Background
He was born in 1757 in Chelsea, London. His father, a native of Lanark, had served as a soldier, losing an arm at Fontenoy, and was admitted first as an inmate, and afterwards as an outdoor pensioner, at Chelsea, hospital.
He was born in 1757 in Chelsea, London. His father, a native of Lanark, had served as a soldier, losing an arm at Fontenoy, and was admitted first as an inmate, and afterwards as an outdoor pensioner, at Chelsea, hospital.
After a very checkered experience he returned to London, and was admitted a student in the Royal Academy, supporting himself by engraving, and probably issuing a considerable number of caricatures under fictitious names.
Two caricatures on Rodney's naval victory, issued in 1782, were among the first of the memorable series of his political sketches.
A number of his most trenchant satires are directed against George III, who, after examining some of Gillray's sketches, said, with characteristic ignorance and blindness to merit, " I don't understand these caricatures. "
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.
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.
He is invaluable to the student of English manners as well as to the political student.
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 divided into two classes, the political series and the social.
The political caricatures form really the best history extant of the latter part of the reign of George III.
They were circulated not only over Britain but throughout Europe, and exerted a powerful influence.
In this series, George III, the queen, the prince of Wales, Fox, Pitt, Burke and Napoleon 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 horned cattle for sale.
Among Gillray's best satires on the king 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"; "Temperance enjoying a Frugal Meal"; "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 fling at the coalition which superseded the Addington ministry; "Uncorking Old Sherry"; "The Plum-Pudding in Danger", " Making Decent, " i. e. "Broad-bottomites getting into the Granc Costume "; " Comforts of a Bed of Roses "; " View of the Hustings in Covent Garden"; " Phaethon Alarmed"; and "Pandora opening her Box. "
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); "Twopenny Whist"; "Oh!
A somewhat bitter attack, not only on Gillray's character, but even on his genius, appeared in the Athenaeum forOctober 1, 1831, which was successfully refuted by J. Landseer in the Athenaeum a fortnight later.
In 1851 Henry G. Bohn put out an edition, from the original plates, in a handsome folio, the coarser sketches being published in a separate volume.
For this edition Thomas Wright and R. H. Evans wrote a valuable commentary, which is a good history of the times embraced by the caricatures.
The next edition, entitled The Works of James Gillray, the Caricaturist: with the Story of Ms 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 J. J. Cartwright, in a letter to the Academy (Feb. 28, 1874), drew attention to the existence of a MS. volume, in the British Museum, containing letters to and from Gillray, and other illustrative documents.
(. with dustjacket, large format, name front end paper, 1966)
The excesses of the French Revolution made Gillray conservative; and he issued caricature after caricature, ridiculing the French and Napoleon, and glorifying John Bull.
He was blatant in his observations, incredibly subtle. 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.
Gillary lived with Miss (often called Mrs) Humphrey during all the period of his fame.
It is believed that he several times thought of marrying her, and that on one occasion the pair were on their way to the church, when Gillray said: " This is a foolish affair, methinks, Miss Humphrey.
We live very comfortably together; we had better let well alone. "
There-is no evidence, however, to support the stories which scandalmongers invented about their relations.
Gillray's plates were exposed in Humphrey's shop window, where eager crowds examined them.