Tor Alosson
George Cruikshank (1792-1878) (pronounced KRUUK-shank) was a prominent British caricaturist and book illustrator, often hailed as the “modern Hogarth” during his lifetime. His captivating book illustrations, particularly those created for his close friend Charles Dickens, transcended borders, reaching an international audience. Born on September 27, 1792, and passing away on February 1, 1878, Cruikshank left an indelible mark on art and satire.
| George Cruikshank | |
|---|---|
| Date of birth | 27 September 1792 |
| Date of death | 1 February 1878 |
| Nationality | British |
| Occupation | Caricaturist Book illustrator |
| Notable Works |
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| Spouse(s) |
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| Children | 11 illegitimate children with Adelaide Attree (née Archibold) |
| Early Life | Born in London to Isaac Cruikshank, a leading caricaturist. Started as his father’s apprentice. |
| Sociopolitical Caricatures |
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| Later Focus | Shifted to temperance and anti-smoking advocacy in the late 1840s |
| Death | Died on 1 February 1878, buried in St. Paul’s Cathedral |
Early Life and Artistic Beginnings
George Cruikshank was born in London, the son of Edinburgh-born Isaac Cruikshank, a renowned caricaturist of the late 1790s. Young George started his artistic journey as an apprentice and assistant to his father. Artistry ran in the family, as his older brother, Isaac Robert, also pursued a career in caricature and illustration.
Cruikshank’s early work primarily focused on caricatures. However, in 1823, at 31, he transitioned his focus towards book illustration. One of his notable early projects was illustrating the first English translation (by Edgar Taylor and David Jardine) of Grimms’ Fairy Tales in 1823, published as “German Popular Stories.”
On October 16, 1827, he married Mary Ann Walker, and two years after her death, on March 7, 1851, he married Eliza Widdison. The couple resided at 263 Hampstead Road in North London. However, it’s worth noting that Cruikshank fathered 11 illegitimate children with a mistress named Adelaide Attree, who lived near his residence with his wife. Adelaide was ostensibly married and used the name ‘Archibold.’
Sociopolitical Caricatures and Illustrations
Cruikshank’s early career was distinguished by his social caricatures, which offered a satirical lens into English life, often featured in popular publications. He gained recognition by collaborating with William Hone on political satire, particularly “The Political House That Jack Built” in 1819. This same year, he created the infamous anti-abolitionist piece, “The New Union Club,” which satirized a dinner party organized by abolitionists with black guests. While it was praised during the 19th century, it is now seen as one of the most racist prints of its era.
One of his early significant works was “Pierce Egan’s Life in London” in 1821, which followed the adventures of Tom and Jerry, two ‘men about town,’ as they explored various London locations and taverns. Cruikshank’s political prints often targeted the royal family and prominent politicians. In 1820, he even received a royal bribe of £100 to avoid caricaturing George IV in immoral situations.
Cruikshank’s illustrations featured a personification of England named John Bull, a character developed with other British satirical artists like James Gillray and Thomas Rowlandson.
He took over from James Gillray as England’s most famous satirist and created impartial caricatures of Tories, Whigs, and Radicals. His satirical material drew from every public event, from wars abroad to the enemies of Britain, reflecting his intense patriotism. However, his work often displayed a crude form of racism. For instance, his illustrations accompanying William Maxwell’s “History of the Irish Rebellion in 1798” in 1845 depicted the Irish rebels in a simian-like manner.
Cruikshank also created caricatures addressing the “legal barbarities” of the Chinese, a subject given to him by his friend Dr. W. Gourley during the ideological battle around the Arrow War (1856–60).
Collaboration with Charles Dickens
Cruikshank’s most enduring collaboration was with the famous novelist Charles Dickens. He illustrated several of Dickens’s works, including “Sketches by Boz” in 1836, “The Mudfog Papers” in 1837–38, and “Oliver Twist” in 1838. He also provided illustrations for “Memoirs of Joseph Grimaldi” in 1838, which Dickens edited under his pseudonym, “Boz.” In addition to their professional collaboration, Cruikshank even acted in Dickens’s amateur theatrical company.
However, their friendship turned sour when Cruikshank became a staunch teetotaler, contrasting with Dickens’s moderate views on alcohol consumption. The two clashed over their differing temperance beliefs.
Later Focus on Temperance and Social Causes
In the late 1840s, Cruikshank shifted his artistic focus from book illustration to promoting alcohol temperance and anti-smoking. Despite being a heavy drinker in the past, he transformed into a supporter, lecturer, and illustrator for various temperance societies, including the National Temperance Society and the Total Abstinence Society. His most well-known works in this genre are “The Bottle” (1847) and its sequel, “The Drunkard’s Children” (1848), with the ambitious “The Worship of Bacchus.” This last piece was based on the artist’s oil painting and was published by subscription, with the original painting now housed in the Tate Gallery in London. For his dedication to the cause, he was appointed vice president of the National Temperance League in 1856.
Furthermore, during the invasion scare 1859, which led to the creation of the Volunteer Movement, Cruikshank was instrumental in organizing the Rifle Volunteer Corps (RVCs). Initially, he led the 24th Surrey RVC, a unit of total abstainers named ‘Havelock’s Own’ in honor of Major-General Sir Henry Havelock. However, he faced challenges in Surrey and disbanded the unit in 1862. He restarted his efforts in Middlesex, establishing the 48th Middlesex RVC (Havelock’s Temperance Volunteers). Though financially troubled, this unit merged with the 2nd City of London RVC, becoming the City of London Rifles, mostly comprised of printers from the Fleet Street area.
Later Years and Legacy
As George Cruikshank aged, his health declined, and the quality of his work suffered. He eventually died on February 1, 1878, and was initially buried in Kensal Green Cemetery. However, in November 1878, his remains were exhumed and reburied in St. Paul’s Cathedral.
Cruikshank produced nearly 10,000 prints, illustrations, and plates in his lifetime, leaving an enduring legacy in British art. Collections of his work are preserved in institutions like the British Museum and the Victoria and Albert Museum. Today, a Royal Society of Arts blue plaque commemorates George Cruikshank at 293 Hampstead Road in Camden Town.
In its obituary, punch magazine summarized his character: “There never was a purer, simpler, more straightforward, or more blameless man. His nature had something childlike in its transparency.” George Cruikshank’s contributions to the world of caricature, illustration, and social activism continue to be celebrated and studied, firmly securing his place in the annals of British art history.
Read also
- James Gillray (1756-1815): The Pioneering Satirist of British Caricature
- Gerald Scarfe (1936-): Renowned English Cartoonist and Illustrator
- Thomas Rowlandson (1756-1827): Caricaturist Extraordinaire
George Cruikshank Gallery
Frequently Asked Questions (FAQs) about George Cruikshank
1. Who was George Cruikshank, and what was his profession?
George Cruikshank (pronounced KRUUK-shank) was a British caricaturist and book illustrator. He was often called the “modern Hogarth” during his lifetime.
2. Where and when was George Cruikshank born?
George Cruikshank was born in London on September 27, 1792.
3. Who were George Cruikshank’s family members involved in caricature and illustration?
His father, Isaac Cruikshank, was a prominent caricaturist, and George began his career as his apprentice and assistant. His older brother, Isaac Robert, also followed the family tradition as a caricaturist and illustrator.
4. What shift in his career occurred when George Cruikshank turned 31 in 1823?
At 31, in 1823, George Cruikshank transitioned his focus from caricatures to book illustrations. He notably illustrated the 1823 English translation of Grimm’s Fairy Tales.
5. How many times was George Cruikshank married, and what can you tell us about his personal life?
George Cruikshank married twice. His first wife was Mary Ann Walker, and his second wife was Eliza Widdison. He had a complicated personal life, fathering 11 illegitimate children with a mistress named Adelaide Attree.
6. What notable works and collaborations are associated with George Cruikshank’s early career?
George Cruikshank was known for his social caricatures of English life. He gained early success by collaborating with William Hone on political satire, including “The Political House That Jack Built.” He also created illustrations for Charles Dickens and worked on “Pierce Egan’s Life in London.”
7. How did George Cruikshank’s political satire evolve, and who were some of his satirical targets?
Over time, Cruikshank’s political satire expanded to include critiques of the royal family and leading politicians. He received a royal bribe not to caricature George IV of the United Kingdom in an immoral situation. He was highly patriotic but expressed crude racism in some of his works.
8. How was George Cruikshank involved with Charles Dickens and his literary works?
George Cruikshank illustrated several works by Charles Dickens, including “Sketches by Boz,” “The Mudfog Papers,” and “Oliver Twist.” He even acted in Dickens’s amateur theatrical company.
9. What controversy arose concerning the creation of “Oliver Twist,” and how did it affect the relationship between Cruikshank and Dickens?
In 1871, George Cruikshank published a letter in The Times claiming credit for much of the plot of “Oliver Twist,” leading to a dispute about its authorship. This controversy strained the friendship between Cruikshank and Dickens, further exacerbated by their differing views on alcohol moderation.
10. What were George Cruikshank’s contributions to the temperance and anti-smoking movements?
In the late 1840s, George Cruikshank shifted his focus from book illustration to supporting alcohol temperance and anti-smoking causes. He illustrated works like “The Bottle” and “The Drunkard’s Children” and became the vice president of the National Temperance League.
11. How did George Cruikshank contribute to the Volunteer Movement, and what was his role in organizing the Rifle Volunteer Corps (RVCs)?
During the invasion scare 1859, Cruikshank organized the Rifle Volunteer Corps (RVCs). His first unit was the 24th Surrey RVC, and later, he organized the 48th Middlesex RVC. His focus was on recruiting working men who were total abstainers. However, his involvement had some challenges, leading to his eventual replacement.
12. How did George Cruikshank’s life and career change in his later years, and when did he pass away?
Cruikshank’s health and work quality declined in his later life due to palsy. He died on February 1, 1878. Initially, he was buried in Kensal Green Cemetery, but in November 1878, his remains were reburied in St. Paul’s Cathedral.
13. How many prints, illustrations, and plates did George Cruikshank create during his lifetime?
George Cruikshank created nearly 10,000 prints, illustrations, and plates during his lifetime.
There are collections of his works in the British Museum and the Victoria and Albert Museum. A Royal Society of Arts blue plaque commemorates him at 293 Hampstead Road in Camden Town.
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