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The Reception in 1770, 1770

The Reception in 1770, 1770


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The Reception in 1770, 1770

The Reception in 1770, 1770. George III, in his state coach, is driven along an empty street by the Prime Minister, the Duke of Grafton, dressed as a jockey. Around them figures comment on the lack of attending crowds. The satire refers to the popular discontent with the Kings conduct ten years after his acclamation in 1760

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Media ID 15178264

© London Metropolitan Archives (City of London) / Heritage-Images

Augustus Coach Duke Duke Of Duke Of Grafton Escort Escorting Fitzroy George Iii Georgian Hanoverian Indifference Indifferent Jockey King George Iii King Of Great Britain Prime Minister Procession Sportsman State Coach Travelling Unpopular Whig Augustus Henry Fitzroy Grafton Horse Drawn Vehicle


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> Arts > Artists > W > George White

> Arts > Modern art pieces > Pop art > Street art

> Arts > Pop art > Irony and satire

> Arts > Pop art > Satire

> Arts > Pop art

> Asia > Georgia > Related Images

> Europe > United Kingdom > England > London > Boroughs > City of London

> Europe > United Kingdom > England > London > Museums > British Library

> Europe > United Kingdom > England > London > Politics > Augustus FitzRoy

> Europe > United Kingdom > England > London > Politics > Related Images


The Reception in 1770

EDITORS COMMENTS
is a captivating snapshot of political satire during the reign of King George III. In this print, we witness an intriguing scene unfold on an empty street. The state coach, carrying the King himself, is driven by none other than the Prime Minister, the Duke of Grafton, who amusingly dons a jockey's attire. Surrounding them are figures engaged in animated conversation, their expressions reflecting discontent and indifference towards the lack of attending crowds. This clever depiction serves as a commentary on popular dissatisfaction with King George III's conduct ten years after his acclamation in 1760. The artist behind this anonymous masterpiece skillfully captures both historical context and social critique. Through sharp lines and intricate details, they transport us to 18th-century Britain – a country grappling with political unrest and disillusionment. As we delve into this image further, we observe not only its artistic merit but also its significance as a historical document. It offers us glimpses into Georgian fashion trends through costumes worn by various individuals present at this procession. "The Reception in 1770" invites us to reflect upon power dynamics within monarchy and politics while shedding light on public sentiment towards unpopular rulers. With its thought-provoking symbolism and masterful execution, it stands as a testament to the enduring impact that art can have on society throughout centuries past.

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