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A Rakes Progress - 8: The Mad House, 1733. Artist: William Hogarth
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A Rakes Progress - 8: The Mad House, 1733. Artist: William Hogarth
A Rakes Progress - 8: The Mad House, 1733. True to his nature Tom Rakewell has run through a vast fortune through indulgence in all the luxuries of modern living. He has lived riotously, both gambling and whoring. He has married a rich old widow and been ruined a second time. Now the rake is raving mad and shackled for his own safety in Bedlam, the London lunatic asylum. He is comforted by Sarah Young, the poor girl that he had seduced with a false promise of marriage while he was a student at Oxford. Behind, two fashionable women have come to view the hospitals inmates. From William Hogarth, by Austin Dobson. [Hachette Et Cie, Paris, 1904]
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Media ID 14931237
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A Rakes Progress Asylum Austin Dobson Bedlam Bethlehem Hospital Bethlem Hospital Bethlem Royal Hospital Comfort Comforting Compassion Compassionate Despair Devotion Devotional Dobson Downfall Fiddle Fiddler Georgian Grief Henry Austin Henry Austin Dobson Hogarth Hospital Illness Immoral Immorality Insanity Madness Manacle Mental Illness Morality Old Bethlehem Hospital Rake Sarah Young Sick Sickness Stringed Instrument Tom Rakewell Violin Violin Player Violinist W Hogarth William Hogarth Manacles Satirical
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A Rake's Progress - 8 - The Mad House, 1733
EDITORS COMMENTS
by William Hogarth captures the tragic downfall of Tom Rakewell, a man who squandered his fortune on indulgent living. In this print, we witness the consequences of his reckless lifestyle as he finds himself confined in Bedlam, London's infamous lunatic asylum. Shackled for his own safety, Tom is comforted by Sarah Young, a poor girl whom he had seduced with false promises of marriage during his time at Oxford. As two fashionable women observe the inmates from behind, Hogarth satirically comments on society's fascination with human suffering and misfortune. The artist skillfully portrays the despair and ruin that befall those who succumb to immoral behavior. The inclusion of a violin player adds an element of music and art to this somber scene. It symbolizes both Tom's former love for these cultural pursuits and the fleeting nature of such pleasures when consumed recklessly. Hogarth's masterful use of monochrome enhances the gloomy atmosphere within Bedlam while emphasizing the stark contrast between Tom's previous life of luxury and his current state of mental illness. This print serves as a cautionary tale about the perils of excess and immorality in Georgian England. Through its depiction of compassion amidst despair, it reminds us that even in our darkest moments, there can still be glimpses of humanity and devotion.
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