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Looking Awry at Georgian Caricature

Lacan and the Satirists

David Morgan

This article investigates the applicability of certain aspects of Lacanian psychoanalytic theory to the study of visual satire and/or caricature. Lacan’s treatment of the phenomenon of visual anamorphosis can provide a fruitful new way of thinking about the art of caricature. The visual exaggerations and distortions central to the art of caricature function as they do, as works of social or political satire, by virtue of the extent to which they expose the psychological emptiness or hollowness (castration) which inheres in all human social or symbolic activity. This argument is then applied to the political circumstances prevailing in late Georgian England: in particular, the visual satirical treatment devoted to the nature and status of the monarchy during this period is examined in the light of foregoing arguments.

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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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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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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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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

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Drawing Stereotypes

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

Zachary Hoffman

This article explores Russian political caricatures regarding the Boxer Uprising (1900) and the Russo-Japanese War (1904–5) that appeared in two of the empire’s largest newspapers, Novoe vremia (The new times) and Russkoe slovo (The Russian word). The article argues that caricaturists both poked fun at international politics and crafted visual identities for their readers of Russia’s European, Chinese, and Japanese neighbors. The images examined here sketch out the crowded and dangerous stage of global imperialism, while also pointing toward Russia’s place within it. In the process, they articulate stylized notions of Europeanness and Asianness that had important connotations for how each periodical depicted the actors in each conflict.

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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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Edward Lear

A Life in Pictures

Marco Graziosi

Edward Lear has secured a prominent position in the history of literature and travel writing thanks to his nonsense books and his journals; he is considered one of the most innovative zoological illustrators of the nineteenth century and is being rediscovered as a landscape painter in watercolour and oil. This article argues that he also deserves to be remembered among the precursors of modern comic art. His picture stories, though never published in his lifetime, represent an early instance of autobiographical graphic narrative, while his limericks, never out of print since 1861, introduced a radically innovative caricatural style and a conception of the relationship between pictures and text that strongly influenced modern comic artists.

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John Moores

The German journal London und Paris called James Gillray 'the foremost living artist in his genre, not only amongst Englishmen, but amongst all European nations'. Despite the scholarly attention he has attracted, many of Gillray's individual works have yet to receive rigorous analysis. One such neglected print is National Conveniences (1796), assumed to be a crude, straightforward expression of national supremacy. However, a closer reading shows Gillray employing the ideas of Jean-Jacques Rousseau both to undermine notions of English superiority and to assail a particular personal adversary. With this reading in mind, we can reassess references to Rousseau in Gillray's other prints, and propose a new direction from which to approach his greater oeuvre.

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Cabu Reporter

Interview of Cabu by Tanitoc

Tanitoc and Jean (Cabu) Cabut

French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work