs (The Five Orders of Perriwigs as they were Worn at the Late Coronation Measured Architectonically) is a 1761 engraving by William Hogarth. It contains several levels of satire. First, and most clearly, it lampoons the fashion for outlandish wigs in the mid to late 18th century. Second, in classifying the wigs into "orders", it satirises the formulation of canons of beauty from the analysis of surviving pieces of classical architecture and sculpture from ancient Greece and ancient Rome, particularly the precise drawings of James "Athenian" Stuart (published in the Antiquities of Athens, the first volume of which appeared in 1762). To the lower right, the engraving gives its publication date as 15 October 1761.
Of the engraving, Hogarth himself commented in his book of anecdotes: Read more...
Heads of Six of Hogarth's Servants is an oil-on-canvas painting by William Hogarth from c. 1750-5. Measuring 63 centimetres (25 in) high and 75.5 centimetres (29.7 in) wide, it depicts the heads of six of his domestic servants. It is held by in the Tate Gallery in London.
This is evidently a late work by Hogarth, demonstrating his mastery of portraiture. The subject matter and composition are unusual, with six studies of heads crammed in a small space, distributed in three groups of two, all lit by a light source at the upper left. Space for a seventh head has been marked out roughly in the lower left corner but it was not completed like the other six. The left edge of the canvas was later cut to frame the six completed heads better, cutting off part of the absent seventh head. Read more...
The Analysis of Beauty is a book written by the 18th-century artist and writer William Hogarth, published in 1753, which describes Hogarth's theories of visual beauty and grace in a manner accessible to the common man of his day. Read more...
Characters and Caricaturas is an engraving by English artist William Hogarth, that he produced as the subscription ticket for his 1743 series of prints, Marriage à-la-mode, and which was eventually issued as a print in its own right. Critics had sometimes dismissed the exaggerated features of Hogarth's characters as caricature and, by way of an answer, he produced this picture filled with characterisations accompanied by a simple illustration of the difference between characterisation and caricature. Read more...
The Lady's Last Stake, originally entitled Piquet: or Virtue in Danger, is a painting by William Hogarth, c.1759. The work is a conversation piece, capturing the moment when the woman has to make a fateful decision: to be ruined financially, or morally. It was one of Hogarth's last works, commissioned by James Caulfeild, 4th Viscount Charlemont (later 1st Earl of Charlemont), who allowed Hogarth to select the subject and price.
The painting depicts a domestic scene with a man and a woman who have been gambling, playing piquet at a table near an open fire in a well-appointed Palladian mansion. The woman has just lost her fortune to the man, an army officer. He offers to play one more game of cards: either way, he will return her assets, including the money and jewels in his tricorne hat; but if she loses, she must accept him as her lover. The woman clasps the edge of the fire screen as she considers his offer. The woman may be modelled on Hogarth's acquaintance Hester Salusbury (later Hester Thrale and then Hester Piozzi). On the floor is a discarded letter from her husband sending her money; it is addressed to Charlotte and signed Townly. Read more...
The Enraged Musician is a 1741 etching and engraving by English artist William Hogarth which depicts a comic scene of a violinist driven to distraction by the cacophony outside his window. It was issued as companion piece to the third state of his print of The Distrest Poet. Read more...
Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society (as he had done with Marriage à-la-mode) and towards a more cutting satire on the problems of poverty and crime.
On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth's works, closer inspection uncovers other targets of his satire, and reveals that the poverty of Gin Lane and the prosperity of Beer Street are more intimately connected than they at first appear. Gin Lane shows shocking scenes of infanticide, starvation, madness, decay and suicide, while Beer Street depicts industry, health, bonhomie and thriving commerce. Read more...
Credulity, Superstition and Fanaticism is a satirical print by the English artist William Hogarth. It ridicules secular and religious credulity, and lampoons the exaggerated religious "enthusiasm" (excessive emotion, not keenness) of the Methodist movement. The print was originally engraved in 1761, with the title Enthusiasm Delineated, but never published. The original print may have been a response to three essays published by Joshua Reynolds in The Idler in 1759, praising the sublime work of Italian Counter-Reformation artists. Hogarth reworked the engraving before publishing it on 15 March 1762 as Credulity, Superstition and Fanaticism: A Medley. It echoes his earlier print, The Sleeping Congregation of 1736, in which an Anglican clergyman's boring sermon puts his congregation to sleep. Read more...
The Lady's Death is the sixth and final canvas in the series of satirical paintings known as Marriage à-la-mode painted by William Hogarth.
The Countess has returned to her father's house after her husband’s murder. The moral drama is concluded with her having moved from dissipation and vice to misery and shame, and finally to terminating her existence by suicide after her lover is hanged at Tyburn for murdering her husband. Read more...
Taste in High Life is an oil-on-canvas painting (engraving seen on the right) from around 1742, by William Hogarth. The version seen on the right was engraved by Samuel Phillips in 1798, under commission from John Boydell for a posthumous edition of Hogarth's works, but Phillips's final, third state was not published until 1808. Read more...
Satire on False Perspective is the title of an engraving produced by William Hogarth in 1754 for his friend Joshua Kirby's pamphlet on linear perspective.
The intent of the work is clearly given by the subtitle: Read more...
The Bad Taste of the Town (also known as Masquerades and Operas) is an early print by William Hogarth, published in February 1723/24. The small print – 5 inches (13 cm) by 6 inches (15 cm) – mocks the contemporary fashion for foreign culture, including Palladian architecture, pantomimes based on the Italian commedia dell'arte, masquerades (masked balls), and Italian opera. The work combines two printmaking techniques – etching and engraving – with etched lines made in the plate using acid and engraved lines marked using a burin. Read more...
The Tête à Tête is the second canvas in the series of six satirical paintings known as Marriage à-la-mode, painted by William Hogarth. Read more...
The Shrimp Girl is a painting by the English artist William Hogarth. It was painted around 1740–45, and is held by the National Gallery, London.
The painting, a relatively late work by Hogarth, is one of several in which he experimented with a loose, almost impressionistic style comparable to the work of Fragonard. In its subject matter, it resembles the prints of hawkers and traders popular in Hogarth's day. Read more...
The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. Hogarth was well known for his satirical works, and The March of the Guards to Finchley has been said to have given full scope to this sense of satire; it was described by Hogarth himself as "steeped in humour".
The painting is a depiction of a fictional mustering of troops on the Tottenham Court Road to march north to Finchley to defend the capital from the second Jacobite rebellion of 1745, which was part of a series of uprisings that had been occurring since the late 17th century and were aimed at returning the Stuart Dynasty to the throne after the Glorious Revolution of 1688. It portrays the soldiers in a humorous light, placing exaggerated emphasis on their lack of training and respect for discipline. Read more...- A Harlot's Progress (also known as The Harlot's Progress) is a series of six paintings (1731, now destroyed) and engravings (1732) by the English artist William Hogarth. The series shows the story of a young woman, M. (Moll or Mary) Hackabout, who arrives in London from the country and becomes a prostitute. The series was developed from the third image: having painted a prostitute in her boudoir in a garret on Drury Lane, Hogarth struck upon the idea of creating scenes from her earlier and later life. The title and rich allegory are reminiscent of John Bunyan's Pilgrim's Progress.
In the first scene, an old woman praises her beauty and suggests a profitable occupation, procuring her for the gentleman shown towards the back of the image. She is a mistress with two lovers in the second, has become a common prostitute on the point of being arrested in the third, and is beating hemp in Bridewell Prison in the fourth. By the fifth, she is dying from venereal disease, and she is dead aged only 23 in the last. Read more...
Four Times of the Day is a series of four oil paintings by English artist William Hogarth. Completed in 1736, they were reproduced as a series of four engravings published in 1738. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as A Harlot's Progress, A Rake's Progress, Industry and Idleness, and The Four Stages of Cruelty, it does not depict the story of an individual, but instead focuses on the society of the city. Hogarth intended the series to be humorous rather than instructional; the pictures do not offer a judgment on whether the rich or poor are more deserving of the viewer's sympathies: while the upper and middle classes tend to provide the focus for each scene, there are fewer of the moral comparisons seen in some of his other works. Their dimensions are about 74 cm (29 in) by 61 cm (24 in) each.
The four pictures depict scenes of daily life in various locations in London as the day progresses. Morning shows a prudish spinster making her way to church in Covent Garden past the revellers of the previous night; Noon shows two cultures on opposite sides of the street in St Giles; Evening depicts a dyer's family returning hot and bothered from a trip to Sadler's Wells; and Night shows disreputable goings-on around a drunken freemason staggering home near Charing Cross. Read more...
Painter and his Pug is a 1745 self-portrait created by William Hogarth. He began the portrait a decade earlier. The portrait was originally created with the intention of Hogarth wearing formal attire, but was changed to the informal attire sometime during the painting process. He also added his Pug, Trump.
In the portrait, Hogarth himself is in a painting as the pug is alongside him, making the dog "real" as opposed to the created person. The dog is indifferent to the painting, to the books and to the painting palette (which shows Hogarth's Line of Beauty). So the painting seems to be a Vanitas still life. But, as an ironic disruption, the cloth behind the dog comes out of the painting. Read more...- The Humours of an Election is a series of four oil paintings and later engravings by William Hogarth that illustrate the election of a member of parliament in Oxfordshire in 1754. The oil paintings were created in 1755.
The first three paintings, An Election Entertainment, Canvassing for Votes and The Polling, demonstrate the corruption endemic in parliamentary elections in the 18th century, before the Great Reform Act. The last painting, Chairing the Member, shows the celebrations of the victorious Tory candidates and their supporters.
At this time each constituency elected two MPs, and there was a property qualification for voters, so only a minority of the male population was enfranchised. There was no secret ballot, so bribery and intimidation were rife. However, this traditional view has been questioned by recent historians who observed lively local political participation in this time. Read more...
The Gate of Calais or O, the Roast Beef of Old England is a 1748 painting by William Hogarth, reproduced as a print from an engraving the next year. Hogarth produced the painting directly after his return from France, where he had been arrested as a spy while sketching in Calais. The scene depicts a side of beef being transported from the harbour to an English tavern in the port, while a group of undernourished, ragged French soldiers and a fat friar look on hungrily. Hogarth painted himself in the left corner with a "soldier's hand upon my shoulder." Read more...
Strolling Actresses Dressing in a Barn is a painting from 1738 by British artist William Hogarth. It was reproduced as an engraving and issued with Four Times of the Day as a five print set in the same year. The painting depicts a company of actresses preparing for their final performance before the troupe is disbanded as a result of the Licensing Act 1737. Brought in as a result of John Gay's Beggar's Opera of 1728, which had linked Robert Walpole with the notorious criminal Jonathan Wild, the Licensing Act made it compulsory for new plays to be approved by the Lord Chamberlain, and, more importantly for the characters depicted, closed any non-patent theatres. The majority of the painting was completed before the Act was passed in 1737, but its passing into law was no surprise and it was the work of a moment for Hogarth to insert a reference to the Act itself into the picture.
While not part of the Four Times of the Day series, it appears that it was Hogarth's intention from the outset to sell the five prints together, Strolling Actresses complemented Four Times just as Southwark Fair had done with A Rake's Progress. Whereas the characters in Four Times play their roles without being conscious of acting, the company in this picture are fully aware of the differences between the reality of their lives and the roles they are set to play. Some of the goddesses portrayed by the inhabitants of the scenes in Four Times of the Day are reproduced here as characters in the forthcoming play. Read more...
A Just View of the British Stage or Three Heads are Better than One is an unsigned 1724 engraving attributed to the English artist William Hogarth. It is a satirical view of the management of British plays and mocks the subjects as degenerate. It forms part of an attack on the tastes of the theatre which Hogarth mounted in earnest between 1723 with Masquerades and Operas and 1727 with Masquerade Ticket (and which would continue to some extent in later works including Charmers of the Age in 1740–41). Read more...
Hogarth Painting the Comic Muse (originally known as The Artist Painting the Comic Muse) is a painting in the National Portrait Gallery, London by the British artist William Hogarth. It was painted in approximately 1757 and published as a print in etching and engraving in 1758, with its final and sixth state in 1764. Hogarth used this particular self-portrait as the frontispiece of his collected engravings, published in 1764.
The painting depicts Hogarth himself painting the Muse of Comedy, which represented artistic inspiration. Hogarth's decision to paint this particular figure may relate to his artistic motto: "my picture was my stage and men and women my actors", as the Comic Muse was said to provide inspiration for playwrights. Seated in front of his easel, palette in hand, Hogarth eagerly works at his painting; Hogarth expressly wanted a self-portrait in which he was depicted in the middle of painting a piece, rather than in a static pose. Leaning against the right leg of the easel is Hogarth's The Analysis of Beauty, a text which was written to complement this particular piece. X-ray analysis shows that the painting originally had a small dog relieving himself on a pile of old master paintings. Read more...
The Bench is the title of both a 1758 oil-on-canvas painting by the English artist William Hogarth, and a print issued by him in the same year. Unlike many of Hogarth's engravings produced from painted originals, the print differs considerably from the painting. It was intended as a demonstration of the differences between character painting, caricature and outré—developing on the theme he had begun to address in Characters and Caricaturas (his subscription ticket for Marriage à-la-mode)—but Hogarth was unhappy with the result as it showed only "characters", and he continued to work on the piece until his death. Read more...
Trump (c. 1730 – c. 1745) was a pug owned by English painter William Hogarth. The artist included the dog in several works, perhaps most famously his self-portrait Painter and his Pug, held by the Tate Gallery. In the words of the Tate's display caption, "Hogarth's pug dog, Trump, serves as an emblem of the artist's own pugnacious character." Read more...
The Graham Children is an oil painting completed by William Hogarth in 1742. It is a group portrait depicting the four children of Daniel Graham, apothecary to King George II. The youngest child had died by the time the painting was completed. Read more...
The Bagnio is the fifth canvas in the series of six satirical paintings known as Marriage à-la-mode painted by William Hogarth.
The new Earl catches his wife with her lover, Silvertongue, and is fatally wounded by the scoundrel who makes his escape through the window. Read more...
Emblematical Print on the South Sea Scheme (also known as The South Sea Scheme) is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–1. Read more...
The Toilette, called The countess’s morning levee by Hogarth himself, is the fourth canvas in the series of six satirical paintings known as Marriage A-la-Mode painted by William Hogarth.
The old earl has died, so the son is now the new earl, and his wife is the countess. As was still the fashion at the time, the countess is holding a reception during her "toilette", her grooming, in her bedroom, in imitation of this age-old custom of kings called a levee. The fact that Hogarth ridiculed this convocation of people in the bedroom of a noble during their "morning" grooming (often very late in the day) proves that such a convocation in such an intimate room was increasingly viewed as inappropriate. Read more...
The Inspection is the third canvas in the series of six satirical paintings known as Marriage à-la-mode painted by William Hogarth.
The viscount, suffering from syphilis, makes a visit to a French doctor. Read more...
David Garrick as Richard III is a painting dating from 1745 by the English artist William Hogarth.
The painting shows the actor and stage manager David Garrick in the role of Richard III in Shakespeare's play Richard III. It depicts a dramatic moment in the play on the eve of the Battle of Bosworth. The king, who had been asleep in his tent on the battlefield, has just woken from a dream in which he has seen the ghosts of the opponents he had previously murdered. Hogarth was a friend of Garrick, who had gained a degree of fame through his portrayal of Richard III at the Drury Lane Theatre in London. The painting shows the actor with fear and concern, one arm raised and with a shocked expression on his face. Read more...
Industry and Idleness is the title of a series of 12 plot-linked engravings created by William Hogarth in 1747, intending to illustrate to working children the possible rewards of hard work and diligent application and the sure disasters attending a lack of both. Unlike his earlier works, such as A Harlot's Progress (1731) and Marriage à-la-mode (1743), which were painted first and subsequently converted to engravings, Industry and Idleness was created solely as a set of engravings. Each of the prints was sold for 1 shilling each so 12 for the entire set, which is equivalent in purchasing power to approximately 80 GBP as of 2005. It may be assumed that these prints were aimed for a wider and less wealthy market than his earlier works. The originals currently reside at the British Museum. Read more...
The Marriage Settlement is the first in the series of six satirical paintings known as Marriage à-la-mode painted by William Hogarth. Read more...
Captain Lord George Graham in his Cabin is a 1745 oil-on-canvas painting by the English artist William Hogarth. A conversational picture, it shows Captain Lord George Graham, of the Royal Navy, in the cabin of his ship with several people.
The painting was probably commissioned by Graham to commemorate a naval battle he had fought recently. While commanding a 24-gun sixth rate, he had been one of three British ships to attack a squadron of three powerful French privateers and their prizes. The British were successful in their engagement, capturing all of the prizes, and all but one of the privateers. Lauded for his achievements, Graham was given another, larger, ship to command. The painting is probably set aboard this new command, the 60-gun HMS Nottingham, and shows Graham relaxing in the great cabin before a meal, smoking a pipe. With him are the ship's chaplain and clerk, who sing and listen to music played by a black servant. A steward brings a roast duck to the table. Two dogs are also present in the scene, one joins in the singing, the other wears a wig and reads a sheet of music. Read more...
The Four Stages of Cruelty is a series of four printed engravings published by English artist William Hogarth in 1751. Each print depicts a different stage in the life of the fictional Tom Nero.
Beginning with the torture of a dog as a child in the First stage of cruelty, Nero progresses to beating his horse as a man in the Second stage of cruelty, and then to robbery, seduction, and murder in Cruelty in perfection. Finally, in The reward of cruelty, he receives what Hogarth warns is the inevitable fate of those who start down the path Nero has followed: his body is taken from the gallows after his execution as a murderer and is mutilated by surgeons in the anatomical theatre. Read more...
Portrait of Captain Thomas Coram is a 1740 portrait of philanthropist Thomas Coram painted by William Hogarth. The portrait, which represents Hogarth’s highest achievement in direct portraiture, was not created as a commission and was instead donated to Coram's Foundling Hospital. The portrait is divided into two sections: The left side represents Coram's sea ventures, a major source of his wealth. The right side shows a curtain pulled over a mother figure with a child/
The painting is now in the collection of London's Foundling Museum. Read more...
The Distrest Poet is an oil painting produced sometime around 1736 by the British artist William Hogarth. Reproduced as an etching and engraving, it was published in 1741 from a third state plate produced in 1740. The scene was probably inspired by Alexander Pope's satirical poem The Dunciad. It depicts a scene in a small, dingy attic room where a poet sits at his desk in the dormer and, scratching his head, stares at the papers on the desk before him, evidently looking for inspiration to complete the poem he is writing. Near him sits his wife darning clothes, surprised by the entrance of a milkmaid, who impatiently demands payment of debts. Read more...
Columbus Breaking the Egg is a 1752 engraving by English artist William Hogarth. Issued as the subscription ticket for his treatise on art, The Analysis of Beauty, it depicts an apocryphal tale (the "Egg of Columbus") concerning Christopher Columbus's response to detractors of his discovery of the New World. Hogarth uses the story as a parallel to what he considered his own discoveries in art. Read more...
Sarah Malcolm (died 1733) was a British murderer who was sketched by William Hogarth as she awaited execution for a multiple murder. Read more...
Sigismunda mourning over the Heart of Guiscardo, fully titled Sigismunda mourning over the Heart of Guiscardo, her murder'd Husband, is an oil painting by British artist William Hogarth. Finished in 1759, it was the principal piece of the eight works he displayed in an exhibition in 1761. It was the final and most ambitious of his attempts to secure for himself a reputation as a genre painter. It depicts a dramatic moment in one of the novelle in Boccaccio's Decameron. While Hogarth had expected this work to be acclaimed as a masterpiece of dramatic painting, the work was met with criticism and ridicule. In the catalogue of the exhibition of Hogarth's works at the Tate Gallery in 2007, the criticism was described as "some of the most damning critical opprobrium the artist ever suffered". Read more...
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Selected images
The Gate of Calais (also known as, O the Roast Beef of Old England), 1749
Self-Portrait by Hogarth, ca. 1735, Yale Center for British Art.
An Election Entertainment featuring the anti-Gregorian calendar banner "Give us our Eleven Days", 1755.
The Wedding of Stephen Beckingham and Mary Cox, 1729, Metropolitan Museum of Art
A Rake's Progress, Plate 8, 1735, and retouched by Hogarth in 1763 by adding the Britannia emblem
Marriage à-la-mode, After the old Earl's funeral (scene four of six)
The Sleeping Congregation, 1728, Minneapolis Institute of Art
The Analysis of Beauty plate 1 (1753)
David Garrick as Richard III, 1745
The Shrimp Girl 1740–1745
Hogarth's Portrait of Captain Thomas Coram, 1740
Hogarth Painting the Comic Muse. A self-portrait depicting Hogarth painting Thalia, the muse of comedy and pastoral poetry, 1757–1758
The Assembly at Wanstead House. Earl Tylney and family in foreground
Eva Marie Veigel and husband David Garrick, c. 1757–1764, Royal Collection at Windsor Castle
William Hogarth, Painter and his Pug, 1745
William Hogarth by Roubiliac, 1741, National Portrait Gallery, London
The Beggar's Opera VI, 1731, Tate Britain's version (22.5 x 30 ins.)
The Bench, 1758
March of the Guards to Finchley (1750), a satirical depiction of troops mustered to defend London from the 1745 Jacobite rebellion.
William Hogarth's Election series, Humours of an Election, plate 2
Hogarth's Servants, mid-1750s.
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