17th and 18th Centuries

Compare Century satirical printed illustrations of William Hogarth and James Gillray

William Hogarth

Hogarth lived and worked during the Rococo period in 18th century London. The Rococo style was popular in both England and France at this time and was embodied by flowing lines and intricate decoration.

The London social scene that features in so much of Hogarth's work ranged from super-rich aristocrats living flamboyant lifestyles to the incredibly poor working-classes with no money and little hope for a better life.

Rather than be influenced by many of the artists who had gone before him, Hogarth, a true innovator, tried to create a new school of English painting to rival the Old Masters of the Renaissance. In fact, rather than be influenced by their work it has been suggested that he often ridiculed them.

Far from being a positive influence, this style of painting pushed Hogarth to produce work of a completely different genre.

Technological advances were very influential in Hogarth's success and without the further development of the printing press his work would not have been anywhere near as lucrative, as it wouldn't have been accessible to people from the middle and lower classes.

Although Hogarth was a skilled portrait painter he became famous for his engravings which were sold in large numbers to people who would not have been able to previously afford art.

His series of moral paintings, such as A Harlot's Progress and A Rake's Progress took a satirical look at the government and social scene of the day, and highlighted the best and worst parts of English culture.

As one of the first British artists to be recognized throughout Europe, Hogarth became a major source of inspiration to other artists. During his lifetime artists and satirists such as John Collier emulated his satire and reflections of everyday life.

In the 19th century the Pre-Raphaelite brotherhood was inspired by Hogarth's use of symbolism and text to convey a moral message. However it is possibly the biggest testament to the artist's skill and wit that the new medium of the comic strip arose from his work, a genre which is still popular today.

Hogarth was a trained engraver in the Rococo fashion and his art contained strong remnants of the Rococo style.


In 1753 Hogarth wrote The Analysis of Beauty a book designed to illustrate his theories surrounding the definition of beauty in his time. The book had six main principals;

The principals of this work also relied heavily on what Hogarth described as 'the Line of Beauty', the serpentine line which was incorporated into much of his work.
During the French Revolution, Gillray took a conservative stance; and he issued caricature after caricature ridiculing the French and Napoleon (usually using Jacobin), and glorifying John Bull. A number of these were published in the Anti-Jacobin Review. He is not, however, to be thought of as a keen political adherent of either the Whig or the Tory party; his caricatures satirized members of all sides of the political spectrum.
The times in which Gillray lived were peculiarly favourable to the growth of a great school of caricature. Party warfare was carried on with great vigour and not a little bitterness; and personalities were freely indulged in on both sides. Gillray's incomparable wit and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists. He is honourably distinguished in the history of caricature by the fact that his sketches are real works of art. The ideas embodied in some of them are sublime and poetically magnificent in their intensity of meaning, while the forthrightness—which some have called coarseness—which others display is characteristic of the general freedom of treatment common in all intellectual departments in the 18th century. The historical value of Gillray's work has been recognized by many discerning students of history. As has been well remarked: "Lord Stanhope has turned Gillray to account as a veracious reporter of speeches, as well as a suggestive illustrator of events."
His contemporary political influence is borne witness to in a letter from Lord Bateman, dated 3 November 1798. "The Opposition," he writes to Gillray, "are as low as we can wish them. You have been of infinite service in lowering them, and making them ridiculous." Gillray's extraordinary industry may be inferred from the fact that nearly 1000 caricatures have been attributed to him; while some consider him the author of as many as 1600 or 1700. According to the Encyclopædia Britannica Eleventh Edition, "Gillray is as invaluable to the student of English manners as to the political student, attacking the social follies of the time with scathing satire; and nothing escapes his notice, not even a trifling change of fashion in dress. The great tact Gillray displays in hitting on the ludicrous side of any subject is only equalled by the exquisite finish of his sketches—the finest of which reach an epic grandeur and Miltonic sublimity of conception."
Gillray's caricatures are generally divided into two classes, the political series and the social, though it is important not to attribute to the term "series" any concept of continuity or completeness. The political caricatures comprise an important and invaluable component of the history extant of the latter part of the reign of George III. They were circulated not only in Britain but also throughout Europe, and exerted a powerful influence both in Britain and abroad. In the political prints, George III, George's wife Queen Charlotte, the Prince of Wales (later Prince Regent, then King George IV), Fox, Pitt the Younger, Burke and Napoleon Bonaparte are the most prominent figures. In 1788 appeared two fine caricatures by Gillray. Blood on Thunder fording the Red Sea represents Lord Thurlow carrying Warren Hastings through a sea of gore: Hastings looks very comfortable, and is carrying two large bags of money. Market-Day pictures the ministerialists of the time as cattle for sale
Among Gillray's best satires on George III are: Farmer George and his Wife, two companion plates, in one of which the king is toasting muffins for breakfast, and in the other the queen is frying sprats; The Anti-Saccharites, where the royal pair propose to dispense with sugar, to the great horror of the family; A Connoisseur Examining a Cooper; the paired plates A Voluptuary under the Horrors of Digestion and Temperance enjoying a Frugal Meal, satirising the excesses of the Prince Regent (later George IV of the United Kingdom) and the miserliness of his father, George III of the United Kingdom respectively; Royal Affability; A Lesson in Apple Dumplings; and The Pigs Possessed.
Other political caricatures include: Britannia between Scylla and Charybdis, a picture in which Pitt, so often Gillray's butt, figures in a favourable light; The Bridal Night; The Apotheosis of Hoche, which concentrates the excesses of the French Revolution in one view; The Nursery with Britannia reposing in Peace; The First Kiss these Ten Years (1803), another satire on the peace, which is said to have greatly amused Napoleon; The Hand-Writing upon the Wall; The Confederated Coalition, a swipe at the coalition which superseded the Addington ministry; Uncorking Old Sherry; The Plumb-Pudding in Danger (probably the best known political print ever published); Making Decent; Comforts of a Bed of Roses; View of the Hustings in Covent Garden; Phaethon Alarmed; and Pandora opening her Box.
As well as being blatant in his observations, Gillray could be incredibly subtle, and puncture vanity with a remarkably deft approach. The outstanding example of this is his print Fashionable Contrasts;—or—The Duchess's little Shoe yeilding [sic] to the Magnitude of the Duke's Foot. This was a devastating image aimed at the ridiculous sycophancy directed by the press towards Frederica Charlotte Ulrica, Duchess of York, and the supposed daintiness of her feet. The print showed only the feet and ankles of the Duke and Duchess of York, in an obviously copulatory position, with the Duke's feet enlarged and the Duchess's feet drawn very small. This print silenced forever the sycophancy of the press regarding the union of the Duke and Duchess.
The miscellaneous series of caricatures, although they have scarcely the historical importance of the political series, are more readily intelligible, and are even more amusing. Among the finest are: Shakespeare Sacrificed; Flemish Characters (two plates); Two-Penny Whist (which features an image of Hannah Humphrey); Oh that this too solid flesh would melt; Sandwich-Carrots; The Gout; Comfort to the Corns; Begone Dull Care; The Cow-Pock, which gives humorous expression to the popular dread of vaccination; Dilletanti Theatricals; and Harmony before Matrimony and Matrimonial Harmonics—two exceedingly good sketches in violent contrast to each other.