William Hogarth: Conversation Piece
Pallant House Gallery, 18 January - 9 March 2003
This in focus exhibition considers the bawdy print series An Election
by William Hogarth (1729-31) in relation to The Beggar's Opera Act III,
the 'conversation' painting that made his reputation. Although on one
hand a lavish portrait of the actors in John Gay's play, this painting
was also a biting satire of the political system of his day. These amusing
pictures expose the world of 18th century politics with an insight and
humour that is as fresh today as when they were first created.
The 'Conversation Piece' was a popular form of painting in Britain in
the early years of the 18th century. These informal paintings usually
took the form of small scale group portraits of family or friends engaged
in some favourite occupation in private surroundings, as in Gawen Hamilton's
Rawston Conversation Piece (c.1740) in the collection of Pallant House
Gallery. It was William Hogarth, with The Beggar's Opera, Act III (1728-29),
who took the standard 'conversation piece' in another direction altogether,
quite different from the usual representations of domestic gatherings.
Hogarth's The Beggar's Opera, Act III
Instead of the polite family group Hogarth's painting represents the
final scene of John Gay's Beggar's Opera, which was one of the most popular
and controversial plays of the day. It is on one level a portrait group
as it shows the actual actors who performed the play, as well as members
of the audience. On another level, however, it was a subject painting
with its meaning closely related to the dénouement of Gay's 'opera' with
the suggestion that the line between respectability and the criminal underworld
is not as clear as is generally assumed.
Hogarth's An Election Series
An Election, Hogarth's last and most famous 'modern
moral subject', was the most biting political satire of his career. The
series consists of just four scenes but each is packed so full of incident
that it would appear that Hogarth was attempting to provide a panorama of
the entire political scene in 18th century Britain. Although An Election
was based in the fictional constituency of 'Guzzledown' it is clear that
its inspiration was the very real state of political corruption during the
notorious Oxfordshire contest during the general election of 1754. The Oxfordshire
seats had been held uncontested by the party of 'Old Interest' (the Tories)
since 1710.
When the Whigs, the party of 'New Interest', decided to contest the
seats it gave the electors the chance to exercise their rights as citizens
for the first time since in over forty years and initiated a campaign
that became notorious for the unprecedented levels of corruption and bribery.
As in A Scene from The Beggar's Opera, Act III, the characters Hogarth's
fictional election bear uncanny likenesses to real political figures,
particularly the Duke of Newcastle and the turn-coat politician Bubb Doddington.
The dominant theme of the series is that of imminent disaster, both involving
individuals and the nation at large, a warning about the possible impact
of corruption and greed on the future of Great Britain.
William Hogarth (1697-1764) was the leading
figure of the British art world in the first half of the 18th century. Although
he originally trained as a silver engraver because his father, who had been
imprisoned in the debtor prison, did not have the money to apprentice him
to an established painter, Hogarth was to establish himself as artist in
the 1720s. He became known for his revolutionary approach to the fashionable
conversation piece, with 'modern moral subjects', such as The Harlot's Progress
(1731) and The Rake's Progress (1733).
These form commentaries on the human condition through contemporary figures, rather than the mythological heroes of the past that were frequently presented
in academic History paintings of the time. In 1735 he established a new
St Martins Lane Academy along anti-academic lines. A great philanthropist
Hogarth created works for the Foundling Hospital and St Barts Hospital,
and as a producer of popular prints was instrumental in bringing about
the Copyright Act.
The Beggar's Opera was first performed at the Lincoln's Inn Fields
Theatre in January 1728. Its popularity spread rapidly and it soon became
a subject of conversation among all classes of people. The play simultaneously
satirised the taste for Italian opera and the pretensions of high society
through its presentation of the fortunes and misfortunes of a highwayman
called Captain Macheath, who is loved by Polly Peachum, a thief-taker's
daughter, and by Lucy Lockit, whose father is the Turnkey (gaoler) at
Newgate Prison.
Its story of London's low-life criminals and prostitutes implied that
there was not much to distinguish these rogues and villains from those
who ran the country. The satire was aimed at the corrupt administration
of the Prime Minister Robert Walpole. Indeed, the contemporary public
could recognise infamous criminals like Jonathan Wild and Jack Sheppard
in the characters of Peachum and Macheath, recognise 'Bob Booty' as Sir
Robert Walpole, and compare Polly Peachum and Lucy Lockit to the rival
singers Cuzzoni and Bordoni.