Musée du Louvre, Paris
20 October 2006-8 January 2007
In this way, the great historian, Roy Porter, caught the essence of Hogarth's impact in a nutshell. What would he have made of the fact that today, William Hogarth is, at last, the subject (albeit with Rembrandt) of a major exhibition at the Louvre (moving back to its more natural home in February at Tate Britain)? In fact, this is the first exhibition of the work of William Hogarth ever to be mounted in France. This might be taken as an example of the cultural benefits brought about by the entry of Britain to the EU. But either way, it is a significant mark of the growing prestige of Hogarth, not just within the English-speaking world but globally.
The term 'Hogarthian' is now enshrined in the English language, and it is easy to understand its meaning once one has seen his paintings. The French word 'Rabelaisian', taken from an earlier century's coarse and humorous writing, bears little of the strength of the former. William Hogarth's comely mansion is still visible, with its brick façade appearing full-frontal as one drives westward towards Heathrow along the M4 approach at Chiswick. Garrick wrote the epitaph on Hogarth's tomb in Chiswick churchyard. In 18th-century London, there could scarcely have been a greater honour. Hogarth stood as a symbol of English xenophobia to all things Continental, but he always laced it with wit, which is why his work was so broadly popular. He also caught the mood in England of a new salacious but exuberant form of the novel, for example, Fielding's work Tom Jones, which is better than Rabelaisian in its thrust.
At the Louvre (until 8 January 2007) some 120 Hogarth works vie with 64 Rembrandts (the French must surely have discovered the latter if not the former). Awareness of Hogarth would prompt in French sensibilities an understanding, however reluctant, that the Enlightenment process, of which revolutionary France became so self-consciously proud, actually has its roots in England (and dare one say it, Scotland). Professor Frederic Ogee, Co-curator, has done European culture a major favour by opening up a debate about the origins of this classic European movement, from which sprang the establishment of the American Constitution. And France, being France, will not be too worried about the chauvinism from the 'Rosbif', as the English were dubbed at this time, but will revel in their enjoyment of Hogarth fundamentally as a painter, a great colourist and a creator of literally 'choreographed' scenarios.
After all, Hogarth, like any talented British painter, was doing his best to establish his credentials as a European painter of stature among equals. By choosing subjects of modern morals, such as 'A Harlot's Progress' (popular in the Louvre right now) and 'A Rake's Progress', he moved the goalposts firmly across the channel. The six paintings from the series 'Marriage à la mode' as it was titled, stand as Hogarth's masterpiece. A set of engravings based on the paintings was executed in 1745 and these were offered for sale by Hogarth in 1752. The series was also entitled 'A Variety of Modern Occurrences in High-Life' and parodied an arranged marriage between the son of a nobleman and the daughter of a bourgeois in all its preposterous stages. Here, Hogarth was seen as a redoubtable but sceptical Modernist.
He also defined his epoch better than any other artist. He was the true founder of caricature, expressed with masterly skill. The painting, 'O The Roast Beef of Old England', was really his own personal revenge against the French for arresting him in 1747 on false pretences, deeming him to be a spy, while he was innocently waiting for a ferry at Calais. The painting is set with a background of the massive, rather ugly entry gate to Calais. It shows the 'rosbif' of great mass being carried to English tourists past motley French soldiers, a salacious monk and a moping, onion-sucking Jacobite mercenary: the Scots and Irish are lumped with the French (this only three years after the Jacobite rebellion in Scotland). Hogarth was hauled off to the town jail. This is hardly a likely favourite for the Louvre, but it does reveal the depths of enmity and Hogarth's great satirical skill.
British audiences will be able to give Hogarth an easier ride when the show opens at Tate Britain in early February 2007.
Americans in Paris, 1860-1900
Paris, at the end of the 19th century, encompassed European tradition and the avant-garde. Having superseded Rome and London as the art capital of the world, it drew artists from all over Europe and beyond.
Douglas Gordon: Superhumanatural
The film and video artist Douglas Gordon had his first one-man exhibition in Britain at the Lisson Gallery in 1994, sponsored by its perceptive director Nicholas Logsdail, to which he returned again in 2001. The following year, he was to exhibit 'Entre'Act 3' at the Stedelijk Van Abbe Museum in Eindhoven. 'Fuzzy Logic' followed at the Pompidou Centre in Paris, and from about this time his work really took off internationally.
Warhol in History
The exhibition at the National Galleries of Scotland in Edinburgh (at the Mound) commemorating the 20th anniversary of Warhol's death has dramatically set to rights the prevalent theory of the 1990s that by the time he died Warhol's best work was long back in time, that he was by then a spent force.
V & A
Mark Jones was the perfect choice to run the V & A; he had successfully masterminded the new building for the Museum of Scotland before he left, and he appears undaunted by the challenge of the brilliant Libeskind spiral, as yet still at the fund-raising stage.