Caricature By James Gillray

One example of these highly localized traditions and their power of influence are the works of James Gillray. He based his caricatures on the Dutch artist Romeyn de Hooghe, and became one of the most renown fathers of British political caricature (McPhee 2011: 154). His works thrived in a political climate in which his country was ruled by a constitutional monarchy with a two-party system, and where the political issues dealt with in Parliament could be openly discussed (McPhee 2011: 154). This system was fertile ground for him and his contemporaries, and enabled them to create a high number of exemplary works other artists pulled their inspiration from. The political and artistic climate also allowed these artists to quickly react to any form
Caricatures are intrinsically tied to their creators; an artist's words have the potential to give "life and natural reality" to the characters, and context and meaning in the form of titles and comments to the entire image (Streicher 1967: 431f., Coupe 2009: 80-82). And while many humorists are known by name, and generally known to a certain extent for their works, circumstances, or historical relevance, most of them do not allow for more than "very general conclusions" about their lives and their artistic influence (Coupe 2009: 82). Issues such as personal principles; personal interest in politics, or lack thereof; professional convenience, and money issues color their works, and the way they have expressed meaning within their works just as much as any number of other fundamental human desires and problems (Coupe 2009:82). Thus, it can be said that the artist cannot be an objective source for contextual information, and while the artist's intend can not be neglected, it cannot be central to the analytical
Originals are "distinguished for their authenticity" and their setting "in time and space", or, in other words, for their authority as a unique work that has more value than reproductions (Teilmann-Lock 2016: 51). The system of value, determined by factors such as authenticity and originality is what also rules what works actually count as art, and what may only be less valuable craft (Teilmann-Lock 2016: 51f.). Walter Benjamin writes in his essay "The Work of Art in the Age of Mechanical reproduction" that in principle every work of art can be reproduced (Benjamin 2004: 1235). This quality of art, especially in the case of printed works, has been fostered by technological progress over the centuries, thus profoundly changing their impact on the public (Benjamin 2004: 1235). He continues his theory by drawing a comparison to the further technological progress of film as a extension of the evolution of reproduction of art, but he also exposes an issue present in the process of analysis of such material (Benjamin 2004: