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Hogarths Propagandablatt Gegen Wilkes (1763) – Parteikampf Und Bilderstreit Im England Des 18

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Hogarths Propagandablatt Gegen Wilkes (1763) – Parteikampf Und Bilderstreit Im England Des 18 Hogarths Propagandablatt gegen Wilkes (1763) – Parteikampf und Bilderstreit im England des 18. Jahrhunderts von Ekaterini Kepetzis »THE TIMES must be confessed de- dessen regierungsfreundlichem Stich The stitute of any original merit. […] I am Times. Plate I (Abb. 1).2 Wilkes wirft Ho- grieved to see the genius of Hogarth, garth Senilität, Neid, Eitelkeit, den Verrat von which should take in all ages and coun- Freundschaften, Plagiat und proschottische tries, sink to a level with the miserable Tendenzen vor, kritisiert seine angeblich im tribe of etchers, and now, in his rapid Alter nachlassenden Fertigkeiten und greift decline, entering into poor politics of das von Hogarths Gegnern seit Langem vor- the faction of the day, and descending gebrachte Argument einer angeblichen Unfä- to the low personal abuse, instead of higkeit des Malers im Genre der Historie auf. instructing the world, as he could once Der Künstler war zwischen die Fronten eines do, by manly moral satire. Whence can Propagandakrieges geraten, der seit dem proceed so surprising a change? Is it the Thronantritt Georges III. in London tobte. forwardness of old age which is come upon him?«1 1. Die Vorgeschichte Mit diesen Worten attackierte der britische Als George III. 1760 den Thron bestieg, Whig-Politiker, Parlamentarier und Pam- stand England an der Seite Preußens im Sie- phletist John Wilkes (1727–1797) den Nestor benjährigen Krieg, der letzte Aufstand der der englischen Kunst des 18. Jahrhunderts, abgesetzten schottischen Dynastie der Stu- William Hogarth (1697–1764). Die 17. Num- arts lag nur 15 Jahre zurück. Der Monarch mer von Wilkes’ Zeitschrift North Briton ist eine Abrechnung mit dem Künstler und 2 Paulson 211/BM Satires 3970. Die Stiche werden nachfolgend mit der Nummer in Paulsons Werkka- 1 Vgl. Wilkes 1764, S. 88–94, hier S. 90 (Hervorhe- talog sowie mit der auf dem Katalog von Stephens/ bungen im Original). Vgl. Nobbe 1939; Hamilton George 1978 zurückgehenden Nummer zu Bildsa- 1972, S. 59; Paulson 1993, S. 383–388. tiren des British Museum (BM) gekennzeichnet. 117 Ekaterini Kepetzis träumte davon, unabhängig von den Partei- unerhörter Aggressivität gegen die Regie- ungen der Whigs und Tories als Patriot King rungspolitik zu Felde zog.7 zu herrschen,3 schaltete jedoch de facto die seit 1689 die Geschicke der englischen Poli- »By the early summer of 1762 the poli- tik bestimmenden Whigs aus der Regierung tical nation was engaged in a full-scale aus. Dementsprechend unpopulär war die press war which, though the conflict Entscheidung des jungen Königs, seinen between the weeklies was not to outlast ehemaligen Erzieher und den angeblichen the Peace of Paris [10. Februar 1763], was Liebhaber seiner Mutter, den Schotten und of such ferocity that it was to continue Tory John Stuart, 3rd Earl of Bute (1713–92), until the end of the decade.«8 zunächst zum Minister und schließlich zum Regierungschef zu ernennen: »Though con- Wöchentlich traktierten sich die Blätter, zu temporaries were assaulted and maligned, denen im Juni noch der ebenfalls von Bute none were as subject to as much hostility finanzierte Auditor stieß, mit Angriffen. Po- as was George’ s favorite […]«.4 Die Situati- litik war im England des 18. Jahrhunderts on eskalierte, als 1762 der populäre Kriegs- keine Nebensache; obschon oligarchisch ge- held William Pitt d. Ä. (1708–1778) und der prägt und – selbstverständlich – auf Männer mächtige Richard Grenville (1712–79), 2nd beschränkt, erlaubte das englische Wahl- Earl Temple, beide führende Whigs, aus dem recht einer großen Zahl von Bürgern die Kabinett zurücktraten und die Presse dies als Stimmabgabe. Die vor der von Habermas Einmischung des Monarchen in die Tages- beschriebenen neuen Öffentlichkeit ausge- politik wertete:5 Der von Temple finanzierte tragene Debatte um die Politik Butes war Ta- Monitor machte Stimmung gegen Butes Ad- gesgespräch in den Gentlemen Clubs und den ministration und als dieser am 29. Mai 1762 Coffee Houses. Hier lagen die Druckschriften mit einer eigenen Zeitung, The Briton, kon- aus, die von London aus die Provinz und die terte, entbrannte in London der sog. Pam- Kolonien eroberten9 – bereits in den 1730er phlet War.6 Oppositionsblätter schossen wie Jahren erreichte eine einzelne Ausgabe allein Pilze aus dem Boden, allen voran der von in London Dutzende von Lesern.10 Temple finanzierte und von John Wilkes ano- nym herausgegebene North Briton, dessen Name eine ironische Antwort auf das Organ des Schotten Bute war und der mit bis dato 7 Nobbe 1939; Black 1987. 8 Brewer 1973, S. 12. 3 Zum 1738 formulierten Konzept des Staatstheore- 9 Brewer 1997, S. 167–197. tikers Henry Bolingbroke (1678–1751) und seinen 10 So Hallett in Hinblick auf die Zeitschrift The Auswirkungen vgl. Atherton 1974, S. 141–146; Ar- Craftsman. Vgl. Hallett 1999, S. 133. Zur englischen mitage 1997. Presselandschaft in den 1760er Jahren und zur 4 Brewer 1973, S. 8. Vgl. auch Atherton 1974, S. 208–227. Funktion von Bildsatiren und Karikaturen vgl. Rea 5 Brewer 1976. 1963; Atherton 1974, S. 61–83; Donald 1996, S. 1–21; 6 Vgl. hierzu Thomas 1960, S. 86–98; Rea 1963. Klein 1996; Rauser 2001, S. 244–247. 118 Hogarths Propagandablatt gegen Wilkes (1763) 1. William Hogarth, The Times. Plate I, 7. September 1762, Kupferstich, 24 x 30,2 cm, New York, The Metropolitan Museum of Art (BM Satires 3970). In den Wochen nach Butes Amtsantritt »Hogarth threw his bombshell, the third erschienen vierhundert gegen den neuen of the four Butite prints, on 7 September, Premierminister gerichtete Blätter – »sati- 1762, and it duly exploded to his own da- ric prints enough to tapestry Westminster- mage. […] a protest against warmonge- hall«, so Horace Walpole in einem Brief an ring and demagogy, against factious at- Henry Seymour Conway.11 Lediglich vier tacks on the negotiators of the peace.«13 unterstützten den Regierungschef und nur eines davon – The Times I – stammte von ei- Der 65jährige Hogarth hatte die englische nem namhaften Künstler:12 Kunstszene seit den 1720er Jahren maß- geblich bestimmt. Mit seinen an niederlän- 11 Walpole 1837, S. 164. Vgl. Donald 1996, S. 50. 12 Vgl. George 1959, S. 121. 13 George 1959, S. 128. 119 Ekaterini Kepetzis dischen Bildmustern orientierten und auf die Gezeigten nicht durch porträthafte Züge, Traditionen der Emblematik fußenden mo- sondern durch visuelle Verweise auf ihre dern moral subjects entwarf er eine innova- Ämter und einzelne Ereignisse.18 Im rechten tive Kunstauffassung, die seines Erachtens Bildteil eines von Gebäuden umschlosse- der bürgerlich geprägten, protestantischen nen Platzes steht ein Haus in Flammen. Im englischen Gesellschaft entsprach. Hogarths Bildzentrum müht sich ein Feuerwehrmann, Moralsatiren waren – selbst wenn sie von diese zu löschen. Die mit »GR« – Georgius tagespolitischen Ereignissen ausgingen wie Rex – beschriftete Armbinde verweist auf die Serie The Election (1754–1758) – ins All- seine Nähe zum König, doch sein mit Union gemeingültige gewendet und dienten der Office bezeichneter und so der Regierung zu- Erziehung des Betrachters zum Staatsbür- geordneter Löschwagen wird von allen Sei- ger. Diesen didaktischen, in den Maximen ten behindert: Umjubelt von der Menge er- der Aufklärung wurzelnden Impetus formu- scheint vor dem brennenden Haus ein Mann lierte er 1753 in seinem programmatischen und facht mit einem Blasebalg die Flammen Kunsttraktat The Analysis of Beauty.14 an, die rechts einen Globus in Brand gesteckt Ab 1759 als Sergeant Painter of the King mit haben. Seine Stelzen spielen auf die Krücken einer jährlichen Pension bedacht, legte Ho- an, die William Pitt aufgrund einer Gehbe- garth mit The Times 1762 seinen ersten tages- hinderung benutzen musste, der Mühlstein politischen Kommentar seit 40 Jahren vor.15 um seinen Hals erinnert an die königliche Damit hatte er in den Augen der Opposition Pension des ehemaligen Premiers.19 gegen die für Satiren und Graphiken in Eng- Aus den Fenstern des Temple Coffee- land etablierten Konventionen einer weitge- Houses links gegenüber beschießen Earl hend anonymisierten, entindividualisierten Temple, unten, sowie Wilkes und sein Kol- Stellungnahme verstoßen,16 sein überpartei- lege Charles Churchill darüber, an Stelle der liches »Olympian detachment«17 aufgegeben Flammen den Löschzug mit Wasser – sie und in ein Wespennest gestochen. alle sind gesichtslos und nur vermittels von Kontext und Beischriften zu identifizieren. Hogarths Kupferstich, dessen Detailreich- Im Vordergrund links schiebt ein zahnlo- tum hier nur ansatzweise skizziert werden ser Alter Ausgaben des gegen Bute polemi- kann, präsentiert den König und Bute als sierenden Monitor und des North Briton in Retter der Nation. Dabei kennzeichnet er einer Schubkarre vor sich her – Zunder für die Flammen.20 An ihm vorbei eilen sowohl 14 Siehe hierzu die immer noch klassische Studie von Antal 1952. 18 Vgl. Paulson 1965, Bd. 1, No. 211, S. 249–252; ders. 15 In seinen Autobiographical notes schreibt Hogarth, 1993, S. 368–386. Zu den möglichen Gründen von das Blatt ziele auf »peace and unanimity« und solle Hogarths Parteinahme vgl. Bindman 1997, S. 184. den politischen Fraktionen der Zeit entgegen- 19 Zu Pitts Repräsentation in der englischen Graphik wirken. Hogarth 1955, S. 221. vgl. Atherton 1974, S. 251–258, zu seiner Darstel- 16 Bindman 1997, S. 33. lung in Hogarths Times, I ebd. S. 257. Vgl. auch 17 Atherton 1974, S. 49. Vgl. zu Hogarths überpartei- Paulson 1992, S. 347. licher Arbeit Bindman 1997, S. 44–45, 49–50. 20 Vgl. George 1959, S. 128–129. 120 Hogarths Propagandablatt gegen Wilkes (1763) Schotten als auch Engländer mit Wasserei- the figure on stilts, and the mob pran- mern dem Feuerwehrmann zu Hilfe – eine cing around, it is not to be attributed on Aufforderung zu nationaler Einheit. Hogarth but to Callot.«23 Hogarths heterogenes Panoptikum in- teragierender Bildelemente folgt den von In Reaktion auf Hogarth veröffentlichte der ihm etablierten Mustern der modern mo- Graphiker und spätere Mitbegründer der ral subjects. Hierfür griff er auf tradierte Royal Academy Paul Sandby am 23. Sep- Bildformeln zurück – z. B. das Motiv des tember 1762 The Butifyer.
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