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Staging the Page: Graphic Caricature in Eighteenth STAGING THE PAGE: GRAPHIC CARICATURE IN EIGHTEENTH-CENTURY ENGLAND BY HOPE C. SASKA A.B. WHEATON COLLEGE, 1997 A.M. BROWN UNVERSITY, 2003 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY 2009 © 2009 by Hope C. Saska VITA Hope Saska was born in Waterbury, Connecticut in 1974. From 1993-1997 she attended Wheaton College, Norton, Mass. where she received an undergraduate degree in art history. Hope began her graduate studies in the Department of History of Art and Architecture at Brown in the fall of 1999. She received her Master of Arts degree in May 2003 with a thesis titled, “Napoleon and the Purge of Europe: Scatological Satire of Napoleon I.” In this project Hope studied graphic satirical caricatures of Napoleon I. and explored the use of medical metaphor by satirists who attempted to ‘cure’ the body of Napoleon by administering purgatives to caricatures of the emperor. She also argued that the images of Napoleon as a crazed and ill ruler were used to express anxiety over George III, King of England, who was himself suffering from porphyria, a disease that caused severe disorientation and bouts of insanity. While at Brown, Hope received financial support from the Department of History of Art and Architecture and the Graduate School in the form of travel and research grants, proctorships and teaching assistantships. She was awarded a travel grant from the Department of Renaissance and Early Modern Studies and received research grants from the Yale Center for British Art; The Lewis Walpole Library; and The Caroline and Erwin Swann Foundation for Caricature and Cartoon. iv As a graduate proctor for the John Hay Library and the Center for Digital Initiatives at Brown, Hope organized and provided content for the University’s on-line database of Napoleonic caricatures and satires from the Ann S. K. Brown Military Collection. Committed to working with objects in a collections setting, she also proctored at the Rhode Island School of Design Museum of Art and at the David Winton Bell Gallery, Brown University. Hope also participated in the first annual graduate student symposium at Brown and organized the second annual symposium with Jessica Barr in the Department of Comparative Literature While working to complete her dissertation, Hope held a Samuel H. Kress Curatorial Fellowship at the Lewis Walpole Library, where she worked to create a database to track artworks formerly in Horace Walpole’s collection at Strawberry Hill, Twickenham. At this time she also provided research support for an exhibition devoted to Walpole at the Yale Center for British Art (2009) and at the Victoria & Albert Museum, London (2010). Hope is currently an Andrew W. Mellon Curatorial Fellow in the Department of Prints, Drawings and Photographs at the Detroit Institute of Arts. v ACKNOWLEDGEMENTS Although the process of writing a dissertation often feels solitary, the writer is never truly works alone and is indebted to her community of mentors, colleagues, family, and friends for their support and guidance. I would like to first thank my advisor, Dian Kriz, for her attentive reading and apt criticism of this project. The conversations we have had about eighteenth-century British art have enriched every aspect of this project and have guided my development as an art historian. Evelyn Lincoln encouraged my interest in popular print culture from my very first graduate seminar paper written in her class on the work of James Gillray; her comments and criticism have greatly enhanced my work from my first project at Brown, to my last. Joseph Roach has been a generous and enthusiastic reader whose comments on this dissertation have grounded my understanding of theater and theories of acting in the eighteenth-century. The Department of History of Art and Architecture and the Graduate School at Brown provided material support in the form of teaching assistantships and proctorships. The bulk of the research I conducted at Brown was enhanced by the collections and staff of the John Hay Library at Brown who made the rich collections of the university available to me and did much heavy lifting in the process. In particular I wish to thanks Andy Moul and Peter Harrington, who conveyed multiple volumes to the study room and back again. vi My research and writing has been generously supported by fellowships at the Yale Center for British Art; The Lewis Walpole Library, and the Caroline and Erwin Swann Foundation at the Library of Congress. These institutions have come to feel like homes away from home. I want to thank the entire staff of The Lewis Walpole Library, especially Maggie Powell, Director, and Cynthia Roman, Curator of Print, Drawings and Paintings, who enthusiastically supported my research interests. Special thanks also to Martha Kennedy at the Library of Congress, who made my research as a Swann Curatorial Fellow a delight. And finally, a note of thanks to the Detroit Institute of Arts and the Andrew W. Mellon foundation, which allowed me to assume an Andrew W. Mellon Curatorial Fellowship while in the final stages of my dissertation. Nancy Sojka, Curator of Prints, and Associate Curator, Nancy Barr, have patiently supported my work and have on many occasions pulled me from the eighteenth century into the twenty-first. The love of my family has made everything in my life possible. My parents, Barbara and Gene, and sisters Maggie and Elizabeth, have provided extraordinary encouragement and generosity. A network of friends have buoyed my morale and provided distraction when I needed it the most. Among my friends at Brown who have been academic role models, makers of tea, and pourers of wine, I want to especially thank Tanya Sheehan, Jessica Barr, Lilian O’Brien, and Joseph Silva. Anne Charron and Jodi Schmidt have remained stalwart cohorts though my graduate student years. And, last, but not least, thanks to Keith Hinzman and to Ringo Saska, who both delight in reminding me that sometimes the most important thing in life is the pleasure found in good company and in good food. vii TABLE OF CONTENTS Vita page iv Acknowledgements vi List of Figures ix Introduction 1 Chapter 1 Whose Character? 24 Chapter 2 “This Exaggerating Force”: Gesture on the Stage and Page 78 Chapter 3 The Laughing Audience and the Lecture on Heads 140 Conclusion 194 Figures 200 Bibliography 251 viii LIST OF FIGURES I.1 James Mc Ardell after Benjamin Wilson, Garrick as Hamlet, mezzotini, n.d., Library of Congress, Department of Prints and Photographs. I.2 James Gillray, A Voluptuary Under the Horrors of Digestion, 1972, hand colored etching, The Lewis Walpole Library, Yale University. 1.1 William Hogarth, Characters & Caricaturas, 1743, engraving, reproduced in Paulson 1965, pl. 174. 1.2 William Hogarth, The Laughing Audience, 1733, engraving, reproduced in Paulson 1965, pl. 136. 1.3 William Hogarth, A Chorus of Singers, 1732, engraving, reproduced in Paulson 1965, pl. 133. 1.4 William Hogarth, Scholars at a Lecture, 1736/7, engraving, reproduced in Paulson 1965, pl. 154. 1.5 William Hogarth, The Company of Undertakers,1736/7, engraving reproduced in Paulson 1965, pl. 155. 1.6 William Hogarth after James Thornhill?, Four Heads from the Raphael Cartoons at Hampton Court, 1729, engraving, reproduced in Paulson 1965, pl. 120. 1.7 William Hogarth, Characters and Caricaturas, detail. 1.8 Pier Leone Ghezzi, Thomas Bentley, 1725-6, etching, National Portrait Gallery, London. 1.9 William Hogarth, The Bench, first state, 1758, engraving, reproduced in Paulson 1965, pl. 266. 1.10 William Hogarth, Plate I, The Analysis of Beauty, detail, 1753, reproduced in Paulson 1965, plate 211. 1.11 George Townshend, The Recruiting Serjeant or Brittannias Happy Prospect 1757, etching, reproduced in Donald, 49. ix 1.12 William Hogarth, The Bench, fourth state, 1758, engraving, reproduced in Paulson 1965, pl. 227. 1.13 Clarles Le Brun, Le Rire : tête vue de face, pen, ink, and black chalk (?), ca. 1668- 1690, Musée du Louvre, Département des Arts Graphiques. 1.14 Charles Le Brun, La Colere, (Anger), pen and black ink, ca. 1668-1690, Musée du Louvre, Département des Arts Graphiques. 1.15 Charles Le Brun, La Tranquilité (Tranquility), pen and brown ink, ca. 1668-1690, Musée du Louvre, Département des Arts Graphiques. 1.16 Jonathan Richardson, Alexander Pope, oil on canvas, ca. 1737, National Portrait Gallery, London. 1.17 Thomas Rowlandson & G. M. Woodward, Anger, 1800, hand colored etching, The Lewis Walpole Library, Yale University. 1.18 Thomas Rowlandson & G. M. Woodward, Laughter, 1800, hand colored etching, The Lewis Walpole Library, Yale University. 1.19 Thomas Rowlandson & G. M. Woodward, Horror, 1800, hand colored etching, The Lewis Walpole Library, Yale University. 1.20 M. Darly, Title Page, A Book of Caricaturas, 1779, etching, The Lewis Walpole Library, Yale University. 1.21 M. Darly, Straightlined Carrics & Angular Carrics, 1779, etching, The Lewis Walpole Library. 1.22 M. Darly, Ogee Carrics & External Circular Carrics, 1779, etching, The Lewis Walpole Library, Yale University. 1.23 Francis Grose, Rules for Drawing Caricaturas, Plate I, 1788, etching, The John Hay Library, Brown University. 1.24 William Hogarth, Five Orders of Perriwigs, 1761, engraving, reproduced in Paulson 1965, pl. 230. 1.25 Francis Grose, Rules for Drawing Caricaturas, Plate II, 1788, etching, The John Hay Library, Brown University. 1.26 Thomas Rowlandson, Public Characters, 1801, hand colored etching, The Library of Congress. x 2.1 William Hogarth, The Analysis of Beauty, Plate I, The Statuary's Yard, 1753, engraving, reproduced in Paulson 1965, pl. 210. 2.2 William Hogarth, The Analysis of Beauty, Plate II, The Country Dance, 1753, engraving, reproduced in Paulson 1965, pl.e 211.
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