Oberstebrink’s article consist of a discussion on Gillray and caricaturist distortion of natural form to convey a message in relation to modern artistic thought which moved away from the imitation of nature. Through the ‘low art’ of caricature Oberstebrink argues that Gillray, like the moderns, challenged the relevance and authority of those ancient power structures. She questions the traditional art historical picture of Gillray as a failed artist who resorted to caricature, which by doing so gives more intention to his works. Oberstebrink also discusses Gillray’s satires in comparison to Baudelaire’s definition of la modernité. By discussing common themes between the satire and caricature of Gillray with the work of the modern artist in general,
