From Toons to Icons

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Cartoons for the Classroom Presented in cooperation with the Association of American Editorial Cartoonists (AAEC) From toons to icons Artists get credit for Teddy Bears, hot dogs, Uncle Sam and even Santa As legend has it, Tad Dorgan sketched a cartoon of barking dachshund sausages nestled in warm buns in New York in the early 1900s and coined the term “Hot Dog.” Unfortunately the tale doesn’t hold up under fur- ther research. The toon doesn’t exist. A shame, really. But other icons of our culture can trace their roots to political cartoons and illustrations. Thomas Nast in the 1860s gets credit for the image of Santa Claus as Clifford Berryman well as for the donkey and elephant political symbols. Talking points: Clifford Berryman’s 1902 sketch showing President Write a short definition for each of the following. Theodore Roosevelt refusing to shoot a captured bear inspired a toy maker to name his stuffed toy a “Teddy Icon ___________________________________ Bear.” The origin of Uncle Sam is a bit fuzzier, but _________________________________________ James Montgomery Flagg's WWI recruiting poster, while not the first rendition, is likely the most famous. Symbol _________________________________ _________________________________________ Cliche __________________________________ _________________________________________ What other symbols used in political cartoons today might qualify as icons -- symbols used so often they are immediately understood by every- body? Statue of Liberty might be one. The cigar-chomping fat guy in a suit as a representation for corporate America might be another. What else can you find? Get out your newspaper Gather a week’s worth of political cartoons from your newspaper. Using the Cartoon Evaluation Worksheet (available online at the NIE Website) analyze each cartoon and identify the symbols used. Which ones have you seen before? Are the symbols clear to you? Additional resources Association of American Editorial Cartoonists (AAEC) http://pc99.detnews.com/aaec/ Topic suggested by Randy Bish / Tribune-Review, Pittsburgh, PA Thomas Nast Cartoons for the Classroom is available through Newspaper in Education programs. Copyright Online Publications Inc. and NIEOnline.com.

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Thomas Nast 1840–1902
Name _____________________________ Class _________________ Date __________________ Life at the Turn of the 20th Century Biography Thomas Nast 1840–1902 WHY HE MADE HISTORY Thomas Nast has been called the father of modern American political cartooning. He is best known for his cartoons exposing the corruption of Boss Tweed’s political machine. As you read the biography below, think about how Thomas Nast influenced public opinion. How did he use images to communicate? CORBIS © By the late 1800s the governments of most major cities were run by political machines. These informal groups of professional politicians controlled local government. Often these politicians were corrupt and abused the public trust. Thomas Nast, a political cartoonist, exposed the corruption of one of the biggest political machines of his day. His drawings led to the downfall of Boss Tweed’s Tammany Hall political machine. Thomas Nast was born in Germany in 1840, the son of a musician. His family immigrated to the U.S. and settled in New York City when he was six years old. Nast studied art at the National Academy of Design. At the age of 15, he was hired as a staff artist for Frank Leslie’s Illustrated Newspaper. By the time he was 18, Nast was a freelance artist for Harper’s Weekly and the New York Illustrated News. In 1862 Harper’s Weekly hired Nast to draw images of the Civil War. His editors hoped he would draw realistic battle scenes. Instead, Nast drew images that supported the Union and opposed slavery. Nast distorted and exaggerated the physical traits of his subjects to convey strong social and political messages.
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Selected Bibliography of American History Through Biography
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View / Open Thesis Final-Bisson.Pdf
NO LAUGHING MATTER: XENOPHOBIA AND ANTI-RADICALISM IN EARLY AMERICAN POLITICAL CARTOONS by BIANCA RENEE BISSON A THESIS Presented to the Department of Political Science and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 An Abstract of the Thesis of Bianca Renee Bisson for the degree of Bachelor of Arts in the Department of Political Science to be taken June 2014 Title: No Laughing Matter: Xenophobia and Anti-Radicalism in Early American Political Cartoons Approved: __d_---l ~--~--------- Anita Chari While political cartoons have a reputation for upholding the tenants of democracy and freedom, the editorial images of the late 19th century and early 20th century show quite the contrary. In fact, they promote elements of early American life such as racism, misogyny and anti-radicalism, and make negative statements about the aspects of society that did not conform to conservative White Anglo-Saxon Protestantism. [j Acknowledgements First of all, I would like to thank my thesis advisors, Professors Anita Chari, Alison Gash, and Casey Shoop. Professor Chari is a wonderful instructor, whose class on radical political theory motivated me to continually think critically about the world. Professor Gash teaches in a captivating way that drove me to question the status quo from a legal perspective. Professor Shoop, though I have not had the chance to take a class from him, made me feel at ease and comfortable despite the often high demands of the Clark Honors College. I would also like to thank my parents for supporting my education from afar and my friends for creating a safe and warm environment to come home to at the end of a long day of studying.
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Uniting Mugwumps and the Masses: the Role of Puck in Gilded Age Politics, 1880-1884
Uniting Mugwumps and the Masses: The Role of Puck in Gilded Age Politics, 1880-1884 Daniel Henry Backer McLean, Virginia B.A., University of Notre Dame, 1994 A Thesis presented to 1he Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of English University of Virginia August 1996 WARNING! The document you now hold in your hands is a feeble reproduction of an experiment in hypertext. In the waning years of the twentieth century, a crude network of computerized information centers formed a system called the Internet; one particular format of data retrieval combined text and digital images and was known as the World Wide Web. This particular project was designed for viewing through Netscape 2.0. It can be found at http://xroads.virginia.edu/~MA96/PUCK/ If you are able to locate this Website, you will soon realize it is a superior resource for the presentation of such a highly visual magazine as Puck. 11 Table of Contents Introduction 1 I) A Brief History of Cartoons 5 II) Popular and Elite Political Culture 13 III) A Popular Medium 22 "Our National Dog Show" 32 "Inspecting the Democratic Curiosity Shop" 35 Caricature and the Carte-de-Viste 40 The Campaign Against Grant 42 EndNotes 51 Bibliography 54 1 wWhy can the United States not have a comic paper of its own?" enquired E.L. Godkin of The Nation, one of the most distinguished intellectual magazines of the Gilded Age. America claimed a host of popular and insightful raconteurs as its own, from Petroleum V.
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Thomas Nast.” Prints & Photographs Online Catalog
Annotated Bibliography Primary Sources: Archives: “Thomas Nast.” Prints & Photographs Online Catalog. Lib. of Cong., n.d. Web. 11 Nov. 2014. The Library of Congress Prints and Photographs Division collection of Thomas Nast images is the largest online resource for Nast’s work and related materials. This archive was invaluable in providing high resolution primary source illustrations for all sections of our exhibit. It also includes some contemporary cartoons inspired by Nast’s work. Thomas Nast Papers. Billy Ireland Cartoon Library and Museum, The Ohio State University, Columbus, Ohio. The Nast material available at the Billy Ireland Cartoon Library and Museum Reading Room includes all of Nast’s Harper’s Weekly illustrations from 1871, the height of the campaign against the Tweed Ring, as well as contemporary takes on his work such as a play on “Who Stole the People’s Money?” created by Jim Borgman during the Carter Administration. Thomas Nast Papers, 1860-1902. Gilded Age Collection, Rutherford B. Hayes Presidential Center, Fremont, Ohio. This collection includes correspondence, photographs, personal journals from Nast’s travel in Europe, the Nast family scrapbook of newspaper clippings, and published works from various magazines as well as numerous original sketches. Of particular interest were the sketches in which Nast seemed to be developing ideas for famous cartoons such as “The ‘Brains.’” Books: Paine, Albert Bigelow. Thomas Nast, His Period and His Pictures. 1904. Broomall: Chelsea, 1997. Print. Paine’s biography, based on interviews with Nast and originally published shortly after Nast’s death, is an essential resource. It provided a wealth of information about Nast’s life and work as well as a number of useful quotes illustrating Nast’s influence and legacy.
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Journal of the Thomas Nast Society Vol
Journal of The Thomas Nast Society Vol. 13 No. 1 1999 President's Message ALICE CAULKINS Nast on the Cover of Time RICHARD SAMUEL WEST Thomas Nast's Holidays JEFFREY EGER Dearest Sallie... Sarah Nast, the Woman Who Inspired Thomas Nast CHRISTINE JOCHEM 3D from 2D: An Authentic Re-creation of JOHN BATTRAM Thomas Nast's Santa Claus Costume AND JEFFREY EGER Clement Moore and Thomas Nast: Santa Claus in the Big Apple JEFFREY EGER Update: The World of Thomas Nast JOHN ADLER Thomas Nast and David Ross Locke: Mocking Birds of a Feather PAUL P. SOMERS, JR. Thomas Nast and the New York Illustrated News, Part IV: The War Between the States JEFFREY EGER Allusion and Illusion: The Robinson Crusoe of Thomas Nast JEFFREY EGER Contributors ii; Journal of The Thomas Nast Society Vol. 13 No. 1 1999 The Journal of The Thomas Nast Society is published annually by The Thomas Nast Society, a non-profit, tax-exempt organization. Its address is the Morristown-Morris Township Public Library, 1 Miller Road, Morristown, N.J. 07960, (Telephone: 973-538- 3473). The Journal is a benefit of membership in the Society. All correspondence should be sent to the Morristown address. Manuscripts are welcome. Please contact the editor for more information. Officers of the Society: Alice Caulkins, President; Christine Jochem, Treasurer. Board of Trustees: William R. Battey (honorary), Alice Caulkins, Chris Jochem, Jeffrey Eger, Marian R. Gerhart (honorary), Draper Hill (honorary), Ken Miller, Nancy Miller, Thomas Nast III (honorary), Michael Rockland, and Richard Simon. Editor: Jeffrey Eger Researcher: Asa Eger Layout and Design: Shalit Design Works © 1999 by The Thomas Nast Society V.
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8Th Annual MARIN FAIR PLEIN
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The Mentor Magazine. October 1923. Vol. 11, No. 9
Consistency Consistency in the assembling of the fur nishings, proper relation in the form and size, harmony in color— all combine to make the veil furnished, livable room. These require no unusual outlay of money, because with taste and knowledge great expense is not always necessary. Our collection of Antique and Modem Furniture offers an unlimited selection— and our experts are at your service. W. & J. SLOANE FIFTH AVENUE a n d 4 7 t h STREET, NEW YORK WASHINGTON SAN FRANCISCO TELE MENTOR, published monthly, on the first of the month, by The Crowell Publishing? Company at Springfield, Ohio, U. S. A. Subscrip tion, $4.00 a year in the United States and Canada; foreign postage, 50 cents extra. Single copies, 35 cents. Subscribers are notified that change of address must reach us five weeks in advance of the next day of issue. October, 1923. Serial No. 248. Entered as second-class matter at the post office at Springfield, Ohio, under the act of March 3, 1879. FOUR-MINUTE ESSAYS, by DR. FRANK CRANE THE MAN WITH A MILLION FRIENDS Dr. Frank Crane was not known outside of a small circle of friends ten years ago when he began writing for one daily newspaper. To-day 50 of the great metropolitan papers publish his daily messages which are read by millions of men and women who are doing the world’s work. In a decade he has won a million friends through his helpful philosophy. Here are 400 of his Four-Minute Essays—his masterpieces—selected by Dr. Crane himself.
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10Th Annual MARIN FAIR PLEIN AIR
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Norman Rockwell Museum Featured Illustrators, 1993–2008
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The University Art Collection: Paintings, Sculpture, Fine Prints, and Other Graphic Arts A
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Remembering the Veteran Disability, Trauma, and the American Civil War, 1861-1915
REMEMBERING THE VETERAN DISABILITY, TRAUMA, AND THE AMERICAN CIVIL WAR, 1861-1915 Erin R. Corrales-Diaz A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art. Chapel Hill 2016 Approved by: Ross Barrett Bernard L. Herman John P. Bowles John Kasson Eleanor Jones Harvey © 2016 Erin R. Corrales-Diaz ALL RIGHTS RESERVED ii ABSTRACT Erin R. Corrales-Diaz: Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861-1915 (Under the direction of Ross Barrett) My dissertation, “Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861-1915,” explores the complex ways that American artists interpreted war-induced disability after the Civil War. Examining pictorial representations of disabled veterans by George Inness, Thomas Nast, William Bell, and other artists, I argue that the veteran’s broken body became a vehicle for exploring the overwhelming sense of loss that Northerners and Southerners experienced in the war's aftermath. Oscillating between aestheticized ideals and the reality of affliction, visual representations of disabled veterans uncover postwar Americans’ deep and otherwise unspoken anxieties about masculinity, identity, and nationhood. This project represents the first major effort to historicize the visual culture of war-related disability and presents a significant deviation from previous Civil War scholarship and its focus on death. In examining these understudied representations of disability and tracing out the ways that they rework and reinforce nineteenth-century constructions of the body, this project models an approach to the analysis of period imaginings of corporeal difference that might in turn shed new light on contemporary artistic responses to physical and psychological injuries resulting from warfare.
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