By Ian Haywood
Ian Haywood explores the 'Golden Age' of comic strip throughout the shut studying of key, iconic prints through artists together with James Gillray, George and Robert Cruikshank, and Thomas Rowlandson. This method either illuminates the visible and ideological complexity of picture satire and demonstrates how this paintings shape remodeled Romantic-era politics right into a specific and compelling spectacle of corruption, monstrosity and resistance. New gentle is forged on significant Romantic controversies together with the 'revolution debate' of the 1790s, the impression of Thomas Paine's 'infidel' Age of cause, the creation of paper funds and the ensuing explosion of executions for forgery, the propaganda crusade opposed to Napoleon, the revolution in Spain, the Peterloo bloodbath, the Queen Caroline scandal, and the Reform invoice trouble. total, the amount bargains very important new insights into the connection among paintings, satire and politics in a key interval of heritage.
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Ian Haywood explores the 'Golden Age' of comic strip in the course of the shut analyzing of key, iconic prints via artists together with James Gillray, George and Robert Cruikshank, and Thomas Rowlandson. This technique either illuminates the visible and ideological complexity of image satire and demonstrates how this paintings shape remodeled Romantic-era politics right into a precise and compelling spectacle of corruption, monstrosity and resistance.
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Additional resources for Romanticism and Caricature (Cambridge Studies in Romanticism, Volume 103)
Indeed, a conveniently schematic interpretation of Sin, Death and the Devil would see it as a Romantic meta-allegory of the creative process of caricature: Satan is the heroic idealisation of the defiant, rebellious artist; Sin is the emblem of the distorting and disfiguring imagination; and Death represents the symbolic destruction of the satirical target. This is perhaps going too far, but as the following discussion will show, the peculiar mystique of Milton’s ‘Satan, Sin and Death’ flows from its visual lusts and phobias, and it is these qualities that make it such an illuminating context for a re-examination of the aesthetics of caricature.
14 Romanticism and Caricature overstepped the mark? But this question merely raises another imponderable: what are the boundaries of caricature? Operating as it did outside of normal aesthetic and institutional rules, visual satire thrived on an imaginative freedom denied to most other artistic genres. 8 By demeaning a national figurehead in such an extreme manner, the print showcases caricature’s unique freedoms and complex pleasures. The argument of this chapter is that the famous Miltonic tableau provided the perfect platform to display such visual powers.
The shockwaves of these judicial crimes reverberate throughout the literature and culture of the Regency period and beyond – all that is needed are the methodological sensors to detect the tremors. This chapter takes up in a quite literal way the idea that forgery spectacularised the contradictions of the credit economy. The anti-hero of the following narrative is not the literary forger or bravura impostor but the spectral figure of the engraver: the generic producer of, on the one hand, both genuine and counterfeit currency and, on the other, the ‘shadow’ economy of popular graphic caricatures.