Author Archive

Here, James Baker focuses error as a form of satire. Baker focuses on “The Royal Jersey” (1797), one of George Cruikshank’s etchings of Prince George Augustus Frederick and one that presents a unique form of graphical mishap.

In this article James Baker explores the British Cartoon Archive’s new Rowlandson collection, and examines the role physical object analysis can play in helping us better understand the Georgian print consumer.

James Baker describes the origins and future events of the Cradled in Caricature symposium, a multi-disciplinary event hosted at the University of Kent.

In this article James Baker explains how James Gillray (1756-1815) engraved the classic image of revolutionary madness. Baker compares and discusses how Gillray and Cruikshank represented madness.

James Baker analyses an apparently simple cartoon by Mel Calman: a man watching a blank TV that weeps oil. Baker describes the context in which Calman tells an economic story, with a few minimalist pencil traces, the artist provides a good example of the evocative power of this often neglected genre, the cartoon.

This post examines some aspects of the British diachronic illustrative tradition in connection with Talbot’s Alice in Sunderland (2007). In this post, James Baker argues how what binds together the bugaboos of Talbot, Tenniel and the Georgian satirists is how they speak to the idea of foreign threat.