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See also:CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to See also:charge; Fr. charge) , a See also:general See also:term for the See also:art of applying the See also:grotesque to the purposes of See also:satire, and for pictorial and plastic ridicule and See also:burlesque. The word; " caricatura" was first used as See also:English by See also:Sir See also: During the See also:middle ages a vast See also:mass of grotesque material was accumulated, but selection becomes even more difficult than with the scarce See also:relics of antiquity. With the See also:building of the cathedrals originated a new See also:style of art; a See also:strange mixture of memories of paganism and Christian imaginings was called into being for the adornment of those See also:great strongholds of See also:urban Catholicism, and in this the coarse and brutal See also:materialism of the popular humour found its largest and freest expression. On See also:missal-marge and sign-See also:board, on See also:stall and See also:entablature, ingargoyle and initial, the grotesque displayed itself in an See also:infinite variety of forms. The import of this inextricable tangle of imagery, often obscene and horrible, often See also:quaint and fantastic, is difficult, if not impossible, to determine. We recognize the prevalence of three great popular types or figures, each of which may be credited with a satirical intention—of Reynard the See also:Fox, the See also:hero of the famous See also:medieval See also:romance; of the See also:Devil, that peculiarly medieval See also:antithesis of See also:God; and of See also:Death, the sarcastic and irreverent See also:skeleton. The popularity of the last is evidenced by the fact that no fewer than See also:forty-three towns in See also:England, See also:France and See also:Germany are enumerated as possessing sets of the See also:Dance of Death, that grandiose all-levelling See also:series of caprices in the contemplation of which the middle ages found so much See also:consolation. It was reserved for See also:Holbein (1498-154), seizing the See also:idea and resuming all that his contemporaries thought and See also:felt on the subject, to produce, in his fifty-three magnificent designs of the Danse See also:Macabre, the first and perhaps the greatest set of satirical moralities known to the modern world.
It is in the tumult of the See also:Renaissance, indeed, that caricature in its modern sense may be said to have been See also:born. The great popular movements required some such vehicle of comment or censure; the perfection to which the arts of See also:design were attaining supplied the means; the invention of See also:printing ensured its dissemination. The earliest genuine piece of graphic See also:irony that has been discovered is a caricature (1499) See also:relating to See also: A curious reaction is visible in the work of Pieter See also:Breughel (1510-1570) towards the grotesque diablerie and macaberesque morality of medieval art, the last See also:original and striking See also:note of which is caught in the compositions of Jacques See also:Callot (1593-1635), and, in a less degree, in those of his followers, Stefano della Bella (1610-a664) and Salvator See also:Rosa (1615-1673). On the other See also:hand, however, Callot, one of the greatest masters of the grotesque that ever lived, in certain of his Caprices, and in his two famous sets of prints, the Miseres de la guerre, may be said to anticipate certain productions of See also:Hogarth and See also:Goya, and so to have founded the modern school of ironic genre.
In England one of the earliest caricatures extant is that in the margin of the See also:Forest See also:Roll of See also:Essex, 5, ed. 1, now at the See also:Record See also:Office; it is a grotesque portrait of "See also:Aaron fil Diabole" (Aaron, son of the devil), probably representing Cok, son of Aaron. It is dated 1277. Another caricature, undated, appears on a Roll containing an See also:account of the tallages and fines paid by See also:Jews, 17. See also: The Dutch, indeed, as already has been stated, were the great purveyors of pictorial satire at this See also:time and during the See also:early See also:part of the next century. In England the wit of the victorious party was rather vocal than pictorial;,in France the spirit of caricature was sternly repressed; and it was from See also: As a political caricaturist Hogarth was not successful, See also:save in a few isolated examples, as in the portraits of Wilkes and See also:Churchill; but as a moralist and social satirist he has not yet been equalled. The publication, in 1732, of his Modern Midnight Conversation may be said to See also:mark an See also:epoch in the See also:history of caricature. Mention must also be made of See also:Paul See also:Sandby (1725-1809), who was not a professional caricaturist, though he joined in the pictorial See also:hue-and-cry against Hogarth and See also:Lord Bute, and who is best remembered as the founder of the English school of See also:water-See also:colour; and of See also: After the downfall of See also:Napoleon (1815), however, when strife was over and men were weary and satisfied, a See also:change in See also:matter and manner came over the caricature of the period. In connection with this change, the name of George See also:Cruikshank (1792-1878), an artist who stretches hands on the one See also:side towards Hogarth and Gillray, and on the other towards See also:Leech and See also:Tenniel, deserves See also:honourable mention. Those of Cruikshank's political caricatures which were designed for the squibs of William See also:Hone (1779-1842) are, comparatively speaking, uninteresting; his ambition was that of Hogarththe See also:production of " moral comedies." Much of his work, there-fore, may be said to form a See also:link in the See also:chain of development through which has passed that ironical genre to which reference has already been made. In 1829, however, began to appear the famous series of lithographs, signed H. B., the work of John See also:Doyle (1798-1868). These jocularities are interesting otherwise than politically; thin and weakly as they are, they inaugurated the style of later political caricature. In France, meanwhile, with the farcical designs of Edme See also:Jean Pigal (b. 1794) and the realistic sketches of See also:Henri See also:Monnier (1805-1872), the admirable portrait-busts of Jean See also:Pierre Dantan the younger (1800-1869) and the See also:fine military and See also:low-See also:life drolleries of See also:Nicolas See also:Toussaint See also:Charlet (1792-1845) were appearing. Up to this date, though journalism and caricature had sometimes joined hands (as in the See also:case of the Craftsman and the See also:Anti-Jacobin, and particularly in See also:Les Revolutions de France et de See also:Brabant and Les Actes See also:des Apetres), the See also:alliance had been but brief; it was reserved for See also: Mention must also be made of Grandville (J. I. I. See also:Gerard) (1803-1847), the illustrator of La See also:Fontaine, and a modern See also:patron of the medieval skeleton; of Charles See also:Joseph Travies de Villers, the father of the famous hunchback " Mayeux "; and of Amedee de Noe, or " Cham," the wittiest and most ephemeral of pictorial satirists. In 1840 the pleasantries of " H. B." having come to an end, there was founded, in See also:imitation of this enterprise of Philipon, the comic See also:journal which, under the title of Punch, or the London Charivari, has since become famous all over the world. Among its early illustrators were John Leech (1817-1864) and Richard Doyle (1824-1883), whose drawings were full of the richest grotesque humour. In 1862 Carlo Pellegrini, in Vanity See also:Fair, began a series of portraits of public men, which may be considered the most remarkable instances of See also:personal caricature in England. For the later developments of caricature, it is convenient to take them by countries in the following sections: Great See also:Britain.—During the later 19th century the term caricature, somewhat loosely used at all times, came gradually to See also:cover almost every form of humorous art, from the pictorial wit and See also:wisdom of Sir John Tenniel to the weird grotesques of Mr S. H. Sime, from the See also:gay pleasantries of See also:Randolph See also:Caldecott to the graceful but sedate fancies of Mr See also:Walter See also:Crane. It is made to embrace alike the social studies, satirical and sympathetic, of Du Maurier and See also:Keene, the political cartoons of Mr Harry See also:Furniss and Sir F. C. See also:Gould, the unextenuating likenesses of " See also:Ape," and " See also:Spy," and " Max," the
subtle conceits of Mr See also:Linley See also:Sambourne, the whimsicalities of Mr E. T. See also:Reed, the exuberant burlesques of Mr J. F. See also:Sullivan, the See also:frank buffooneries of W. G. See also:Baxter, Of these diverse forms of graphic humour, some have no other See also:object than to amuse, and therefore do not See also:call for serious See also:notice. The work of Mr Max Beerbohm (" Max ") has the note of originality and extravagance too; while that of " Spy " (Mr See also:Leslie See also: Mr Punch's outlook upon life has not changed much since the 'seventies of the last century. His influence upon the See also:tone of caricature made itself felt most appreciably in the days of John Leech and Richard Doyle. Their successors but follow in their steps. In their work, says a See also:clever See also:German critic, is to be found no vestige of the " sour bilious See also:temper of John See also:Bull " that pervaded the pictures of Hogarth and Rowlandson. Charles Keene (1823–1891) and Du Maurier (1834–1896), he declares, are not caricaturists or satirists, but amiable and tenderly See also:grave observers of life, friendly optimists. The characterization is truer of Keene, perhaps, than of Du Maurier. Charles Keene's sketches are almost always cheerful; almost without exception they make you smile or laugh. In many of Du Maurier's, on the other hand, there is an underlying seriousness. While Keene looks on at life with easy tolerance, an amused spectator, Du Maurier shows himself sensitive, emotional, sympathetic, taking infinite delight in what is See also:pretty and gay and charming, but hurt and offended by the sordid and the ugly. Thus while Keene takes things dispassionately as they come, seeing only the humorous side of them, we find Du Maurier ever and anon attacking some new phase of snobbishness or philistinism or cant. For all his kindliness in depicting congenial scenes, he is at times as unrelenting a satirist as Rowlandson. The other Punch artists, whose work is in the same See also: Mr Leonard See also:Raven-See also: In political caricature Sir John Tenniel (q.v.) remained the leading artist of his See also:day. The death of See also:Abraham See also:Lincoln, See also:Bismarck's fall from power, the tragedy of Khartum—to subjects such as these, worthy of a great painter, Tenniel has brought a classic simplicity and a sense of dignity unknown previously to caricature. It is hard to say in which field Tenniel most excels—whether in those ingenious parables in which the British See also:Lion and the See also:Russian See also:Bear, John Chinaman, Jacques Bonhomme and See also:Uncle Sam See also:play their part—or in the ever-c anging scenes of the great See also:parliamentary Comedy—or in sombre dramas of Anarchy, See also:Famine or Crime—or in those London extravaganzas in which the symbolic personalities of See also:Gog and Magog, Father See also:Thames and the See also:Fog Fiend, the See also:duke of Mudford and Mr Punch himself, have become See also:familiar. Subjects similar to these have been treated also for many years by Mr Linley Sambourne in his fanciful and often beautiful designs. In the field of humorous See also:portraiture also, as in See also:cartoon-designing, Mr Sambourne has made his mark, and he may be said almost to have originated, in a small.way, that practice of illustrating the doings of See also:parliament with comic sketches in which Mr Furniss, Mr E. T. Reed and Sir F. C. Gould were his most notable successors. Mr Furniss satirized the Royal See also:Academy as effectively as the Houses of Parliament, but he has been above all the illustrator of parliament—the creator of Mr See also:Gladstone's collars, the thief of Lord Randolph Churchill's inches, the immortalizer of so many otherwise obscure politicians who has worked the See also:House of See also:Commons and its doings into so many hundreds of See also:eccentric designs. But Mr Furniss was never, like Sir F. C. Gould (of the See also:Westminster See also:Gazette), a politician first and a caricaturist afterwards. Gould is an avowed See also:partisan, and his caricatures became the most formidable weapons of the See also:Radical party. See also:Caustic, witty and telling, not specially well See also:drawn, but drawn well enough—the likenesses unfailingly caught and recognizable at a glance—his " Picture Politics " won him a place unique in the ranks of caricaturists. There is no See also:evidence of such strenuousness in the work of Mr E. T. Reed (of Punch). In his parliamentary sketches, as in his " See also:Animal See also:Land " and " Prehistoric Peeps," Mr Reed is a wholly irresponsible humorist and parodist. One finds keen satire, however, in those " Ready-made Coats of Arms," in which he turned at once his heraldic See also:lore and his insight into See also:character to excellent account. In his more serious picture in which he has drawn a parallel between the tricoteuses awaiting with grim enjoyment the fall of the See also:guillotine and those modern English gentlewomen who See also:flock to the Old Bailey as to the play, we have the true Hogarthian touch. Mr See also:Gunning King, Mr F.H.Townshend, Mr C. E. See also:Brock, Mr Tom Browne, are among the younger humorists who have advanced to the front See also:rank. Though there have been some notable competitors with Punch, there has never been a really " See also:good second." In Matt See also:Morgan the See also:Tomahawk (1865–1867) could boast an original cartoonist after Tenniel's. style, but without Tenniel's power and humour. Morgan's Tomahawk cartoons gained in effect from an ingenious method of printing in two See also:colours. In Fred Barnard, W. G. Baxter, and Mr J. F. Sullivan, Judy (founded in 1867) possessed a trio of pictorial humorists of the first rank, and in W. Bowcher a political cartoonist thoroughly to the taste of those hot and strong Conservatives to whom Punch's faint Whiggery was but Radicalism in disguise. His successor, Mr William See also:Parkinson, was not less loyal to Tory ideas, though more urbane in his methods. Fun has had cartoonists of high merit in Mr See also:Gordon See also:Thomson and in Mr John See also:Proctor, who worked also for Moonshine (founded in 1879, now See also:extinct). Moonshine afterwards enlisted the services of See also:Alfred See also:Bryan, to whose clever pencil the See also:Christmas number of the World was indebted for many years. Ally Sloper, founded in 1884, is notable only as the widely circulated See also:medium for W. G. Baxter's See also:wild humours, kept up in the same spirit by Mr W. F. Thomas, his successor. Pick-me-up could once See also:count a See also:staff which rivalled at least the social side of Punch; Mr Raven-Hill, Phil May, Mr See also:Maurice Greiffenhagen and Mr See also:Dudley See also:Hardy all contributed in their time to its sprightly pages, while Mr S. H. Sime made it the vehicle for his " See also:squint-brained " imaginings. The'Will o' the Wisp, the Butterfly and the See also:Unicorn, kindred ventures, though on different lines, all met with an early death. Lika Joko, founded in 1894 by Mr Harry Furniss, who in that See also:year abandoned Punch, and afterwards Fair See also:Game, were also See also:short-lived. To this brief See also:list of purely comic or satirical See also:journals should be added the names of several daily and weekly publications—and among monthlies the Idler, with its caricatures by Mr See also:Scott Rankin, Mr Sime and Mr Beerbohm—which have made a See also:special feature of humorous art. Among these are the Graphic, whose Christmas See also:numbers were first brightened by Randolph Caldecott; the Daily Graphic, enlivened sometimes by Phil May and Mr A. S. See also:Boyd; Vanity Fair, with its grotesque portraits; Truth, to whose Christmas numbers Sir F. C. Gould contributed some of his best and most ambitious work, printed in colours; the Sketch, with Phil May and others; See also:Black and See also: 1828). Mirthful or satirical, and less philosophical than of yore, neglecting history for incident, and humanity for the puppets of the day, their drawings, which illustrate daily events, will perpetuate the manner and anecdotes of the time, though the illustrations to See also:newspapers, or prints which need a See also:paragraph of explanation, show nothing to compare with the Propos de Thomas Virelocque by " Gavarni." Quantity perhaps makes up for quality, and some of these artists deserve special mention. Draner " (b. 1833) and " Henriot " (b. 1857) are journalists, carrying on the method first introduced by " Cham " in the Univers Illustre: realistic sketches, with no purpose beyond the droll illustration of facts, amusing at the time, but of no value to the See also:print-See also:collector. M. J. L. See also:Forain, born at See also:Reims in 1852, studied at the Ecole des See also:Beaux Arts under Jean See also:Leon See also:Gerome and J. B. See also:Carpeaux. He first worked for the Courrier See also:Francais in 1887, and afterwards for See also:Figaro; he was then drawn into the polemical work of politics. Though he has created some great types of flunkeydom, the explanatory See also:story is more to him than the picture, which is often too sketchy, though masterly. Reduced reproductions of his work have been issued in volumes, a See also:common form of popularity never attempted with Daumier's fine lithographs. M. A. L. See also:Willette, born at Chalons-sur-See also:Marne in 1857, a son of See also:Colonel Willette, the aide-de-See also:camp to See also:Marshal See also:Bazaine, worked for four years in See also:Alexandre See also:Cabanel's studio, and so gained an See also:artistic training which alone would have distinguished him from his See also:fellows, even without the delightful poetical See also:fancy and Watteau-like See also:grace which are somewhat unexpected amid the ugliness of modern life. His work has the value, no doubt, of deep and various meaning, but it has also See also:intrinsic artistic See also:worth. M. Willette is, in fact, the ideal delineator of the more voluptuous and highly spiced aspects of contemporary life. " See also:Caran d'Ache," a native of See also:Moscow, born in 1858, borrowed from the German caricaturists—mainly from W. Busch—his methods of illustrating " a story without words." He makes fun even of animals, and is a master of canine See also:physiognomy. His See also:simple and unerring outline is a method peculiarly his own; now and again his wit rises to grandiloquence, as in his See also:Bellona, rushing on an automobile through See also:massacre and conflagrations, and in his Epopee (Epic) of shadows thrown on a See also:sheet. Among his followers may be included A. See also:Guillaume and Gerbault. M. C. L. See also:Leandre, born at Champsecret (See also:Orne), in 1862, is, like "Andre Gill," a draughtsman of monstrosities; he can get a perfect likeness of a See also:face while exaggerating some particular feature, gives his figure a hump-back, as Dantan did in his statuettes, and has a facial dexterity which sometimes does scant See also:justice to his very original wit. At the same time he has a true sense of beauty. M. Theophile A. Steinlen, born at See also:Lausanne in 1859, went to Paris in 1881. He should be studied in his illustrations to Bruant. He knows the inmost core of the See also:Butte-Montmartre, and depicts it with realistic and brutal relish. M. See also:Albert Robida, born at See also:Compiegne in 1848, collaborated with Decaux in 1871 to found La Caricature; he is a paradoxical seer of the possible future and a curiosity-See also:hunter of the past. Old Paris has no secrets from him; he knows all the old stones and costumes of the middle ages, and has illustrated Rabelais; and for fertility of fancy he reminds us of Gustave See also:Dore, but with a sense of See also:movement so vibrant as to be almost distressing. " Bac," born at See also:Vienna in 1859, has infused a See also:strain of the See also:Austrian woman into the Parisienne ; representing her merely as a See also:pleasure-and love-seeking creature, as the See also:toy of an evening, he has recorded her peccadilloes, her witcheries and her vices. Others who have shot folly as it flies are M. Albert Guillaume, who illustrated the See also:Exhibition of 1900 in a series of remarkable silhouettes; " See also:Mars "; " Henri Somm "; Gerbault; and Griin. M. Huard depicts to perfection the See also:country townsfolk in their elementary See also:psychology. M. See also:Hermann Paul, M. Forain's not unworthy successor on the Figaro, is a cruel satirist, who in a single face can epitomize a whole class of society, and could See also:catalogue the actors of the comedie humaine in a series of drawings. M. Jean Veber loves fantastic subjects, the See also:gnomes of See also:fairy-tales and myths; but he has a biting irony for contemporary history, as in the See also:Butcher's See also:Shop, where Bismarck is the See also:blood-stained butcher. M. See also:Abel Faivre, a refined and charming painter, is a whimiscal humorist with the pencil. He shows us monstrous See also:women, fabulously hideous, See also:drawing them with a sort of See also:realism which is droll by sheer ugliness. Henri de See also:Toulouse-See also:Lautrec startles us by extraordinary dislocations, scrawled limbs and inexplicable See also:anatomy; he has left an inimitable series of sketches of Mme Yvette See also:Guilbert when she was at her thinnest. M. See also:Felix Vallotton reproduces crows in blots of black with a See also:Japanese use of the See also:brush. M. G. Jeanniot, a notable illustrator, sometimes amuses himself by contributing to Le Rire, Le Sourire, Le Pompon, L'Assiette au Beurre, &c., drawing the two types he most affects: the fashionable world and soldiers. M. Ibels, Capiello and many more might be enumerated, but it is impossible to See also:chronicle all the clever humorous artists of the illustrated papers. It is the frequent See also:habit of See also:French caricaturists to employ a nomde-guerre. We therefore give here a list of the genuine names represented by the pseudonyms used above, together with others familiar to the public :=
=L. A. Gosset de Guine (184o-1885).
=See also: 1833). =Faustin Betbeder (b. 1847). =S. G. Chevalier (1804-1866). =Gedeon Baril (b. 1832). = J. I. I. Gerard (1803-1847). =Henri Maigrot (b. 1857). = Henri Sommier (b. 1844). =J. O. de Breville (b. 1858). =Emile Planat (1825-1887). =Maurice Bonvoisin (b. 1849). =See also:Colomb (b. 1849). =C. A. Loye (1841-1905). =Felix Tournachon (b. 1820). =Georges Coutan (b. 1853). =Ed. Guillaume (b. 1842). =See also: E. Lesage (b. 1847). =See also:Alphonse See also:Levy (b. 1845). = George Goursat. =L. P. See also:Morel-See also:Retz (b. 1825). Germany.—During the later 19th century German caricature flourished principally in the comic papers Kladderadatsch of See also:Berlin and Fliegende Blatter of See also:Munich; the former a political See also:paper withlittle artistic value, in which the ideas alone are clever, whilst the illustrations are merely a more or less clumsy See also:adjunct to the See also:text, while the Fliegende Blatter, on the contrary, has artistic merit as well as wit. Wilhelm See also:Busch (b. 1832), the most brilliant German draughtsman of the last See also:generation, made his debut with an illustrated poem " The See also:Peasant and the See also:Miller," and won a world-wide reputation with the following works: See also:Pater Filucius, See also:Die Fromme Helene, Max and See also:Moritz, Der heilige See also:Antonius, Male?' Kleksel, Balduin Bahlamm, Die Erlebnisse Knopps des Junggesellen. Busch stands alone among the caricaturists of his nation, inasmuch as he is both the author and the illustrator of these works, his witty doggerel supplying Germany with See also:household words. The drawings that accompany the text are amazing for the skill and directness with which he hits the vital mark. A flourish or two and a few touches are enough to set before us figures of intensely comical aspect. This distinguishes Busch from Adolf See also:Oberlander (1845), who became the See also:chief draughtsman on Fliegende Blatter. Busch's drawings would have no meaning apart from the humorous words. Oberlander works with the pencil only. Men, animals, trees, See also:objects, are endowed by him with a mysterious life of their own. Without the help of any verbal joke, he achieves the funniest results simply by seeing and accentuating the comical side of everything. His drawings are caricature in the strict sense of the word, its principle being the exaggeration of some natural characteristic. The new generation of contributors to Fliegende Blatter do not work on these lines. Busch and Oberlander were both offshoots of the romantic school; they made fun of modern novelties. Hermann Schlittgen, Meggendorfer, H. See also:Vogel-See also:Plauen, Rene Reinicke, Adolf Hengeler and Fritz Wahle are the sons of a self-satisfied time, triumphing in its own See also:chic, elegance and grace; hence they do not parody what they see, but simply depict it. The wit lies exclusively in the text; the illustrations aim merely at a direct See also:representation of street or drawing-See also:room scenes. It is this which gives to Fliegende Blatter its value as a pictorial record of the history of German See also:manners. Its pages are a permanent authority on the subject for those who See also:desire to see the social aspects of Germany during the last See also:quarter of the 19th century onwards. At the same time a falling-off in the.brilliancy of this periodical was perceptible. Its fun became domestic and homely; it has faithfully adhered to the old technique of See also:wood-See also:engraving, and made no effort to keep See also:pace with the modern methods of See also:reproduction. German caricature, to live and flourish, was not keeping pace with the development of the art; it had to take into its service the gay effects of colour, and derive fresh See also:inspiration from the sweeping lines of the ornamental draughtsman. This led to the See also:appearance of three new weekly papers: Jugend, Das Narrenschiff and Simplicissimus. Jugend, started in 1896 by Georg Hirth in Munich, collected from the first a group of gifted See also:young artists, more especially Thony, Bernhard Pankok and See also:Julius See also:Diez, who based their style on old German wood-engraving; Fidus, who lavished the utmost beauty of See also:line in unshaded pen-and-ink work; See also:Rudolf Wilke, whose grotesques have much in common with Forain's clever drawings; Angelo Jank and R. M. Eichler, who work with a delightful bonhomie. Among the draughtsmen on the Narrenschiff (The See also:Ship of See also:Fools), Hans Baluschek is worthy of mention as having made the types of Berlin life all his own; and while this paper gives us for the most part inoffensive satire on society, Simglicissimus, first printed at Munich and then at See also:Zurich, under the editorship of Albert See also:Langen, shows a marked Socialist and indeed Anarchist tendency, subjecting to ridicule and mockery everything that has hitherto been held as unassailable by such weapons; it reminds us of the scathing satire of Honore Daumier in La Caricature at the time of Louis Philippe. Thomas Theodor See also:Heine (1867) is unsurpassed in this style for his power of expression and variety of technique. We must admire his delicate draughtsmanship, or again, his drawing of the figure with the heavy line of heraldic See also:ornament, and his broad and monumental grasp of the grotesque. His See also:laughter is often insolent, but he is more often the preacher, See also:scourge in hand, who ruthlessly unveils all the dark side of life. Next to him come Paul, an incomparable limner of student life and the manners and customs of the Bavarian populace; E. Thony, a wonderfully clever caricaturist of the airs and See also:assumption of the Prussian See also:Junker and the Prussian subaltern; J. C. Eugh and F. von Regnieck, who make fun of the townsman and political spouter in biting and searching satire. The See also:standard, of caricature is at the present time a high one in Germany; indeed, the modern See also:adoption of the pen-line, which has arisen since the impressionists in oil-See also:painting repudiated line, had its origin in the influence of caricature. See also:United States.—The proverbial irreverence of the See also:American mind even towards its most cherished personages and ideals has made it particularly responsive to the See also:appeal of caricature. At first an importation, it See also:developed but slowly; then it burst into luxuriant growth, sometimes exceeding the limits of See also:wise and careful cultivation. In the early period of American caricature, almost the only native is F. O. C. See also:Darley (1822-1888), an illustrator of some importance; the other names include the engraver Paul See also:Revere (chiefly famous for a picturesque exploit in the War of See also:Independence); a Scotsman, William Charles; the Englishmen, Matt Morgan and E. P. Bellew; and the Germans, Thomas See also:Nast and Joseph Keppler. The name of Thomas Nast overshadows and sums up American political caricature. Nast, who was born in See also:Bavaria in 184o, was " Andre Gill " " Bac (" See also:Cab " and " Saro ") " Caran d'Ache " " Cham " . " Crafty " Draner " (and " Paf ") " Faustin " . " Gavarni " . . . . Gedeon " " Grandville " " Henriot " (and " Piff ") " Henri Somm " " See also:Job" . Marcelin " Mars ' .. " See also:Moloch "
Montbard "
Nadar " " Pasquin " " Pepin " " See also:Bandon " " See also:Sahib ' . " Said ' .
Sem" . " Stop " .
brought to See also:America at the age of six; and his training and all his interests were strongly American. At fourteen he was an illustrator on Leslie's Weekly, and was sent at twenty to England to illustrate the famous See also:Sayers-Heenan See also:prize-fight. He then went as See also:recorder of See also:Garibaldi's See also:campaign of 1860. He returned to America known only as an illustrator. The See also:Civil War did not awaken his latent genius till 1864, when he published a cartoon of fierce irony against the political party which opposed Lincoln's re-See also:election and advocated See also:peace See also:measures with the See also:Southern confederacy. This cartoon not only made Nast famous, but may be said to contain the germ of American caricature; for all that had gone before was too crude in technique to pass See also:muster even as good caricature.
The magnificent corruption of Tammany See also: Siegfried, See also:earnest but See also:light-hearted, armed with the mightier See also:sword of the pen of ridicule, assailed the See also:monster ensconced in his treasure-See also:cave, and after a long See also:battle won a brilliant victory. Nast did not always rely on a See also:mere picture to carry his thrust; often his cartoon consisted of only a See also:minor figure or two looking at a large See also:placard on which a long and poignantly-worded attack was delivered in See also:cold type. At other times the most ingenious pictorial subtlety was displayed. This long series sounds almost the whole See also:gamut of caricature, from downright ridicule to the most lofty denunciation. A very happy See also:device was the representation of Tweed's face by a See also:money-bag with only See also:dollar marks for features, a device which, strangely enough, made a curiously faithful likeness of the " boodle "-loving See also:despot. When, finally, Tweed took to See also:flight, to See also:escape imprisonment, he was recognized and caught, it is said, entirely through the wide familiarity given to his See also:image in Nast's cartoons. When Nast retired from Harper's Weekly, he was succeeded by Charles See also:Green See also:Bush (born 1842; died 1909). With even greater technical resources, he poured forth a series of cartoons of remarkable evenness of skill and See also:interest; he soon left weekly for daily journalism. He never won, single-handed, such a battle as Nast's, but his drawings have a more general, perhaps a more lasting interest. When he left Harper's Weekly he was succeeded by W. A. See also:Rogers, who composed many ingenious and telling cartoons. The See also:vogue which, through Nast, Harper's Weekly gave to caricature, prepared the way for the first purely comic weekly paper, Puck, founded by two Germans, and for long published in a German as well as an English edition—a journal which has See also:cast its influence generally in favour of the Democratic party. It is worth noting that not only the founders but the spirit of American caricature have been rather German than English, the American comic papers more closely resembling Fliegende Matter, for example, than Punch. One of the founders of Puck was Joseph Keppler (1838-1894), long its chief caricaturist.
The Republican party soon found a See also:champion in See also:Judge, a weekly satirical paper which resembles Puck closely in its crudely coloured pages, though somewhat broader and less ambitious in the spirit and See also:execution of its black-and-white illustrations. These two papers have kept rather strictly to permanent staffs, and have furnished the opening for many popular draughtsmen, such as Bernhard Gillam (d. 1896), and his See also:brother, Victor; J. A. See also:Wales (d. 1886); E. Zimmerman, whose extremely plebeian and broadly treated types often obscure the observation and Falstaffian humour displayed in them; See also: See also: As much as any other artist Mr Gibson has studiously tried new experiments in the new See also:fields opened by modernized processes of photo-engraving, and has been an important influence in both English and American line-illustration. Among other students of society, particular success has been achieved by C. S. See also:Reinhart (1844–1896), Charles See also:Howard Johnson (d. 1895), H. W. M'Vickar, S, W. See also:van Schaick, A. E. Sterner, W. H. See also:Hyde, W. T. See also:Smedley and A. B. Wenzell, each of them strongly individual in manner and often full of verve and truth. Life, and other comic papers, including for many years Truth, also brought forward caricaturists of distinct worth and a marked tendency to specialization. F. E. See also:Atwood (d. 1900) was ingenious in cartoons lightly allegorical; See also:Oliver See also:Herford has shown a See also:fascination elusive of See also:analysis in his drawings as in his See also:verse ; T. S. Sullivant has made a quaintly intellectual application of the old-world devices of large heads, small bodies, and the like ; See also:Peter Newell has developed individuality both in treatment and in humour; E. W. See also:Kemble is noteworthy among the exploiters of See also:negro life; and H. B. Eddy, See also:Augustus See also:Dirk, See also:Robert L. See also:Wagner, A. See also: See also:Frost (b. 1851), a prominent humorist who deals with the life of the common See also:people. His caricature (he is also an illustrator of versatility and importance) is distinguished by its anatomical knowledge, or, rather, anatomical See also:imagination. Violent as the See also:action of his figures frequently is, it is always convincing. Such triumphs as the tragedy of the kind-hearted man and the ungrateful bull-See also:calf ; the spinster's See also:cat that See also:ate See also:rat See also:poison, and many others, force the most serious to laughter by their amazing velocity of action and their unctuousness of expression. Frost is to American caricature what " Artemus Ward " has been to American humour, and his field of publication has been chiefly the monthly See also:magazine. The influence of the weekly See also:periodicals has been briefly traced. A later development was the entrance of the omnivorous daily newspaper into the field of both the magazine and the weekly. For many years almost every newspaper has printed its daily cartoon, generally of a political nature. Few of the cartoonists have been able to keep up the pace of a daily inspiration, but C. G. Bush has been unusually successful in the See also:attempt. Yet an occasional success atones for many slips, and the cartoonists are known and eagerly watched. The most influential has doubtless been See also:Homer C. See also:Davenport, whose slender artistic resources have been eked out by a vigour and mercilessness of See also:assault rare even in American See also:annals. He has a Rabelaisian complacency and skill in making a portrait magnificently repulsive, and his caricatures are a vivid example of the school of cartoonists who believe in slashing rather than merely prodding or tickling the object of attack. Charles Nelan (1859–1904) frequently scored, and in the wide extent of the United States one finds keen wits busily assailing the manifold evils of life. Noteworthy among them are: Thos. E. Powers, H. R. Heaton, Albert Levering, See also:Clare See also:Angell and R. C. Swayne. Scandinavia.—Caricature flourishes also in the Scandinavian countries, but few names are known beyond their See also:borders. See also:Professor Hans See also:Tegner of See also:Denmark is an exception; his illustrations to Hans See also:Andersen (English edition, 1900) have carried his name wherever that author is appreciated, yet his reputation was made in the Danish Punch, which was founded after the year 187o but has long ceased to exist. Alfred See also:Schmidt and Axel Thiess have contributed notable sketches to Puk and its successor Klockhaus, but in point of style they scarcely carry on the tradition of their predecessor, Fritz Jorgensen. Among humorous artists of See also:Norway, Th. Kittelsen perhaps holds the leading place, and in See also:Sweden, See also:Bruno Liljefors, best known as a brilliant painter of See also:bird life. pessimistic side of satiric art) ; English Caricaturists and Graphic Humorists of the Nineteenth Century, by See also:Graham Everitt (i.e. William See also:Rodgers See also:Richardson), (4to, London, 1886), (a careful and interesting survey) ; La Caricature en Angleterre, by Augustin Filva (8vo, Paris, 1902), (an able See also:criticism from the point of view of psycho-See also:sociology) ; The History of Punch, by M. H. Spielmann (8vo, London, r895), (dealing with caricature art of England during the half-century covered by the See also:book) ; Magazine of Art, passim, for See also:biographies of English caricaturists—" Our Graphic Humorists "; Social Pictorial Satire, by George du Maurier (12mo, London, 1898) ; Les Mceurs et la caricature en France, by J. See also:Grand-See also:Carteret (8vo, Paris, 1885) ; La Caricature et l'humeur francais au XIX' siecle, by Raoul Deberdt (8vo, Paris) ; Les Maitres de la caricature francaise en XIXe siecle, by Armand Dayot (Paris) ; Nos humoristes, by Ad. See also:Brisson (4to, Paris, 1900) ; Les Meeurs et la caricature en Allemagne, &c., by J. Grand-Carteret (8vo, Paris, 1885). See also biographies of Charles Keene, H. Daumier, John Leech, &c., indicated under those names. (M. H. Additional information and CommentsThere are no comments yet for this article.
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