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Tiddy-Doll the great French Gingerbread-Baker, drawing out a new Batch of Kings
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Tiddy-Doll the great French Gingerbread-Baker, drawing out a new Batch of Kings
2632300 Tiddy-Doll the great French Gingerbread-Baker, drawing out a new Batch of Kings, 1806 (coloured engraving) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College, Oxford; (add.info.: Published by Hannah Humphrey in 1806. Napoleon Bonaparte (15 August 1769 - 5 May 1821), French military and political leader, Emperor of the French from 1804 until 1814, and again in 1815.); English, out of copyright
Media ID 22684856
© Bridgeman Images
Baker Bakers Batch Emperors Gingerbread Hannah Humphrey Napoleon Bonaparte Oven Ovens Paddle Paddles Statesmen Rulers Tiddy Doll
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In this vibrant and satirical print titled "Tiddy-Doll the great French Gingerbread-Baker, drawing out a new Batch of Kings" we are transported back to 1806, a time when political cartoons were used as powerful tools for social commentary. Created by James Gillray, one of the most renowned caricaturists of his time, this colored engraving offers a humorous portrayal of Napoleon Bonaparte. The scene depicts Tiddy-Doll, an exaggerated representation of Napoleon himself, standing proudly in front of his gingerbread oven. With a mischievous grin on his face and paddle in hand, he is seen pulling out freshly baked kings instead of traditional gingerbread men. This clever visual metaphor alludes to Napoleon's ambition to conquer Europe and establish puppet rulers under his control. Gillray's sharp wit shines through as he mocks both the French emperor and those who blindly followed him. The cartoon captures the essence of political satire with its exaggerated features and comical depiction. This particular print is part of New College Oxford's collection and was published by Hannah Humphrey in 1806. It serves as a testament to Gillray's artistic prowess and ability to use humor as a means for social critique. Overall, "Tiddy-Doll the great French Gingerbread-Baker" stands as an enduring example of how art can be used not only for aesthetic pleasure but also as a powerful tool for political commentary.
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