- Department: History of Art
- Module co-ordinator: Dr. Richard Johns
- Credit value: 20 credits
- Credit level: I
- Academic year of delivery: 2022-23
- See module specification for other years: 2023-24
Some of the eighteenth century’s most enduring and influential works of art were prints: multiple images that were traded in specialist shops, collected, copied and seen by thousands. This module examines how artists such as William Hogarth, Thomas Rowlandson and James Gillray harnessed the political and economic possibilities of the printed image to engage with the manners and morals of contemporary British society.
Occurrence | Teaching period |
---|---|
A | Autumn Term 2022-23 |
Some of the eighteenth century’s most enduring and influential works of art were prints: multiple images that were traded in specialist shops, collected, copied and seen by thousands. This module examines how artists such as William Hogarth, Thomas Rowlandson and James Gillray harnessed the political and economic possibilities of the printed image to engage with the manners and morals of contemporary British society.
Alongside the rise of graphic satire (a term which encompasses some of the most highly charged images in British art) we will also examine the growing demand for ambitious prints after the work of living painters and canonical ‘old masters’ – specialists in portraiture, history painting and landscape, whose work found new meanings and reached a wider, international audience in printed form. Through themed case studies and close, contextual readings, we will explore the dynamic interplay between different forms of visual representation, examining the fluid nature of seemingly stable artistic categories.
The module will consider how artists variously exploited the formal characteristics, immediacy and associations of different printmaking techniques (including etching, engraving, mezzotint, aquatint, and the application of colour), to produce a visual culture that continues to challenge conventional distinctions between ‘polite’ and ‘impolite’, ‘high’ and ‘low’ art.
By the end of the module, students should have acquired:
Task | Length | % of module mark | Group |
---|---|---|---|
Essay/coursework Cut, Bite, Stamp: The Power of Print in Eighteenth-Century Britain |
N/A | 100 | A |
Essay/coursework Cut, Bite, Stamp: The Power of Print in Eighteenth-Century Britain |
N/A | 100 | B |
None
Task | Length | % of module mark | Group |
---|---|---|---|
Essay/coursework Cut, Bite, Stamp: The Power of Print in Eighteenth-Century Britain |
N/A | 100 | A |
Essay/coursework Cut, Bite, Stamp: The Power of Print in Eighteenth-Century Britain |
N/A | 100 | B |
You will receive feedback on assessed work within the timeframes set out by the University - please check the Guide to Assessment, Standards, Marking and Feedback for more information.
The purpose of feedback is to help you to improve your future work. If you do not understand your feedback or want to talk about your ideas further, you are warmly encouraged to meet your Supervisor during their Office Hours.
Timothy Clayton, The English Print 1688-1802 (1997)
Diana Donald, The Age of Caricature: Satirical Prints in the Reign of George III (1997)
Mark Hallett, The Spectacle of Difference (1999)
Richard Godfrey (ed.), James Gillray: The Art of Caricature (2001)
Ronald Paulson, Hogarth, 3 vols (1991-93)