Comedy, caricature and the social order, 1820-50
Subject Area: Art History
BIC Categories: Social & cultural history, United Kingdom, Great Britain, c 1800 to c 1900
Published: February 2013
240 x 170 mm
Publisher: Manchester University Press
Offering an overview of the marketplace for comic images between 1820 and 1850, this book makes a case for the interest and importance of a largely neglected area of visual culture. It considers the impact on the development of print culture of the emergent, but soon widespread, use of lithography and wood engraving, both capable of integrating texts and images cheaply and imaginatively on the printed page. Drawing on a wide range of commercially produced print genres, including song books, play-texts, comic annuals and magazines as well as single plate and series of caricatures, this book traces the ways in which Regency and early Victorian visual humour both sustains some of the characteristics of an earlier caricature tradition while also beginning to develop new ways of analyzing and coping with social change through comic forms and genres.
Part 1 – Regency and early Victorian graphic humour: Modes and markets.
1. ‘Graphic bric-a-brac’? Approaching early nineteenth-century graphic humour
2. Regency visual culture in the market place
3. Continuity, change and innovation in Regency and early Victorian comic print culture.
Part 2 – The social vision of Regency and early Victorian comic visual culture
4. Reflections in a print shop window – the politics of the public image
5. Robert Seymour: A jobbing artist in the market place
6. The ‘march of intellect’ as a comic event: Mockery, heroism and social change
7. Revisiting the Regency: Punch’s dustmen
Awards won by Brian Maidment Short-listed, 2014 Colby Prize (Comedy, caricature and the social order, 1820-50)
The book challenges text centric accounts of British culture between 1820 and 1850, it adds nuance and complexity to the 'mass' audience that emerged at the time, it shows how illustration and graphic satire played a role in making the novel reading habits of working people less threatening to the middle and upper classes, and it argues convincingly that Georgian graphic satire retained a strong inflence into the 1850s. Above all, Comedy Caricature and the Social Order is a book of huge warmth, a book littered with a sense of passion for the subject matter.. Few books manage to explore the comic and not only retain the comedy of the sources being explained but also build on them. Maidment achieves this impressive level of analysis through his attention to detail in studying the range of comic images produced during the first half of the nineteenth century. Comedy, Caricature and the Social Order, 1820-50 tells us a great deal about the content of the images and the market conditions in which they were produced. As Maidment himself acknowledges, there still remains work to be done on the miscellanies, scraps and songbooks of this period, so I too strongly urge scholars and institutions to invest in purchasing this text as the rewards will be multiple and it is certainly a text that has the potential to inspire new and creative areas for study.
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