Masters of Caricature: James Gillray

James Gillray (1756-1815) was one of the great Georgian caricaturists, perhaps second only to his hero, William Hogarth. His etchings were highly popular and sold well. He produced at least 1000 caricatures in his life, perhaps as many as 1700.

Gillray's subjects were social and political. His style was satirical, witty, and humorous. The 20th century cartoonist David Low called Gillray the father of the political cartoon  -- and Hogarth the grandfather. 

The objects of Gillray's satire included Napoleon, George III, the royal family, and many other political and military leaders of the day. Unlike many political cartoonists since, he did not favor a particular political party or viewpoint. He was an equal opportunity satirist. 

Gillray did exhibit a hearty dislike for the excesses of the French Revolution. He staunchly supported Britain's wars against the Revolution and Napoleon (1793-1815). One of his common themes was to contrast the starving French "Jacobin" with a hearty, well-fed John Bull, as in "French Liberty v. British Slavery."

Gillray's opposition to the Revolution did not stop him from lampooning Britain's war leaders, such as William Pitt the Younger. In "The Plum Pudding in Danger," (1805) he portrays a gaunt Pitt and a little Napoleon carving up the world (the pudding) into British and French possessions. 

"Maniac- Ravings- or- Little Boney in a strong fit" (1803) was one of many Gillray caricatures that irritated Napoleon. During the peace of 1802-1803 he demanded that the British government suppress them, without effect. 

Gillray also attacked British supporters of the Revolution, such as Thomas Paine. In "Fashion Before Ease," he portrays Paine trying to force poor Britannia into a tight corset, an allusion to one of Paine's early jobs as a corset maker.

The cartoon accuses Paine of trying to replace the comfortable British constitution with a strangulating French one. A measuring tape hangs from Paine's pocket bearing the title of his radical work, "The Rights of Man." 

 

Gillray's frequent jabs at George III and his family seem to have arisen after the king declared that he couldn't understand the cartoonist's works. In "Temperance Enjoying a Frugal Meal" (1792) George and Queen Charlotte are having a cheap breakfast. 

Gillray contrasted the miserliness of King George with the extravagant hedonism of his eldest son, George, Prince of Wales, in "A Voluptuary Under the Horrors of Digestion" (1792). 

Another Gillray cartoon enraged the prince so much that he paid a large amount of money to suppress it and have the plate destroyed. The plate survived. 

Gillray's social caricatures satirized fashions, tastes, and ideas of the day. In "The Cow-Pock -- or -- the Wonderful Effects of the new Inoculation" (1802), he ridiculed the fear that Edward Jenner's cowpox vaccine for smallpox would produce cow-like appendages. Jenner is the figure in the brown coat at center left. 

Gillray often made fun of new fashions. One was the vogue for monstrously high headgear, lampooned in "A Modern Belle Going to the rooms at Bath" (1796)

"Following the Fashion" from the same time lampoons the latest trends in dress for the ladies, kind of the thick and thin of  it.

Gillray produced quite a few prints dealing with illness and medical issues. One of the most effective in conveying agonizing pain was "The Gout" (1799). Presumably, he was himself a sufferer. 

He also satirized a popular remedy for gout and other illnesses: rum punch. In "Punch Cures Big" the tipplers proclaim that punch cures the Gout, the Colic, and the 'Tisick (a cough or "splutter")

I hope you have enjoyed this brief look at a a few of Gillray's masterful caricatures. If you would like to follow my blog, just click on the blue "FOLLOW" button on the right side of the first page. Below there you can also find my previous posts. Thanks!