Abstract
Abstract This article re-evaluates Thomas Rowlandson, and his historic dismissal as a ‘hack caricaturist’ (Gatrell), by quantitatively analysing his political caricatures from 1780–1827, exploring their range, political affiliations, and satirical techniques. Qualitative analysis of selected prints provides context and showcases his effectiveness and distinctive style of attack. A unique focus is placed on Rowlandson's publishers and their potential influence. The article aims to reposition Rowlandson as a prominent caricaturist of the medium's ‘golden age’, highlighting the value in his satirical artistic output and challenging the assertion that his caricatures were ‘pot-boilers, which cannot bear artistic comparison with his watercolours’ (Bryant and Heneage, eds.).
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