DOCSLIB.ORG

America in a Mirror: Caricature As History

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
America in a Mirror: Caricature As History VO L. 1, N O .3 T HE CLEMENTS LIBRARY ASSO C IATES APRlL. 1995 AMERICA IN A MIRROR: CARICATURE AS HISTORY Caricature has a long tradition in moralize, or to focu s public opinion on unexpected incongruitie s. "A good American popular culture. Pictures that any target he chooses. His only obliga­ caricaturi st needs no great talent in any use exaggeration and wit to make a tion is to use his art to express an idea, other artistic direction ," cartoonist political point, a social comment, or a and to make that idea accessible and Boh un Lynch insists. "He is governed moral judgment have had a peculiar engaging to the broadest audience. only by his own sense of truthful power over our imagination. misrepre sentation." Whatever the rhetoric, As rhetori c or pole mic, written or spoken, it has American caricature has an often been the cartoon, honorable tradition. journalism's most devastat­ Cartoonists have exposed ing weapon, that has made abuses of power, the an issue or an individual corruption of government, stick in the public mind. and the hypocrisy of "Caricature," according society. At their most to editorial cartoonist trivial, cartoons provide a Draper Hill,"is not a running commentary on synonym for satire, or even events, people, attitudes, a genre of drawing. It is a and preoccupation s, their language of exaggeration , a influence no more than one method of projecting inner factor in any given politi cal characteristics,' real or climate. They reflect the imagined, into appear­ momentary shifts in public ances ," The cartoonist sentiment. At its most combin es caricature with a skillful, American caricature code - a set of symbols or has been moral satire. When emblems, the visual Thomas Nast exposed the metaphors that speak to corruption of Boss Tweed, or people living in a particular . crusaded for minority rights, time and place. Conse­ or denounced the futility of quently, caricature is war, he followed a tradition ephemeral. When we no Cartoonist Grant Hamilton used nursery rhyme imagery to make a that began in the Reforma­ longer understand its code, simple point - corruption is bipartisan. Republican Boss Platt licks tion with Luther 's satirical when its message has lost the platter of New York state patronage clean; seated is Democratic woodcuts, and continued its immediacy, it loses its Boss Croker. his stomach bulging. From Judge, November 19, /898. with Bruegel, Callot, impact on our imaginations. Hogarth, Goya, and Yet, it is this transient Daumier. quality that makes cartoons so valuable Caricature, as art historian Ronald Although the idea of caricutura as historical evidence , as a vernacular Paulson has written, has two components exaggerating a human form for comic record of our political values and social - the repre sentational and the rhetori­ effect - began in late sixteenth century mores. Becau se caricature is designed cal. As pictu res of people, objects, or Italy. printed caricature , as a form of fur print, for popular con sumption in the scenes, caricature ranges freely around political and social commentary, is the cheapest format, it is the most genuinely artisti c conventions. It takes familiar invention of eighteenth century England. democratic art. It is the perfect device settings and human emotions or the As a popular political culture developed forcriticism. The cartoonist doesnot images of allegory, folklore, history, or in the relatively free climate of mid­ have to justify his point of view; he can fanta sy, compresses them into one eighteenth century England, the demand use his art to report , accuse, entertain, picture, and makes us laugh by the fur information and for comment grew. - continued 011 page /2 Above: "A Conference between the Devil and Doctor Dove," by Henry Dawkins (Philadelphia, 1764), is one ofthe earliest American political cartoons. Doctor Dove, a writer ofscurrilous verse for Pennsylvania 's Proprietary Party, is shown kneeling before the Devil (his own demon's tail visible beneath his coatta ils), "Thou Great Prince ofDarkness, assist me in my Undertakings." Satan replies, "Well done, thou Good and Faithful Servant." From the origin ofcaricature in the satirical woodcuts ofthe Reformation, the Devil has been a common motif. Below : Pirating material from English sources was standa rd practice in colon ial publishing. Paul Revere lifted "The able Doctor; or America Swallowing the Bitter Draught" from the London Magazine. He appropriated the cartoon to the radical cause by adding the word TEA, publishing it in 1774 to mobilize supportfor Boston when Parliament passed retaliatory legislation following the notorious tea party. PAGE 2 THE QUARTO Cartoons in the /790s were the work ofanonymous amate urs. They were relentlessly political in content, often cluttered in design . "Congressional Pugilists " (/798) records an unedifying moment in American history when a Vermont Congressman accused ofcowardice spat in the fa ce ofhis colleague from Connecticut. They Jought with. cudgel andfire tongs until separated. Graphic satire was an important compo nent in periodicals during the first decades ofthe nineteenth century. The Echo, published by RichardAlsop (Boston, /807- / 8/2), was openly hostile to Jefferson. It ran a particularly vicious series ofcartoons by Tisdale and Leney in 1807. One was "Infan t Liberty Nursed by Mother Mob." A slattern holds an infant to huge breasts laheled "whiskey " and "rum," In the background Jefferson 's "republican mob" storms a public building. THE CWARTO PAGE 3 Right : William Charles hod learned the engraver's trade in London be/ore emigrating to Philadelphia in 1808, and he borrowedf reelyfrom the work ofGillray. A popular,prolific artist duri ng the War of 1812, Charle s helped make the cartoon part ofour national political life. In "John Bull Making a Nell' Batch ofShips to Send to the Lakes" (1814), Charles ridicules the Brit ish loss oftheir entire Great Lakes fleet to the Am ericans. King George sputters, "What, What, What!" 10 his right a man warns, " You had bette r keep both your ships and guns at home. If you send all you 've got to the Lakes, it will only makefun for the Yankl')'s to take them." Below: Philadelphian Edward Clay's social satire (ca. 1830) conlmUS a Quaker ofplain but elegant dress. accompanied b.v his ... - ' -. ..- -r-w- ;""!P'! .- """'''''1'--:- lovely dau ghte r, with WI Irish immigrant j[OJ!ll d l !llJ.L lIlalW Li) It IIfIIJ ~ATCH .r SHIPS to send fa tll£ 71. A!KE$ carrying his worldly possessions 0 11 his back. clay pipe stuck in the band of his high -crowned hat. A guest, mounted 011 a well-bred horse, is welcomed to the Quaker 's prosperous home. But the Irishman, asking directions to Phila delphia, is given a condesc ending answer, one that belies the Quaker reputation jar tolerance. 1 S l1.y. tJais u n 't tA~ roa -d: eq F r irn. rf. thft JiNt t"Us me a. (ie d na tlt.~ " thte PAil~'fky ..4"'''6)1 . i.. it .' M ks me .1. 9U. ~stU,1t.l t ru. ly tht.J is the road ./ PAGE 4 THE Q\)ARTO Technology revolutionize d the popular marketfor cartoons in the J820s. Commercial lithography, a relatively inexpensive, flexible process by which impressi ons are taken f rom designs inked on stone, replaced the difficult process ofengraving on metal. Prints could be mass produc ed on cheap, single sheets. The result was a floo d ofpolitical cartoons during the Jacksonian Era (1828-1840). In his fir st message to Congress, President Jackson proposed sending Native Americans to unoccupied land west of the Mississippi. By May J830, the Indian Removal Bill had become law. An anonymous artist, with. masterful san'Wim, drew Jackson as the Great Father. THE Q1JARTO PAGE 5 Above: Lola Montez , celebrated "European" beauty, mistress variously of Liszt, Dumas, and a Bavarian king, arrived on the New York stage in 1852, billed as a "Spanish dancer." No amount ofpublicity could disguise her limited talent. Johnston records the "enthusiastic reception ofLola by an American audience" - one Quaker, who hardly dares to look, and one dismayed gentleman, peering over his New York Herald, whose pages endlessly had promoted Lola. David Claypool Johnston had ambitions to become America 's Cruikshank. Although the quality ofhis draftsmanship was uneven, his caricatures, published as book illustrations and single sheets, show he had an eye for human foibles and the ability to translate them into witty drawings. Left: Johnston '.'I ingenious cartoon envelope allowed him to change a politician '.'I express ion with the pull ofa tab, a device he used to comment on the results ofseveral presidential electio ns. His 1849 version, Metamorphosis: A Locofoco Before, and After, the Late Elec tion, shows a radical Democrat reacting to the news that Whig candidate Gen. Zachar)' Taylor has defeated Democrat Lewis Cass ­ "Hurra For Cass.''' changes to "What.' Old Zack Elected." PAGE 6 THE QlJARTO Comic almanacs began to appear in the 1830s. a welcome relieffrom the moralizing fare ofconventional almanacs. From them evolved the illustrated humorous weekly. Yankee Notion s: or, Whittlings from Jonathan's Jack-kn ife, is representative ofthe genre. Chauvinistic, racist, bigoted, its favorite targets were foreign immigrants, Jews.Blacks, and women. Racial stereotypes used in facial features and dialects were standard devicesf or cartoonists like Augustus Hoppin. His coverfor Febraury; 1853, had Jonathan and son Junior commenting on the stupidity of a "[ urriner" who has fa llen through the ice. T HE QUARTO PAGE 7 O jd. :i\Inrtn lhitn n nin. a n d h e r- Peu uy Brtl111 d .... Above: Vanity Fair, America 's Punch during the 1850-60s, owed its popularity on the eve ofthe Civil War to the cartoon s ofHenry Louis Stephens, as they refl ected the controversies tear ing the nation apart, During the 1860 presidential campaign, Stephens caricatured Douglas as a pious hypocrite.
Load more

Recommended publications
  • Humour and Caricature Teachers Notes Humour and Caricature
    Humour and Caricature Teachers Notes Humour and Caricature “We all love a good political cartoon. Whether we agree with the underlying sentiment or not, the biting wit and the sharp insight of a well-crafted caricature and its punch line are always deeply satisfying.” Peter Greste, Australian Journalist, Behind the Lines 2015 Foreward POINTS FOR DISCUSSION: Consider the meaning of the phrases “biting wit”, “sharp insight”, “well-crafted caricature”. Look up definitions if required. Do you agree with Peter Greste that people find political cartoons “deeply satisfying” even if they don’t agree with the cartoons underlying sentiment? Why/why not? 2 Humour and Caricature What’s so funny? Humour is an important part of most political cartoons. It’s a very effective way for The joke cartoonists to communicate their message to their audience can be simple or — and thereby help shape public opinion. multi-layered and complex. POINTS FOR DISCUSSION: “By distilling political arguments and criticisms into Do a quick exercise with your classmates — share a couple clear, easily digestible (and at times grossly caricatured) of jokes. Does everyone understand them? Why/why not? statements, they have oiled our political debate and What does this tell us about humour? helped shape public opinion”. Peter Greste, Australian Journalist, Behind the Lines foreward, http://behindthelines.moadoph.gov.au/2015/foreword. Why do you believe it’s important for cartoonists to make their cartoons easy to understand? What are some limitations readers could encounter which may hinder their understanding of the overall message? 3 Humour and Caricature Types of humour Cartoonists use different kinds of humour to communicate their message — the most common are irony, satire and sarcasm.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Caricature, Satire, Comics Image on Cover: 4
    Caricature, Satire, Comics Image on cover: 4. (Armenian Satirical Journal, Critical of Ottoman Tur- key) - Yeritsian, A. and A. Atanasian, editors. Խաթաբալա, e.g. Khatabala [Trouble], complete runs for 1907 (nos. 1-50) and 1912 (nos. 1-50). Image on back cover: 6. (Australian Counterculture) - Oz. No. 1 (April 1963) through No. 41 (February 1969) (all published). Berne Penka Rare Books has been serving the needs of librarians, curators and collectors of rare, unusual and scholarly books on art, architecture and related fields for more than 75 years. We stock an ever-changing inventory of difficult to source books, serials, print porolios, photographic albums, maps, guides, trade catalogs, architectural archives and other materials from anquity to contemporary art. For an up-to-date selecon of new and notable acquisions, please visit our blog at www.rectoversoblog.com or contact us to schedule an appointment at your instuon. And if you should you hap- pen to be in Boston, please give us a call or simply drop by the shop. We welcome visitors. Items in catalog subject to prior sale. Please call or email with inquiries. 1. (A Key Jugendstil Periodical) - Meyrink, Gustav, editor. Der Liebe Au- gustin. Vol. I, nos. 1 through 24 (1904) (all published). Vienna: Herausgeg- eben von der Österreichischen Verlags-Anstalt F. & O. Greipel, 1904. A com- plete run (altogether 411 [1] pp., continuous pagination) of the rare and very important Art Nouveau periodical primarily published under the editorial di- rection of Gustav Meyrink, with artistic and literary contributions by many noted international turn-of-the-century cultural figures, profusely illustrated throughout after cartoons, caricatures, and other drawings by Heinrich Zille, Josef Hoffmann, Julius Klinger, Lutz Ehrenberger, Jules Pascin, Koloman Moser, Emil Orlik, and Alfred Kubin, among many others.
    [Show full text]
  • A Literature Review of Library-Themed Cartoons, Caricatures, and Comics
    School of Information Student Research Journal Volume 3 Issue 1 Article 2 May 2013 Library Cartoons: A Literature Review of Library-themed Cartoons, Caricatures, and Comics Julia B. Chambers SJSU SLIS, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/ischoolsrj Part of the Library and Information Science Commons Recommended Citation Chambers, J. B. (2013). Library Cartoons: A Literature Review of Library-themed Cartoons, Caricatures, and Comics. School of Information Student Research Journal, 3(1). https://doi.org/10.31979/ 2575-2499.030102 Retrieved from https://scholarworks.sjsu.edu/ischoolsrj/vol3/iss1/2 This article is brought to you by the open access Journals at SJSU ScholarWorks. It has been accepted for inclusion in School of Information Student Research Journal by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Library Cartoons: A Literature Review of Library-themed Cartoons, Caricatures, and Comics Abstract To understand differing views of past events, historians, political science scholars, and sociologists have analyzed political and editorial cartoons with themes ranging from elections to fiscal policy ot human rights. Yet scant research has been dedicated to cartoons with library themes. The author of this paper examines peer-reviewed literature on the subject of library cartoons, including historical background, analysis of recent themes, and arguments for promoting library-themed cartoons, caricatures, and comics. The author finds a significant gap in the literature on this topic and concludes that information professionals would benefit from a comprehensive content analysis of library-themed cartoons to enhance understanding of the significance of libraries during historic events, assess public perception of libraries, and identify trends over time.
    [Show full text]
  • FIGHTING MEN and Julian Voloj Thomas Campi 741.5 Shuster FIERCE WOMEN Joe Shuster AUGUST 2018 — NO
    MEANWHILE JACK AND DAVIS: DEATH STAND OTHER FIGHTING MEN AND Julian Voloj Thomas Campi 741.5 Shuster FIERCE WOMEN Joe Shuster AUGUST 2018 — NO. TWENTY PLUS...MILK AND BULLETS Phillipe Druillet Moebius Druillet Kirby Steranko Gerard Way’s Shuster Jerry Siegel Druil- let Manuele Fior DULL CASEY MARGARET RUGGLES, YOUNG FRANCES FRONTIERSMAN THE SMELL OF THE TROUBLE STARVING MAKERS BOYS The Comics & Graphic Novel Bulletin of A woman loses a Warren Tufts thrills in black & white and color breast and gains as he brings the old Wild West alive in Casey a new life as the Ruggles Volume One, collecting the classic rising star in a newspaper strip by one of the best in the biz. burlesque troupe An “artist’s artist”, Warren Tufts was admired—and imitated– by of handicapable his peers, including his young assistant, Alex Toth. Casey Ruggles: hotties in About V1 compiles, for the first time ever, the complete dailies and Sun- Betty’s Boob by day pages from the series’ inaugral years. In many ways, Casey Ruggles was a standard oater: the square-jawed hero (Ruggles), Vero Cazot and his horse (Cheyenne), the Indian sidekick (Kit Fox). But Ruggles Julie Rocheleau. not only battled the usual rannies and owlhoots, but pirates, Rus- sian agents— and racists. Ruggles defended Native Americans in Brought to our shores by Archaia, Betty’s Boob is a peace as he respected them in war. Casey mixed it up with the pantomime comic that looks like Kyle Baker draw- ladies, too, especially the whip–wielding Lili Lafitte. Fans of vin- ing a Betty Boop cartoon.
    [Show full text]
  • The History of British Cartoons and Caricature Transcript
    The History of British Cartoons and Caricature Transcript Date: Monday, 4 October 2010 - 12:00AM Location: Museum of London Gresham Lecture, 4 October 2010 The History of British Cartoons and Caricature Lord Baker of Dorking First, I should congratulate you on coming today, in spite of the tube strike. It is a wonderful example of British grit and determination, and congratulations in beating Mr Bob Crow! Of course, the alternative that you did have available to you was to stay at home and watch the Conservative Party Conference on television. I think, on the whole, you have chosen wisely! Caricature is not an English word. The first time it was used in England was in 1748. It comes from the Italian “caricatura” and there is also a French verb, “carcare”. Those verbs mean to load, to burden, and to exaggerate. There were a few drawings made at the end of the 17th Century in Italy of grotesque figures, exaggerated caricatures, but it did not develop as an art form there at all. There is virtually nothing in 18th Century Italian art that could be described as caricature. It sort of fizzled out. Nor did it get established in France. Indeed, the Kings of France were quite clear that they did not like to be caricatured. One engraver, who depicted Louis XIV, the Sun King, in a disparaging way, was torn apart by four horses. That is a practice, which on the whole, discourages the dedication to a profession. Caricature started in Britain in the 1720s. Graphic satire is the only art form our country has created.
    [Show full text]
  • Automatic Creation of Expressive Caricatures: a Grand Challenge for Computer Graphics
    Computational Aesthetics Automatic Creation of Expressive Caricatures: A Grand Challenge For Computer Graphics Ergun Akleman∗ Visualization Sciences Program Texas A&M University Examples of Expressive 3D Caricatures Created in my Computer Aided Sculpting Course 1. Motivation trained painter will draw every visible detail in a still life. Cari- caturists not only ignore unimportant details, but also selectively One of the ultimate goals of computer graphics is to develop rep- exaggerate the features that makes their subjects unique. resentational techniques to create wide variety of artworks such as drawings, paintings, sculptures and animations. Development of Although abstraction, simplification and exaggeration are very these representational techniques requires a good understanding of common tools used in visual arts, only in caricature we consciously abstraction, simplification and exaggeration. learn to apply them. Unfortunately, caricature is one of the orphan fields in fine arts. In United States, caricature is not considered high level of art and disregarded in academic circles. Even public view caricature as a consumer product1. Caricature is consumed and forgotten. But, we have so many things to learn from Caricature process. Figure 1 shows the ingenuity of great caricaturists. As it can be seen in the figure, there are a wide variety of ways for abstraction, sim- plification and exaggeration. For instance, Hanoch Piven’s Barbara Salvador Dali Pablo Picasso Benito Mussolini Streisand is just a microphone. Lou Hishman’s Mussolini consists by Sebastian Kruger by Lenn Redman by Lou Hishman of a plunger and a shoe. Hirschfeld can draw an arm with a simple S shape. In all these examples, the level of abstraction and simplifi- cation is so high that it is easy to see to automatically create such caricatures is a great challenge.
    [Show full text]
  • CARICATURES the Cartoonist Will Employ Numerous Techniques To
    This handout was created by the Ardrossan Social Dept. TECHNIQUES: CARICATURES The cartoonist will employ numerous techniques to get his message across to the viewer. One of the most frequently used is that of caricature. In caricature, the cartoonist will exaggerate certain features of the main figure in the cartoon. This figure tends to be a highly recognizable person, either from the past or present day. The cartoonist may choose to exaggerate the shape of the ears, nose, or just the overall facial shape. Any distinguishing features such as birthmarks will receive attention by the cartoonist. It is expected by the cartoonist that the viewer must have some prior knowledge to identify the caricature. Sometimes, both not always, the cartoonist may include the name of the figure. Sample One: Ralph Klein (former premier of Alberta) In this caricature, the cartoonist has exaggerated the ears, the heavy jowls/double chins and the nose. In fact, the nose of Klein would be shaded in to indicate to the viewer that this person has a problem with alcohol. Sample Two: Jean Chretien (former Prime Minister of Canada) The cartoonist has chosen to exaggerate Chretien’s ears, forehead and his crooked mouth. Sample Three: Stephen Harper (present Prime Minister of Canada) In this caricature, the cartoonist has given the viewer additional help with the caption “ Super Stephen”. Because there are no unique facial parts to exaggerate the cartoonist has exaggerated the overall shape of the face (rectangular). Sample Four: Slobodan Milosevic (former dictator of Serbia, 1991-99) In this classic caricaturization of the dictator Milosevic, the cartoonist has exaggerated the shape of the face, the double chins, the receding hairline (high widow’s peak) and the white straight hair.
    [Show full text]
  • Caricaturing Buildings for Effective
    CARICATURING BUILDINGS FOR EFFECTIVE VISUALIZATION A Thesis by GRANT G. RICE III Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE December 2005 Major Subject: Visualization Sciences CARICATURING BUILDINGS FOR EFFECTIVE VISUALIZATION A Thesis by GRANT G. RICE III Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Approved by: Chair of Committee, Ergun Akleman Committee Members, Dick Davison Jianer Chen Head of Department, Mardelle Shepley December 2005 Major Subject: Visualization Sciences iii ABSTRACT Caricaturing Buildings for Effective Visualization. (December 2005) Grant G. Rice III, B.E.D., Texas A&M University Chair of Advisory Committee: Dr. Ergun Akleman The objective of my research is to identify and analyze the techniques of ex- aggeration, simplification, and abstraction used by caricature and cartoon artists. I apply these techniques to an expressive 3D modelling process which is used to create building caricatures. This process minimizes the number of unimportant details and increases the recognizability of the buildings. Additionally, the building caricature process decreases the time spent modelling the buildings and reduces their overall file sizes. The building caricature process has been used to create other building carica- tures, as well as interactive visualizations and 3D maps of the Texas A&M University campus. iv ACKNOWLEDGMENTS I would like to thank Dr. Ergun Akleman, Dr. Dick Davison, and Dr. Jianer Chen for advising me on this thesis. I would like to thank my family Grant, Carol and Travis Rice for their support.
    [Show full text]
  • Darwin in Caricature: a Study in the Popularisation and Dissemination of Evolution
    Darwin in Caricature: A Study in the Popularisation and Dissemination of Evolution The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Browne, Janet. 2001. Darwin in caricature: A study in the popularisation and dissemination of evolution. Proceedings of the American Philosophical Society 145(4): 496-509. Published Version http://www.jstor.org/stable/1558189 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:3372264 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Darwin in Caricature: A Study in the Popularisation and Dissemination of Evolution1 JANET BROWNE Reader, Wellcome Trust Centre for the History of Medicine University College of London N THE YEARS that followed the publication of the Origin of Species Darwin became one of the most famous naturalists in the world, "first among the scientific men of England," as Edward Aveling put it, his name inextricably linked with the idea of evolution and with the larger shifts in public opinion gathering pace as the cen- tury drew toward a close.2 Few other scientific theories have spread as far as Darwin's theory of evolution by natural selection. Within ten years of publication in London of On the Origin of Species (1859) there were sixteen different editions in England and America, and translations into German, French, Dutch, Italian, Russian, and Swedish, accompanied by impor- tant commentaries, criticisms, and supporting texts.
    [Show full text]
  • 1 Between Words and Images: Visual Satire, Libel Law and the Queen Caroline Affair Andrew Bricker, Ghent University on the Eve O
    Between Words and Images: Visual Satire, Libel Law and the Queen Caroline Affair Andrew Bricker, Ghent University On the eve of the Queen Caroline Affair, George Augustus Frederick, the Prince of Wales, was, to put it mildly, an unsympathetic figure. As the epitome of royal vice, The Times declared, the prince was widely known to “drink, wench and swear like a man who at all times would prefer a girl and a bottle to politics and a sermon.” Where did this image come from? In part the prince’s reputation as a lusty, gluttonous and profligate monarch in waiting was an obvious consequence of his own very public behaviour. But the widespread perception that the prince was a gouty gourmand and womanizer wastrel had also been propagated and reinforced by the thousands of satiric images that had appeared overs decades and had been openly circulated across metropolitan London.1 James Gillray’s pungent caricature A Voluptuary under the Horrors of Digestion (fig. 1) is an exemplary reduction of the prince’s many corporeal vices: there he sits, in an almost post-coital stupor, fork in mouth as his tenuously bound breeches labor against his pumpkin-shaped gut. From the 1780s on, the prince’s corpulent body was to be found on gruesome, almost anatomical public display, plastered up in dozens of print-shop windows. Onlookers, and especially Figure 1 foreigners, could hardly believe it. One visitor to London was shocked to discover that the printseller Hannah Humphrey’s shop--“a manufactory […for ] throwing off libels against” the crown--was just yards from the Royal Palace.2 1 See Kenneth Baker, George IV: A Life in Caricature (London: Thames & Hudson, 2005).
    [Show full text]
  • Caricatures (Alphabetical by Artist/Author)
    Caricatures (alphabetical by artist/author) Artist/Author Title Printer/Publisher Date(s) Description/Notes Shelf No. Vols. Beerbohm, Max, 1872- A book of caricatures. London : Methuen, 1907. 1907 [49] leaves of plates (inc. front.) : F741.591 (B) 1 1956. chiefly ill. (some col. and mount.) ; 38 cm. Presented to the University of Sheffield Library by W.A. Murray. Beerbohm, Max, 1872- The poet's corner. London : William 1904 [20] leaves of col. plates ; 38 cm. F741.591 (B) 1 1956. Heinemann, 1904. Title page in red and black. Printed in London by Hazell, Watson & Viney. Bobbin, Tim, 1708-1786. Human passions delineated Manchester : printed 1858 [2], [31] leaves : 43 ill., front. ; 42 cm. F741.5942 (B) 1 in above 120 figures, droll, and published by John Timothy Bobbin, i.e. John Collier. The satyrical, and humourous : Heywood, 1858. title page and plates are facsimiles of designed in the Hogarthian those of the engraved edition of style, very useful for young 1773. First 25 leaves contain the 43 practitioners in drawing. plates, final 6 leaves contain afterword to subscribers by Tim Bobbin, an explanation of the plates, and a list of the passions of the mind as shown in the illustrations. Some of the plates were engraved by Thomas Sanders. From the library of Sir Charles Harding Firth. Champfleury, 1821-1889 Histoire de la caricature : Paris : E. Dentu, 1879. 1879 3rd ed. xxii, 347 p : ill. ; 18 cm. From **741.5 (C) 1 antique the library of Sir Charles Harding Firth. Champfleury, 1821-1889 Histoire de la caricature : Paris : E. Dentu, 1875.
    [Show full text]