Grotesque Borders for Rooms & Halls by Thomas Rowlandson

Grotesque Borders for Rooms & Halls Possibly 1799

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drawing, coloured-pencil, print, etching, paper

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drawing

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coloured-pencil

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narrative-art

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print

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etching

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caricature

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paper

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coloured pencil

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romanticism

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comic

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genre-painting

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history-painting

Dimensions: 356 × 452 mm

Copyright: Public Domain

Curator: This delightful etching, "Grotesque Borders for Rooms & Halls," possibly from 1799, comes to us from the hand of Thomas Rowlandson. Quite the visual feast, isn't it? The work’s essentially three rows of satirical scenes. A bit like a comic strip before comic strips were a thing. Editor: Yes, a very long comic strip. The caricatures are just bursting with exaggerated features, and, well, silliness. I’m immediately drawn to all the details within these bustling scenes – almost overwhelming to take it all in. What’s your take? How do you even begin to unpack a piece like this? Curator: Oh, I dive right into the delightful chaos. Consider Rowlandson as a mirror reflecting the social foibles of his time. The grotesque isn't just about making us laugh; it's about exaggerating reality to reveal hidden truths. Notice how he plays with scale – enormous heads on tiny bodies, all the better to emphasize certain character traits, don't you think? Think about it. Each scene likely pokes fun at different aspects of society: politics, class, manners… What do *you* glean from these scenes? Do you see any specific types emerging? Editor: Hmm, the top row feels very much about those in power, and how ridiculous they seem to behave in their positions. There are a lot of corpulent figures feasting or parading around. Then you've got sporting and theatre. All of them feel over-the-top! It feels rather cynical and snarky but hilarious. I'm wondering what a room bordered with these would have been like? Intimidating? Curator: Ah, an astute observation. It likely reveals the hypocrisy and vanity prevalent in that era. Rowlandson holds a funhouse mirror up to his world, but, like any good artist, he subtly invites *us* to examine our own reflections as well, doesn’t he? Editor: It does, and perhaps that's what still gives his satire resonance, all these years later. Curator: Precisely. Perhaps this work invites us to question appearances and consider the often-comical realities that lie beneath the surface.

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