Death and Bonaparte, The Two Kings of Terror

Art Historical Context

In the turbulent final days of the Napoleonic Wars, British satirist Thomas Rowlandson created *Death and Bonaparte, The Two Kings of Terror* on January 1, 1814, published by Rudolph Ackermann in London. This hand-colored etching, measuring about 9 by 10 inches, exemplifies the vibrant caricature tradition of Regency-era Britain. Rowlandson's loose, expressive lines and vivid hand-coloring bring to life a macabre scene featuring a skeletal Death astride a cannon, paired with Napoleon Bonaparte as twin harbingers of destruction amid soldiers and battlefield chaos. The print's biting satire reflects widespread British contempt for Napoleon, portraying him as Death's equal in sowing terror across Europe. By 1814, Napoleon's empire was crumbling after defeats in Russia and Leipzig, making this a timely jab at his military ambitions. Such politically charged prints, affordable and widely circulated, fueled public opinion and morale against the French emperor. Housed in the Metropolitan Museum of Art's Drawings and Prints department, this second-issue etching showcases Rowlandson's mastery of satire—blending dark humor with sharp social commentary. Visitors will appreciate how it captures the era's fervor, reminding us of art's power to mock the mighty.

About the Artist

Thomas Rowlandson|Napoléon Bonaparte|Rudolph Ackermann, London · 1756–1827

Thomas Rowlandson (1757–1827) was an English artist and caricaturist whose satirical watercolors and prints captured the social life of Georgian Britain with unparalleled wit and technical mastery. Alongside James Gillray, he is recognized as one of the greatest British graphic artists, and his distinctive flowing line and keen observations have made his work integral to understanding late 18th an...