March 1, 2024

Low Art, ‘Skits’, and ‘Pot-boilers’?

Key Points

Rowlandson's political caricatures illustrate a wide range of political affiliations, clearly showcasing his satirical techniques.
A significant finding is that Rowlandson effectively combines distinct styles and attacks, marking his contributions as noteworthy.
Qualitative analysis demonstrates the influence of Rowlandson's publishers on the presentation and reception of his work throughout the years 1780–1827 while analyzing selected prints for context and effectiveness in his satire. Supports the notion that Rowlandson deserves recognition as a primary figure in the golden age of caricature and not simply as a mere hack.

Abstract

Abstract This article re-evaluates Thomas Rowlandson, and his historic dismissal as a ‘hack caricaturist’ (Gatrell), by quantitatively analysing his political caricatures from 1780–1827, exploring their range, political affiliations, and satirical techniques. Qualitative analysis of selected prints provides context and showcases his effectiveness and distinctive style of attack. A unique focus is placed on Rowlandson's publishers and their potential influence. The article aims to reposition Rowlandson as a prominent caricaturist of the medium's ‘golden age’, highlighting the value in his satirical artistic output and challenging the assertion that his caricatures were ‘pot-boilers, which cannot bear artistic comparison with his watercolours’ (Bryant and Heneage, eds.).

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Low Art, ‘Skits’, and ‘Pot-boilers’?

Key Points

Abstract

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