Credulity, Superstition, and Fanaticism

Credulity, Superstition, and Fanaticism by William Hogarth is a powerful satirical image created in 1762. This intricate example of British printmaking utilizes the demanding techniques of etching and engraving to achieve sharp detail and expressive characterizations. Executed during the period 1751 to 1775, this work showcases Hogarth's unrelenting critique of religious and intellectual excess during the Enlightenment era, reflecting a skeptical view of emotional upheaval in organized worship.

Hogarth was renowned for using his prints as moral commentaries, dissecting the vices and follies of contemporary British culture. The imagery in this piece specifically satirizes the emotional extremism associated with certain evangelical movements of the mid-18th century, contrasting rational Enlightenment ideals with what Hogarth viewed as dangerous zealotry. The highly detailed composition depicts figures in various states of ecstasy and delusion, often referencing specific contemporary religious figures or events subtly within the scene. The overall effect is designed to expose how easily society can fall prey to unfounded superstitions and intellectual credulity when reason is abandoned.

The creation of such detailed prints ensured Hogarth’s social commentary reached a broad audience across Britain, establishing his reputation as a master of visual satire. Classified as a print, the work demonstrates the potential of reproductive media to influence public opinion and discourse. As a historical document, this artwork continues to offer insight into the social anxieties surrounding faith and reason in the 18th century. Today, many of Hogarth’s graphic achievements are highly sought after by collectors, and works such as Credulity, Superstition, and Fanaticism are increasingly available through the public domain for study. This significant impression resides within the permanent collection of the National Gallery of Art.