James Gillray
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James Gillray, o Gilray (Chelsea, 13 agosto 1757 – Londra, 1 giugno 1815), è stato un caricaturista e stampatore inglese, famoso per le sue acqueforti con soggetti di satira politica e sociale, pubblicate soprattutto tra il 1792 e il 1810.
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[modifica] Biografia
Il padre aveva servito come soldato e aveva perso un braccio nella battaglia di Fontenoy, ed era stato ammesso, dapprima come paziente, quindi come pensionante esterno, al Chelsea Hospital. Gillray iniziò imparando l'arte dell'incisione, ma poi la abbandonò e per un certo periodo si unì a una compagnia di attori girovaghi. proving irksome, he wandered about for a time with a company of strolling players. Dopo quest'esperienza fece ritorno a Londra e venne ammesso alla Royal Academy; si manteneva facendo incisioni e probabilmente diffondendo un gran numero di caricature usando vari nomi di fantasia. Le sue caricature sono realizzate prevalentemente con la tecnica dell'acquaforte, dell'acquatinta, un numero minore usando la tecnica dell'incisione a retino. Per i suoi lavori di questi anni la sua fonte di ispirazione preferita erano le opere di William Hogarth. Paddy on Horseback, datata 1779, è prima caricatura che gli si possa attribuire con certezza. Due caricature sulla vittoria navale di George Brydges Rodney, pubblicate nel 1782, furono fra le prime ad argomento politico.
L'editore e venditore delle stampe di Gillray era una donna, Miss Hannah Humphrey, è ormai indissolubilmente legato a quello dell'artista: Gillray convisse con Miss (spesso appellata Mrs) Humphrey per tutto il periodo del suo successo, e sebbene egli più volte avesse pensato di sposarla, la loro relazione non venne mai ufficializzata, causando anche un certo scandalo. Le stampe di Gillray venivano esposte alla vetrina di Miss Humphrey, dove la folla le esaminava con curiosità. In una delle sue ultime opere, Very Slippy Weather ("Tempi scivolosi"), si vede il negozio di Miss Humphrey in St. James's Street sullo sfondo, e sulla vetrina sono attaccate varie stampe di Gillray precedentemente pubblicate, come ad esempio Tiddy-Doll the Great French Gingerbread Maker, Drawing Out a New Batch of Kings; His Man, Talley Mixing up the Dough ("Tiddy-Doll, il grande panettiere francese, tira fuori un'altra infornata di re, mentre il suo aiutante Talley fa l'impasto"), una satira sulla inclinazione di Napoleone a nominare nuovi sovrani.
[modifica] Gillray e l'arte della caricatura
Molte delle sue satire più pungenti sono dirette contro re Giorgio III, il quale, quando gli erano state mostrate delle stampe dell'artista, aveva affermato di non riuscire a capirle. Per vendicarsi Gillray aveva disegnato A Connoisseur Examining a Cooper.
Gli eccessi della Rivoluzione francese risvegliarono l'animo conservatore di Gillray, che quindi realizzò diverse caricature ridicolizzando i francesi (specialmente i giacobini) e Napoleone ed esaltando John Bull (il personaggio che rappresenta la personificazione della Gran Bretagna), molte delle quali pubblicate sulla Anti-Jacobin Review. Tuttavia, la sua fede politica non è precisamente individuabile, poiché il suo spirito libero gli consentiva di sferrare i suoi colpi sia contro i Whig sia contro i Tories. His last work, from a design by Bunbury, is entitled "Interior of a Barber's Shop in Assize Time," and is dated 1811. While he was engaged on it he became mad, although he had occasional intervals of sanity, which he employed on his last work. The approach of madness must have been hastened by his intemperate habits. Gillray died on the 1st of June 1815, and was buried in St James's churchyard, Piccadilly.
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 November 3, 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. He 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." Among his other political caricatures may be mentioned: "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 Handwriting 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," i.e. "Broad-bottomites getting into the Grand Costume"; "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.
![Fashionable Contrasts - or - the Duchess's little shoe yeilding [sic] to the magnitude of the Duke's foot](../../../../images/shared/thumb/e/e9/Fashionable_contrasts_james_gillray.jpg/250px-Fashionable_contrasts_james_gillray.jpg)
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.
[modifica] Famous Editions of Gillray's Works
A selection of Gillray's works appeared in parts in 1818; but the first good edition was Thomas McLean's, which was published with a key, in 1830. A somewhat bitter attack, not only on Gillray's character, but even on his genius, appeared in the Athenaeum for October 1, 1831, which was successfully refuted by John Landseer in the Athenaeum a fortnight later.
In 1851 Henry George Bohn put out an edition, from the original plates in a handsome elephant folio, the coarser sketches -- commonly known as the "Suppressed Plates" -- being published in a separate volume. For this edition Thomas Wright and RH Evans wrote a valuable commentary, which is a good history of the times embraced by the caricatures. Unfortunately, many copies of the Bohn Edition are broken up into individual sheets and passed off as originals to unsuspecting buyers (see "Collecting Gillray's Work" below). Although the two volumes of the Bohn Edition are often represented as being a complete collection of Gillray's works, this is not the case: for example, "Doublures of character - or - Strikeing resemblances in phisiognomy" is not included in either volume. This is most likely because this print was not published by Hannah Humphrey, but by John Wright for the Anti-Jacobin Review and Magazine.
The next edition, entitled The Works of James Gillray, the Caricaturist: with the Story of his Life and Times (Chatto & Windus, 1874), was the work of Thomas Wright, and, by its popular exposition and narrative, introduced Gillray to a very large circle formerly ignorant of him. This edition, which is complete in one volume, contains two portraits of Gillray, and upwards of 400 illustrations. Mr JJ Cartwright, in a letter to the Academy (Feb. 28, 1874), drew attention to the existence of a manuscript volume, in the British Museum, containing letters to and from Gillray, and other illustrative documents. The extracts he gave were used in a valuable article in the Quarterly Review for April 1874. See also the Academy for February 21 and May 16, 1874.
[modifica] Collecting Gillray's Work
In recent years Gillray's work has become very collectible. Prices had been climbing steadily since the 1970s, but the auction of the Draper Hill Collection at Phillips auctioneers in London in 2001 pushed prices to new highs: several key prints, including "Fashionable Contrasts," fetching more than USD10,000. Three auctions of Caricatures at Bonham's in London, each of which included large selections of Gillray prints, continued this trend. Escalating prices have also meant that good examples of major works by Gillray can be very hard to come by at any price. Unfortunately for the beginning collector this means that starting a collection now is far more difficult than thirty years ago, when a very good copy of "Light Expelling Darkness" could be had for as little as USD250. A good impression of this print sold in 2006 for over USD9,000, while "Fashionable Contrasts" also sold in the same year for over USD20,000.
This dramatic increase in prices has also led to unscrupulous sellers attempting to pass off prints from the Bohn Edition as originals, and it can be difficult for those unfamiliar with these practices to tell the difference between a restrike (commonly called "a Bohn") and an original. The key indicators of a print coming from the Bohn Edition are (i) the presence of a number in the top, right-hand corner of the print (the number is most commonly in the image itself, but may be outside in the margin); (ii) the fact that the Bohn edition was issued without colouring; and (iii) the fact that the strikes for the main published volumes of the Bohn Edition were printed on both sides of the paper (the Bohn Edition of the so-called "Suppressed Plates" was, like the originals, printed on one side of the paper only). However, the fact that a print is single-sided does not mean that it is not a Bohn restrike: there are in existence many Bohns (for example, "Light Expelling Darkness") that bear a number, but which are printed on one side of the paper only. These single-sided numbered strikes are almost always printed on much higher quality paper than was used for the bound volumes, and the quality of the printing is usually much superior too, with more care having been taken to ensure a crisp impression. These impressions are believed to have been struck by Henry Bohn with a view to colouring them, and then selling them as high-quality single prints, in much the same way as the prints published in Gillray's lifetime. There are many example of such single-sided restrikes, both coloured and uncoloured. Since prices for Bohns are usually between one-tenth and one-twentieth of those for originals, unscrupulous sellers will go to great lengths to disguise the fact that a print is a Bohn. Some common methods include: (i) tortuously worded descriptions, which attempt to avoid disclosure of the fact the print is a restrike (although some sellers will just plain lie); (ii) if the number is outside the image, trimming the print to the very edges of the image; (iii) if the number is inside the image, carefully abrading the surface to obliterate the number; (iv) cutting strips of the image to remove the number; (v) laying the print to paper or framing it such that it is difficult to determine whether there is printing on the reverse; and (vi) adding colour.
[modifica] Later Life and Death
Gillray's eyesight began to fail in 1806. He began wearing spectacles but they were unsatisfactory. Unable to work to his previous high standards, James Gillray became depressed and started drinking heavily. He produced his last print in September 1809. As a result of his heavy drinking Gillray suffered from gout throughout his later life. People who have shared his affliction often comment that his etching interpreting this ailment is a very apt and imaginative illustration of the agony that gout sufferers endure.
In July 1811 Gillray attempted to kill himself by throwing himself out of an attic window above Humphrey's shop in St James's Street. Gillray lapsed into insanity and was looked after by Hannah Humphrey until his death on 1st June, 1815.
James Gillray is buried in the courtyard of St James's Church, in Piccadilly, London.
[modifica] Influence of Gillray's Work
Gillray is still revered as one of the most influential political caricaturists of all time, and among the leading cartoonists on the political stage in the United Kingdom today, both Steve Bell and Martin Rowson acknowledge him as probably the most influential of all their predecessors in that particular arena.
There is a good account of Gillray in Wright's History of Caricature and Grotesque in Literature and Art (1865).
[modifica] Altri progetti
Wikimedia Commons contiene file multimediali su James Gillray
[modifica] Collegamenti esterni
- James Gillray Gallery at MuseumSyndicate
- GreatCaricatures.com: James Gillray Galleries
- James Gillray at The National Portrait Gallery (United Kingdom).
- James Gillray at The Tate Britain.
- James Gillray at The New York Public Library.
- James Gillray prints at the Yale University Library.
