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The Road to Preferment Through Clarkes Passage, March 5, 1809. March 5, 1809
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The Road to Preferment Through Clarkes Passage, March 5, 1809. March 5, 1809
The Road to Preferment Through Clarkes Passage, March 5, 1809
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Media ID 19984560
© Heritage Art/Heritage Images
Clarke Clarke Mary Ann Clarke Mary Anne Disabilities Disability Disabled Elderly Mary Ann Mary Ann Clarke Mary Anne Mary Anne Clarke Mary Anne Thompson Mistress Rowlandson Rowlandson Thomas T Tegg And Son T Tegg Son Tegg Tegg And Son Tegg Son T Tegg Thomas Thomas Rowlandson Thomas Tegg Thompson Thompson Mary Anne Hand Tinted
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The Road to Preferment Through Clarke's Passage, March 5,1809 - A Glimpse into British Society in the 19th Century
EDITORS COMMENTS
. This hand-colored etching by Thomas Rowlandson offers a fascinating snapshot of life in Britain during the early 19th century. Titled "The Road to Preferment Through Clarke's Passage, March 5,1809" it transports us back to a time when social mobility and personal advancement were often determined by one's connections and relationships. In this vibrant scene, we witness a diverse crowd gathering along Clarke's Passage. Men and women from all walks of life are present - soldiers returning from war, elderly individuals seeking solace or companionship, disabled persons navigating their way through the bustling streets. The artist skillfully captures the essence of each character with intricate details and expressive strokes. At the center of attention is Mary Anne Thompson (also known as Mary Ann Clarke), an influential figure who was notorious for her involvement with high-ranking military officers. As a mistress to those in power, she held considerable sway over matters of promotion and preferment within the army. Rowlandson's artwork not only highlights societal dynamics but also explores themes such as marriage and gender roles prevalent during that era. This print serves as both a historical document and an artistic masterpiece that invites viewers to reflect upon the complexities of human ambition and desire for upward mobility. Displayed at The Metropolitan Museum of Art (The Met), this piece stands testament to Rowlandson
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