Dying for Love, or Captain Careless shot flying by a Girl of Fifteen, who Unexpectedly Popped her Head out of a Casement by Thomas Rowlandson

Dying for Love, or Captain Careless shot flying by a Girl of Fifteen, who Unexpectedly Popped her Head out of a Casement 1810

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drawing, print, pen

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drawing

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print

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caricature

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pen

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genre-painting

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history-painting

Copyright: National Gallery of Art: CC0 1.0

Editor: This pen and ink print from 1810, by Thomas Rowlandson, has the wonderfully descriptive title "Dying for Love, or Captain Careless shot flying by a Girl of Fifteen, who Unexpectedly Popped her Head out of a Casement." I'm immediately struck by how much is going on here; it's almost like a little stage scene. What do you see in it? Curator: What I see is Rowlandson engaging in a kind of visual social commentary, common for prints of this era. Look at the caricatured figures – the leering woman in the doorway, the gossiping women at the well, the soldier with his flamboyant gesture. It's about more than just the humorous narrative, though, wouldn't you agree? Editor: Absolutely! The detail is incredible, like each character has their own story. Is he critiquing something specific about the society of his time? Curator: Yes, it appears so. He’s playing with stereotypes and societal expectations. Notice how the soldier is quite literally “shot down” – possibly a commentary on the fleeting nature of infatuation or perhaps a dig at the military, viewed as somewhat careless? Editor: That's a great point about the title and the image actually playing out what it suggests. It also makes me wonder, who was the audience for something like this back then? Curator: Think of these prints as an early form of mass media. Sold cheaply, displayed in shop windows, they offered entertainment but also reinforced social norms and class distinctions. Rowlandson catered to a public hungry for satire. The elaborate title itself signals that this is meant for consumption. Editor: So it’s not just a funny image; it’s a way of participating in a public conversation about love, class, and even the military. Curator: Exactly! Rowlandson isn't merely reflecting society, but actively shaping and critiquing its values. Editor: It's fascinating how much historical and social context can be packed into a seemingly simple drawing. I will look at caricature in new light from now. Curator: It is remarkable. I am left thinking about how printmaking gave artists and citizens access to one another like never before.

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