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An Ape painting an Ass, 1753. Artist: George Bickham

An Ape painting an Ass, 1753. Artist: George Bickham


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An Ape painting an Ass, 1753. Artist: George Bickham

An Ape painting an Ass, 1753. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

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Media ID 14917222

© The Print Collector / Heritage-Images

Bickham Donkey Easel Emily Morse Emily Morse Symonds George Bickham George Paston Humorous Monkey Paintbrush Painting A Picture Palette Paston Ridiculous Symonds Metaphor


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> Animals > Farm > Donkeys > Related Images

> Arts > Artists > B > George Bickham

> Arts > Minimalist artwork > Monochrome artwork > Monochrome paintings

> Arts > Pop art > Satire > Humorous artworks

> Europe > United Kingdom > England > London > Art > Paintings


An Ape painting an Ass, 1753 - A Humorous Satire on the Artistic Profession in the 18th Century

EDITORS COMMENTS
. This print, created by George Bickham and featured in "Social Caricature in the Eighteenth Century" captures a whimsical scene from the art world of the 18th century. The image depicts an ape diligently working at an easel, carefully applying brushstrokes to paint a picture of an ass or donkey. With its clever metaphorical undertones, this artwork humorously satirizes both the artistic profession and human folly. The absurdity of an ape engaging in such a refined occupation highlights society's tendency to assign value based on appearances rather than true talent or skill. The artist's attention to detail is evident as he portrays the ape with precision, capturing its concentration and dedication. The use of monochrome adds depth to this playful composition while emphasizing its timeless quality. George Bickham's illustration serves as a reminder that art has always been intertwined with social commentary. Through his work, he invites viewers to reflect upon their own perceptions of artists and their craft. This print not only showcases Bickham's artistic prowess but also offers a glimpse into the rich history of satire within visual arts. As we admire this piece today, it continues to provoke thought about societal norms surrounding professions and challenges us to question our assumptions about what constitutes true creativity.

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