A Rake’s Progress, 1961–63
Hockney’s first visit to the United States, in the summer of 1961, provided the narrative for this semiautobiographical series. Inspired by William Hogarth’s 1735 engraving series of the same title, Hockney transformed the tale of an aristocrat who squanders his wealth into his own personal story of a young gay man’s journey and emerging identity in 1960s New York City. Although Hockney claimed that “It is not really me. It’s just that I use myself as a model because I’m always around,” the etchings were partly inspired by real events. Plate 1a records his meeting with William S. Lieberman, then curator of drawings and prints at the Museum of Modern Art, who bought two prints from him, including Myself and My Heroes. The name “Lady Clairol” on plate 3 refers to the brand of hair dye Hockney used to bleach his hair for the first time. A range of artistic influences can be traced, from the figures of William Blake to the art brut of Jean Dubuffet.
The Arrival
David Hockney
The Arrival from A Rake's Progress, 1961–1963
Etching
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Receiving the Inheritance
David Hockney
Receiving the Inheritance from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Meeting the Good People (Washington)
David Hockney
Meeting the Good People (Washington) from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
The Gospel Singing (Good People) Madison Square Garden
David Hockney
The Gospel Singing (Good People) Madison Square Garden, 1961–1963
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
The Start of the Spending Spree and the Door Opening for a Blonde
David Hockney
The Start of the Spending Spree and the Door Opening for a Blonde from A Rake's Progress, 1961–1963,
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
The Seven Stone Weakling
David Hockney
The Seven Stone Weakling from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
The Drinking Scene
David Hockney
The Drinking Scene from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Marries an Old Maid
David Hockney
Marries an Old Maid from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
The Election Campaign (with Dark Message)
David Hockney
The Election Campaign (with Dark Message) from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Viewing a Prison Scene
David Hockney
Viewing a Prison Scene from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Death in Harlem
David Hockney
Death in Harlem from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
The Wallet Begins to Empty
David Hockney
The Wallet Begins to Empty from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Disintigration
David Hockney
Disintigration from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Cast Aside
David Hockney
Cast Aside from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Meeting the Other People
David Hockney
Meeting the Other People from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt
Bedlam
David Hockney
Bedlam from A Rake's Progress, 1961–1963
Etching, aquatint
The David Hockney Foundation
© David Hockney
Photography by Richard Schmidt