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GEORGE III & NAPOLEON, 1804. The King of Brobdingnag and Gulliver
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GEORGE III & NAPOLEON, 1804. The King of Brobdingnag and Gulliver
GEORGE III & NAPOLEON, 1804.
The King of Brobdingnag and Gulliver. King George III of Great Britain and members of his family watching Napoleon, First Consul of France, maneuvering his little boat in a cistern. Satirical etching, 1804, by James Gillray
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Media ID 12234471
1804 Bonaparte Caricature Cecil Chair Charlotte Consort Consul Couple Daughter Emperor Etching Family George Iii Gillray Halberd Lord Marquess Napoleon Napoleon I Napoleonic War Ottoman Prince Princess Queen Sailboat Salisbury Satirical Sophia Sword Turban Watching Water Wife Beefeater Blowing Brobdingnag Cistern Footstool Gulliver
GEORGE III & NAPOLEON, 1804 - A Satirical Glimpse into the Power Struggles of the Era
EDITORS COMMENTS
. This print captures a momentous scene from history, showcasing King George III of Great Britain and his family observing Napoleon Bonaparte, the First Consul of France. Created in 1804 by James Gillray, this satirical etching offers a unique perspective on the political dynamics between these two influential figures. Intriguingly titled "The King of Brobdingnag and Gulliver" this artwork draws parallels to Jonathan Swift's famous novel "Gulliver's Travels". Here, King George III is depicted as the giant king from Brobdingnag while Napoleon assumes the role of Gulliver. The symbolism behind their respective positions sheds light on their contrasting power dynamics during that period. Amidst an opulent interior setting adorned with fashionable attire and regal furnishings, we witness Queen Charlotte alongside members of her royal family closely watching Napoleon maneuvering a small sailboat in a cistern. This playful yet biting caricature highlights both British curiosity towards French affairs and their skepticism towards Napoleon's ambitions. With meticulous attention to detail, Gillray masterfully portrays various elements such as English footstools, Ottoman turbans worn by some characters representing international influence, and even a beefeater blowing bubbles in jest at Bonaparte's expense. These subtle touches contribute to the overall satire embedded within this
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