Hogarth to Cruikshank by M. Dorothy George Published by Lane on July 26, 1968
Genres: History / Modern / 19th Century
Pages: 224
Format: Hardcover
Source: https://www.cuttersguide.com/pdf/Art/hogarthto-cruikshank-social-change-in-graphic-satire-art-ebook.pdf
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Shows more than two hundred satirical drawings from eighteenth and early nineteenth century England and provides background information on the people, events, and fashions being satirized
If you check out my social media content on Instagram or Tiktok, I have been sharing and enjoying some of the prints featured on james-gillray.org. But I was in search for something very particular when I found this 1967 book (available for free download here: hogarth to-cruikshank-social-change-in-graphic-satire-art-ebook.pdf) which further grounds some of the satirist of the Georgian and Regency era.
Not only does it share over two hundred prints of various artists across this era, but it also provides some really smart, still relevant commentary about the importance of satire and the individual styles and impacts of these various satirists. For a historical romance author, this is a treasure trove of people, places, and culture that can excite the imagination, transport audiences, and also carry with it the sharp, pointed end of satire to tell you what was really going on.
In addition to the insights, it also shows some laugh out loud images, including part of Gillray’s series Harmony before Matrimony, and Matrimonial Harmonics:
In the chapter that opens on the Regency, narrowly defined as those years during the official Regency (1811-1820), George writes: “The old social geology of high life, middle life, low life was less stable and less accepted. This was the setting of a social phase that pervaded the Regency, invaded the print-shops…a strange mixture of the unregenerate eighteenth century and what was to be called Victorianism.” Such a brilliant summary of a very complicated era.
The next Regency chapter, High Life and Low Life, has some additional poignant commentary about the lady patroness oligarch and how they “had become self-conscious and defensive against the ever-increasing numbers and wealth of the middle classes and the ‘monied interest’.” This brief, snappy analysis coupled with striking images of satirist represents one of the most accessible, critical looks of the Regency I have seen in such a condensed format.
Political satires were Mary Dorothy George’s (1878-1971) speciality, and she was best known for a catalogue of satires preserved at the British Museum. This book marks the last in a distinguished career, demonstrating her incredible scholarship over thirty years.
There are some imperfections in the history, but where the depth is challenged, the breadth is complete and for that alone this book should be a companion for Regency historians, authors, and romance lovers. I highly recommend downloading the free e-book version, or grabbing yourself a hardback copy where used books are sold.
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