Ancient and Modern Military Dandies of 1450 by George Cruikshank

Ancient and Modern Military Dandies of 1450 Possibly 1819

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drawing, print, etching, paper

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portrait

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drawing

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print

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etching

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caricature

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caricature

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paper

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romanticism

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watercolour illustration

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history-painting

Dimensions 253 × 354 mm (image); 265 × 360 mm (plate); 270 × 365 mm (sheet)

Editor: So, this is George Cruikshank’s etching, “Ancient and Modern Military Dandies of 1450, Possibly 1819.” It's a pretty busy scene, contrasting figures in full suits of armor with what look like caricatures of contemporary soldiers, all decked out in elaborate uniforms. The level of detail is really impressive for a print. What jumps out at you? Curator: The immediate juxtaposition speaks volumes about changing modes of production and display. Look at the armor – mass produced, intended for functional use in warfare, even if by 1450 the battlefield was rapidly changing. Now observe the "modern" uniforms – handcrafted, ornamented, essentially a spectacle of power and status more than anything else. What labour went into these objects, and who profited from it? Editor: That’s an interesting way to frame it. It's easy to focus on the humor, but you're pointing to the actual making of the items depicted. What about the setting; the "Gothic Hall?" Curator: Precisely! The "Gothic Hall" itself would be a carefully designed, constructed space meant to invoke a certain past. This print satirizes the ways in which power constructs narratives and presentations of itself, both through architecture and personal adornment. The labor and the materials…they are key. Note the cheap paper. It’s ephemeral, intended for mass consumption. What does that tell us? Editor: That even satire becomes a commodity, subject to its own processes of production and distribution? Curator: Exactly. The print, much like the dandies it depicts, participates in a cycle of consumption and display. It challenges traditional notions separating high art from popular culture by emphasizing the work required to make these meanings visible. Editor: I never thought about etching in terms of materiality before, or considered what paper means in terms of commodification. This really changed how I look at Cruikshank's image. Curator: That's the beauty of analyzing the materials. We’ve explored questions around production and consumption and also power…it certainly reveals much more than a surface-level reading.

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