King Henry the Eighth and Anna Bullen 1728 - 1780

Editor: So this engraving, “King Henry the Eighth and Anna Bullen,” is attributed to William Hogarth, dating sometime between 1728 and 1780. It’s currently housed at the Met. What strikes me is the almost theatrical staging – like a scene plucked right from a play. What do you see in this piece, from a historical perspective? Curator: Indeed, the theatricality is key. Hogarth wasn't simply depicting a historical event, he was staging a political commentary. Consider the context: England's complex relationship with its monarchs, the Reformation, and the constant push and pull between the church and the state. This image, presented to a public audience through print, carries a specific weight. How might contemporaries have interpreted this visual staging of such a controversial marriage? Editor: Well, given the break from Rome, I imagine there would be very strong opinions! It feels like Hogarth isn't necessarily glorifying the event but presenting it for… scrutiny? Curator: Exactly. The grandeur of the Baroque setting clashes with the tension evident in the figures. Think about the public perception of both Henry and Anne – powerful figures, yes, but also deeply divisive. Hogarth is using this image to engage the public in a dialogue about power, religion, and perhaps even morality. How effective do you think this would be, especially circulated as a print? Editor: Mass production means more exposure, right? It would be seen everywhere. But maybe its message could be interpreted in lots of different ways, depending on your existing political views. I hadn’t thought of it like a piece of propaganda! Curator: Propaganda might be a strong word, but it definitely aims to shape public discourse. Visual culture like this engraving played a significant role in how people formed their understanding of history and their place within it. Editor: This makes me see the work differently. It’s not just an historical scene; it's part of a larger conversation! Thanks!