David Hockney, A Rake’s Progress, Plate No. 1 – The Arrival, 1961-63
If Hogarth’s The Rake’s Progress was a morality tale for its time then it’s perhaps unsurprising that it’s a tale that’s been retold by others for different times and changed moral imperatives. Over time inevitably, things change. There are few – if any – moral absolutes. Interpretation is key. Produced over two centuries after Hogarth’s series, David Hockney’s A Rake’s Progress tells the familiar tale of inheritance leading to a dissolute life and, ultimately, the mad house in a series of 16 prints: twice as many as the original, but fewer than the 24 plates apparently originally suggested to Hockney. Started while Hockney was still studying at the Royal College of Art, the series was largely made in London but is set in New York, where Hockney spent the summer of 1961. The rake here is Hockney himself, though he is drawing on his own experiences and twisting them to broadly fit Hogarth’s narrative, so that rather than receiving an inheritance from his father, Hockney’s rake gets money from a collector, though he is beaten down from $20 to $18 for his print.