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Originally published in 1994, this dictionary provides a unique 'who’s who' of the major figures in the world of British cartoons and caricatures. It was the first book to encompass the entire field from c.1730 when Hogarth published the first of his 'modern moral pictures' to 1980. In addition to describing the careers and achievements of the artists and the characteristics of their styles, more than 500 entries give details of their publications, their illustrations to books and periodicals, exhibitions of their work, public collections in which their work is represented and literature on or referring to them. More than 150 illustrations are included. This is a comprehensive reference work and will be of interest to social and political historians as well as cartoon and caricature enthusiasts.
British cartoonists and caricaturists are renowned worldwide. Originally published in 2000, this indispensable handbook offers a unique ‘who’s who’ of all the major artists working in Britain in the twentieth century and contains nearly 500 entries. Extensively illustrated, the book provides information on the work of artists such as Steve Bell, Gerald Scarfe, Posy Simmonds, Ronald Searle, Trog, mac and Larry as well as such past masters as David Low, Vicky, H. M. Bateman, Illingworth, Heath Robinson and more. The dictionary concentrates primarily on political cartoonists, caricaturists and joke or ‘gag’ cartoonists, actively working for the main Fleet Street national dailies and weeklies from 1900 to 1995. Each entry is cross-referenced and provides a concise biographical outline with an account of the artist’s style, influences and preferred medium. Where relevant the entry includes suggestions for further reading and notes solo exhibitions, books illustrated and works held in public collections. The Dictionary of Twentieth-Century British Cartoonists and Caricaturists offers an insight into the lives of satirical artists working during a century that provoked cartoonists and caricaturists to a pitch of comic and artistic invention that has rarely been matched.
Inside this book are short biographical sketches about the many artists represented in the Library of Congress' Swann Collection compiled by Erwin Swann (1906-1973). In the early 1960s, Swann, a New York advertising executive started collecting original cartoon drawings of artistic and humorous interest. Included in the collection are political prints and drawings, satires, caricatures, cartoon strips and panels, and periodical illustrations by more than 500 artists, most of whom are American. The 2,085 items range from 1780-1977, with the bulk falling between 1890-1970. The Collection includes 1,922 drawings, 124 prints, 14 paintings, 13 animation cels, 9 collages, 1 album, 1 photographic print, and 1 scrapbook.
The Witt Library of the Courtauld Institute of Art, London, is one of the world's greatest art history libraries. It contains some 1.7 million illustrations of the work of painters, draughtsmen, and engravers of the Western tradition, all of whom have been indexed by name, dates, and nationality. This new second edition of the Checklist of Painters is a transcription of the Witt index as it currently exists. The names of 66,000 artists, their dates, and their nationality (or school) are reproduced in alphabetical order. The Checklist of Painters is probably the most exhaustive work of its kind in existence; it now lists all painters (known by art historians) to have lived and worked from the year 1200 to 1994. It will be an important reference text in the art history collection of any public, academic, or professional library.
The Witt Library of the Courtauld Institute of Art, London, is one of the world's greatest art history libraries. It contains some 1.7 million illustrations of the work of painters, draughtsmen, and engravers of the Western tradition, all of whom have been indexed by name, dates, and nationality. This new second edition of the Checklist of Painters is a transcription of the Witt index as it currently exists. The names of 66,000 artists, their dates, and their nationality (or school) are reproduced in alphabetical order. The Checklist of Painters is probably the most exhaustive work of its kind in existence; it now lists all painters (known by art historians) to have lived and worked from the year 1200 to 1994.
Focusing on British broadsheets such as The Times and The Guardian, and tabloid publications such as The Sun and The Daily Mail, this book looks at the visualization of post-colonial Britain through cartoons. Tahnia Ahmed examines how Irish, Jewish, Sikh and Muslim communities are Othered, interrogating the patterns and trends in the way they are depicted – both consciously and unconsciously – by cartoonists in Britain from the 20th century onwards. She reveals how cartoonists such as Nicholas Garland and Peter Brookes present assimilation as the goal for the portrayed minorities. At the same time, this goal is deemed impossible because difference is ontological and unchangeable. Central to the cartoons explored in this book is the construction of identity and the concept of 'us', demonstrating the role cartoons play in the stability and enduring power of the archetype. Ahmed suggests that cartoons illustrate how racial and religious prejudice subtly interface and reinforce one another. A depiction of religious difference, Ahmed argues, is often actually a cover for outright racism.
What do we mean by ‘visual evidence’? How should we interpret visual texts, and what can they tell us? Why is ‘visual literacy’ so important and what benefits does it offer? Visual evidence encompasses a diverse range of media, from painting, cartoons and photography, to film, television and documentary. The central argument of this book is that visual evidence is a key to understanding both history and the present day and should not be relegated to a supporting role as merely illustrating the written word. The book shows students, scholars and researchers how to read the visual media to elicit meaning. As primary sources, visual texts can be studied not only for what is directly depicted in the painting or film but also for what it tells us about the people, cultures and societies that made them. Each chapter features fascinating case studies and examples which situate theory in real life. A major appeal of the book is the wealth of illustrations and photographs of visual texts which are included throughout. The authors make detailed reference to these examples to illustrate the theory surrounding visual evidence. An intriguing case study of an unknown girl’s photo album is just one of many examples offered, showing how we can analyze and learn from the visual text. This comprehensive and insightful edited collection brings together international media and cultural theorists, historians and art historians to demonstrate the value of visual evidence not only to media and cultural studies, but also to history, the general humanities and the social sciences.
Karl Kae Knecht's name is synonymous with the city of Evansville. As editorial cartoonist for the Evansville Courier, he amused readers and spurred them to a higher social good. He mocked the Axis powers and kept local morale high during World War II and commented daily on issues from the Great Depression to the Space Race. He also worked tirelessly as a civic booster. Knecht helped establish Evansville College and was almost single-handedly responsible for the establishment of Mesker Park Zoo. In this absorbing account, illustrated with over seventy cartoons, University of Evansville historian James Lachlan MacLeod tells the fascinating story of Knecht's life and analyzes his cartooning genius.