SUNDAY, JUNE 13, 2010 Museums ‘RUDE BRITANNIA’ British artists, viewing politics with a stiff upper quip jill lawless
london — Some countries overthrow their politicians. Some endure them. In Britain, they just laugh at them. The renowned British sense of humor is on display in a new Lon- don exhibition that charts 300 years of the anarchic artistic spir- it that produced the political sat- ire of William Hogarth and “Spit- ting Image” — as well as the sheer silliness of Benny Hill. “Rude Britannia,” which opened Wednesday at the Tate Britain gallery, is a feast of irrev- erence and bad taste that asks whether there is a distinctively British sense of humor, and ex- amines how humor is inter- twined with the country’s cultur- al and political history. “This isn’t necessarily about
‘funny ha- ha,’ although there are jokes,” Tate Britain director Pe- nelope Curtis said. “It’s about how the comic is used to do things we can’t do in other ways. Often the comic artist is making a very serious point about some- thing that can’t be said openly.” Curator Martin Myrone said there has long been a belief that “a distinct British character — in- formal, humorous, sarcastic” has produced a strong seam of comic art. While European artists like Jacques-Louis David were striv- ing to create a high-minded new classicism 200 years ago, in Brit- ain the likes of Thomas Rowland- son, James Gillray and Hogarth were using their talents to sati- rize and caricature the politicians of the day. The exhibition begins in the
17th century, when printing tech- nology first allowed the mass pro- duction of cartoons and political broadsides. Then, as now, car- toonists took aim at politics, the economy and social ills.
One of the earliest works shows Oliver Cromwell, who overthrew the monarchy, don- ning the regalia of a king. The more things change, many of the artists here seem to say, the more they stay the same.
KLMNO
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WAR IS A BLAST? Peter Kennard and Cat Phillipps’s “Photo Op.”
weak people strong.” Many of the works on display
PHOTOS BY SANG TAN/ASSOCIATED PRESS CHURCHILLIAN RESOLVE: The Tate Britain show includes this work by cartoonist Gerald Scarfe.
Some of the images are taste- lessly timeless, like the anony- mous 18th-century etching “Idol- Worship or the Way to Prefer- ment,” which shows gentlemen kissing the enormous posterior of Robert Walpole, a politician widely regarded as Britain’s first prime minister. Throughout the exhibition,
crass toilet humor intertwines with the political. The crude slap- stick of TV’s “Benny Hill Show” or the “Carry On” movies is as cen- tral to the British comic tradition as the exalted Hogarth. One of the show’s six themed rooms is devoted to explicitly bawdy art, from 200-year-old erotic etchings to the saucy sea- side postcards of Donald McGill, full of plump, smiling figures emitting double entendres that may even cause blushes among readers today. They are on dis- play still attached to the index cards kept by a disapproving pub- lic prosecutor, who amassed a
thick file on McGill. The exhibition’s centerpiece is a room devoted to politics, show- ing how artists have skewered politicians from Napoleon Bona- parte to Adolf Hitler and prime ministers Margaret Thatcher and Tony Blair.
British political cartoons are
often much more vicious and vis- ceral than their North American counterparts. In one of the mild- er instances, the Guardian’s Steve Bell invariably depicted Prime Minister John Major wearing his underpants over his trousers. An- other editorial cartoonist, Martin Rowson, has shown post-Iraq war Blair drenched in blood. In the 1980s, the satirical pup-
pet show “Spitting Image” de- picted Thatcher as a butcher with a bloody cleaver. Cartoonist Ger- ald Scarfe turned her into a pre- historic predator: the Torydactyl. Today, Scarfe acknowledges af-
fection for the Iron Lady as a sub- ject, despite their political dis-
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agreements. “Mrs. Thatcher was great, be- cause she was a strong woman and she produced strong images,” he said. “The cartoon comes from the character. You can’t make
mockery, but some also appeal for change. Hogarth’s 1751 “Gin Lane” and George Cruikshank’s 1862 “The Worship of Bacchus” are both savage depictions of the damage done by excessive alco- hol and helped change social atti- tudes. In the 1930s, David Low’s car- toons of Hitler helped turn Brit- ish feeling against appeasement. Posters used by protesters against the invasion of Iraq un- successfully exhorted Blair to “Make Tea, Not War.” Scarfe, whose work appears in the Sun-
day Times newspaper, said at the best of times comic art “can pro- duce a kind of rallying point around which people can gather and think, ‘That’s what I was feel- ing but couldn’t put into words.’ I hope it helps sum up people’s feelings and hopefully eventually it can become a movement.” Scarfe is, however, realistic about the limits of satire’s power. He says many politicians secretly enjoy being caricatured, and of- ten ask if they can buy cartoons of themselves. “Rude Britannia” is at Tate Britain until Sept. 5. — Associated Press
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