The March of The Guards To Finchley - Painting - Background

Background

Hogarth completed March of the Guards to Finchley in 1750. The work was initially meant as a gift to George II, and a print was sent before the release of the painting to the Royal Palace for his approval. However, George II had been expecting an artwork that honoured his most favoured guards, not mocked them – accounts state he was offended by what he considered an insult on Hogarth's part. The following dialogue is said to have taken place between George II and the deliverer of the portrait, the Earl of Harrington, when the painting was taken to the King for inspection:

"Pray, who is this Hogarth?"

"A painter, my liege."

"I hate painting and poetry too! Neither the one nor the other ever did any good!"

"The picture, please your majesty, must undoubtedly be considered as a burlesque!"

"What? A painter burlesque a soldier? He deserves to be picketed for his insolence! Take this trumpery out of my sight."

Soon thereafter, the painting was returned to Hogarth, who was reportedly mortified by the King's response to what he considered to be one of his finest works. Hogarth later modified the inscription to read "the King of Prussia", rather than "the King of England", before presenting the work to Frederick II of Prussia, who met the work with more enthusiasm and acknowledgment of its artistry. However, Frederick II was certainly no expert on the arts, and he was more known on the battlefield; some have speculated that this explains his positive reception to a work depicting the English military in poor form.

The patriotism of the painting provides a satirical counterpoint to Hogarth's overt antipathy to the French, evident in his painting The Gate of Calais, completed in 1748. Hogarth's later dedication of March to the King of Prussia further enforces this view; Frederick II was a renowned military strategist, but not an art connoisseur. The composition of the picture may have been inspired by Jean-Antoine Watteau's Départ de Garnison.

An engraved version, by Hogarth's assistant, Luke Sullivan, was published shortly after the painting was completed, though Hogarth made further alterations to the engraving ten years later. The engraving was unusual in that it was not a reversed image of the original painting. Hogarth priced the published artwork for a price of seven shillings and sixpence each copy, rising to half a Guinea after the subscription closed. In advertisements for the painting, Hogarth referred to a subscription-based extra whereby buyers who deposited another three shillings on top of the seven and sixpence would be considered in a lottery for the ownership of the original copy, which would be delivered to the winning subscriber after the engraving had been finished. Hogarth's engraving of A Stand of Arms, Musical Instruments, Etc. served as the subscription and lottery ticket. As noted by Hogarth in the May 1, 1750 edition of The General Advertiser, this subscription offer ended on April 30, 1750. At the day of closure, there were 1843 chances sold and 167 chances still remaining in Hogarth's lottery, and he gave this remainder to the Foundling Hospital, an establishment to which he had, in the past, been a lucrative donor. Holding almost 10% of the tickets, the Hospital won the lottery and the original; Hogarth scholar Ronald Paulson considers the lottery was rigged from the start. The Hospital – now known as the Thomas Coram Foundation for Children – still owns the picture today. It is on display at the Foundling Museum.