An American satirical magazine from the latter part of the 19th century. Published many editorial cartoons and other comics. Access is via HathiTrust. Open a volume for a time period and browse contents or search within volumes once open.
A great source that provides access to recent political cartoonists.
Library of Congress Digital Collections: Cartoons
Cartoon Drawings Collection - From the Library of Congress, this collection "offers more than 9,000 original drawings, caricatures, and comic strips spanning the late 1700s to the present, primarily from 1880 to 1980. The cartoons cover people and events throughout the world, but most of the images were intended for publication in American newspapers and magazines."
Swann Collection of Caricature and Cartoon- "Contains 2,085 drawings, prints, and paintings related to the art of caricature, cartoon, and illustration, spanning the years 1780 to 1977 and includes works by 521 American and foreign artists and illustrators. Most of the images are cartoons, comic strips, and periodical illustrations drawn by American artists between 1890 and 1970."
American Cartoon Prints- "This assemblage of more than 800 prints made in America during the eighteenth and nineteenth centuries encompasses several forms of political art. Most of the prints are from the division's PC/US series, which consists of individually cataloged political cartoons and caricatures."
Herblock Collection- "Herbert L. Block (1909-2001), known to the world as Herblock, was one of the most influential political commentators and editorial cartoonists in American history. His long chronicle of major social and political events began to appear in newspapers in 1929, and he continued to document domestic and international events for 72 years."
British Cartoon Prints - "The Prints and Photographs Division holds one of the largest collections of British political and satirical prints in America. The approximately 9,000 prints (approximately 8,500 distinct images) in the collection highlight British political life, society, fashion, manners, and theater. They were published primarily between 1780 and 1830, an era dominated by the prodigious talents and prolific efforts of such famous caricaturists as James Gillray and George Cruikshank."
Stated as being "the first woman mainstream editorial cartoonist in the United States,[2] and for most of her career the only woman in the U.S. working as an editorial cartoonist."
Considered to be the first African American woman cartoonist (1937).
Selected Books (and One Article)
The Content of Our Caricature by Rebecca WanzoWinner, 2021 Katherine Singer Kovács Book Award, given by the Society for Cinema and Media Studies Winner, 2021 Will Eisner Comic Industry Awards for Best Academic/Scholarly Work Honorable Mention, 2021 Harry Shaw and Katrina Hazzard-Donald Award for Outstanding Work in African-American Popular Culture Studies, given by the Popular Culture Association Winner, 2020 Charles Hatfield Book Prize, given by the Comic Studies Society Traces the history of racial caricature and the ways that Black cartoonists have turned this visual grammar on its head Revealing the long aesthetic tradition of African American cartoonists who have made use of racist caricature as a black diasporic art practice, Rebecca Wanzo demonstrates how these artists have resisted histories of visual imperialism and their legacies. Moving beyond binaries of positive and negative representation, many black cartoonists have used caricatures to criticize constructions of ideal citizenship in the United States, as well as the alienation of African Americans from such imaginaries. The Content of Our Caricature urges readers to recognize how the wide circulation of comic and cartoon art contributes to a common language of both national belonging and exclusion in the United States. Historically, white artists have rendered white caricatures as virtuous representations of American identity, while their caricatures of African Americans are excluded from these kinds of idealized discourses. Employing a rich illustration program of color and black-and-white reproductions, Wanzo explores the works of artists such as Sam Milai, Larry Fuller, Richard "Grass" Green, Brumsic Brandon Jr., Jennifer Cruté, Aaron McGruder, Kyle Baker, Ollie Harrington, and George Herriman, all of whom negotiate and navigate this troublesome history of caricature. The Content of Our Caricature arrives at a gateway to understanding how a visual grammar of citizenship, and hence American identity itself, has been constructed.
ISBN: 9781479840083
Publication Date: 2020-04-21
Drawn to Extremes by Chris LambIn 2006, a cartoon in a Danish newspaper depicted the Prophet Mohammed wearing a bomb in his turban. The cartoon created an international incident, with offended Muslims attacking Danish embassies and threatening the life of the cartoonist. Editorial cartoons have been called the most extreme form of criticism society will allow, but not all cartoons are tolerated. Unrestricted by journalistic standards of objectivity, editorial cartoonists wield ire and irony to reveal the naked truths about presidents, celebrities, business leaders, and other public figures. Indeed, since the founding of the republic, cartoonists have made important contributions to and offered critical commentary on our society. Today, however, many syndicated cartoons are relatively generic and gag-related, reflecting a weakening of the newspaper industry's traditional watchdog function. Chris Lamb offers a richly illustrated and engaging history of a still vibrant medium that "forces us to take a look at ourselves for what we are and not what we want to be." The 150 drawings in Drawn to Extremes have left readers howling-sometimes in laughter, but often in protest.
ISBN: 9780231130660
Publication Date: 2004-12-29
Dr. Seuss and Co. Go to War by André Schiffrin; André SchiffrinDedicated readers and fans of Theodor Seuss Geisel, or Dr. Seuss, know of Seuss's fascinating, long-forgotten career as a political cartoonist for the New York daily newspaper PM during World War II. Dr. Seuss, however, was only one of a number of distinguished cartoonists whose work appeared in PM. In Dr. Seuss & Co. Go to War, we discover an astonishing treasure trove of over three hundred incisive political cartoons by Seuss as well as a cohort of other legendary cartoonists of the time, including Saul Steinberg, Al Hirschfeld, Arthur Szyk, Carl Rose, and Mischa Richter. These fascinating cartoons offer a totally different picture of the war, both at home and abroad. Sure to fascinate and surprise readers across the generations, Dr. Seuss & Co. Go to War lets readers "time travel to a remarkable time when editorial cartoons really mattered" (America in WWII).
ISBN: 9781595584700
Publication Date: 2011-01-25
The Lines Are Drawn by Kristen M. Smith (Editor); Emory M. Thomas (Foreword by)This book collects for the first time a wide range of cartoons, comics, and caricatures related to the Civil War. Arranged chronologically with full captions to provide historical context, this collection of Northern, Southern, and overseas social commentary is critical to an enhanced understanding of this dark episode in American history. Included are 138 illustrations from the more popular publications of the day such as 'Harper's', 'Vanity Fair', 'Southern Illustrated News', 'New York Illustrated News', and 'London Punch'.
ISBN: 9781892514066
Publication Date: 1999-08-01
The Great Anti-War Cartoons by Craig Yoe (Editor)For centuries, cartoonists have used their pens to fight a war against war, translating images of violent conflict into symbols of protest. Noted comics historian Craig Yoe brings the greatest of these artists together in one place, presenting the ultimate collection of anti-war cartoons ever assembled. Together, these cartoons provide a powerful testament to the old adage, "The pen is mightier than the sword," and remind us that so often in the 20th century, it was the editorial cartoonist who could say the things his fellow newspapermen and women only dreamed of, enlightening and rallying a nation against unjust aggression. Readers of The Great Anti-War Cartoons will find stunning artwork from the pens of Francisco Goya to Art Young, from Robert Minor to Ron Cobb, and from Honoré Daumier to Robert Crumb.
Drawn and Quartered: the history of American political cartoons by Sandy Northrop; Steven HessChronicles the nation's highs and lows in an extensive collection of cartoons that span the entire history of American political cartooning. The authors note that not all cartoonists have worn white hatsmany have perpetuated demeaning ethnic stereotypes, slandered honest politicians, and oversimplified complex issues. Nonetheless, most cartoonists pride themselves on attacking honestly, if ruthlessly. This collection humorously recounts some direct hits, recalling the discomfort of the cartoon's targetsand the delight of their readers. Annotation c. by Book News, Inc., Portland, Or.
Call Number: 320.9730207 H586d , 1966
ISBN: 9781880216392
Publication Date: 2000-01-01
Against the Grain: bombthrowing in the fine American tradition of political cartooning by Bill Sanders; Jules Feiffer (Foreword by)Editorial cartoonists are an endangered species, and even in their heyday they were rare birds-at the top ranks of print journalism, only a few hundred such jobs existed worldwide in the 20th century. Yet those who wielded the drawing pen had enormous influence and popularity as they caricatured news events and newsmakers into "ink-drenched bombshells" that often said more than the accompanying news stories. Bill Sanders, working in a liberal tradition that stretches back to Thomas Nast and in more recent times includes Herblock, Oliphant, Feiffer, and Trudeau, began his career in the Eisenhower era and is still drawing in the age of Trump. In Against the Grain, he shares the upbringing and experiences that prepared him to inflict his opinions on the readers of the three major newspapers he worked for, the 100-plus papers he was syndicated in, and now, an internet channel. Sanders''s memoir is both personal and political. He reveals his small-town Southern roots, his athletic exploits and military service, his courtship and enduring marriage, and his life-long passion for music. These threads are woven into his main narrative, explaining how a cartoonist works and why: "The cartoon should be a vehicle for opinion and it should be polemical in nature-otherwise, it is a waste of time." Along the way he shares vignettes about people he encountered and events he witnessed, illustrated here with a few photos and scores of the cartoons he produced to meet daily newspaper deadlines. He notes that while a cartoon is a simple communication, it is based on reading and research, and only then comes the drawing. Finally, there is this: "While there may be-to varying degrees-two sides to some issues, don''t bother looking for that posture on the following pages." While political cartoonist Bill Sanders''s book may be a memoir, it is primarily a chronicle of his brushes with history during the era that stretched from the presidency of John Kennedy to that of Barack Obama-and of his good fortune to have had personal contact with some of the major actors on the political and social stage. After briefly telling of his roots in Tennessee, Florida, and Kentucky and how he became a cartoonist, Sanders leads the reader on a guided tour-illustrated with photos and his cartoons-through the headlines of the last half of the 20th century and the beginning of the 21st. Following World War Two, the "between" generation entered the young adult world of the early 1950s. It was a time of panty raids, Levittown, Dixieland jazz, early rock and roll, and television''s coming of age. It was a time when "war" morphed into "conflicts" and Korea took some from this transitional generation to their graves, calling into question the United States'' role as a global power. As the era unfolded, the cold war and civil rights challenged Presidents Kennedy and Lyndon Johnson. Meanwhile, extremism found regional traction in the John Birch Society, the Minute Men, the bombast of Southern demagogues, and Barry Goldwater''s campaign. LBJ redeemed the national pledge on civil rights but was diverted into the swamp of Vietnam''s civil war where his political career perished. Richard Nixon then rose like Lazarus and eventually truncated the Vietnam War, but his personal demons led to the corruption of Watergate. Bookended by the Jimmy Carter and George Bush I interludes, the carefully constructed myth of Ronald Reagan closed the door to progressive taxation, caged the regulatory watchdogs, and flowed massive wealth to the 1%. Stained by Monicagate and hindered by the Blue Dogs, Bill Clinton did not reverse this course. Then came the age of preemptive war and torture after the Supreme Court elected George Bush II by a 5-4 vote. Dubya and his fellow neocon draft dodgers-aided by a new age of partisan TV pundits and internet bloggers and an arthritic print media-lied and deceived the American public into an unjustified war of aggression. On the other hand, a new era began with the election of Barack Obama, the hijacking of the Republican Party by a coalition of rich white men and Tea Party fanatics, and the Supreme Court''s awarding of "personhood." All in all, the era has been a cartoonist''s feast.
Call Number: 320.0207092 S215a 2018
ISBN: 9781588382948
Publication Date: 2018-06-01
Killed Cartoons: casualties from the war on free expression by David Wallis (Editor)One hundred political cartoons you wanted to see, but weren't allowed to: all were banned for being too hot to handle. Think you live in a society with a free press? These celebrated cartoonists and illustrators found out otherwise. Whether blasting Bush for his "Bring 'em on!" speech, spanking pedophile priests, questioning capital punishment, debating the disputed 2000 election, or just mocking baseball mascots, they learned that newspapers and magazines increasingly play it safe by suppressing satire. With censored cartoons, many unpublished, by the likes of Garry Trudeau, Doug Marlette, Paul Conrad, Mike Luckovich, Matt Davies, and Ted Rall (all Pulitzer Prize winners or finalists), as well as unearthed editorial illustrations by Norman Rockwell, Edward Sorel, Anita Kunz, Marshall Arisman, and Steve Brodner, you will find yourself surprised and often shocked by the images themselves -- and outraged by the fact that a fearful editor kept you from seeing them. Needed now more than ever because of a neutered press that's more lapdog than watchdog, Killed Cartoons will make you laugh, make you angry, and make you think.