The art of caricature

Magazine Antiques, July, 2001 by Miriam Kramer

Satirical art, particularly in Britain, has a long and interesting history. There were unexpected practitioners, such as Joshua Reynolds, who painted several caricatures when he was in Rome between 1750 and 1752. Among those well known for this type of work are George Townshend, William Hogarth, George Cruikshank, and James Gillray.

Gillray was born in the Chelsea section of London in 1756, and from childhood he determined on a career as an artist. Early biographical details are sketchy, but it is known that for about three years in the early 1770s he was apprenticed to Harry Ashby, whose shop produced trade cards, certificates, and other routine engraved items. Then, in 1778 he was admitted to the Royal Academy Schools to study engraving. He planned to become a professional engraver, copying the work of others as well as engraving his own designs.

Reproductive engravers were meant to copy the works before them without personal interpretation. Although Gillray attempted to keep to the straight and narrow, he found it hard not to exaggerate certain physical features. Thus a portrait of William Pitt the Younger, undertaken as a faithful likeness, portrayed the prime minister with an overly sharp nose.

For the next twenty years Gillray produced many caricature prints. He had rich pickings with George III, a king who was from time to time insane; the future George IV, a corpulent and self-indulgent prince regent; many parliamentarians and members of high society; and of course Napoleon I. Struck by insanity, Gillray did not work from 1810 until his death.

An exhibition entitled James Gillray: The Art of Caricature is on view at Tate Britain until September 2. It is supported by the Economist and was organized in association with the British Museum in London. The curator is Richard Godfrey, assisted by Mark Hallett and Martin Myrone. The accompanying catalogue, edited by Godfrey, may be ordered by telephoning 44-20-7887-8869.