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"Political cartoons History 19th century."
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The world's greatest war cartoonists and caricaturists, 1792-1945
From the Napoleonic wars to World War II, this book introduces the political cartoonists, the opinion makers of peacetime and of wartime the world over. Here assembled are brief biographies of more than 300 of the most significant war cartoonists and caricaturists from the past three centuries. Artists from more than thirty countries are represented, from both sides of the wars concerned, whose artworks were published in newspapers, magazines, books, and as posters and postcards.
Book
Sketches from a Young Country
The Canadian political and social discussion of the late nineteenth century owed a great deal to Grip , the satirical magazine that kept a vigilant eye on national affairs from 1873 to 1894. Illustrated and edited by an energetic, talented young reformer named John W. Bengough, Grip featured sketches, poetry, and political invective. Bengough's caricatures of dignitaries and cartoons of political situations were supplemented in at least two periods by the acerbic commentary of socialist pioneer T. Phillips Thompson. Together, the two men provided a running account and critique of the era's attitudes on class, sex, race, and public policy. Bengough was part of a broad progressive alliance that linked farm and labour agitators with Christian intellectuals, alarmed about the worst excesses of turn-of-the-century capitalism. Grip was an early, and righteous, crusader for this liberal, Protestant, reformist view.
Sketches from a Young Country is the first comprehensive study to evaluate this historically important magazine, assess the motivations of its authors, and set both in social and political context. The author begins by discussing the magazine's visual contribution to its time, then explores its relationship with the federal and Ontario reform parties and its anti-Tory bias. Later chapters examine Grip's response to Western development, its descent into 'race and creed' propaganda in the late 1880s, its anti-capitalist and anti-imperialist leanings under Thompson's influence, and its stance on such social issues as women's rights, aboriginal issues, and law and order.
Containing over a hundred of Bengough's cartoons, with captions to clarify contemporary references, and offering an assessment of Grip in relation to its British and American counterparts, Sketches from a Young Country makes an exciting contribution to popular history, Canadian politics, and the history of journalism.
eBook
Parliamentary Alchemists and Electric Colossi: The Scientific and the Nostalgic Past in Sir John Tenniel’s Punch Cartoons
The modern world has had a long and uneasy relationship with the nostalgic past, with the line between the harmless and the harmful in this relationship often difficult to parse. This article looks at a particular microcosm of nostalgic medievalism in nineteenth century popular culture—selections from the work of prominent editorial cartoonist Sir John Tenniel in Punch that combine gothic imagery with depictions of modern science and technology—through the literary critical theoretical framework of nostalgia theory, connecting it with strong societal forces in his time.
Journal Article
Cartooning History: Lai's Fiji and the Misadventures of a Scrawny Black Cat
For four decades after the country's independence from Britain in 1970, Laisenia Naulumatua, known as Lai, was Fiji's preeminent political cartoonist, capturing the volatile history of the nation in panels he sketched for the Saturday edition of the Fiji Times and the Sunday edition of the Daily Post. Lai's cartoons afford an idiosyncratic overview of the events and agents, large and small, lighthearted and serious, that shaped the nation's character in the closing decades of the twentieth century. Seldom driven by the livid savagery of the firebrand cartoonist, Lai adopted the casual bystander's wry approach to representing public events and personalities and included in many of his panels a scrawny black cat to convey the sentiments of the hoi polloi. He tackled social and political ills certainly, but without ill will. In its espousal of the attributes of restraint, equanimity, and moderation, and in its preference for surface levity over piercing gravity, Lai's oeuvre promotes the middle path of slight and cautious adjustments to daily political and social ructions. This essay discusses Lai's work in relation to that of his peers and antecedents, locally as well as internationally, and in the context of established theories of the political cartoon.
Journal Article
Politics personified : portraiture, caricature and visual culture in Britain, c. 1830-80
Investigates how reformers, conservatives, and radicals used portraiture to connect with supporters and build identity in Victorian politics.
Book
Thomas Nast
Thomas Nast (1840-1902), the founding father of American political cartooning, is perhaps best known for his cartoons portraying political parties as the Democratic donkey and the Republican elephant. Nast's legacy also includes a trove of other political cartoons, his successful attack on the machine politics of Tammany Hall in 1871, and his wildly popular illustrations of Santa Claus forHarper's Weeklymagazine. Throughout his career, his drawings provided a pointed critique that forced readers to confront the contradictions around them.In this thoroughgoing and lively biography, Fiona Deans Halloran focuses not just on Nast's political cartoons forHarper'sbut also on his place within the complexities of Gilded Age politics and highlights the many contradictions in his own life: he was an immigrant who attacked immigrant communities, a supporter of civil rights who portrayed black men as foolish children in need of guidance, and an enemy of corruption and hypocrisy who idolized Ulysses S. Grant. He was a man with powerful friends, including Mark Twain, and powerful enemies, including William M. \"Boss\" Tweed. Halloran interprets Nast's work, explores his motivations and ideals, and illuminates Nast's lasting legacy on American political culture.
eBook
“You Are Here”: Missing Links, Chains of Being, and the Language of Cartoons
Evolution cartoons served polemical and satirical purposes even before Darwin publishedOn the Origin of Species, and they proliferated afterward. Yet even though Victorian evolution cartoons often pictured Darwin himself as a personification of his theory, by the time of the Scopes trial controversy in the 1920s cartoons about evolution had come to popularize ironically non‐Darwinian views of evolution. Cartoons repeated, reflected, and perpetuated teleological views of evolution and often implicitly associated evolution with prevalent attitudes about race, gender, and social hierarchies. Cartoons drew on old iconographic traditions, expanding them to fit changing historical circumstances, forming a lasting cartoon lexicon. Though adaptable and protean, the language of evolution cartoons, like any language, carries its history with it, and in them we can read the history of the cultural context of evolution controversies.
Journal Article