The word caricature literally means a loaded portrait, derived from the Italian verb caricare to charge or load. This definition, first recorded in the English doctor Thomas Browne's Christian Morals published posthumously in 1716, reveals that the art form was originally conceived as a way to burden a subject with exaggerated traits rather than simply mocking them. In the 18th century, the term described any image that utilized distorted features, ranging from comic portraits of specific individuals to broad social and political satires. The fashion for these images spread from Italian aristocratic circles, where the Rococo artist Pier Leone Ghezzi popularized the genre, to Britain via visitors returning from the Grand Tour. While Ghezzi is now widely considered the father of modern caricature, the term evolved over time to distinguish between the portrait of a recognizable individual and the broader comic illustrations that later became known as cartoons, a term popularized in the 19th century by Punch magazine.
London's Satirical Engine
London became the hotbed for the development of modern caricature during the 18th century due to the relative freedom of speech and a burgeoning publishing industry that allowed for biting political satire. William Hogarth elevated satirical art into an accepted form, paving the way for a succeeding generation of talented artists including James Gillray, Thomas Rowlandson, and Isaac Cruikshank. These figures advanced the medium to the point where it became a valuable tool for political campaigning, with Gillray and Rowlandson establishing their reputations as hired guns during the 1784 Westminster election. Gillray emerged as the leading political caricaturist of his time, famous across Europe, while Rowlandson used his vast output to address both political and social themes. The turbulent period of the French Revolution and the Napoleonic Wars further cemented caricature as an increasingly important communication medium, with Gillray's The Plumb-pudding in danger from 1805 eventually being voted the most famous of all UK political cartoons.The Art of Distortion
A skilled caricaturist draws upon three distinct sources to create a distorted representation: the natural characteristics of the subject such as big ears or a long nose, the acquired characteristics like stoops or scars, and the vanities including choice of hairstyle, spectacles, and mannerisms. This process can be used to either mock or wound the subject, a choice that defines the intent of the piece. In the 19th century, the London weekly magazine Vanity Fair became famous for its caricatures of famous people in society, published from 1868 to 1914. Artists like Carlo Pellegrini, who worked under the pseudonym Ape, produced weekly full-page portraits of leading celebrities, politicians, and athletes. The British caricaturist Ted Harrison noted in a 2007 lecture that the artist can choose to either mock or wound the subject with an effective caricature, highlighting the dual nature of the art form as both entertainment and a vehicle for serious social or political points.