He was the Godfather of satire, the man whose portrayals of drunken debauchery and British society made him a household figure.
Now, however, the woke warriors have made William Hogarth, an 18th-century painter, their latest target.
Tate Britain has opened a new exhibition that highlights the work of the famous artist. It also highlights what curators claim are the’sexual violences, anti-Semitism, and racism’ inherent in his paintings.
Hogarth and Europe highlight one of Hogarth’s most famous early works, A Midnight Modern Conversation. This shows drunken men who have consumed large amounts of punch.
According to The Telegraph, visitors are told in a label alongside the scene that, whilst the picture is meant to be funny, the ‘punch they drink and the tobacco they smoke are material links to a wider world of commerce, exploitation and slavery.’
A catalogue accompanying this painting suggests that the men may be “queasily celebrating such male misdemeanours – what we might call “laddishness” today.”
A self-portrait of Hogarth seated on a wooden chair and painting at an easel, should be seen in the context of slavery according to the commentary.
Artist Sonia Barret is said to claim in the note that Hogarth’s chair was made from ‘timbers shipped from the colonies’ and asks if it could ‘stand in for all those unnamed black and brown people enabling the society that supports his vigorous creativity?’
A new exhibition at Tate Britain showcasing William Hogarth’s work highlights what curators claim is the ‘sexual violence, anti-Semitism and racism’ in his paintings. A Midnight Modern Conversation (pictured), one of Hogarth’s most famous early works, depicts drunken men consuming large amounts of punch and is targeted because of its alleged slavery connections.
A self-portrait of Hogarth seated on a wooden chair while he painted at an easel is also appropriate. According to the commentary accompanying this picture, it should also be considered in the contexts of slavery. Sonia Barret, the artist, claims that Hogarth’s chair is made from “timbers shipped to the colonies” and asks if it could “stand in for all those unnamed brown and black people who enable the society that supports his vibrant creativity?”
Although the original plan for the new exhibit was started a decade prior, curators decided to change the focus of the exhibition in part due to the Black Lives Matter movement.
Sixty Hogarth’s paintings are displayed alongside European painters to show him in “fresh light”.
The new exhibition’s curators, Alice Insley and Martin Myrone have also tried to highlight the alleged marginalisation of black people in Hogarth’s work.
They focus their attention on The Discovery, which depicts a semi-naked, black prostitute in a bed, while four white men surround it. They call it “explicitly racist”.
The show’s curators stated that it ‘obviously… responds to Brexit’ by showing Hogarth as a cosmopolitan, outside-looking’ persona, as opposed to as an ‘insular patriot and xenophobe’ as they claim he is often viewed.
The historians said that they cannot give an objective account of Hogarth’s work as the exhibition is a “Eurocentric project”.
The new exhibition’s planning began a decade before the Black Lives Matter movement. Above: A scene from Hogarth’s Marriage a-la-Mode Series also depicts drunkenness within Britain
A scene from Hogarth’s A Rake’s Progress. It once again displays the debauchery and excesses of 18th century England.
The web page for the new exhibit includes a blurb that reads: ‘Few artist have defined an era so much as William Hogarth (1697-1764), who’s vivid, satirical depictions in 18th-century England continue to capture our imagination today.
Hogarth and Europe, ‘Tate Britain’s major exhibition, presents his work in a new light alongside those of his continental contemporaries.
“It explores parallels and exchanges which crossed borders and the cosmopolitan nature of Hogarth’s art.
Later, it adds: “The rising demand for consumer products at home came at a cost of the lives and labour of enslaved or colonized people overseas.
Hogarth’s 18th century England depictions continue to be popular today. Gin Lane, 1751 is one of his most famous prints. It shows ordinary Britons who have been destroyed by their addiction to the then hugely popular spirit
The planning for the new exhibition began over a decade ago, but curators decided to shift its focus due to the Black Lives Matter movement. Above: Gallery assistants stand opposite Hogarth’s series ‘A Rake’s Progress’ at the new exhibition
“Against this backdrop, Hogarth, an artist, pioneered a new picture of modern life, revealing its joys, dynamism, as well as its dangers and stark inequality.
The Evening Standard published a review of the new exhibit. It said that it was a “stunning depiction” of Hogarth’s work. However, they warned visitors to ignore the “asinine wakery”.
Hogarth’s portrayals of 18th-century England still resonate today.
Prints and paintings from his Marriage A-la-Mode Series, 1743-1751, are two of his most recognizable works.
Both emphasize heavy alcohol consumption, but Marriage A-la Mode focuses more on the upper classes.
Gin Lane contrasts with this depiction of ordinary Britons drunken to excess after their addiction to the once popular spirit.
The painter was particularly interested in depicting everyday characters who were corrupted by immoral behavior.
Sixty Hogarth’s paintings are displayed alongside European painters to show him in “fresh light”.
Who was William Hogarth
William Hogarth (1697 – 1764) is best known for his satirical and moral engravings and paintings, such as his A Rake’s Progress and his Marriage A-la-Mode series.
Born in London, he was the son of a failed schoolmaster and writer. Before he started to create his own engraving designs, he was apprenticed to a goldsmith.
He then moved to oil painting, and began creating his satirical series about contemporary life.
Jane Thornhill was Sir James Thornhill’s sister and artist.
Hogarth began recording what he considered humorous scenes from everyday life after they had married.
William Hogarth (1697 – 1764) is best known for his satirical and moral engravings and paintings, such as his A Rake’s Progress and his Marriage A-la-Mode series
Hogarth was able to pursue his creative ambitions by becoming financially independent through his engravings that were aimed at the wider audience.
Famously, the painter also fought to protect his copyright to his work in order to stop others from copying it. The Hogarth Act of 1935 was the result of that campaign.
His most famous self-portrait, which dates back to 1745, shows Hogarth with his pug dog, Trump.
He also published the Marriage a-la-Mode print in the same year to criticize the debauchery of the upper classes.
The painter was so influential that his surname was changed to “Hogarthian” which describes the kind of scathing humor he produced.
His style was influenced by many other caricaturists of the 18th, 19th, and 20th centuries, such as the cartoonist and satirist James Gillray.
Prints by the artist have also influenced other works, such as Gavin Gordon’s 1935 ballet The Rake’s Progress.
His home in Chiswick, West London, is now a museum. The road next to it is called the Hogarth roundabout.