Word: gillray
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Dates: during 1990-1999
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...some the new context of exile provided a degree of artistic stimulus. In London, Kokoschka got to know--largely through his Marxist friend the refugee German art historian Francis Klingender--the tradition of English caricature, the mordant images of Hogarth and Gillray; they are reflected in such paintings as Anschluss--Alice in Wonderland, 1942, with its trio of figures, the appeaser Neville Chamberlain, a German soldier and an Austrian Catholic bishop, imitating the Chinese monkeys that see no evil, hear no evil and speak no evil. And the ever alert Salvador Dali managed to include a number of proto...
Artists have favorite tropes, metaphors to which they resort semiconsciously over and over again. Rowlandson's chief one was the opposition between youth and age, freshness and decay, virility and impotence. He was not in any real sense a political artist -- unlike his colleague James Gillray. Beneath Rowlandson's comedy there was a clawing, nagging fear of falling apart. As well there should have been, the censorious might add: he was a rake, too fond of cards, women and the bottle for his own good. And his work is full of Dreadful Elders, gouty, poxed, many-chinned, snouted, toothless, cunning...