A Rake’s Progress

Hogarth’s 1733 series A Rake’s Progress offers a satirical portrayal of a young man who recklessly squanders his inherited wealth through a life of gambling and debauchery, capturing his indulgence in London's notorious brothels and gaming houses. His misguided pursuit of pleasure leads him to a disastrous marriage with an heiress, ultimately culminating in the rake’s confinement in Bedlam, highlighting Hogarth’s critique of moral and financial irresponsibility in 18th-century society.

Hockney's series, published in a limited edition of 50, quickly garnered acclaim from critics for its innovative approach to form and composition. The series stood out for its bold reimagining of Hogarth's classic narrative, showcasing Hockney’s distinctive style and solidifying his reputation as a leading artist of his generation.

Hockney’s initial trip to New York in 1961 profoundly influenced his series, infusing it with vibrant energy and a distinct narrative flair. The series, characterised by its richly coloured scenes and detailed depictions of characters and interiors, captures a dramatic, soap opera quality that is both compelling and hard to ignore.

While Hockney’s reimagining of Hogarth's 18th-century engravings retains a touch of the original's moral undertones, it shifts the focus to a lighter, more personal subject. Through a blend of wit and candour, Hockney presents himself as the ‘rake’, a young artist and gay man navigating the complexities of life in New York.

In contrast to Hogarth's richly detailed and realistic scenes, Hockney’s A Rake’s Progress subverts tradition with its minimalist compositions and simplified figures, markedly different from the opulent young heir of the original series. While Hockney's approach eschews ornate detail, he employs vibrant splashes of red colour to add visual impact, enhance the drama, and strategically guide the viewer’s focus to specific narrative points.

Hockney's time at the Royal College of Art in London, from 1959 to 1962, was a formative period that significantly shaped his artistic vision and career. At the RCA, Hockney was exposed to a diverse range of influences and techniques that challenged and expanded his creative boundaries, and this series, drawn directly onto the plate, shows his growing confidence with the medium.

Hockney often deliberately leaves backgrounds blank, a choice that starkly contrasts with the richly detailed settings typical of traditional narrative art. In this series, Hockney creates an unsettling, almost surreal space that isolates his subjects, placing them in a minimalist place that emphasises their emotional and psychological states, rather than their physical surroundings. The sparse backgrounds also underscore the artificiality of the scenes, reflecting Hockney’s intent to highlight the inner turmoil and existential themes of the characters, rather than the external context in which they exist.

Hockney's A Rake’s Progress exemplifies his fascination with merging classical narrative traditions with contemporary artistic techniques. By reinterpreting Hogarth's series through his own modern lens, Hockney infuses the classic moral tale with his signature style. This fusion of old and new not only revitalises the narrative, but also reflects Hockney’s broader artistic exploration, where historical themes are juxtaposed with innovative visual elements to highlight a dialogue between past and present.

Although Hockney maintained A Rake’s Progress was not an autobiographical account, stating, “It is not really me. It’s just that I use myself as a model because I’m always around”, Hockney’s personal journey and observations during his first trip to New York provided a backdrop for the series, infusing it with authentic emotional and social insights.

A Rake’s Progress serves as a compelling bridge between historical art and contemporary expression, showcasing Hockney’s ability to weave together the past and present. This series has been widely exhibited across prominent galleries and museums, including the Royal Academy of Arts, London and The Metropolitan Museum of Art, New York, reflecting its significant impact and enduring appeal in the art world.