Opinions about life and culture, A world view of a Woman Artist travelling from The Middle-east to Europe in the 80's, 90's and 2000/2019 ..... Autobiographycal Stories which have been published in the book "A Time For dreamers" (Austin Macauley Publishers) and some self published Stories on Kindle ( "Paris 2015" / "I Believe in You")
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Hogarth: Place and Progress review – a heartbreaking epic of London squalor
Hogarth: Place and Progress review – a heartbreaking epic of London squalor
Sir John Soane’s Museum, LondonFrom corrupted
country girls and rough sleepers to sleazy judges and drunken toffs, no
one has captured London’s dark underbelly better than Hogarth
The rough sleepers in William Hogarth’s painting The Four Times of Day:
Night huddle under a wooden stall on St Martin’s Lane while a drunk
staggers by without seeing them and a man gets a midnight shave in a
candlelit barber’s shop. It’s a shock to see all Hogarth’s visual
narratives of London in one place and realise how insistently he
portrays inequality. There is barely a picture here that doesn’t include
paupers, beggars or street children. A shoeless boy watches as a
spendthrift gentleman is arrested for debt in Scene Four of The Rake’s Progress:
a troubling detail that reminds us the Rake was born lucky, in a London
teeming with people who never had his chances to waste. In the next
scene, a ragged child clings to the silk skirt of an old widow who the
Rake is marrying for her fortune. Most horribly of all, in Scene Three
of Marriage A-la-Mode, a paedophile aristocrat takes a child who has been trafficked for sex to the pox doctor.
Sir John Soane’s Museum has brought together all of Hogarth’s visual
narratives in one place, among them The Harlot’s Progress, The Rake’s
Progress and The Four Stages of Cruelty.
These raw stories of London life join together here, as never before,
to make one great epic of laughter and squalor. Call it London: the
Graphic Novel. It will break your heart.
Raw stories of London life … The Four Times of Day: Night by William Hogarth Photograph: John Hammond/National Trust Images
The opening scene of Hogarth’s first picture story strips away all
illusions about what his contemporary Daniel Defoe called “the Monster
City”. A young woman has just got off a wagon full of country girls like
her, and come to the metropolis to seek her fortune. Right there she’s
being greeted by a brothel madam while a sleazy gent watches from a
doorway. A goose with its neck wrung foretells her fate.
This is Plate One of The Harlot’s Progress, which survives today only
as a set of engravings: the painted version was lost long ago. It’s
shown here in parallel with the paintings of The Rake’s Progress, his
second series, created two years later in 1734 and preserved for the
past couple of centuries in the surreal personal museum created by their
owner Soane.
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