English Caricaturists and Graphic Humourists of the Nineteenth Century.: How they Illustrated and Interpreted their Times.Everitt, Graham
History
English Caricaturists and Graphic Humourists of the Nineteenth Century.: How they Illustrated and Interpreted their Times.
Everitt, Graham
Caricature -- Great Britain; Illustration of books -- Great Britain -- 19th century
The "German Popular Stories" probably contain the most striking specimens
of Cruikshank's power as a designer of _fairy_ subjects. In reference to
these illustrations, our great critic, Mr. Ruskin, says: "They are of
quite sterling and admirable art, in a class precisely parallel in
elevation to the character of the tales which they illustrate; and the
original etchings, as I have before said in the Appendix to my 'Elements
of Drawing,' were unrivalled in masterfulness of touch since Rembrandt, in
some qualities of delineation unrivalled even by him." "_The Two Elves_,"
says Hamerton, "especially the nearer one, who is putting on his breeches,
are drawn with a point at once so precise and vivacious, so full of keen
fun and inimitably happy invention, that I have not found their equal in
comic etching anywhere ... the picturesque details of the room are etched
with the same felicitous intelligence; but the marvel of the work is in
the expression of the strange little faces, and the energy of the comical
wee limbs."[90] In _The Witches' Frolic_ ["Letters on Demonology and
Witchcraft"], we find a happy blending of the terrible and the grotesque.
Look at the old hags floating out to sea in their tubs; and the strange,
uncanny thing with dreadful eyes bobbing up and down midway between the
foremost old woman and the distant vessel. The _thing_ may be a ship, it
may be a fish, or it may be a fiend,--in the dim half light we cannot tell
what,--but it is horribly suggestive of nightmare, and makes one laugh as
well as shudder. Some ghostly goblins, the creations of George's weird
fancy, will be found in "The Omnibus"; we see them following a ghostly
ship manned by ghostly mariners, and we find in the same book ghostly
Dutchmen playing a game of diabolical leap-frog with Australian kangaroos.
In one illustration he introduces us to a cheerful assembly of ancestral
ghosts: there is the ghostly saucer-eyed head of the family, with a
ghostly hound peeping beneath his chair, a ghostly grandmother, half a
dozen ghostly spinster aunts, a ghostly butler, a ghostly cook, a ghostly
small boy, two ghostly candles; and lastly, a ghostly cat. Small wonder
that under the influence of such ghostly surroundings the hair of the
affrighted ghost-seer stands erect in the extremity of his terror.
Public-domain text, read in full here on John Shaqi.
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