更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 13 件 詹姆斯·吉尔雷 作品收录于我们的目录中
简而言之
The Plum-Pudding in Danger (1805) 是 詹姆斯·吉尔雷 最受瞩目的画作；原作收藏于 伦敦 的 大英博物馆。 随后，目光会移向 The Zenith of French Glory (1793) 和 Long Live the Constitution, One and In(di)visible (1800)。 在 詹姆斯·吉尔雷 的 13 件作品中，这 12 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
To gaze upon this scene is to be invited across the threshold of a bygone era, into the warm glow of an intimate gathering. The Plum-Pudding in Danger presents us with a tableau vivant centered around a magnificent, yielding dessert—a plum pudding, rich with tradition and promise. The composition immediately draws the eye to the table, which serves as both stage and centerpiece for this shared moment of culinary delight.…
The air of 1793 carries a heavy, unsettling weight as we encounter "The Zenith of French Glory; – The Pinnacle of Liberty." This etching, released on February 12, 1793, captures a moment of profound political turbulence. James Gillray, the artist behind this biting work, uses his sharp wit to confront the chaos of the French Revolution. The print functions as a searing indictment of the revolution and its leadership, stripping…
We are looking at Long Live the Constitution, One and In(di)visible, a work produced by James Gillray. This piece dates to about 1800, a period when the artist was deeply engaged in the political and social shifts of the era. It is a black and white etching, a medium that allows for a particular kind of precision in its linework and tonal depth.
Sin, Death and the Devil is an etching created by the artist James Gillray in 1792. This work functions as a satirical commentary on the political landscape of late eighteenth-century Britain. The print focuses on the power struggle between Prime Minister William Pitt and Lord Chancellor Edward Thurlow. Through the use of allegory, the artist depicts these political figures within a narrative framework.
The scene unfolds through a biting etching titled The Blood of the Murdered Crying for Vengeance. Created by the artist James Gillray, this work emerges from the turbulent atmosphere of about 1793. It captures a moment of intense social and political friction, frozen in the sharp, dramatic lines of the engraver's hand. The print carries a formal dedication, directed toward the Right Honourable the Earl of Chatham. In a gesture…
Dublures of Characters is an etching by the English caricaturist James Gillray. Produced about 1798, the work was published by John Wright for the Anti-Jacobin Review and Magazine. Unlike many of Gillray's prints from this period, which were distributed through the shop of Hannah Humphrey, this specific piece emerged through a different publishing channel.
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 2 家博物馆。
| 博物馆 | 城市 | 詹姆斯·吉尔雷 的作品 | 此列表中的画作 |
|---|---|---|---|
 大英博物馆 |
伦敦 | 2 | The Plum-Pudding in Danger, The Zenith of French Glory |
 法国国家图书馆 (Bibliothèque Nationale) |
巴黎 | 1 | Long Live the Constitution, One and In(di)visible |
此处展示的 詹姆斯·吉尔雷 的原作从 1792 到 1805，跨越了 14 年，每年的作品均按年份排列如下。
选择年份以查看原作。
Sin, Death and the Devil is an etching created by the artist James Gillray in 1792. This work functions as a satirical commentary on the political landscape of late eighteenth-century Britain. The print focuses on the power struggle between Prime Minister William Pitt and Lord Chancellor Edward Thurlow. Through the use of allegory, the artist depicts these political figures within a narrative framework.
The air of 1793 carries a heavy, unsettling weight as we encounter "The Zenith of French Glory; – The Pinnacle of Liberty." This etching, released on February 12, 1793, captures a moment of profound political turbulence. James Gillray, the artist behind this biting work, uses his sharp wit to confront the chaos of the French Revolution. The print functions as a searing indictment of the revolution and its leadership, stripping…
更多来自 1793
Dublures of Characters is an etching by the English caricaturist James Gillray. Produced about 1798, the work was published by John Wright for the Anti-Jacobin Review and Magazine. Unlike many of Gillray's prints from this period, which were distributed through the shop of Hannah Humphrey, this specific piece emerged through a different publishing channel.
We are looking at Long Live the Constitution, One and In(di)visible, a work produced by James Gillray. This piece dates to about 1800, a period when the artist was deeply engaged in the political and social shifts of the era. It is a black and white etching, a medium that allows for a particular kind of precision in its linework and tonal depth.
To gaze upon this scene is to be invited across the threshold of a bygone era, into the warm glow of an intimate gathering. The Plum-Pudding in Danger presents us with a tableau vivant centered around a magnificent, yielding dessert—a plum pudding, rich with tradition and promise. The composition immediately draws the eye to the table, which serves as both stage and centerpiece for this shared moment of culinary delight.…
The Plum-Pudding in Danger (1805)，大英博物馆, 伦敦。紧随其后的是 The Zenith of French Glory (1793) 和 Long Live the Constitution, One and In(di)visible (1800)。
49岁：The Plum-Pudding in Danger创作于1805年，詹姆斯·吉尔雷出生于1756年。
The Plum-Pudding in Danger, The Zenith of French Glory, Long Live the Constitution, One and In(di)visible, Sin, Death and the Devil, The Blood of the Murdered Crying for Vengeance, Dublures of Characters, Short bodied gillray fashion caricature, The whore's last shift, Light expelling darkness 及 A group of French savants huddle together at the top。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 13 件 詹姆斯·吉尔雷 的作品，创作年代从 1792 年至 1805 年。
多见于 大英博物馆 (伦敦) 及 法国国家图书馆 (Bibliothèque Nationale) (巴黎)。上方的博物馆列表列出了所有相关机构。
在 1793 期间：本页 12 件作品中有 2 件创作于该时期，其中包含 The Zenith of French Glory 件作品。
在本页面中，最早的作品创作于 Sin, Death and the Devil (1792)，最晚的创作于 The Plum-Pudding in Danger (1805)。
People (3), Guillotine (2) 及 Figures (2)，共计 12 件作品。
Etching，共计 5 件（本页共有 12 件作品）。
The Plum-Pudding in Danger 及 The Zenith of French Glory：大英博物馆, 伦敦收藏了本页中 2 件作品。
在18世纪末英国那充满活力且往往动荡不安的时代背景下，很少有人能像詹姆斯·吉尔雷那样拥有如此强大的讽刺力量。他常被誉为“政治漫画之父”，凭借着通过蚀刻媒介捕捉时代焦虑、愚行与宏大野心的非凡能力，在艺术史上留下了浓墨重彩的一笔。这位出生于英国切尔西的艺术家，出身于精湛工艺的传承背景，早年便已精通文字雕刻艺术。这种对精准线条的掌控力，后来成为了他传奇职业生涯的基石，使他能够将复杂的政治博弈转化为尖锐且极具视觉冲击力的讽刺画，在公众意识中引发深远共鸣。
他的艺术发展深受威廉·霍加斯作品的影响，后者的艺术风格为将艺术作为社会评论的载体提供了蓝图。然而，詹姆斯·吉尔雷并未止步于单纯的观察，他为作品注入了前所未有的创造力以及对荒诞感的敏锐感知。他的作品主要出版于1792年至1810年间，成为了英国视觉语汇中至关重要的一部分。通过他的蚀刻版画——并偶尔运用水彩凹版和点刻技法——他创造了一个将拿破仑、乔治三世及各任首相等历史人物剥离尊严，并将其重塑为一场宏大且往往荒诞的戏剧角色中的奇幻世界。
詹姆斯·吉尔雷作品的卓越之处，在于技术执行力与叙事深度的完美融合。尽管他的题材往往具有时效性与瞬时性，但他对蚀刻工艺的精湛掌握确保了其艺术影响力的持久。他的版画以细腻的细节与大胆的线条为特征，既能传达宏大的物理细节，又能表现出深邃的情感强度。无论是运用冷峻的黑白色调来反映战争的残酷现实，还是利用微妙的色调变化来捕捉居家场景的温馨，他多变的技艺使他能够以手术刀般的精准度操控观众的情绪。
他在构图上经常利用戏剧性的视觉焦点来强化批判。在诸如"《法国荣耀的巅峰》，"这样的作品中，他运用象征性意象——如骷髅士兵和冷酷的隐喻——对法国大革命发出了严厉的控诉。相反，在"《危险中的果冻布丁》，"等作品中，他展现了捕捉社交聚会的静谧戏剧感以及摄政时期物质现实的能力。这种双重性——既能成为猛烈的政治抨击者，又能成为社会礼仪的细腻观察者——正是将他的作品从单纯的漫画提升至高级艺术的关键所在。
詹姆斯·吉尔雷的历史意义不言而喻。他不仅仅是在记录历史，他还在塑造人们对历史的认知。他的版画如同英国国民心理的一面镜子，反映了对革命的恐惧、国际冲突的紧张局势以及那个时代不断变迁的社会等级制度。他意象中持久的生命力，从许多著名作品被保存在伦敦国家肖像馆和泰特不列颠美术馆等权威机构中便可见一斑。
超越他所处的时代，詹姆斯·吉尔雷的影响力已渗透进现代政治漫画的基因之中。他确立了视觉幽默与社会批判的标准，至今仍在激励着当代的讽刺艺术家。他的毕生心血证明了印刷图像的力量：它能够挑战权威、揭露伪善，并使那个处于变革时代的复杂精神永垂不朽。
