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The Modern Atlass, published by S. W. Fores, 1791 (hand-coloured engraving)
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The Modern Atlass, published by S. W. Fores, 1791 (hand-coloured engraving)
XCF307305 The Modern Atlass, published by S.W. Fores, 1791 (hand-coloured engraving) by Cruikshank, Isaac (1756-1811); Private Collection; (add.info.: In reference to the Prince of Wales support of the unlicensed Haymarket Opera House. Rival schemes for the rebuilding of the theatre after the fire of 1789. The opera disputes of 1789a'91 were commented on in several satirical prints of the time. Taylor was supported by Sheridan, the Prince of Wales and the Lord Chancellor (Thurlow), and O Reilly by Lady Salisbury and her husband the Lord Chamberlain.
); Scottish, out of copyright
Media ID 12841883
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Atlas Heavy Political Satire Tails
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EDITORS COMMENTS
The Modern Atlass, published by S. W. Fores, 1791 (hand-coloured engraving) captures a moment of political satire and caricature during the Georgian era. This satirical print references the Prince of Wales' support for the unlicensed Haymarket Opera House and the rival schemes proposed for its rebuilding after a fire in 1789. In this comical depiction by Isaac Cruikshank, we see an exaggerated figure representing an atlas carrying a heavy burden on his back. The burden symbolizes the weighty task of rebuilding the opera house amidst ongoing disputes between two factions: Taylor, supported by Sheridan, the Prince of Wales, and Lord Chancellor Thurlow; and O'Reilly, backed by Lady Salisbury and her husband, Lord Chamberlain. The artist cleverly incorporates elements of cartography into this cartoonish scene as tails protrude from various buildings carried on Atlas's back. These tails represent different architectural plans or proposals put forth during this contentious period. This hand-colored engraving not only serves as a humorous commentary on political affairs but also highlights society's fascination with theater and entertainment during that time. It is one among several satirical prints produced at that time to comment on the opera disputes. Preserved in private collections today, this artwork offers us insight into both historical events and artistic techniques prevalent in late 18th-century Britain.
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