Original Art for Dems Republicans Editorial Cartoon by Daniel Bishop from 1928
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Original Art for Dems Republicans Editorial Cartoon by Daniel Bishop from 1928:
$153.00
This is the Original Artwork for aEditorial / Political Cartoon Panel by Daniel Bishop.Fantastic Artwork!Wonderful and Large Page Appropriate for Display!Excellent Condition as shown (Please Check Scan) LargeSize: 11x 14Inches!(Please Check Scans) Please include $12.00 Total postage on any size order (USA) $32.00 International Flat Rate. I combine postage on multiple pages. Check out my other sales for more great vintageComic strips and Paper Dolls.Thanks for Looking!
Editorial cartoonFrom Wikipedia, the free encyclopediaAn editorial cartoon ofAndrew JohnsonandAbraham Lincoln, 1865, entitled \"The Rail Splitter at Work Repairing the Union\". The caption reads: (Johnson): \"Take it quietly Uncle Abe and I will draw it closer than ever.\" (Lincoln): \"A few more stitches Andy and the good old Union will be mended.\"Aneditorial cartoon, also known as apolitical cartoon, is a drawing containing a commentary expressing the artist\'s opinion. An artist who writes and draws such images is known as aneditorial cartoonist.
They typically combine artistic skill,hyperboleandsatirein order to questionauthorityand draw attention tocorruption,political violenceand othersocial ills.[1]
Contents[hide]- 1History
- 1.1Origins
- 1.2Development
- 1.3Cartoonist\'s magazines
- 2Recognition
- 3Modern political cartoons
- 4Pocket cartoons
- 5Controversies
- 6See also
- 7References
- 8Further reading
- 9External links
The pictorial satire ofWilliam Hogarthhas been credited as the precursor to the political cartoon.[4]His pictures combined social criticism with sequential artistic scenes. A frequent target of his satire was the corruption of early-18th-century British politics. An early satirical work was anEmblematical Print on the South Sea Scheme(c.1721), about the disastrous stock market crash of 1720 known as theSouth Sea Bubble, in which many English people lost a great deal of money.[5]
His art often had a strong moralizing element to it, such as in his masterpiece of 1719,A Rake\'s Progress. It consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money on luxurious living, services from sex workers, and gambling—the character\'s life ultimately ends inBethlem Royal Hospital.[6]
However, his work was only tangentially politicized and was primarily regarded on its artistic merits.George Townshend, 1st Marquess Townshendproduced some of the first overtly political cartoons and caricatures in the 1750s.[4][7]
Development[edit]The world being carved up into spheres of influence betweenPittandNapoleon. James Gillray, \"probably the most famous political cartoon of all time—it has been stolen over and over and over again by cartoonists ever since.\"[8]The medium began to develop in England in the latter part of the 18th century—especially around the time of theFrench Revolution—under the direction of its great exponents,James GillrayandThomas Rowlandson, both from London. Gillray explored the use of the medium for lampooning andcaricature, and has been referred to as the father of the political cartoon.[9]Calling the king, prime ministers and generals to account, many of Gillray\'s satires were directed againstGeorge III, depicting him as a pretentious buffoon, while the bulk of his work was dedicated to ridiculing the ambitions of Revolutionary France andNapoleon.[9]The times in which Gillray lived were peculiarly favourable to the growth of a great school of caricature. Party warfare was carried on with great vigour and not a little bitterness; and personalities were freely indulged in on both sides. Gillray\'s incomparable wit and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists.[10]
George Cruikshankbecame the leading cartoonist in the period following Gillray (1820s–40s). His early career was renowned for his social caricatures of English life for popular publications. He gained notoriety with his political prints that attacked the royal family and leading politicians and was bribed in 1820 \"not to caricature His Majesty\" (George IV) \"in any immoral situation\". His work included a personification of England namedJohn Bullwho was developed from about 1790 in conjunction with other British satirical artists such asJames Gillray, andThomas Rowlandson.[11]
Cartoonist\'s magazines[edit]The art of the editorial cartoon was further developed with the publication of the periodicalPunchin 1841, founded byHenry Mayhewand engraverEbenezer Landells(an earlier magazine that published cartoons wasMonthly Sheet of Caricatures, printed from 1830 and an important influence onPunch).[12]It was bought byBradbury and Evansin 1842, who capitalised on newly evolving mass printing technologies to turn the magazine into a preeminent national institution. The term \"cartoon\" to refer to comic drawings was coined by the magazine in 1843; the Houses of Parliament were to be decorated with murals, and \"carttons\" for the mural were displayed for the public; the term \"cartoon\" then meant a finished preliminary sketch on a large piece of cardboard, orcartonein Italian.Punchhumorously appropriated the term to refer to its political cartoons, and the popularity of thePunchcartoons led to the term\'s widespread use.[13]
\'The British Lion\'s Vengeance...\', cartoon byJohn Tennielin the aftermath of theIndian Rebellion of 1857Artists who published inPunchduring the 1840s and 50s includedJohn Leech,Richard Doyle,John TennielandCharles Keene. This group became known as \"ThePunchBrotherhood\", which also included Charles Dickens who joined Bradbury and Evans after leavingChapman and Hallin 1843.Punchauthors and artists also contributed to another Bradbury and Evans literary magazine calledOnce A Week(est.1859), created in response to Dickens\' departure fromHousehold Words.
The most prolific and influential cartoonist of the 1850s and 60s wasJohn Tenniel, chief cartoon artist forPunch, who perfected the art of physical caricature and representation to a point that has changed little up to the present day. For over five decades he was a steadfast social witness to the sweeping national changes that occurred during this period alongside his fellow cartoonistJohn Leech. The magazine loyally captured the general public mood; in 1857, following theIndian Rebellionand the public outrage that followed,Punchpublished vengeful illustrations such as Tenniel\'s \"Justice\" and \"The British Lion\'s Vengeance on the Bengal Tiger\".
Maturation[edit]Thomas Nastdepicts the Tweed Ring: \"Who stole the people\'s money?\" / \"\'Twas him.\"\"To begin with, \'I\'ll paint the town red\'.\"Grant E. Hamilton,The Judgevol. 7, 31 January 1885. An AntiGrover Clevelandcartoon {his profile is in the paintbrush}.Dropping the Pilot. Caricature by Sir John Tenniel (1820-1914), first published in the British magazine Punch, March 1890. Showing German Emperor Wilhelm II and the leaving Chancellor Otto von Bismarck..
By the mid 19th century, major political newspapers in many countries featured cartoons designed to express the publisher\'s opinion on the politics of the day. One of the most successful wasThomas Nastin New York City, who imported realistic German drawing techniques to major political issues in the era of the Civil War and Reconstruction. Nast was most famous for his 160 editorial cartoons attacking the criminal characteristics ofBoss Tweed\'s political machine in New York City. Albert Boime argues that:
As a political cartoonist, Thomas Nast wielded more influence than any other artist of the 19th century. He not only enthralled a vast audience with boldness and wit, but swayed it time and again to his personal position on the strength of his visual imagination. Both Lincoln and Grant acknowledged his effectiveness in their behalf, and as a crusading civil reformer he helped destroy the corrupt Tweed Ring that swindled New York City of millions of dollars. Indeed, his impact on American public life was formidable enough to profoundly affect the outcome of every presidential election during the period 1864 to 1884.[14]Notable editorial cartoons includeBenjamin Franklin\'s \"Join, or Die\" (1754), on the need for unity in the American colonies; \"The Thinkers Club\" (1819), a response to the surveillance and censorship of universities in Germany under theCarlsbad Decrees; andE. H. Shepard\'s \"The Goose-Step\" (1936), on the rearmament of Germany under Hitler. \"The Goose-Step\" is one of a number of notable cartoons first published in the style=\"margin: 0.5em 0px; line-height: inherit;\">Institutions which archive and document editorial cartoons include theCenter for the Study of Political Graphicsin the United States, and theBritish Cartoon Archivein the United Kingdom.
Editorial cartoons andeditorial cartoonistsare recognised by a number of awards, for example thePulitzer Prize for Editorial Cartooning(for US cartoonists, since 1922) and theBritish Press Awards\' \"Cartoonist of the Year\".
Modern political cartoons[edit]Political cartoons can usually be found on theeditorial pageof many newspapers, although a few (such asGarry Trudeau\'sDoonesbury) are sometimes placed on the regularcomic strippage. Most cartoonists use visual metaphors and caricatures to address complicated political situations, and thus sum up a current event with a humorous or emotional picture.
Yaakov Kirschen, creator of the Israeli comic stripDry Bones, says his cartoons are designed to make people laugh, which makes them drop their guard and see things the way he does. In an interview, he defined his objective as a cartoonist as an attempt to \"seduce rather than to offend.\"[15]
Modern political cartooning can be built around traditional visual metaphors and symbols such asUncle Sam, theDemocratic donkeyand theRepublican elephant. One alternative approach is to emphasize the text or the story line, as seen inDoonesburywhich tells a linear storyin comic strip format. Editorial cartoons are a way for artists to express their thoughts about current events in a comical manner.[16]
A political cartoon commonly draws on two unrelated events and brings them together incongruously for humorous effect. The humour can reduce people\'s political anger and so serves a useful purpose. Such a cartoon also reflects real life and politics, where a deal is often done on unrelated proposals beyond public scrutiny.
Pocket cartoons[edit]A pocket cartoon is a form of editorial cartoon which consists of a topical single-panel single-column drawing. It was introduced byOsbert Lancasterin 1939 at theDaily Express.[17]A 2005 obituary byThe Guardianof its pocket cartoonistDavid Austinsaid \"Newspaper readers instinctively look to the pocket cartoon to reassure them that the disasters and afflictions besetting them each morning are not final. By taking a sideways look at the news and bringing out the absurd in it, the pocket cartoonist provides, if not exactly a silver lining, then at least a ray of hope.\"[18]
Controversies[edit]Editorial cartoons sometimes cause controversies.[19]Examples include theJyllands-PostenMuhammad cartoons controversy(stemming from the publication of cartoons ofMuhammad) and the2007 Bangladesh cartoon controversy.
Libel lawsuits have been rare. In Britain, the first successful lawsuit against a cartoonist in over a century came in 1921 whenJ.H. Thomas, the leader of theNational Union of Railwaymen(NUR), initiated libel proceedings against the magazine of theBritish Communist Party. Thomas claimed defamation in the form of cartoons and words depicting the events of \"Black Friday\"—when he allegedly betrayed the locked-out Miners\' Federation. Thomas won his lawsuit, and restored his reputation.[2
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Original Art for Dems Republicans Editorial Cartoon by Daniel Bishop from 1928:
$153.00