A Scene from The Beggar's Opera
William Hogarth·1728/1729
Historical Context
William Hogarth painted this scene from John Gay's The Beggar's Opera in 1728-29, documenting the sensational theatrical hit that satirized both Italian opera and government corruption. This was Hogarth's breakthrough work, establishing his reputation as a painter of modern life and inaugurating his career-long engagement with theatrical subjects. The painting captures a specific scene with identifiable actors, making it both a theatrical record and a social commentary.
Technical Analysis
Hogarth arranges the stage scene with the precision of a theatrical director, using the prison set and carefully positioned figures to create a composition that reads as both painting and performance. His vivid characterization of individual faces and lively brushwork bring the scene to theatrical life.
Provenance
Edward Cheney.[1] (Possibly--although, if so, inaccurately described as a "Garden Scene with many figures, in _colours_"--sale, Sotheby's, 29 April 1885 et seq., 3rd day, no. 332); bought by (P. & D. Colnaghi & Co., London). Francis Capel Cure [1854-1933], Badger Hall, Essex, by 1905; by descent to his nephew, Nigel Capel Cure [b.1908], Blake Hall, Ongar, Essex, by 1965.[2] (John Baskett, Ltd., London); purchased June 1975 by Paul Mellon, Upperville, Virginia; gift 1983 to NGA. [1] According to Wilmarth Sheldon Lewis and Philip Hofer, _"The Beggar's Opera" by Hogarth and Blake_, (Cambridge, Massachusetts, New Haven, and London, 1965), under no. 5. According to The Provenance Index, J. Paul Getty Trust, Santa Monica, California, Edward Cheney [1803-1884] is listed as the inheritor of the Badger Hall estate from his brother, R. Henry Cheney [d. 1866], and as the uncle of Col. Alfred Capel Cure. Alfred inherited Badger Hall from Cheney; the house then passed by descent to Alfred's nephew, Francis Capel Cure. The Getty lists its sources as "P[rovenance] I[ndex]: Collector's File" and _Burke's Landed Gentry_ [edited by Sir Bernard Burke; the (London) 1898 ed. includes Captain Edward Cheney et al.]. [2] Lewis and Hofer 1965 (as per n. 1 above) list the six different versions of the composition, of which one then belonged to Nigel Capel Cure.
