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| Art Encyclopedia: George Cruikshank |
(b London, 27 Sept 1792; d London, 1 Feb 1878). Printmaker and draughtsman, son of (1) Isaac Cruikshank. From an early age he helped his father, learning to use an etching needle before the turn of the 18th century. He was employed by Hannah Humphrey, James Gillray's publisher and landlady, to finish plates Gillray was too ill to complete: their style is so close as sometimes to be indistinguishable. His early work also owes a considerable debt to Hogarth. Cruikshank was a successful juvenile actor and at one time intended to make his career on the stage. His lifelong gift for play-acting, mimicry and story-telling informed all his illustration.
Part of the Cruikshank family
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| British History: George Cruikshank |
Cruikshank, George (1792-1878). Caricaturist and book illustrator. Born in London of Scottish parents, apprentice in his father's print factory, Cruikshank rapidly became Gillray's successor as leading political caricaturist, but from about 1824 turned to book illustration. As Regency exuberance yielded to Victorian gentility, he began to outlive his popularity.
| Fairy Tale Companion: George Cruikshank |
Cruikshank, George (1792–1878), hailed as one of the most important British graphic artists of the 19th century. Born in London, Cruikshank was Scottish by blood; his father, Isaac, was a leading political caricaturist in the 1790s, alongside Rowlandson and Gilray. Unfortunately, Isaac Cruikshank died in 1811, after meeting a challenge in a drinking game.
George Cruikshank began his career as an artist when he was 13, working as his father's apprentice and assistant. By the age of 18 he had achieved notoriety as a political caricaturist. He moved 13 years later into book illustration with the successful printing of Points of Humour (1823). The glowing review of this book in Blackwood's Edinburgh Magazine in July 1823 prompted the publisher, Charles Baldwyn, to issue the German Popular Stories (1823), translated by Edgar Taylor. It was the first English translation of the Grimms' tales and was reputed to be a masterpiece. In 1868, the Grimms' tales were reissued and carried an introduction by John Ruskin, who compared the quality of Cruikshank's etchings to those of Rembrandt. In the next year Baldwyn issued Italian Tales (1824). Here the 16 full‐page woodcuts demonstrated the refinement of Cruikshank's skills and the adeptness and vitality of his line. In 1848 he produced 12 etchings for fairy stories in an expurgated text of Giambattista Basile's Pentamerone, adapted by Edgar Taylor, the translator of the Grimms' stories.
Like Hogarth and other 19th‐century artists, Cruikshank used his art to critique 18th‐century mores. During the decade 1853–64, Cruikshank wrote and illustrated four stories for children, gathered under the title of Fairy Library, to incorporate his social criticism: ‘Hop o’ my Thumb and the Seven League Boots' (1853); ‘History of Jack and the Bean‐Stalk’ (1854); ‘Cinderella and the Glass Slipper’ (1854); and ‘Puss in Boots’. Fuelled by his ardent enthusiasm for the temperance movement (his own abstinence beginning in 1847 when he wholeheartedly embraced the cause of Total Abstinence), Cruikshank altered the tales by moralizing against drinking and other licentious behaviour. Because he took such liberties with the traditional tale, Cruikshank angered Charles Dickens who protested against the subversion of children's imagination by parodying Cruikshank's abstinence in ‘Frauds on the Fairies’, in Household Words (October 1853). The Fairy Library suffered for this controversy between Dickens and Cruikshank and failed commercially.
With an interest in fairy tales came a fascination with the supernatural. Outstanding among Cruikshank's book illustrations and notable for their narrative quality and rendering of light and shadow are eight etchings for a translation of Adelbert von Chamisso's Peter Schlemihl (1823), the tale of a man who sold his shadow to the devil. Cruikshank illustrated another work of fantasy in 1861, A Discovery concerning Ghosts, with a Rap at ‘Spirit Rappers’, written to poke fun at the contemporary interest in necromancy. Seven woodcuts followed in 1852 for E. G. Flight's ‘The True Legend of St Dunstan and the Devil’.
Towards the end of his career, Cruikshank employed woodcuts to decorate Juliana H. Ewing's The Brownies and Other Tales (1871) and three tales collected in Lob Lie‐by‐the‐Fire, or the Luck of Lingborough (1874). Cruikshank's last commission, the frontispiece for The Lily and the Rose by Mrs Blewitt (1877) closed his 72 years as an artist with his formidable abilities and genius intact.
Bibliography
— Sharon Scapple
| Columbia Encyclopedia: George Cruikshank |
Bibliography
See biographies by B. Jerrold (1882) and W. Bates (2d. ed. 1972); catalogs by A. M. Cohn (1924) and M. D. George (1949); study, ed. by R. L. Patten (1973).
Dictionary:
Cruik·shank (krʊk'shăngk')  , George
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| Wikipedia: George Cruikshank |
George Cruikshank (27 September 1792 – 1 February 1878) was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for Charles Dickens - who was his friend - and many other authors reached an international audience.
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Cruikshank was born on 27 September 1792 in London. His father, Isaac Cruikshank, was one of the leading caricaturists of the late 1790’s and Cruikshank started his career as his father's apprentice and assistant.
His older brother, Isaac Robert, also followed in the family business as a caricaturist and illustrator. Cruikshank's early work was caricature; but in 1823, at the age of 31, he started to focus on book illustration.
On October 16, 1827, he married Mary Ann Walker (1807-1849). Two years after her death, on March 7, 1851, he married Eliza Widdison. The two lived at 263 Hampstead Road, North London.
Cruikshank's early career was renowned for his social caricatures of English life for popular publications. He achieved early success collaborating with William Hone in his political satire The Political House That Jack Built (1819). His first major work was Pierce Egan's Life in London (1821). This was followed by The Comic Almanack (1835-1853) and Omnibus (1842).
His gained notoriety with his political prints that attacked the royal family and leading politicians. In 1820 he received a royal bribe of £100 for a pledge "not to caricature His Majesty" (George IV of the United Kingdom) "in any immoral situation". His work included a personification of England named John Bull who was developed from about 1790 in conjunction with other British satirical artists such as James Gillray, and Thomas Rowlandson. [1]
Cruikshank replaced one of his major influences, James Gillray, as England's most popular satirist. For a generation he delineated Tories, Whigs and Radicals impartially. Satirical material came to him from every public event—wars abroad, the enemies of Britain (he was highly patriotic), the frolic, among other qualities, such as the weird and terrible, in which he excelled. His hostility to enemies of Britain and a crude racism is evident in his illustrations commissioned to accompany William Maxwell's History of the Irish rebellion in 1798 (1845) where his lurid depictions of incidents in the rebellion were characterised by the simian-like portrayal of Irish rebels. Among the other racially engaged works of Cruikshank there were caricatures about the "legal barbarities" of the Chinese, the subject given by his friend, Dr. W. Gourley, a participant in the ideological battle around the Arrow War, 1856-60.
For Charles Dickens, Cruikshank illustrated Sketches by Boz (1836), The Mudfog Papers (1837–38) and Oliver Twist (1838). Cruikshank even acted in Dickens' amateur theatrical company.
On 30 December 1871 Cruikshank published a letter in The Times which claimed credit for much of the plot of Oliver Twist. The letter launched a fierce controversy around who created the work. Cruikshank was not the first Dickens' illustrator to make such a claim. Robert Seymour who illustrated the Pickwick Papers suggested that the idea for that novel was originally his; however, in his preface to the 1867 edition, Dickens strenuously denied any specific input.
The friendship between Cruikshank and Dickens soured further when Cruikshank became a fanatical teetotaler in opposition to Dickens' views of moderation.
In the late 1840s, Cruikshank's focus shifted from book illustration to an obsession with temperance and anti-smoking. Formerly a heavy drinker, he now supported, lectured to, and supplied illustrations for the National Temperance Society and the Total Abstinence Society among others. The best known of these are The Bottle, 8 plates (1847), with its sequel, The Drunkard's Children, 8 plates (1848), with the ambitious work, The Worship of Bacchus, published by subscription after the artist's oil painting, now in the National Gallery, London. For his efforts he was made vice president of the National Temperance League in 1856.
After developing palsy in later life, Cruikshank's health and work began to decline in quality. He died on 1 February 1878 and was buried in St. Paul's Cathedral. Punch magazine said in its obituary: "There never was a purer, simpler, more straightforward or altogether more blameless man. His nature had something childlike in its transparency."
In his lifetime he created nearly 10,000 prints, illustrations, and plates. Collections of his works are in the British and the Victoria and Albert museums.
The Life and Opinions of Tristram Shandy, Gentleman
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Others
 Jacco Macacco at the Westminster-Pit |
 An unflattering 1819 caricature of the Prince Regent illustrating "The Political House that Jack Built" by William Hone. |
 "A Splendid Spread", early satire on the crinoline from The Comic Almanack for 1850. |
 George Cruikshank, Self-Portrait. |
 Humming-birds--or--a dandy trio. 1819. |
 Monstrosities of 1818, extravagant clothing styles of men's and women's fashions. |
 A group of servants gathered in a kitchen, ape the manners of their employers. |
 Caricature of the Old Bailey |
 Caricature concerning the prices at the Covent Garden Theater |
 1813 Caricature showing the Americans as cowardly in face of the British. |
Cruikshank cartoon showing George, the Prince Regent, dancing and drinking at a lavish party with another man's wife. |
 Snuffing out Boney , 1814 |
 December - A Swallow at Christmas (Rara avis in terris). |
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