A Rake’s Progress, Plate I

In 1847, thirteen-year-old Jemie Whistler suffered a severe bout with rheumatic fever while attending school in England. His half-sister Debo, seeking to distract his endless bedridden days, borrowed a large volume of Hogarth’s engravings, which he poured over avidly. His father, impressed with his interest, purchased an edition of the work as a present to him. Given Whistler’s later penchant for portraying the less-than-salubrious parts of London, it is understandable why he found Hogarth’s work so intriguing. He also quickly became adept at making caricatures, enjoying the work of other artists who worked in this genre, such as George Cruikshank and Thomas Rowlandson. (“The Touch of the Butterfly: Whistler and His Influence,” curated by Nancy E. Green and presented at the Johnson Museum August 4-December 16, 2018)