In Captain Lord George Graham in his Cabin, how is the Imagery and symbolism discussed?
Hogarth included numerous elements in the painting. The scene is probably the great cabin of Graham's latest command, and the sails of ships are visible through the line of windows on the left of the painting. The furniture and objects are luxurious and the room is richly panelled and decorated. The chaplain holds a ledger and at his feet is a large famille-rose punch bowl, the punch bowl being an invitation to the viewer to join the levity at the table. He is separated from Graham across the table by a salt-cellar, possibly symbolising their social difference. His presence at the captain's table for this informal occasion nevertheless indicates that he is a privileged member of Graham's entourage.The clerk, standing in the centre of the portrait and uniting the two-halves, holds the music he is singing from, possibly entitled 'Farewell my Judy'. Jeremy Barlow speculates that this might be a sentimental love song. The two servants frame the picture, the black servant playing a pipe and tabor. The combination of these musical instruments had a popular accompaniment to dancing for several centuries, but was in decline in England by the eighteenth century. Barlow considers Hogarth's representation of the tabor pipe a poor one, arguing that it is too short and has too many holes to be the usual three-holed tabor pipe, the boy holds it too far up its length and does not cover all the holes. Barlow points out that Hogarth may have intended the instrument to be a flabiol instead. He also notes that the lively music the instruments would have produced would be unlikely to complement a sentimental ballad that the clerk appears to be singing, and instead suggests the painting combines and conflates a number of typical activities in the cabin into one scene.The dogs join the people, their inclusion with the servants in the portrait invites commentary on Graham's circle. Trump's officious pose and lolling tongue, while wearing Graham's wig and brandishing the scroll of paper, makes light of the formality of Graham's position. Trump represents Hogarth in the painting, while his pose with the scroll, as used by musical conductors of the time, suggest that he may be the humorous conductor for the music and singing taking place. The steward stands at the left of the painting under a hanging crown compass, and carelessly drips gravy down the chaplain's neck, adding a final element of farce to the setting. In the relaxed and informal setting of the cabin, adding touches of humour and foolishness, Hogarth provides a contrast with the dangers of the pitched battle that the painting commemorates.The black servant in the painting reveals Hogarth's careful study of black and white forms. His positioning, clothes and stance echoes Graham's with his pipe, but they face different directions so as to present different profiles. The red of Graham's cape connects with the colour of the servant's neckcloth, while their similar caps, coats and waistcoats heighten the sense of connection, with the servant given equally colourful and variegated clothing. The facial features and textures are similar, showing off their youthfulness, while Graham's fair skin and the servant's dark skin complement and contrast each other. Hogarth has also varied the appearance of the dark skin to show that the colour is not uniform, but changes in the light. Art historian David Bindman argued that Hogarth's representation of the servant avoided the traditional stereotypes of black people in art.
famille-rose Trump great cabin pipe and tabor punch bowl left flabiol