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"Thomas Nast (1840-1902), the founding father of American political cartooning, is perhaps best known for his cartoons portraying political parties as the Democratic donkey and the Republican elephant. Nast's legacy also includes a trove of other political cartoons, his successful attack on the machine politics of Tammany Hall in 1871, and his wildly popular illustrations of Santa Claus for Harper's Weekly magazine. In this thoroughgoing and lively biography, Fiona Deans Halloran interprets his work, explores his motivations and ideals, and illuminates the lasting legacy of Nast's work on American political culture"--
Included in this book are more than 150 examples of Nast's work which, together with the author's commentary, recreate the life and pattern of artistic development of the man who made the political cartoon a respected and powerful journalistic form.
This volume is a collection of political cartoons by Thomas Nast that brought Boss Tweed to justice. The legendary Boss Tweed effectively controlled New York City from after the Civil War until his downfall in November 1871. A huge man, he and his Ring of Thieves appeared to be invincible as they stole an estimated $2 billion in today's dollars. In addition to the New York City and state governments, the Tweed Ring controlled the press except for Harper's Weekly. Short and slight Thomas Nast was the most dominant American political cartoonist of all time; using his pen as his sling in Harper's Weekly, he attacked Tweed almost single-handily, before The New-York Times joined the battle in 1870. The author focuses on the circumstances and events as Thomas Nast visualized them in his 160-plus cartoons, almost like a serialized but intermittent comic book covering 1866 through 1878.
Traces the life of the German immigrant whos artistic talent helped him become a popular and influential political cartoonist.
Thomas Nast Cartoons [Classic Anthology] is an illustrated collection of American caricaturist and satirist Thomas Nast's cartoons and illustrations from newspapers and magazines.
If it is true that the pen is mightier than the sword and that one picture is worth a thousand words, Thomas Nast must certainly rank as one of the most influential personalities in nineteenth-century American history. His pen, dipped in satire, aroused an apathetic, disinterested, and uninformed public to indignation and action more than once. The most notable Nast campaign, and probably the one best recorded today, was directed against New York City's Tammany Hall and its boss, William Marcy Tweed. Boss Tweed and his ring so feared the power of Nast and his drawings that they once offered him a bribe of $500,000. Six presidents of the United States received and gratefully accepted Nast's support during their candidacies and administrations. Two of these, Abraham Lincoln and Ulysses Grant, credited Nast with more than mere support. During the Civil War, Lincoln called Nast his “best recruiting sergeant,” and after the war Grant, then a general, wrote that Nast had done as “much as any one man to preserve the Union and bring the war to an end.” Throughout his career the cartoonist remained an ardent champion of Grant who, after his election in 1868, attributed his victory to “the sword of Sheridan and the pencil of Thomas Nast.” Nast's work is still familiar today. It was Nast who popularized the modern concepts of Santa Claus and Uncle Sam and who created such symbols as the Democratic donkey, the Republican elephant, and the Tammany tiger. With more than 150 examples of Nast's work, Thomas Nast: Political Cartoonist recreates the life and pattern of artistic development of the man who made the political cartoon a respected and powerful journalistic form.
117 of Nast's most popular and most important political cartoons with explanations of the cartoon's social background, figures who are parodied and praised, and Nast's stand on the issues.
Featuring over 200 illustrations, this book tells the story of American political cartoons. From the colonial period to contemporary cartoonists like Pat Oliphant and Jimmy Margulies, this title highlights these artists' uncanny ability to encapsulate the essence of a situation and to steer the public mood with a single drawing.
A lavishly illustrated, witty, and original look at the awesome power of the political cartoon throughout history to enrage, provoke, and amuse. As a former editor of The New York Times Magazine and the longtime editor of The Nation, Victor S. Navasky knows just how transformative—and incendiary—cartoons can be. Here Navasky guides readers through some of the greatest cartoons ever created, including those by George Grosz, David Levine, Herblock, Honoré Daumier, and Ralph Steadman. He recounts how cartoonists and caricaturists have been censored, threatened, incarcerated, and even murdered for their art, and asks what makes this art form, too often dismissed as trivial, so uniquely poised to affect our minds and our hearts. Drawing on his own encounters with would-be censors, interviews with cartoonists, and historical archives from cartoon museums across the globe, Navasky examines the political cartoon as both art and polemic over the centuries. We see afresh images most celebrated for their artistic merit (Picasso's Guernica, Goya's "Duendecitos"), images that provoked outrage (the 2008 Barry Blitt New Yorker cover, which depicted the Obamas as a Muslim and a Black Power militant fist-bumping in the Oval Office), and those that have dictated public discourse (Herblock’s defining portraits of McCarthyism, the Nazi periodical Der Stürmer’s anti-Semitic caricatures). Navasky ties together these and other superlative genre examples to reveal how political cartoons have been not only capturing the zeitgeist throughout history but shaping it as well—and how the most powerful cartoons retain the ability to shock, gall, and inspire long after their creation. Here Victor S. Navasky brilliantly illuminates the true power of one of our most enduringly vital forms of artistic expression.
From Benjamin Franklin's drawing of the first American political cartoon in 1754 to contemporary cartoonists' blistering attacks on George W. Bush and initial love-affair with Barack Obama, editorial cartoons have been a part of American journalism and politics. American Political Cartoons chronicles the nation's highs and lows in an extensive collection of cartoons that span the entire history of American political cartooning."Good cartoons hit you primitively and emotionally," said cartoonist Doug Marlette. "A cartoon is a frontal attack, a slam dunk, a cluster bomb." Most cartoonists pride themselves on attacking honestly, if ruthlessly. American Political Cartoons recounts many direct hits, recalling the discomfort of the cartoons' targets and the delight of their readers.Through skillful combination of pictures and words, cartoonists galvanize public opinion for or against their subjects. In the process they have revealed truths about us and our democratic system that have been both embarrassing and ennobling. Stephen Hess and Sandy Northrop note that not all cartoonists have worn white hats. Many have perpetuated demeaning ethnic stereotypes, slandered honest politicians, and oversimplified complex issues.