Never underestimate the perils of fashion! The Graces in a high wind - a Scene taken from Nature, in Kensington Gardens, by James Gillray. Via the V&A.
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Showing posts with label Gillray (artist). Show all posts
Showing posts with label Gillray (artist). Show all posts
Wednesday, 17 March 2021
Tuesday, 21 October 2014
The Whore's Last Shift
James Gillray is, as regular visitors to the salon well know, something of a hero of mine. In his work one is transported back into the Georgian era but not the fine world conjured by the great portraitists and landscape artists, rather a somewhat more bawdy, earthy version of the long 18th century. In Gillray's works one can hear the bustle of the streets, see the people who hid beneath the wigs and panniers and smell the odours of the great Georgian city of London.
The work that has caught my eye today is The Whore's Last Shift, a work completed in February 1779. It is, to my mind, one of Gillray's finest pieces and presents a starkly honest look at the life of one of those infamous Covent Garden ladies so associated with the pleasure houses of the long 18th century.
From the neck up the lady conjures up nothing but fashion. She wears her hair in an elaborate style, adorned with decoration and plumage that would no doubt make this particular lady most eye-catching as she promenades. The rest of the picture tells a somewhat different story, one that is borne out by the title and sad circumstances of the lady at the centre of the etching.
The woman is washing her last shift in a cracked chamber pot, itself balanced somewhat precariously on a broken chair. Naked save for her badly-holed stockings and garters she concentrates on her lonely task in a room that does not speak of success and extravagance, but of poverty and misery.
Her bright frock and hat are cast aside though in considerably better condition than the rumpled bed or peeling plaster on the walls. A furious cat howls on the window ledge, a far cry from Hogath's faithful pug, and she has decorated her room with a broadside ballad ironically titled, "The comforts of Single Life. An Old Song".
Gillray does not seek to make a judgement about the woman's place in the world nor her circumstances, but instead presents the scene and invites the viewer to make their own conclusions. There is no moral conclusion here but instead a hundred different stories and scenes.
The one thing we can be sure of is that, once she is swathed in her gown, fashionable hair towering over her, this unfortunate lady would cut a far finer figure. Gillray has afforded us a glimpse beneath the petticoats of this particular lady, and it is a sorry story indeed.
The work that has caught my eye today is The Whore's Last Shift, a work completed in February 1779. It is, to my mind, one of Gillray's finest pieces and presents a starkly honest look at the life of one of those infamous Covent Garden ladies so associated with the pleasure houses of the long 18th century.
From the neck up the lady conjures up nothing but fashion. She wears her hair in an elaborate style, adorned with decoration and plumage that would no doubt make this particular lady most eye-catching as she promenades. The rest of the picture tells a somewhat different story, one that is borne out by the title and sad circumstances of the lady at the centre of the etching.
The woman is washing her last shift in a cracked chamber pot, itself balanced somewhat precariously on a broken chair. Naked save for her badly-holed stockings and garters she concentrates on her lonely task in a room that does not speak of success and extravagance, but of poverty and misery.
Her bright frock and hat are cast aside though in considerably better condition than the rumpled bed or peeling plaster on the walls. A furious cat howls on the window ledge, a far cry from Hogath's faithful pug, and she has decorated her room with a broadside ballad ironically titled, "The comforts of Single Life. An Old Song".
Gillray does not seek to make a judgement about the woman's place in the world nor her circumstances, but instead presents the scene and invites the viewer to make their own conclusions. There is no moral conclusion here but instead a hundred different stories and scenes.
The one thing we can be sure of is that, once she is swathed in her gown, fashionable hair towering over her, this unfortunate lady would cut a far finer figure. Gillray has afforded us a glimpse beneath the petticoats of this particular lady, and it is a sorry story indeed.
Wednesday, 7 May 2014
James Gillray: Fashionable Contrasts
It is no secret that one of my favourite figures of the Georgian era is, of course, the famed caricaturist, James Gillray. Gillray captured the essence of the long 18th century, portraying its most famed figures in sometimes the most unflattering light.
One of his most famous works is Fashionable Contrasts and since today marks the birthday of the owner of the most delicate feminine feet pictured in the work, I thought I would take a look at this famed print.
When Princess Frederica Charlotte of Prussia married Frederick, Duke of York and Albany on 29th September 1791, she entered into a love affair with the British press who were charmed by her supposed daintiness. By all accounts a very slightly built lady, she was possessed of two things that seemed to drive people to distraction and just what were those two things?
Her tiny feet.
Supposedly measuring less than six inches in length and usually clad in exquisite footwear, the feet became famed. Copies of her tiny shoes were sold as royal souvenirs and fashionable ladies wore their own shoes ever smaller in an attempt to emulate her. To Gillray, this clamour over the Duchess was too good an opportunity to miss.
Fashionable Contrasts;—or—The Duchess's little Shoe yeilding to the Magnitude of the Duke's Foot, was published by Hannah Humphrey on 24th January 1792. It depicts the tiny feet of the Duchess of York in jewelled slippers, caught in an obviously compromising position with the large and ungainly feet of her husband, the Duke. A simple yet instantly recognisable image, the print was enormously popular and has since become one of Gillray's best known and loved prints.
This simple yet withering attack was an instant hit and the adoration of the feet of the Duchess suddenly became just a little less vocal, until it had faded completely. In fact, the marriage of the Duke and Duchess was not to last and Frederica and her celebrated feet retired to a life of eccentricity in Surrey, where she spent the rest of her days.
Life in the Georgian Court, true tales of 18th century royalty, is available at the links below.
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| Fashionable Contrasts by James Gillray, 1792 |
One of his most famous works is Fashionable Contrasts and since today marks the birthday of the owner of the most delicate feminine feet pictured in the work, I thought I would take a look at this famed print.
 |
| James Gillray |
When Princess Frederica Charlotte of Prussia married Frederick, Duke of York and Albany on 29th September 1791, she entered into a love affair with the British press who were charmed by her supposed daintiness. By all accounts a very slightly built lady, she was possessed of two things that seemed to drive people to distraction and just what were those two things?
Her tiny feet.
Supposedly measuring less than six inches in length and usually clad in exquisite footwear, the feet became famed. Copies of her tiny shoes were sold as royal souvenirs and fashionable ladies wore their own shoes ever smaller in an attempt to emulate her. To Gillray, this clamour over the Duchess was too good an opportunity to miss.
 |
| Frederica Charlotte of Prussia by Joseph Friedrich August Darbes |
Fashionable Contrasts;—or—The Duchess's little Shoe yeilding to the Magnitude of the Duke's Foot, was published by Hannah Humphrey on 24th January 1792. It depicts the tiny feet of the Duchess of York in jewelled slippers, caught in an obviously compromising position with the large and ungainly feet of her husband, the Duke. A simple yet instantly recognisable image, the print was enormously popular and has since become one of Gillray's best known and loved prints.
 |
| Frederick, Duke of York by Sir Joshua Reynolds, 1788 |
This simple yet withering attack was an instant hit and the adoration of the feet of the Duchess suddenly became just a little less vocal, until it had faded completely. In fact, the marriage of the Duke and Duchess was not to last and Frederica and her celebrated feet retired to a life of eccentricity in Surrey, where she spent the rest of her days.
Life in the Georgian Court, true tales of 18th century royalty, is available at the links below.
Saturday, 25 January 2014
The Founding of the London Corresponding Society
Don't tell grandmother Gilflurt, but we've the radicals in today...
The London Corresponding Society was founded by attorney John Frost and radical shoemaker Thomas Hardy on 25th January 1792, both of whom decided that the time was right for working men to have the vote. The single most important aim of the Society was to force reform on the British parliament, including far greater representation of the working classes. In addition, the learned members of the group loudly and vociferously opposed the government on a number of points, as did their affiliate groups throughout the land.
The Society sought similar like-minded groups through England and slowly but surely began to grow in size and followers until, within 18 months, 6000 people had signed a petition in support of the aims of the LCS.
Finally the government had had its fill of these opponents and raided a convention of group leaders in Edinburgh in October 1793, arresting a number of attendees and trying them for treason. Whilst some members were transported as a result, Frost was only imprisoned for six months and the intervention did little to deter the members of the Society, who turned their attention to periodicals.
The following year yet more members of the Society were arrested yet all efforts to try them for treason proved unsuccessful. With public support for the Society growing, thousands of people attended public meetings and members even stoned the carriage of George II at the opening of Parliament. The government answered by passing the Treasonable Practices Act and the Seditious Meetings Act of 1795, following these with yet more arrests as the Society began to fracture.
By 1798 small groups were forming away from the main Society and though it struggled on for some time, the successful passage of the Corresponding Societies Act in 1799 proved the last nail in the coffin. The Act effectively outlawed any further meeting of the LCS and the Society and its affiliated groups faded into history, though their ideals and aims lived on in those who had been members.
The London Corresponding Society was founded by attorney John Frost and radical shoemaker Thomas Hardy on 25th January 1792, both of whom decided that the time was right for working men to have the vote. The single most important aim of the Society was to force reform on the British parliament, including far greater representation of the working classes. In addition, the learned members of the group loudly and vociferously opposed the government on a number of points, as did their affiliate groups throughout the land.
 |
| London Corresponding Society handbill, 1793 |
The Society sought similar like-minded groups through England and slowly but surely began to grow in size and followers until, within 18 months, 6000 people had signed a petition in support of the aims of the LCS.
Finally the government had had its fill of these opponents and raided a convention of group leaders in Edinburgh in October 1793, arresting a number of attendees and trying them for treason. Whilst some members were transported as a result, Frost was only imprisoned for six months and the intervention did little to deter the members of the Society, who turned their attention to periodicals.
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| London Corresponding Society, alarm's' by James Gillray, 1798 |
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| Corresponding Society Meeting by James Gillray, 1795 |
By 1798 small groups were forming away from the main Society and though it struggled on for some time, the successful passage of the Corresponding Societies Act in 1799 proved the last nail in the coffin. The Act effectively outlawed any further meeting of the LCS and the Society and its affiliated groups faded into history, though their ideals and aims lived on in those who had been members.
Sunday, 29 September 2013
A Regal Disagreement: Charlotte, Princess Royal
The Princess Charlotte, Princess Royal (Charlotte Augusta Matilda; London, England, 29th September 1766 – Ludwigsburg, Baden-Württemberg, Germany, 5th October 1828)
Of late we've met composers, politicians and even murderers but it seems like a long time since we shared the salon with a member of the Hanoverian dynasty. Previously I wrote of the tragic Princess Amelia and today it's time to meet her sister, Charlotte, Princess Royal. Whilst Amelia lived a short life blighted by an unfulfilled romantic attachment, Charlotte would travel far from her Buckingham House birthplace and become a queen, though none of this would be achieved with a certain amount of royal drama!
When Charlotte was born she was the fourth child and first daughter of King George III and Charlotte of Mecklenburg-Strelitz, her status as eldest daughter meaning that she was destined from birth to be one of the key players in a suitably grand dynastic marriage. Her parents were ecstatic to have a girl join their growing family and before she was two years old, Charlotte's education began. As a child she had a love of language and stories that never left her, though she disliked the study of music and the more public side of being a royal princess, expected to perform dances and theatrical tableaux as was the German way.
Charlotte particularly excelled in artistic pursuits under the tuition of Mary Moser and as an adult turned her talents to porcelain, decorating pieces that she would fire in a purpose-built kiln in the grounds of her marital home.
With her childhood spent under the watchful eye of Queen Charlotte, the little princess threw herself into her studies. She was an intelligent and studious child and though her looks were compared unfavourably to her pretty younger sisters, Charlotte refused to be cowed and set her mind to the future. Keen to be married, she found the field of possible husbands massively reduced by her father's decision that she would not marry into a Catholic family under any circumstances. However, the suitor most favoured by Charlotte was not only the son of a Catholic, he was also a man with scandal in his past.
The Hereditary Prince Frederick of Württemberg was a widower and father of three, who had been accused of violence by his late wife, Duchess Augusta of Brunswick-Wolfenbüttel, who had fled her husband and taken refuge in Russia. Charlotte's cousin, Augusta was also the sister to Caroline of Brunswick, later estranged wife of Charlotte's brother, George. Mindful of these allegations as well as his Catholic ties, the King and Queen refused permission for the marriage to go ahead but Charlotte would not back down and petitioned tirelessly, eventually winning the blessing of her father.
The wedding took place on 18th May 1797 at the Chapel Royal of St. James's Palace with celebrations going on for days and the newlyweds set off for their new home in Stuttgart the following month. Despite Frederick's fearsome reputation he and Charlotte appear to have enjoyed a peaceful marriage; though their only child was stillborn on 27th April 1798, Charlotte's stepchildren adored her and she was devoted to them in turn. Free from her mother's somewhat dominant influence, Charlotte blossomed in Stuttgart and enjoyed her new life immensely.
The settled life of the Stuttgart court was to suffer a serious shake-up in 1800 when French troops marched into Württemberg and sent the Duke and Duchess fleeing to Vienna. To the horror of Charlotte's parents, Frederick allied with Napoleon, making territorial exchanges and taking the title Elector of Württemberg on 25th February 1803. He later provided troops to France and on 1st January the Elector and Electress became King and Queen after a coronation held in Stuttgart, ruling from their home at the Ludwigsburg Palace.
Although Frederick switched sides in 1813, Charlotte's parents must have found it hard to reconcile the behaviour of their daughter and son-in-law and George flatly refused to address her as Queen of Württemberg, even after the title was confirmed by the Congress of Vienna.
Frederick died in 1816 and the Dowager Queen remained at the palace they had shared, receiving noble visitors from across Europe including her own illustrious siblings. 30 years after she left England in 1797, she returned to her native land to undergo surgery for dropsy, returning to Germany to convalesce. Dowager Queen Charlotte died at home in 1828 having lived an eventful life, a long way from the shy little girl who had been born in Buckingham House.
Life in the Georgian Court, true tales of 18th century royalty, is available at the links below.
Of late we've met composers, politicians and even murderers but it seems like a long time since we shared the salon with a member of the Hanoverian dynasty. Previously I wrote of the tragic Princess Amelia and today it's time to meet her sister, Charlotte, Princess Royal. Whilst Amelia lived a short life blighted by an unfulfilled romantic attachment, Charlotte would travel far from her Buckingham House birthplace and become a queen, though none of this would be achieved with a certain amount of royal drama!
When Charlotte was born she was the fourth child and first daughter of King George III and Charlotte of Mecklenburg-Strelitz, her status as eldest daughter meaning that she was destined from birth to be one of the key players in a suitably grand dynastic marriage. Her parents were ecstatic to have a girl join their growing family and before she was two years old, Charlotte's education began. As a child she had a love of language and stories that never left her, though she disliked the study of music and the more public side of being a royal princess, expected to perform dances and theatrical tableaux as was the German way.
Charlotte particularly excelled in artistic pursuits under the tuition of Mary Moser and as an adult turned her talents to porcelain, decorating pieces that she would fire in a purpose-built kiln in the grounds of her marital home.
 |
| The three eldest daughers of George III (Charlotte, Augusta and Elizabeth) by Gainsborough Dupont |
With her childhood spent under the watchful eye of Queen Charlotte, the little princess threw herself into her studies. She was an intelligent and studious child and though her looks were compared unfavourably to her pretty younger sisters, Charlotte refused to be cowed and set her mind to the future. Keen to be married, she found the field of possible husbands massively reduced by her father's decision that she would not marry into a Catholic family under any circumstances. However, the suitor most favoured by Charlotte was not only the son of a Catholic, he was also a man with scandal in his past.
The Hereditary Prince Frederick of Württemberg was a widower and father of three, who had been accused of violence by his late wife, Duchess Augusta of Brunswick-Wolfenbüttel, who had fled her husband and taken refuge in Russia. Charlotte's cousin, Augusta was also the sister to Caroline of Brunswick, later estranged wife of Charlotte's brother, George. Mindful of these allegations as well as his Catholic ties, the King and Queen refused permission for the marriage to go ahead but Charlotte would not back down and petitioned tirelessly, eventually winning the blessing of her father.
The wedding took place on 18th May 1797 at the Chapel Royal of St. James's Palace with celebrations going on for days and the newlyweds set off for their new home in Stuttgart the following month. Despite Frederick's fearsome reputation he and Charlotte appear to have enjoyed a peaceful marriage; though their only child was stillborn on 27th April 1798, Charlotte's stepchildren adored her and she was devoted to them in turn. Free from her mother's somewhat dominant influence, Charlotte blossomed in Stuttgart and enjoyed her new life immensely.
 |
| Frederick I of Württemberg by Johann Baptist Seele |
The settled life of the Stuttgart court was to suffer a serious shake-up in 1800 when French troops marched into Württemberg and sent the Duke and Duchess fleeing to Vienna. To the horror of Charlotte's parents, Frederick allied with Napoleon, making territorial exchanges and taking the title Elector of Württemberg on 25th February 1803. He later provided troops to France and on 1st January the Elector and Electress became King and Queen after a coronation held in Stuttgart, ruling from their home at the Ludwigsburg Palace.
Although Frederick switched sides in 1813, Charlotte's parents must have found it hard to reconcile the behaviour of their daughter and son-in-law and George flatly refused to address her as Queen of Württemberg, even after the title was confirmed by the Congress of Vienna.
 |
| The Bridal Night by James Gillray, 1797 |
Frederick died in 1816 and the Dowager Queen remained at the palace they had shared, receiving noble visitors from across Europe including her own illustrious siblings. 30 years after she left England in 1797, she returned to her native land to undergo surgery for dropsy, returning to Germany to convalesce. Dowager Queen Charlotte died at home in 1828 having lived an eventful life, a long way from the shy little girl who had been born in Buckingham House.
Life in the Georgian Court, true tales of 18th century royalty, is available at the links below.
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