How to Burlesque a Burlesquer
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Kathryn Desplanque
Abstract
This chapter analyses a caricature, produced in 1753 by the watercolourist Paul Sandby entitled Burlesque sur le Burlesque. This caricature attacks the painter William Hogarth, in particular, his recently published aesthetic treatise, The Analysis of Beauty, and his stance in the English Academic debates of the 1750s – a series of events in which English artists debated whether or not they should migrate from private artistic academies to publicly funded and hierarchically organised arts academies on the continental model. The chapter explores the way in which Sandby targets his object, and through iconographical analysis, demonstrates how caricature operates visually as a literal puzzle that forefronts certain criticisms, and veil others.
Abstract
This chapter analyses a caricature, produced in 1753 by the watercolourist Paul Sandby entitled Burlesque sur le Burlesque. This caricature attacks the painter William Hogarth, in particular, his recently published aesthetic treatise, The Analysis of Beauty, and his stance in the English Academic debates of the 1750s – a series of events in which English artists debated whether or not they should migrate from private artistic academies to publicly funded and hierarchically organised arts academies on the continental model. The chapter explores the way in which Sandby targets his object, and through iconographical analysis, demonstrates how caricature operates visually as a literal puzzle that forefronts certain criticisms, and veil others.
Kapitel in diesem Buch
- Prelim pages i
- Table of contents v
- Acknowledgments vii
- About the contributors ix
- Introduction 1
-
Mapping the Field
- Satire and dignity 19
- The Authenticity of Play 33
- Cultural Flow 47
-
Space
- Reshaping the Border Zone. An Approach to Satirical Space 61
- Mediating satire 71
- Arab Sitcom Animations as Platforms for Satire 81
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Target
- Contesting Political Boundaries in Contemporary Moroccan Satire 95
- How to Burlesque a Burlesquer 105
- Who is the ape, who the human? Reize door het Aapenland (1788) and Die Affenkönige oder die Reformation des Affenlandes (1789) considered 135
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Rhetoric
- Looking backward. The rhetoric of the back in visual satire 147
- "A bull is a ludicrous jest": fable and the satiric bite in Arbuthnot's John Bull pamphlets 175
- Bas Jan Ader's Ludic Conceptualism 185
-
Media
- Absolutely Fabulous 197
- TV Satire and its Targets 207
- Enlightenment Subverted 217
-
Time
- On the power of Money and the King of Spain's son-in- law 235
- Who are the Frogs? The Transmigration of a Symbol of Nationality 247
- Hydropathe Caricature 259
- Conclusions 269
- Index 275
Kapitel in diesem Buch
- Prelim pages i
- Table of contents v
- Acknowledgments vii
- About the contributors ix
- Introduction 1
-
Mapping the Field
- Satire and dignity 19
- The Authenticity of Play 33
- Cultural Flow 47
-
Space
- Reshaping the Border Zone. An Approach to Satirical Space 61
- Mediating satire 71
- Arab Sitcom Animations as Platforms for Satire 81
-
Target
- Contesting Political Boundaries in Contemporary Moroccan Satire 95
- How to Burlesque a Burlesquer 105
- Who is the ape, who the human? Reize door het Aapenland (1788) and Die Affenkönige oder die Reformation des Affenlandes (1789) considered 135
-
Rhetoric
- Looking backward. The rhetoric of the back in visual satire 147
- "A bull is a ludicrous jest": fable and the satiric bite in Arbuthnot's John Bull pamphlets 175
- Bas Jan Ader's Ludic Conceptualism 185
-
Media
- Absolutely Fabulous 197
- TV Satire and its Targets 207
- Enlightenment Subverted 217
-
Time
- On the power of Money and the King of Spain's son-in- law 235
- Who are the Frogs? The Transmigration of a Symbol of Nationality 247
- Hydropathe Caricature 259
- Conclusions 269
- Index 275
