Skip to main content
SpringerLink
Log in

‘Ever-haunting Hogarth’: Remembering the Hogarthian Progress

  • Chapter
  • First Online:
Memory and Enlightenment

Part of the book series: Palgrave Macmillan Memory Studies ((PMMS))

  • 218 Accesses

Abstract

William Hogarth’s ‘progresses’—Marriage A-la-Mode (1743–45), A Harlot’s Progress (1731–32), and A Rake’s Progress (1732/33, 1735)—are among the most revisited of eighteenth-century works. This chapter looks the role of political and autobiographical memory in structuring encounters with Hogarth’s cultural afterlives through contexts of race, gender, and sexuality. It concentrates on visual art and fiction including the work of Lubaina Himid, Grayson Perry, Paula Rego, Alan Hollinghurst, and Jessie Brennan.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution
eBook
USD 16.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 16.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 89.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Notes

  1. 1.

    William Hogarth, Anecdotes of William Hogarth , Written By Himself (London: J.B. Nichols and Son, 1833), p. 8.

  2. 2.

    Jerome de Groot, Consuming History: Heritage and Historians in Popular Culture (London: Routledge, 2009), p. 190.

  3. 3.

    Robert Hughes, The Fatal Shore: A History of the Transportation of Convicts to Australia , 1787–1868 (London: Vintage, 1986, repr. 2003), p. 18.

  4. 4.

    David Brewer, ‘Making Hogarth Heritage’, Representations, 72 (2000), 21–63, 27.

  5. 5.

    Hogarth , Anecdotes, p. 8.

  6. 6.

    Brewer, ‘Making Hogarth Heritage’, pp. 24, 21.

  7. 7.

    Mark Hallett, ‘Hogarth ’s Variety’, in Hallett and Christine Riding, eds, Hogarth (London: Tate, 2006), pp. 13–21, 25.

  8. 8.

    A comprehensive account of Hockney’s A Rake’s Progress and its relations to Hogarth is given, along with discussions of Himid and Rego ’s work, in Mora J. Beauchamp-Byrd, ‘Hogarth ’s Progress: “Modern Moral Subjects” in the Art of David Hockney, Lubaina Himid and Paula Rego’, unpublished PhD dissertation, Duke University, 2011.

  9. 9.

    Astrid Erll, Memory in Culture, trans Sara B. Young (Basingstoke: Palgrave Macmillan, 2011), p. 86.

  10. 10.

    Erll, ‘Re-writing as Re-visioning’, European Journal of English Studies, 10 (2006), 163–85, 172. Emphasis in original.

  11. 11.

    Bernadette Fort, ‘Lubaina Himid’s A Fashionable Marriage: A Post-Colonial Hogarthian “Dumb Show”’, in Bernadette Fort and Angela Rosenthal, eds, The Other Hogarth (Princeton, NJ: Princeton University Press, 2001), pp. 278–93, 280.

  12. 12.

    David Bindman, ‘“A Voluptuous Alliance between Africa and Europe”: Hogarth ’s Africans’, in Fort and Rosenthal, eds, The Other Hogarth , pp. 260–9, 263, see also David Dabydeen , Hogarth ’s Blacks (Kingston-upon-Thames: Dangaroo, 1985), p. 85, and Bindman, Ape to Apollo: Aesthetics and the Idea of Race in the Eighteenth Century (London: Reaktion, 2002), pp. 38–42.

  13. 13.

    Dabydeen, Hogarth’s Blacks, p. 85.

  14. 14.

    Hogarth ’s Blacks, p. 131.

  15. 15.

    Bindman, ‘A Voluptuous Alliance’, p. 260.

  16. 16.

    Catherine Molineux, ‘Hogarth ’s Fashionable Slaves: Moral Corruption in Eighteenth-Century London’, ELH, 72 (2005), 495–520, 513, 515.

  17. 17.

    Lubaina Himid , ‘A Fashionable Marriage’, in Bernadette Fort and Angela Rosenthal, eds, The Other Hogarth , pp. 270–7, 270, 277; also available at http://lubainahimid.uk/portfolio/a-fashionable-marriage/.

  18. 18.

    Fort, ‘Lubaina Himid’s A Fashionable Marriage’, p. 278.

  19. 19.

    Beauchamp-Byrd, ‘Hogarth ’s Progress’, p. 219.

  20. 20.

    Himid ‘A Fashionable Marriage’ , p. 275.

  21. 21.

    Himid , ‘A Fashionable Marriage’, p. 270.

  22. 22.

    Beauchamp-Byrd, p. 203.

  23. 23.

    Robin Blake, Review of Keywords Exhibition, Financial Times, 11 March 2014. https://next.ft.com/content/3dea7a08-a87c-11e3-b50f-00144feab7de.

  24. 24.

    Coco Fusco and Sara Ahmed, ‘Keywords Lecture: Resistance’, 11 May 2011, http://www.iniva.org/events/2011/keywords_lecture_4_resistance.

  25. 25.

    Himid , in Sutapa Biswas et al., Thin Black Line(s) Tate Britain 2012/2012 (Preston: University of Central Lancashire, 2011), p. 57.

  26. 26.

    Monica L. Miller, Slaves to Fashion: Black Dandyism and the Styling of Black Diaspora Identity (Durham, NC: Duke University Press, 2009), p. 5.

  27. 27.

    David Dabydeen , ‘The Black Figure in Eighteenth-Century British Art’, http://www.bbc.co.uk/history/british/abolition/africans_in_art_gallery_03.shtml.

  28. 28.

    ‘Hans Ulrich Obrist in Conversation with Yinka Shonibare MBE’, Yinka Shonibare, FABRIC-ATION (West Bretton: Yorkshire Sculpture Park, 2013), pp. 13–23, 21.

  29. 29.

    Elizabeth Kowaleski Wallace, The British Slave Trade and Public Memory (New York: Columbia University Press, 2006), p. 105.

  30. 30.

    Hogarth ’s Blacks, pp. 131–2.

  31. 31.

    David Dabydeen, A Harlot’s Progress (London: Vintage, 2000 [first published by Jonathan Cape, 1999]), p. 152.

  32. 32.

    Miller, Slaves to Fashion, p. 30.

  33. 33.

    Abigail Ward, ‘David Dabydeen’s A Harlot’s Progress: Representing the Slave narrative Genre’, Journal of Postcolonial Writing, 43 (2007), 32–44, 37; Ward, Caryl Phillips, David Dabydeen and Fred D’Aguiar : Representations of Slavery (Manchester: Manchester University Press, 2011), pp. 120–1.

  34. 34.

    Dabydeen, A Harlot’s Progress, p. 272.

  35. 35.

    Kowaleski Wallace, Slave Trade, p. 105.

  36. 36.

    Alan Hollinghurst, The Line of Beauty (London: Picador, 2005), p. 500. Subsequent references in brackets in main text.

  37. 37.

    The other novels, all first published in 2004, are David Lodge, Author, Author; Colin Toibín, The Master; Toby Litt, Ghost Story. See Denis Flannery, ‘The Powers of Apostrophe and the Boundaries of Mourning: Henry James, Alan Hollinghurst, and Toby Litt’, The Henry James Review, 26 (2005), 293–305; Daniel Hannah, ‘The Private Life, the Public Stage: Henry James in Recent Fiction’, Journal of Modern Literature, 30 (2007), 70–94.

  38. 38.

    Adeline R. Tintner, Henry James and the Lust of the Eyes: Thirteen Artists in His Work (Baton Rouge, LA: Louisiana State University Press, 1993), pp. 41, 51.

  39. 39.

    Hannah, pp. 86, 87.

  40. 40.

    Fréderic Ogée, ‘The Flesh of Theory: The Erotics of Hogarth ’s Lines’, in Fort and Rosenthal, eds, The Other Hogarth, pp. 62–76, 63.

  41. 41.

    Andrew Higson, ‘Re-presenting the National Past, Nostalgia and Pastiche in the Heritage Film’, in Lester Friedman, ed., British Cinema and Thatcherism: Fires Were Started (1993; new ed. London, Wallflower Press, 2009), pp. 91–109; Claire Monk, ‘The British Heritage-film Debate Revisited’, in Monk and Amy Sargeant, eds, British Historical Cinema (London: Routledge, 2002), pp. 176–98.

  42. 42.

    John Su, ‘Beauty and the Beastly Prime Minister’, ELH, 81 (2014), 1083–110.

  43. 43.

    Richard Morphet, ed., Encounters: New Art from Old (London: National Gallery, 2000), p. 265.

  44. 44.

    Douglas Keay, Interview with Margaret Thatcher, Woman’s Own, 31 October 1987, available at http://www.margaretthatcher.org/document/106689.

  45. 45.

    Himid, ‘A Fashionable Marriage’, p. 277.

  46. 46.

    Julian Wolfreys, ‘Notes towards a Poethics of Spectrality: The Examples of Neo-Victorian Textuality’, in Kate Mitchell and Nicola Parsons, eds, Reading Historical Fiction: The Revenant and Remembered Past (Basingstoke: Palgrave Macmillan, 2013), pp. 153–71, 153–4.

  47. 47.

    Flannery, ‘Powers of Apostrophe’, p. 297.

  48. 48.

    Grayson Perry, ‘Playing To the Gallery: Democracy has Bad Taste’, BBC Reith Lecture, broadcast 19 October 2013, http://www.bbc.co.uk/programmes/b03969vt (audio); http://downloads.bbc.co.uk/radio4/transcripts/lecture-1-transcript.pdf (transcript), p. 1.

  49. 49.

    Brewer, ‘Making Hogarth Heritage’, p. 26.

  50. 50.

    Margaretta Jolly, ‘“Perversity to Match the Curtains”: Queering the Life Story with Grayson Perry’, in Kate Fisher and Sarah Toulalan, eds, Bodies, Sex and Desire from the Renaissance to the Present (Basingstoke: Palgrave Macmillan, 2011), pp. 118–28, 126.

  51. 51.

    Grayson Perry, Playing to the Gallery: Helping Contemporary Art in its Struggle to be Understood (London: Penguin, 2014), p. 31.

  52. 52.

    Playing to the Gallery, p. 2.

  53. 53.

    Wendy Jones and Grayson Perry, Grayson Perry : Portrait of the Artist as a Young Girl (London: Vintage, 2007), p. 4.

  54. 54.

    Jacky Klein, Grayson Perry (London: Thames and Hudson, 2009; rev. ed., 2013), p. 77.

  55. 55.

    Grayson Perry, The Vanity of Small Differences (London: Hayward, 2013), p. 11. Perry also calls himself an ‘oik usurper’ in episode 3 of All in the Best Possible Taste.

  56. 56.

    James Grantham Turner, ‘“A wanton kind of chace”: Display as Procurement in A Harlot’s Progress and its Reception’, in Fort and Rosenthal, eds, The Other Hogarth, pp. 38–61, 46.

  57. 57.

    Jenny Dalton, ‘An Appetite for Art? Try Grayson Perry Placemats’, Financial Times—How to Spend It, 11 October 2012, http://howtospendit.ft.com/art/10551-an-appetite-for-art-try-grayson-perry-table-mats. The price for a set of six mats is £360.

  58. 58.

    Jenny Uglow, Hogarth (London: Faber, 1997), pp. 212–13; Christine Riding, ‘The Harlot and the Rake’, in Hallett and Riding, eds, Hogarth , pp. 73–94, 73.

  59. 59.

    Rebecca English, ‘At Least They Didn’t Make Him a Dame’, Daily Mail, 24 January 2014, http://www.dailymail.co.uk/news/article-2545301/Cross-dressing-artist-Grayson-Perry-wears-mother-bride-outfit-receive-CBE-Prince-Charles.html.

  60. 60.

    Channel Four, ‘In the Best Possible Taste—Grayson Perry Q&A’, http://www.channel4.com/programmes/in-the-best-possible-taste-grayson-perry/articles/all/grayson-perry-qa.

  61. 61.

    Perry , Vanity, p. 11.

  62. 62.

    Perry , Vanity, p. 76.

  63. 63.

    Paula Rego, quoted in Tim Batchelor, catalogue entry for The Betrothal: Lessons: The Shipwreck, after ‘Marriage A la Mode’ by Hogarth , in Hallett and Riding, eds, Hogarth , p. 50.

  64. 64.

    Jessie Brennan, ‘Introduction’, Regeneration! Conversations, Drawings and Photographs from Robin Hood Gardens (London: Silent Grid, 2015), p. 18.

  65. 65.

    Rachel Cooke, Her Brilliant Career: Ten Extraordinary Women of the Fifties (London: Virago, 2013), pp. 91–128; Owen Hatherley, Militant Modernism (Winchester: Zero Books, 2008), pp. 16–19.

  66. 66.

    Stephen Bayley, ‘You Want the Brutal Truth? Concrete Can be Beautiful’, Observer, 2 March 2008, http://www.theguardian.com/artanddesign/2008/mar/02/architecture.communities.

  67. 67.

    Building Design, 21 February 2008, http://www.bdonline.co.uk/sign-up-to-save-robin-hood-gardens-now!/3107018.article.

  68. 68.

    Ben Luke, ‘Jessie Brennan on New Show Progress at Foundling Museum’, London Evening Standard, 3 June 2014, http://www.standard.co.uk/goingout/exhibitions/jessie-brennan-on-new-show-progress-at-the-foundling-museum-9477065.html.

  69. 69.

    Alison and Peter Smithson, Ordinariness and Light: Urban Theories 1952–60, and their Application in a Building Project 1963–70 (London: Faber, 1970), p. 40.

  70. 70.

    Michaela Netell, ‘A Response to Hogarth : “I’m Thinking about Progress as a Concept”’, a-n, 3 June 2014, https://www.a-n.co.uk/news/a-response-to-hogarth-thinking-about-progress-as-a-concept.

  71. 71.

    Peter Smithson, Interviewed in The Smithsons on Housing (BBC, 1970) available at https://www.youtube.com/watch?v=UH5thwHTYNk.

  72. 72.

    Peter Smithson, The Smithsons on Housing.

  73. 73.

    Douglas Murphy, Last Futures: Nature, Technology and the End of Architecture (London: Verso, 2016), pp. 158–9.

  74. 74.

    Ordinariness and Light, p. 58.

  75. 75.

    Alison Smithson, The Smithsons on Housing.

  76. 76.

    Klein, Grayson Perry , p. 65; Jonathan Coe’s biography of B.S. Johnson reproduces Johnson’s notes for a conversation with the Smithsons during the filming of The Smithsons on Housing. They show the director’s evident frustration at the Smithsons’ difficulty in communicating their ideas to a lay audience without coming across as forbidding and aloof (Like a Fiery Elephant: The Story of B.S. Johnson (Basingstoke: Pan Macmillan, 2005), p. 285).

  77. 77.

    Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (Winchester: Zero, 2014), pp. 6–16.

  78. 78.

    Perry , quoted in Klein, p. 77.

  79. 79.

    Alastair Smart, ‘Would Hogarth have voted UKIP?’, Daily Telegraph, 8 June 2014, http://www.telegraph.co.uk/culture/art/art-features/10875759/Would-Hogarth-have-voted-Ukip.html.

References

Download references

Author information

Authors and Affiliations

  1. School of Arts and Humanities, Ulster University, Coleraine, Northern Ireland, UK

    James Ward

Authors
  1. James Ward
    View author publications

    You can also search for this author in PubMed Google Scholar

Rights and permissions

Reprints and permissions

Copyright information

© 2018 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Ward, J. (2018). ‘Ever-haunting Hogarth’: Remembering the Hogarthian Progress. In: Memory and Enlightenment. Palgrave Macmillan Memory Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-96710-3_3

Download citation

Publish with us

Policies and ethics

Search

Navigation