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Looking Awry at Georgian Caricature

Lacan and the Satirists

David Morgan

what we witness in the art of caricature is the visual enactment of an excitement ( jouissance ) in the slippage and malleability of visual signs and tokens associated with the political state: with the Symbolic order itself. When the caricaturist

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Drawing Stereotypes

Europe and East Asia in Russian Political Caricature, 1900–1905

Zachary Hoffman

is playing both sides. 1 Figure 1. S. F. Sokolovskii, “A triple alliance,” Novoe vremia , 13 June 1903. The caricature primarily pokes fun at Japan's ambitions in the Far East. It also expresses a deeper discomfort with the ways this newly

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Introduction

Caricature

The Editors

The history of European comic art is closely intertwined with that of caricature. The comic books by Swiss cartoonist Rodolphe Töpffer – his romans en estampes [‘novels in engravings’] – which are foundational to the medium, are essentially extended caricatures of social types (they have been called romans en caricatures [‘caricature novels’]): the limited but common-sensical father (Crépin); the flighty naturalist (Vieux Bois); the domineering financée (Elvire); the prodigal son and revolutionary (Albert); the bumbling, pretentious social climber (Jabot); etc. Together these constitute a continuation, in bande dessinée, of the passing portraits with which he scatters his Voyages en zigzig (1832 onwards). The latter in turn follow the tradition of Thomas Rowlandson’s The Tour of Doctor Syntax (1812, in French from 1821), which is linked to the ‘narrative series’ of engravings by William Hogarth, for whom Töpffer professed great admiration (Töpffer’s own father also drew caricatures). They have all been traced back to Charles Le Brun’s Méthode pour apprendre à dessiner les passions [‘Method for Learning to Draw the Passions’], first published in 1702, in which the artist explores the way physical appearance can depict interior morality.

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Edward Lear

A Life in Pictures

Marco Graziosi

comical caricatures Lear used in the poem illustrations, and even more so from the radically simplified style that characterises the limericks and the later picture stories: the figures have evidently been sketched in haste, but they maintain a clearly

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Alain Vaillant

sur la culture (en principe, du moins), intégrant des éléments graphiques (des caricatures, le plus souvent), et jouant systématiquement sur des effets de connivence à l’intérieur de la bohème. On peut y voir l’ancêtre de la presse underground . Dans

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Guillaume Lecomte

characters are stylised rather naïvely, their physical traits being distorted and exaggerated in a caricatural fashion. It illustrates the contradictio in terminis , in the words of Pascal Lefèvre, of ‘factual comics’ that convey a truth by building a

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Caroline Rossiter

This article analyses the production of caricatures in post-revolutionary Paris, specifically the role of publishers and artists and the constraints of censorship within society of that time. By considering such factors in the light of English caricature production, we will outline the exchanges that took place between London and Paris at the turn of the nineteenth century and demonstrate that the two cities' comic print productions were subject to reciprocal influences.

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Cruci erunt eum inter duos latrones

Passion et mort de Louis XVI

Annie Duprat

Cet article se propose de faire un retour sur l'hypothèse des sept morts de Louis XVI formulée par Claude Langlois en 1993. Examinant la polémique menée, par les textes et les images, par les royalistes eux-mêmes, il démontre la force des références anglaises, d'une part, catholiques, d'autre part, dans l'inspiration de leurs auteurs. Le récit dramatisé des faits qui se sont déroulés à Versailles les 5 et 6 octobre 1789 contribue à nourrir l'imaginaire de la violence. Enfin, l'analyse fine de la caricature Grand combat à mort (1792) permet de saisir le rôle du bestiaire dans une caricature politique. De ce livre ressort une nouvelle image de Louis XVI: il est devenu un Christ des temps modernes, souffrant une Passion pour le salut de la France.

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Michael G. Vann

André Joyeux's La Vie large des colonies ['The Colonial Good Life'] is an insider's portrait of the French colonial encounter in Southeast Asia. Published in Paris in 1912 but most likely penned in Saigon, the collection of cartoons explores the racial order of the colony. Although the artist critiques many aspects of the colony and highlights certain gross injustices, such as the coloniser's sexual predation and physical violence, he also articulates many of the bluntly racist French stereotypes of the Vietnamese, Chinese and other Asians in the colony. Joyeux, as an artist and as an art teacher, contributed to the development of cartoon and caricature as a medium in Vietnam, which would eventually be used in the anti-colonial, nationalist and communist movements. La Vie large des colonies is of importance as a primary source in the study of empire.

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The Crown and the Crowd

Sublimations of Monarchy in Georgian Satirical Prints

David Morgan

Hunt observes: At the beginning of the reign, satires almost exclusively emphasised the monarch’s political role as head of government and the traditional guardian of the people’s welfare. By its end, however, caricatures almost universally portrayed