A Sermon in Exeter Cathedral, pencil, pen and ink on paper
Thomas Rowlandson (/ˈroʊləndsən/; 13 July 1757–21 April 1827)[1] was an English artist and caricaturist of the Georgian Era, noted for his political satire and social observation. A prolific artist and printmaker, Rowlandson produced both individual social and political satires, as well as a large number of illustrations for novels, humorous books, and topographical works. Like other caricaturists of his age such as James Gillray, his caricatures are often robust or bawdy. Rowlandson also produced highly explicit erotica for a private clientele; this was never published publicly at the time and is now only found in a small number of collections. His caricatures included those of people in power such as the Duchess of Devonshire, William Pitt the Younger and Napoleon Bonaparte.
Rowlandson was born in Old Jewry, in the City of London. He was baptised on 23 July 1757 at St Mary Colechurch, London to William and Mary Rowlandson. The baptismal record for St Mary, now in the London archives, clearly gives his birth-date as 13 July 1757, not 1756 as given in most earlier biographies.[2] His father, William, had been a weaver, but had moved into trading supplies for the textile industry and after overextending himself was declared bankrupt in 1759. Life became difficult for William in London and, in late 1759, he moved his family to Richmond, North Yorkshire. Thomas's uncle James died in 1764, and his widow Jane probably provided both the funds and accommodation which allowed Thomas to attend school in London.[3][1]
Rowlandson was educated at the school of Dr Cuthbert Barwis at 8 Soho Square, then "an academy of some celebrity," where one of his classmates was Richard Burke, son of the politician Edmund Burke. As a schoolboy, Rowlandson "drew humourous characters of his master and many of his scholars before he was ten years old," covering the margins of his schoolbooks with his artwork.[4]
In 1765 or 1766 he started at the Soho Academy.[3] There is no documentary evidence that Rowlandson took drawing classes at the mainly business-oriented school, but it seems likely, as on leaving school in 1772, he became a student at the Royal Academy.[5] According to his obituary of 22 April 1827 in The Gentleman's Magazine, Rowlandson was sent to Paris at the age of 16 (1772), and spent two years studying in a "drawing academy."[4] there. In Paris he studied drawing "the human figure" and continued developing his youthful skill in caricature.[4] It was on his return to London that he took classes at the Royal Academy, then based at Somerset House.[4]
Rowlandson spent six years studying at the Royal Academy, but about a third of this time was spent in Paris where he may have studied under Jean-Baptiste Pigalle.[6] He later made frequent tours to the Continent, enriching his portfolios with numerous sketches of life and character. In 1775 he exhibited a drawing of Dalilah Payeth Sampson a Visit while in Prison at Gaza at the Royal Academy and two years later received a silver medal for a bas-relief figure. He was spoken of as a promising student. On the death of his aunt, he inherited £7,000 with which he plunged into the dissipations of the town and was known to sit at the gaming-table for 36hours at a stretch.[7]
Discomforts of an Epicure, a self-portrait from 1787, showed that he could aim his caricatures at himself.
In time poverty overtook him; and the friendship and examples of James Gillray and Henry William Bunbury seem to have suggested caricature as a means of earning a living. His drawing of Vauxhall, shown in the Royal Academy exhibition of 1784, had been engraved by Pollard, and the print was a success. Rowlandson was largely employed by Rudolph Ackermann, the art publisher, who in 1809—issued in his Poetical MagazineThe Schoolmaster's Tour—a series of plates with illustrative verses by Dr. William Combe. They were the most popular of the artist's works. Again engraved by Rowlandson himself in 1812, and issued under the title of the Tour of Dr Syntax in Search of the Picturesque, they had attained a fifth edition by 1813, and were followed in 1820 by Dr Syntax in Search of Consolation, and in 1821 by the Third Tour of Dr Syntax in Search of a Wife.[8] He also produced a body of erotic prints and woodcuts.[9]
The same collaboration of designer, author and publisher appeared in the English Dance of Death, issued in 1814–16 and in the Dance of Life, 1817. Rowlandson also illustrated Smollett, Goldsmith and Sterne, and his designs will be found in The Spirit of the Public Journals (1825), The English Spy (1825), and The Humorist (1831).
Rowlandson's designs were usually done in outline with the reed-pen, and delicately washed with colour. They were then etched by the artist on the copper, and afterwards aquatinted—usually by a professional engraver, the impressions being finally coloured by hand. As a designer he was characterised by his facility and ease of draughtsmanship. He dealt less frequently with politics than his fierce contemporary, Gillray, but commonly touching, in a rather gentle spirit, the various aspects and incidents of social life. His most artistic work is to be found among the more careful drawings of his earlier period; but even among the exaggerated caricature of his later time we find hints that this master of the humorous might have attained to the beautiful had he so willed.[10]
His work included a personification of the United Kingdom named John Bull who was developed from about 1790 in conjunction with other British satirical artists such as Gillray and George Cruikshank. He also produced many works depicting the characters involved in election campaigns and race meetings. However, his satirical works of London's street life such as the "pleasure gardens at Vauxhall, jostling with soldiers, students, tarts and society beauties", which exhibit acute social observation and commentary are amongst his finest.[11]
Rowlandson's caricatures include those on the medical profession which developed through his friendship with John Wolcot around 1778. He also earned money illustrating books of physicians and quacks.[12] Later in life, he also produced caricatures on medical themes.[13]
His patron and friend Matthew Michell collected hundreds of his paintings which Michell displayed at his country residence, Grove House in Enfield, Middlesex. After Michell's death his nephew, Sir Henry Onslow, sold the contents of Grove House at an eight-day sale in November 1818. One of the best-known of Rowlandson's paintings is "Hengar House the seat of Matthw[sic] Mitchell Esqr., Cornwall" (1812) which was sold at the Sir Richard Onslow sale, Sotheby's, 15 July 1959. Another of Rowlandson's paintings is "Glorious Defeat of the Dutch Navy Octr 10 1797, by Admirals Lord Duncan and Sir Richard Onslow, with a View Drawn on the Spot of the Six Dutch Line of Battle Ships Captured and Brought into Yarmouth" (1797). Rowlandson also painted early scenes of Brighton where Michell's sister, Lady Anne Onslow, lived after the death of her husband Sir Richard Onslow, 1st Baronet. Rowlandson's painting "Mr Michell's Picture Gallery at Grove House, Enfild" was sold by Sotheby's, London, on 4 July 2002.
Rowlandson died at his lodgings at 1 James Street, Adelphi, London, after a prolonged illness, on 21 April 1827. He was buried at St Paul's, Covent Garden on 28 April 1827 aged 69 years. Some authors have suggested that his housekeeper Betsy Winter who inherited his belongings was his mistress but this has been rejected by others.[14]
Horse accomplishments Etchings for a work by George Moutard Woodward, 1797–98
Matrimonial Comforts (series of eight sketches) c.1799
Le Brun Travestied or Caricatures of the Passions Etchings for a work by George Moutard Woodward, 1800
The Schoolmaster's Tour, accompanied by verses by William Combe (published in the new Poetical Magazine) 1809–11
Tour of Dr. Syntax in Search of the Picturesque, 1812
The Second Tour of Dr. Syntax in Search of Consolation, 1820
The Third Tour of Dr. Syntax in Search of a Wife, 1821
The English Dance of Death, 1815–16
The Dance of Life, 1816–17
Characteristic Sketches of the Lower Orders (series of sketches), 1820
An Essay on the Art of Ingeniously Tormenting (sc Thomas Rowlandson), 1808
Chesterfield Travestied, or School for Modern Manners (sc Thomas Rowlandson), 1808
Gallery
"A Southwark Volunteer Cavalryman", c.1798
"The Devonshire, or Most Approved Method of Securing Votes", 1784
"The Progress of the Emperor Napoleon", 1808
"The Corsican Spider in His Web", 1808
"Washing Day" from Matrimonial Comforts, 1811
"Portsmouth Point"
Cat Like Courtship
"Dr Syntax outside the Halfway House" from Dr Syntax in Search of the Picturesque, 1812
"Doctor Syntax loses his Money on the Race Ground at York" 1812
"Great News" from Characteristic Sketches of the Lower Orders, 1820
"Saloop" from Characteristic Sketches of the Lower Orders, 1820
"Curds and Whey" from Characteristic Sketches of the Lower Orders, 1820
"Macassar oil", from Iconographic Collectionsc.1814, lampooning the false claim in some advertisements that Macassar oil would stimulate hair growth on balding men
A political cartoon, also known as an editorial cartoon, is a cartoon graphic with caricatures of public figures, expressing the artist's opinion. An artist who writes and draws such images is known as an editorial cartoonist. They typically combine artistic skill, hyperbole and satire in order to either question authority or draw attention to corruption, political violence and other social ills.
A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or other artistic drawings. Caricatures can be either insulting or complimentary, and can serve a political purpose, be drawn solely for entertainment, or for a combination of both. Caricatures of politicians are commonly used in newspapers and news magazines as political cartoons, while caricatures of movie stars are often found in entertainment magazines.
James Gillray was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810. Many of his works are held at the National Portrait Gallery in London.
Henry William Bunbury was an English caricaturist. The second son of Sir William Bunbury, 5th Baronet, of Mildenhall, Suffolk, he came of an old Norman family. He was educated at Westminster School and St Catharine's College, Cambridge, and soon showed a talent for drawing, especially for humorous subjects. He temporarily left Cambridge to embark on a tour of Europe, during which time he may have studied in Rome; he returned to school in 1771 but is not known to have completed a degree. His European travels inspired a series of caricatures mocking foreigners, notably his La Cuisine de la Poste, exhibited at the Royal Academy in 1770.
James Sayers was an English caricaturist. Many of his works are described in the Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum which has an extensive holdings of his works collected at the time of original publication by Sarah Sophia Banks.
Rudolph Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman.
George Cruikshank or Cruickshank was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience.
William Combe was a British miscellaneous writer. His early life was that of an adventurer, his later was passed chiefly within the "rules" of the King's Bench Prison. He is chiefly remembered as the author of The Three Tours of Doctor Syntax, a comic poem, illustrated by artist Thomas Rowlandson's colour plates, that satirised William Gilpin. Combe also wrote a series of imaginary letters, supposed to have been written by the second, or "wicked" Lord Lyttelton. Of a similar kind were his letters between Swift and "Stella". He also wrote the letterpress for various illustrated books, and was a general hack.
Events from the year 1756 in art.
Isaac Cruikshank was a Scottish painter and caricaturist, known for his social and political satire.
George Murgatroyd Woodward (1765–1809), more commonly known as George 'Moutard' ("Mustard") Woodward, was an English caricaturist and humor writer. He was a friend and drinking companion of Thomas Rowlandson.
Henry Wigstead was an English Magistrate, publisher, businessman, amateur painter & caricaturist.
Charles Williams was a British caricaturist, etcher and illustrator. He was chief caricaturist between 1799 and 1815 for the leading British publisher S. W. Fores. He worked in a style similar to James Gillray. In his earlier works, Williams used the pseudonyms Ansell or Argus; with George Cruikshank and others he illustrated The Every-Day Book by William Hone, edited 1825–26.
Samuel William Fores, normally credited on his publications as S. W. Fores was an English publisher and printseller with a renowned print shop at No 3 Piccadilly, London during the 'Golden Age' of Georgian satirical prints. Fores faced prosecution several times for the allegedly libellous nature of his satires. His sons George Thomas Fores (1806–58) and Arthur Blücher Fores (1814–83) succeeded him in the business, publishing predominantly sporting prints,and the family firm continued as printsellers and publishers for over 200 years.
Piercy Roberts was an English publisher, printmaker, and caricaturist active between 1785 and 1824. Most of his prints are caricatures, some after his own designs and some after others such as George Moutard Woodward. He collaborated with Thomas Rowlandson on several prints, most notably a pair of portraits of Josephine Beauharnais and Napoleon.
William Holland was a leading London print seller and radical publisher who was fined £100 and imprisoned in 1793 for a year for seditious libel.
William Elmes, was an English caricaturist.
Elizabeth Dacheray was an English publisher and print seller, with a shop at St. James Street, London. Around sixty of her prints are in the British Museum and are described in volume six of the Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum.
The Caricature Magazine or Hudibrastic Mirror was a British fortnightly magazine of humorous and satirical prints, first issued in 1806 by London publisher Thomas Tegg, and edited by George Woodward, the comic author and caricaturist, upon whose designs many of its prints were originally based. The British artist Thomas Rowlandson was a leading contributor and took over its direction after Woodward's death in 1809. The magazine's lively coloured designs by leading caricaturists of the day and comparatively low pricing were an immediate success and Tegg continued to publish the magazine until 1819. Tegg also reissued back numbers as bound volumes; prints from these volumes survive in quite large numbers and are among the best known surviving Georgian social caricatures.
References
Falk, Bernard (1952). Thomas Rowlandson: His Life and Art. Beechhurst Press.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
