Who painted A Scene from The Beggar's Opera?

A Scene from The Beggar's Opera was painted by William Hogarth in 1728/1729.

Where can I see A Scene from The Beggar's Opera?

A Scene from The Beggar's Opera is held by National Gallery of Art.

What movement is A Scene from The Beggar's Opera?

A Scene from The Beggar's Opera is associated with Baroque.

Can I buy a print of A Scene from The Beggar's Opera?

Museum-quality prints of A Scene from The Beggar's Opera are available made-to-order from Artifact World Gallery.

Artwork

A Scene from The Beggar's Opera

William Hogarth , 1728

A Scene from The Beggar's Opera is an oil painting by the Baroque artist William Hogarth. It dates from 1728 and is held in the collection of the National Gallery of Art.

About this work

Technique & Style

Executed in 1728, this work is an oil painting on canvas. The composition measures 51.1 cm in height and 61.2 cm in width. It is classified as a genre scene, depicting a specific moment from John Gay's theatrical production. The piece represents one of several known versions of this subject matter created by the artist.

History & Provenance

, where it is part of the museum's permanent collection under the accession or inventory number acquired through the 1983 gift of Paul Mellon.

The painting was executed by William Hogarth in 1728 in oil on canvas.

It first entered a recorded collection with Edward Cheney, whose ownership is noted in 1885 through a sale at Sotheby’s described as a garden scene with many figures in colours, later identified as this work. The painting passed through P. & D. Colnaghi & Co., London, before entering the collection of Francis Capel Cure at Badger Hall, Essex, by 1905. It descended to his nephew Nigel Capel Cure by 1965, then through John Baskett Ltd., London, to Paul Mellon in June 1975. Mellon gifted the painting to the National Gallery of Art, Washington, D.C., in 1983.

The painting A Scene from The Beggar's Opera by William Hogarth is held by the National Gallery of Art in Washington, D.C., where it is part of the museum's permanent collection under the accession or inventory number acquired through the 1983 gift of Paul Mellon. It was previously owned by Francis Capel Cure of Badger Hall, Essex, and later by his nephew Nigel Capel Cure, before being purchased by Paul Mellon in June 1975 and gifted to the National Gallery of Art in 1983.

The work has been exhibited as part of the National Gallery of Art's collection, though specific exhibition histories are not detailed in the provided provenance records.

Context

Critical reception of A Scene from The Beggar's Opera has been shaped by its satirical link to John Gay's popular ballad opera, with scholars noting its sharp social commentary and theatrical dynamism as hallmarks of Hogarth's genre scenes. The work is recognized as a key example of early 18th-century English visual satire, reflecting broader cultural engagements with class and morality. Its scholarly significance is underscored by detailed provenance research, including its appearance in multiple versions documented by Lewis and Hofer, and its presence in major collections such as the National Gallery of Art.

The painting's classification as a genre scene within Hogarth's oeuvre highlights its role in elevating everyday theatrical moments to artistic critique, situating it firmly within the development of narrative painting in Britain. Its acquisition and stewardship by Paul Mellon and its donation to the National Gallery of Art in 1983 further cemented its institutional importance.

Overview

William Hogarth’s oil on canvas, A Scene from The Beggar’s Opera (1728), captures a moment from John Gay’s celebrated ballad opera. Executed in the early Rococo period, the work belongs to the genre‑scene tradition, presenting a lively interior populated by elegantly dressed figures engaged in a theatrical spectacle.

Subject & Meaning

The composition centers on a man in a vivid red coat addressing a kneeling woman in white, suggesting a pivotal exchange within the opera’s plot. Surrounding spectators converse, applaud, and fan themselves, emphasizing the communal experience of performance and hinting at Hogarth’s interest in social observation and moral commentary.