George Cruikshank


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Cruikshank, George

(kro͝ok`shăngk), 1792–1878, English caricaturist, illustrator, and etcher; younger son of Isaac Cruikshank (1756–1810), caricaturist. Self-taught, George early gained a reputation for his humorous drawings and political and social satires. He succeeded James Gillray as the most popular caricaturist of his day. Cruikshank illustrated more than 850 books and contributed to such publications as the Meteor, the Scourge, and the Satirist. Among the best of his many illustrations are the famous Life in London (in collaboration with his brother); his masterly etchings for Grimm's German Popular Stories; and the 12 etchings in Richard Bentley's miscellany, which include the notable illustrations of Oliver Twist. In his later years Cruikshank made many drawings depicting the evils of intemperance, such as The Drunkard's Children, The Bottle, and The Gin Trap. Collections of his works are in the British and the Victoria and Albert museums.

Bibliography

See biographies by B. Jerrold (1882) and W. Bates (2d. ed. 1972); catalogs by A. M. Cohn (1924) and M. D. George (1949); study, ed. by R. L. Patten (1973).

References in periodicals archive ?
Child describes Ballad 53L as "Illustrated by George Cruikshank," suggesting that Cruikshank copied it from Cockney tradition, and that Dickens's interventions are sufficiently minor as to he overwhelmed by the poem's traditional aspects.
Patten, George Cruikshank's Life, Times, and Art, 2 vols.
Set designer Anna Louizos combines the look of the music hall with the style of Dickens illustrator George Cruikshank, with grand results.
Hogarth's 1751 "Gin Lane" and George Cruikshank's 1862 "The Worship of Bacchus" are both savage depictions of the damage done by excessive alcohol that helped change social attitudes.
A careful comparison of Richler's Jacob Two-Two and Dickens's Oliver Twist (1837-39) (1) reveals not only Richler's debt to Dickens, but also the debt of illustrator Fritz Wegner to George Cruikshank, the illustrator of the initial edition of Dickens's novel.
His influence weighed heavily on the next generation of venomous sketchers, a group that included within its ranks James Gillray and George Cruikshank.
His discussion here includes analysis of George Cruikshank's famous illustration of 'Oliver Asking for More', which, he argues--through Bumble's 'splayed stance' and Oliver's outsize spoon--hints at sexual impurities implicit in the text: a theme continued in the Fagin episodes, which begin with Oliver longing for relief from his bodily self.
The contents of volumes four and five are more miscellaneous: volume four includes John Bee's A Living Picture of London (1828), supplemented by illustrated sketchbooks by the artists George Cruikshank (1828-32 and 1834-36) and Robert Seymour (1834) and plays by Moncrieff (1830) and Douglas Jerrold (1831), and volume five offers the anonymous How to Live in London (1828), John Wight's anonymous Sunday in London with illustrations by Cruikshank (1833), John Duncombe's anonymous The Dens of London Exposed (1835), and more plays by Moncrieff (1837 and 1843) and A.C.
"People" is a series of 35 sketches of individuals and links, including John Baskerville, Thomas Bewick, William Caxton, George Cruikshank, Louis Daguerre, Eric Gill, and William Morris: one of the better sections, however random the subjects.
Greer's style is a weird hybrid of David Wojnarowicz and 19th-century book illustrators such as George Cruikshank. Greer's illustrations complement Flesh's work perfectly in both style and mood, adding yet another layer to an already dense, however brief, narrative.