George Cruikshank (1792–1878) ‘the new Hogarth’?: New light on mid-life Cruikshank picture stories
No artist was more conscious of the Hogarthian model than George Cruikshank, who was often summoned to emulate, in some form, his great predecessor of the preceding century. In the new climate for caricature of the young Victorian age, no one wanted a new James Gillray, whose work-desk Cruikshank in...
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| Published in: | The British art journal 2020-04, Vol.21 (1), p.73-85 |
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| Main Author: | |
| Format: | Article |
| Language: | eng |
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| Online Access: | Get full text |
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| Summary: | No artist was more conscious of the Hogarthian model than George Cruikshank, who was often summoned to emulate, in some form, his great predecessor of the preceding century. In the new climate for caricature of the young Victorian age, no one wanted a new James Gillray, whose work-desk Cruikshank inherited; and no one wanted Gilkay's bitter, scurrilous and contentious satirical mode, into which Cruikshank was initiated as a boy, and which he would later transform into a more innocent form of social comedy. William Hogarth's brand of satire was different, openly licentious, to be sure, as Gillray could be, but less personally and topically polemical, and reliant on large expensive engravings (made from his paintings) telling, pictorially, substantially detailed and coherent stories. Comparison of Cruikshank with Hogarth, which ran through most of his working life, became virtually a cliche. |
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| ISSN: | 1467-2006 |