Thomas Rowlandson
| Thomas Rowlandson | |
|---|---|
 Portræt af Thomas Rowlandson tegnet af George Henry Harlow (1814) | |
| Personlig information | |
| Født | 13. juli 1756  City of London, Storbritannien |
| Død | 21. april 1827 (70 år) London, Storbritannien |
| Nationalitet |  Engelsk |
| Barn | Dorothy Rowlandson |
| Uddannelse og virke | |
| Beskæftigelse | Kunstmaler, tegneserietegner, gravør, grafiker, karikaturtegner, kunstner, illustrator, tegneserieskaber |
| Arbejdssted | Frankrig, Düsseldorf (1791), Tyskland, Zaandam, Wales (1797), Nordlig Nederlandene (1780-1790), Rotterdam, Haag, Italien, Amsterdam (1792, 1794) med flere |
| Bevægelse | Romantikken |
Information med symbolet  hentes fra Wikidata. Kildehenvisninger foreligger sammesteds. | |
Thomas Rowlandson (født 14. juli 1756 i London, død 22. april 1827) var en engelsk tegner.
Efter afslutningen af skolegangen tog han som 16-årig til Paris, hvor han brugte to år på et akademi for tegnere.[1] Efter opholdet i Paris påbegyndte Rowlandson studier ved Royal Academy of Arts i London.
Han var som tegner en skildrer af samtiden med motiver fra Paris, Tyskland og frem for alt London og engelske typer fra alle samfundslag.
Han levede en libertiners liv og spillede sine penge op lige så hurtigt som han tjente dem. Han kunne måle sig med Hogarth, han havde en grovkornet humor, der ofte var rå og kynisk, satiren var brutal og lasterne blev skildret uden noget filter.
Rowlandson var en udpræget personlighed samtidig med, at han var en repræsentant for samtidens England.
Til Rowlandsons mest betydende værker henregnes serierne The microcosm of London (1808), The tours of Dr Syntax (1812-21), The English Dance of Death (1815-16) samt illustrationer til "The humorist". Han fremstillede også en række tegninger og tryk af erotiske motiver.
Noter
- ^ Rowlandson obituary in Sylvanus Urban, The Gentleman's Magazine, and Historical Chronicle Volume 97, Part 1, jan-juni 1827 (London: J B Nichols, 1827), p. 564
Kilder og eksterne henvisninger
- Rowlandson, Thomas i Nordisk familjebok (2. udgave, 1916)
- Oxford Dictionary of National Biography
- Samling af værker på Victoria and Albert Museum
Galleri
Dr Syntax made free of the Cellar
A Jew Broker (1789)
A Mad Dog in a Coffee House (ca. 1800)
A Counciller (1801)
A Spanish pass-port to France (1806)
Eksempel på Rowlandson's erotiske arbejder
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Medier brugt på denne side
Courtesy of The Lewis Walpole Library, Yale University.
Creator: Rowlandson, Thomas, 1756-1827, printmaker. Title: A counciller Rowlandson. Published: [London] : Pub. Jany. 1st, 1801 by S.W. Fores, No. 50 Piccadilly, [1801] Description: 1 print on wove paper : etching and stipple, hand colored ; plate mark 34.7 x 24.5 cm., on sheet 39 x 26 cm.
Notes: Printseller's announcement following publication statement: Folios of caracatures [sic] lent out for the evening. | S.W. Fores' ownership stamp located in bottom right corner of sheet.
Dr Syntax was a comic character drawn by Thomas Rowlandson but the story was by William Combe
"A Mad Dog in a Coffee-House" by Rowlandson, showing a rabid dog terrorizing a coffee house in 18th century England (possibly Garrison's or Jonathan's, near the Exchange). Drawings and watercolors in 28.6 x 40 cm
A Jew Broker by Thomas Rowlandson, 1789
Hand-colored etched caricature by Rowlandson after Woodward; costumed Spaniard at right kicking out Joseph Bonaparte.
Pencil sketch portrait of Thomas Rowlandson by George Henry Harlow (d. 1819), currently in the National Portrait Gallery, London.
In the supper-box on the left we see, reading left to right, James Boswell, Mrs Thrale (who appears twice), Dr. Johnson, and Oliver Goldsmith.
The ‘macaroni’ Captain Edward Topham (scandalmonger to The World) is quizzing Georgiana, Duchess of Devonshire and her sister Lady Duncannon (Sheridan’s Lady Bessborough), watched by a naval figure with an eye patch and a wooden leg (not included in the Mellon version), always called Admiral Paisley, but Paisley did not lose his leg and eye until 1st June 1794, so it cannot be him. To the left of him, a young girl (a young boy in the Mellon version) holding the hand of a man who could be the comic actor, William Parsons, or Rowlandson’s friend Jack Bannister.
Peering at the two ladies from behind a tree is a figure traditionally, though improbably, identified as Sir Henry Bate-Dudley, the ‘Fighting Parson’, editor of the Morning Herald; he is more likely to be Thomas Tyers (son of Jonathan Tyers the great entrepreneur and proprietor of Vauxhall Gardens from 1729 until 1767) who stands next to the Scotsman James Perry, editor of the London Gazette. The couple on their right could well be the artist himself and his current girlfriend. and to the right of them stands the actress Mary ‘Perdita’ Robinson, with her husband on her right and the Prince of Wales (later George IV) on her left.
Looking up at the singer, the couple on the extreme left, have been identified as the actress Miss Hartley, in company with one of her many admirers, possibly Mr. Colman, but, suggested by their position apart from the crowd, they could also be members of the Tyers family (most likely Jonathan jr. and his wife Margaret, or their son-in-law Bryant Barrett and his wife Elizabeth. The large lady seated at the table on the right is Mrs Barry, the old Madam of Sutton Street, Soho, with two of her customers and one of her girls.
In the orchestra, we can see Jacob Nelson, the tympanist, who had played at Vauxhall since 1735, and died there after fifty years' performing, Mr Fisher on oboe, probably Hezekiah Cantelo and Mr. Sargent on trumpet, and Barthélemon, the leader, who retired in 1783. James Hook, the composer, organist, musical director and prolific song-writer, may be seen between Barthelemon and the singer, the 38-year-old Frederika Weichsell, who was Rowlandson’s next-door neighbour in Church Street, and the mother of Mrs. Elizabeth Billington. Elizabeth had just (aged 18) married James Billington, a double-bass player, in 1783, much against her parents’ wishes.
A number of those present in this scene had already died by the time Rowlandson produced the painting, and the affaire between the Prince and Perdita Robinson was already over.
Although there is no direct evidence for this, it seems likely, because of the dating, and because of the central position of the singer, that the painting was created by Rowlandson as a retirement gift for Frederika Weichsel, whether from him personally, or specially commissioned by the proprietors of the gardens.