Rake's Progress Painting Series. A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth.
The canvases were produced in 1732-34, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital.
The original paintings are in the collection of Sir John Soane's Museum in London, where they are normally on display for a short period each day. The filmmaker Alan Parker has described the works as an ancestor to the storyboard.
In the first painting, Tom has come into his fortune on the death of his miserly father. While the servants mourn, he is measured for new clothes.
Although he has had a common-law marriage with her, he now rejects the hand of his pregnant fiancée, Sarah Young, whom he had promised to marry. He pays her off, but she still loves him, as becomes clear in the fourth painting. Evidence of the father's miserliness abound: his portrait above the fireplace shows him counting money; symbols of hospitality have been locked up at upper right; the coat of arms shows three clamped vises with the motto Beware; a half-starved cat reveals the father kept little food in the house, while lack of ashes
The canvases were produced in 1732-34, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital.
The original paintings are in the collection of Sir John Soane's Museum in London, where they are normally on display for a short period each day. The filmmaker Alan Parker has described the works as an ancestor to the storyboard.
In the first painting, Tom has come into his fortune on the death of his miserly father. While the servants mourn, he is measured for new clothes.
Although he has had a common-law marriage with her, he now rejects the hand of his pregnant fiancée, Sarah Young, whom he had promised to marry. He pays her off, but she still loves him, as becomes clear in the fourth painting. Evidence of the father's miserliness abound: his portrait above the fireplace shows him counting money; symbols of hospitality have been locked up at upper right; the coat of arms shows three clamped vises with the motto Beware; a half-starved cat reveals the father kept little food in the house, while lack of ashes
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