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Print (color engraving) published June 12, 1802 by H. Humphrey, St. James's Street. In this cartoon, the British satirist James Gillray caricatured a scene at the Smallpox and Inoculation Hospital at St. Pancras, showing cowpox vaccine being administered to frightened young women, and cows emerging from different parts of people's bodies.
Original - 18th-century anti-vaccination quackery, as satirised by James Gillray. His illustration pokes fun of one of the claims made against the cow pox innoculation: That it would cause cow-like appendages to grow out of the body. Reason I don't believe we have any of James Gillray's work as FP. Without wanting to understate Hogarth's ...
James Gillray (13 August 1756 [1] [2] – 1 June 1815) was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810. Many of his works are held at the National Portrait Gallery in London.
In The Cow-Pock—or—the Wonderful Effects of the New Inoculation! (1802), James Gillray caricatured recipients of the vaccine developing cow-like appendages. After inoculation, vaccination using the cowpox virus became the primary defense against smallpox.
Moseley expressed his views before Parliament during investigations into the practice in 1802 and 1808. His outlandish theories were the basis for a satirical cartoon by James Gillray called “The Cow Pock” which portrayed small cows bursting out of human bodies. [4] [3] Moseley died in Southend, a favorite summer vacation spot, in 1819 ...
Dr Jenner performing his first vaccination on James Phipps, a boy of age 8. 14 May 1796. Painting by Ernest Board (early 20th century) Painting by Ernest Board (early 20th century) James Gillray 's The Cow-Pock—or—the Wonderful Effects of the New Inoculation! , an 1802 caricature of vaccinated patients who feared it would make them sprout ...
Works by the British caricaturist James Gillray (1756–1815) Pages in category "Works by James Gillray" The following 5 pages are in this category, out of 5 total.
James Gillray's satirical image about the scandal. In 1796, the artist Benjamin West, who was then president of the Royal Academy of Arts in London, purchased an old manuscript from Jemima and Thomas Provis that they claimed held the details of the materials and techniques that had been used by painters such as Titian, Tintoretto, and Veronese.