The OP spectacles / Cruikshank del.
- Upscale 2x6232x7680
Satire showing head of Clifford with two circles representing huge spectacles, "Old house old prices & no private boxes" and "Old house old prices & no pigeon holes," over his eyes. Each circle contains a symmetrical view of Covent Garden Theatre seen from the stage. Superimposed on the middle of one circle is a large O and in the other circle a large P.
Forms part of : British Cartoon Prints Collection (Library of Congress).
Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 8, no. 11429
It wasn't really until the 1700s that caricature truly blossomed as a form of political criticism. In the late 1750s, a man named Thomas Townshend began using the techniques employed by earlier engravers and applying them towards a political model. This gave Thompson's cartoons a much greater feeling of propaganda than previous artistic critiques of the time. The intense political climate of the period, and often accusatory nature of most political cartoons forced many artists to use pseudonyms in order to avoid accusations of libel. Other artists took it a step farther, and left their cartoons completely unsigned, foregoing any credit they may have received. Political higher-ups were notoriously touchy about their reputations and were not afraid to make examples of offenders. Puck was the first successful humor magazine in the United States of colorful cartoons, caricatures and political satire of the issues of the day. It was published from 1871 until 1918.