The Lottery

The Lottery by William Hogarth, executed in 1724, is a significant early example of the artist's masterful use of printmaking for social observation. Classified as an important early Georgian print, the work employs the demanding combined techniques of etching and engraving. The Metropolitan Museum of Art holds this specific impression, which is documented as the eighth state of eight, demonstrating Hogarth's meticulous process of refinement and revision over successive editions. This detailed technical classification is essential for cataloging historic prints and understanding their production history.

Hogarth employs a complex, theatrical composition to satirize the pervasive excitement surrounding public speculation and chance during the 1720s. The drawing captures a dense crowd of men and women assembled in an ornate chamber, each figure conveying a distinct emotional state ranging from avarice to desperation. The artist’s skillful delineation of facial expressions and body language turns the scene into a detailed critique of human folly.

Characteristic of his later narrative cycles, the work uses visual contrasts, including the stark rendering of female nudes depicted in accompanying wall art or classical statuary, perhaps juxtaposing idealized classical forms with the messy reality of the contemporary social scene. This piece functions both as a sophisticated satire of Georgian society’s vices and as a fundamental early experiment in Hogarth’s signature sequential printmaking style. As the creator developed this composition over eight states, the final version housed within the Metropolitan Museum of Art collection reveals the full scope of the artist’s early ability to blend high art techniques with cutting social commentary.