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Plate 1 from The Rakes Progress at the University
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Plate 1 from The Rakes Progress at the University
NCO193196 Plate 1 from The Rakes Progress at the University, published by Hannah Humphrey in 1806 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College, Oxford; (add.info.: parody of series by William Hogarth (1697-1764); ); English, out of copyright
Media ID 22339882
© Bridgeman Images
Academic Austere Cloister Dandy Fashionable Dress Formidable Gown Mortar Board Rake Social Satire Sombre Student Teacher
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Plate 1 from The Rakes Progress at the University - A Satirical Glimpse into Academic Life
EDITORS COMMENTS
. This print captures Plate 1 from The Rakes Progress at the University, a brilliant parody of William Hogarth's famous series. Created by James Gillray in 1806, this hand-coloured etching offers a satirical commentary on the austere and cloistered world of academia. The scene unfolds within an academic setting, where a formidable teacher greets a spoiled youth with an air of sombre authority. Dressed in fashionable attire that contrasts sharply with his surroundings, the student embodies the caricatured figure of a dandy or fop. His extravagant appearance stands as a symbol for societal excesses and frivolity. The image showcases Gillray's mastery in capturing social satire through intricate engravings. With meticulous detail, he portrays both the exaggerated characters and their interactions within this academic realm. From the mortar board perched atop one character's head to the traditional gown worn by another, every element adds depth to this biting critique. Plate 1 from The Rakes Progress at the University is not just an amusing cartoon; it serves as an insightful reflection on education and its impact on society during that era. This engraving provides viewers with glimpses into both intellectual pursuits and moral failings while shedding light on themes such as entitlement, privilege, and personal growth. Courtesy of New College Oxford's collection and Bridgeman Images' preservation efforts, we can
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