Carlo Pellegrini stands as one of the most distinctive and influential caricaturists of the Victorian era. An Italian émigré who found fame in London, his incisive and witty portrayals of the era's leading figures, published under the memorable pseudonym 'Ape', captured the essence of British high society for two decades. His work for the society magazine Vanity Fair not only defined a new style of graphic satire but also created an enduring visual record of the personalities who shaped late 19th-century Britain. This exploration delves into the life, art, unique style, social connections, and lasting legacy of this remarkable artist.
From Capua to London: An Unconventional Path
Carlo Pellegrini was born on March 25, 1839, in Capua, then part of the Kingdom of the Two Sicilies in Italy. He hailed from an ancient landowning family with aristocratic connections; his father was descended from the Pellegrini-Terrieri, and his mother, allegedly, had links to the illustrious Medici family, a claim Pellegrini himself sometimes made, though its veracity remains uncertain and perhaps part of his self-mythologizing. Details of his early life and education are somewhat scarce, contributing to the enigmatic persona he later cultivated.
The circumstances surrounding Pellegrini's departure from Italy and arrival in London around November 1864 are shrouded in colourful, albeit likely apocryphal, tales. One popular story suggested he had fought with Giuseppe Garibaldi and his 'Redshirts' during the Italian Risorgimento, subsequently facing hardship or political difficulties that necessitated his emigration. However, historical evidence supporting this is lacking, and it may have been a narrative embellished by Pellegrini or others to enhance his bohemian image. More prosaic reasons, perhaps related to family finances or personal restlessness, might be closer to the truth. What is known is that he arrived in London seeking opportunities, initially facing a period of considerable financial struggle.
A New Vision for Satire: Vanity Fair
Pellegrini's fortunes changed dramatically with the founding of the weekly society magazine Vanity Fair in 1868 by Thomas Gibson Bowles. Bowles envisioned a publication that would offer sophisticated commentary on contemporary society, politics, and culture, distinct from the more overtly comic or crudely political cartoons found elsewhere. A key innovation was the inclusion of a full-page chromolithograph caricature of a prominent public figure in each issue, presented as "Men of the Day" or similar titles. This required an artist with a sharp eye, a witty sensibility, and a style suitable for this novel format.
Bowles encountered Pellegrini, possibly through shared social circles or by introduction, and recognized his unique talent. In January 1869, Pellegrini was commissioned to produce the magazine's first colour caricature. His subject was the then Prime Minister, Benjamin Disraeli. This debut work was an immediate sensation, capturing Disraeli's distinctive features and posture with an uncanny blend of accuracy and subtle exaggeration. It set the standard for the thousands of caricatures that would follow in Vanity Fair over the next four decades.
To sign his work, Pellegrini adopted the pseudonym 'Ape'. While 'ape' in English carries connotations of mimicry or crudeness, the choice was likely a playful nod to his Italian heritage – 'ape' means 'bee' in Italian, suggesting industriousness and perhaps a sting. The name stuck, and 'Ape' quickly became synonymous with the sharp, stylish caricatures that were a major draw for Vanity Fair's readership. He would remain the magazine's principal caricaturist until his death, defining its visual identity alongside Leslie Ward ('Spy'), who joined in 1873.
The Pellegrini Style: Incisive Wit and Visual Flair
Pellegrini's approach to caricature was groundbreaking for its time in Britain. Unlike the often savage political satire of earlier artists like James Gillray or Thomas Rowlandson, or the more narrative comic scenes of Punch artists like John Leech, Pellegrini focused on the individual personality as revealed through physical presence. His style was characterized by several key elements.
He possessed an extraordinary ability to capture a likeness while simultaneously exaggerating key features – a prominent nose, a particular stance, a characteristic gesture – to reveal something essential about the subject's character or public persona. His caricatures were rarely cruel or vicious; instead, they displayed an incisive, often affectionate, wit. He observed his subjects keenly, paying close attention to posture, gait, and dress as indicators of personality and social standing. The figures often stand isolated against a plain or minimally suggested background, emphasizing their form and silhouette.
Pellegrini worked primarily in watercolour for the original designs, which were then masterfully translated into chromolithographs by the renowned printing firm Vincent Brooks, Day & Son. This process allowed for nuanced colour and tone, which Pellegrini used effectively. His lines were typically bold and confident, defining form with economy and precision. He also demonstrated a sophisticated understanding of light and shadow, using it to model form and add dramatic effect, perhaps reflecting an awareness of contemporary painting trends. His style showed an affinity with French caricaturists like Honoré Daumier, known for their sculptural sense of form and psychological depth, though Pellegrini developed a distinctly personal idiom.
A Gallery of Victorian Notables
Over his twenty years with Vanity Fair, Pellegrini produced hundreds of caricatures, creating a veritable gallery of the Victorian establishment. His subjects spanned the entire spectrum of public life: politicians, royalty, aristocrats, lawyers, clergymen, military figures, scientists, writers, artists, actors, and sportsmen. Anyone of significance in London society was a potential subject for 'Ape'.
His portrayal of Benjamin Disraeli, the first subject, remained one of his most iconic. He depicted the statesman with his characteristic stoop, dandified attire, and enigmatic expression. Equally memorable was his rival, William Ewart Gladstone, often shown with an intense, almost severe, energy. Pellegrini captured the intellectual gravitas of Charles Darwin, the flamboyant aestheticism of Oscar Wilde and Algernon Charles Swinburne, the artistic intensity of James McNeill Whistler, and the stern authority of figures like Lord Chief Justice Cockburn.
Other notable subjects included politicians like Lord Salisbury and John Bright, artists such as John Everett Millais and Frederic Leighton, writers like Anthony Trollope and Robert Browning, and figures from the church like Cardinal Manning. Each caricature was typically accompanied by a short, often witty or slightly irreverent biographical text written by Bowles or another contributor, further enhancing the portrait's impact. These prints, sold with the magazine and also available separately, became highly collectible, adorning the walls of clubs, studies, and drawing rooms across Britain and beyond. His caricature titled "Chemistry," depicting the chemist Edward Frankland, exemplifies his ability to portray figures from diverse fields.
Artistic Connections and Influences
Although largely self-taught in the formal sense, Pellegrini was deeply immersed in the London art world and formed significant connections with other artists. His most notable friendship was with the French Impressionist painter Edgar Degas. Degas spent time in London and was introduced to Pellegrini, likely through mutual acquaintances like James Tissot. The two artists admired each other's work; Degas appreciated Pellegrini's sharp observational skills and draughtsmanship. They exchanged portraits: Degas painted a striking, psychologically intense portrait of Pellegrini around 1876-77 (now in the Tate collection, London), while Pellegrini drew a caricature of Degas.
Pellegrini was also well-acquainted with the American expatriate artist James McNeill Whistler. Both were known for their dandyism, wit, and sometimes prickly personalities, and they moved in similar social circles, frequenting establishments like the Arts Club and the Beefsteak Club. Pellegrini admired Whistler's artistic innovations and modern style. Influenced perhaps by Whistler and the growing aesthetic movement, Pellegrini did attempt to establish himself as a serious portrait painter in oils, seeking a different kind of artistic recognition beyond caricature.
However, these painted portraits met with limited success. While competent, they lacked the unique spark and incisive quality of his caricatures. His true genius lay in the satirical observation and graphic economy of his work for Vanity Fair. His circle would have also included many of the artists he caricatured, such as Royal Academicians like Millais and Leighton, and potentially figures associated with the Pre-Raphaelite circle like Dante Gabriel Rossetti or Edward Burne-Jones, all prominent members of the London art scene.
The Eccentric Dandy of London Society
Beyond his artistic output, Pellegrini himself became a well-known figure in London society, renowned for his eccentricities and flamboyant personality. He cultivated a distinctive appearance, noted for his exceptionally long fingernails, meticulously maintained, and his somewhat imperfect, heavily accented English, which added to his charm for many. He was a fastidious dresser, favouring well-cut suits, immaculate white spats, and highly polished patent leather shoes – a true dandy in the mould of Whistler or Oscar Wilde.
His wit and lively conversation made him a popular figure in social gatherings and gentlemen's clubs. He was known for his humour, generosity, and sometimes volatile temperament. Descriptions from contemporaries paint a picture of a "lovable lunatic," full of amusing anecdotes and sharp observations. He reportedly became a favourite of the Prince of Wales (the future King Edward VII), who appreciated his humour and company. This social integration provided Pellegrini with unparalleled access to the very figures he would caricature, allowing him to observe them firsthand in their natural habitat.
Despite his later success and social acceptance, stories of his early poverty persisted, sometimes exaggerated for dramatic effect. His claim of Medici ancestry and tales of fighting with Garibaldi contributed to a carefully constructed, slightly mysterious public image. He navigated the complex social hierarchies of Victorian London with considerable skill, using his charm and talent to secure a unique position as both an insider and a detached observer.
Experiments in Paint
While 'Ape' the caricaturist achieved widespread fame, Carlo Pellegrini the painter remained largely in the shadows. Driven perhaps by artistic ambition or the desire for the greater prestige accorded to 'high art', he did produce a number of oil paintings, primarily portraits. He exhibited occasionally, for instance at the Royal Academy and the Grosvenor Gallery.
His painted portraits often showed the influence of contemporaries he admired, particularly Whistler. He attempted to adopt a more tonal, atmospheric approach in some works, moving away from the sharp linearity of his caricatures. However, critics and the public generally found these paintings less compelling than his graphic work. They lacked the immediacy, wit, and psychological acuity that made his Vanity Fair contributions so successful. Caricature, with its emphasis on line, exaggeration, and instant recognition, proved to be his most natural and effective medium. His foray into painting remains a minor footnote compared to his dominant role in satirical illustration.
Declining Health and Final Years
In his later years, Pellegrini's health began to decline. He suffered from lung disease, likely tuberculosis, which was prevalent at the time. Despite his illness, he continued to work for Vanity Fair, although his output may have lessened slightly. His financial situation, while much improved from his early days, could still be precarious, and friends and admirers within London's high society reportedly rallied to provide support during periods of illness, testament to the affection he inspired.
He continued to live and work in London, residing in Mortimer Street, Cavendish Square. His illness progressively weakened him, and he died there on January 22, 1889, at the relatively young age of 49. His death marked the end of an era for Vanity Fair, though the tradition of caricature he had established continued with 'Spy' and other artists.
Pellegrini was buried in St. Mary's Roman Catholic Cemetery in Kensal Green, London. His friend Whistler was involved in aspects of his memorial. While some accounts suggest Whistler designed the tombstone, it's perhaps more likely related to a caricature Whistler drew of Pellegrini, possibly titled "The Lowly Life," which may have been intended for or associated with the memorial arrangements, perhaps funded by the Fine Art Society as a tribute. His passing was noted in the press, acknowledging the loss of a unique artistic talent and a colourful London personality.
Enduring Legacy and Art Historical Evaluation
Carlo Pellegrini's primary legacy lies in his defining contribution to Vanity Fair and, through it, to the art of caricature in Britain. As 'Ape', he transformed the genre, moving it away from crude political lampooning towards a more sophisticated, psychologically astute form of social portraiture. His work captured the visual essence of the Victorian establishment with unparalleled wit and style.
His caricatures remain invaluable historical documents, offering insights into the personalities, fashions, and social attitudes of the era. They provide vivid, often humorous, glimpses of the individuals who dominated politics, culture, and society in late 19th-century Britain. Collectors continue to prize the original Vanity Fair chromolithographs for their artistic merit and historical interest.
Artistically, Pellegrini is recognized for his superb draughtsmanship, his innovative use of the caricature form, and his ability to convey character through line and posture. While influenced by French traditions and contemporary artists like Degas and Whistler, he forged a highly personal and instantly recognizable style. Although his attempts at formal painting were less successful, his mastery of graphic satire places him firmly among the leading illustrators and social commentators of his time. He set a high bar for his successor at Vanity Fair, Leslie Ward ('Spy'), and influenced subsequent generations of caricaturists.
Conclusion: The Indelible Mark of 'Ape'
Carlo Pellegrini, the Italian artist who became 'Ape' of Vanity Fair, occupies a unique place in the annals of Victorian art and social history. Arriving in London as an unknown immigrant, he rose through sheer talent and personality to become one of the most recognized and celebrated visual chroniclers of his age. His sharp eye, witty pencil, and distinctive style created an unforgettable gallery of the great, the powerful, and the merely famous, defining the look of a generation for readers of Vanity Fair. Though his life was relatively short and marked by eccentricities and perhaps some self-mythologizing, his artistic legacy endures in the hundreds of vibrant caricatures that continue to entertain and inform, offering a captivating window onto the world of Victorian London.
