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The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
The devil upon crutches in England; or, Night scenes in London. A satirical work ... By a gentleman of Oxford ...
Smelling out a rat; or the atheistical-revolutionist disturbed in his midnight "calculations", British Cartoon Print
Summary
Print shows Richard Price seated at a desk, he turns to look over his right shoulder at a vision of an enormous Edmund Burke, his spectacles, nose, and hands emerge from the haze, a crown in one hand and a cross in the other, on his head an open copy of his "Reflections on the Revolution in France...." Hanging on the wall is an illustration of the beheading of Charles I titled, "Death of Charles I, or the Glory of Great Britain."
At end of title: Vide a troubled conscience.
Attributed to James Gillray.
Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 6, no. 7686
Forms part of: British Cartoon Prints Collection (Library of Congress).
It wasn't really until the 1700s that caricature truly blossomed as a form of political criticism. In the late 1750s, a man named Thomas Townshend began using the techniques employed by earlier engravers and applying them towards a political model. This gave Thompson's cartoons a much greater feeling of propaganda than previous artistic critiques of the time. The intense political climate of the period, and often accusatory nature of most political cartoons forced many artists to use pseudonyms in order to avoid accusations of libel. Other artists took it a step farther, and left their cartoons completely unsigned, foregoing any credit they may have received. Political higher-ups were notoriously touchy about their reputations and were not afraid to make examples of offenders. Puck was the first successful humor magazine in the United States of colorful cartoons, caricatures and political satire of the issues of the day. It was published from 1871 until 1918.
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