"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"--
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.
Thomas Nast Cartoons [Classic Anthology] is an illustrated collection of American caricaturist and satirist Thomas Nast's cartoons and illustrations from newspapers and magazines.
Sixty-six Yuletide illustrations — almost all holiday drawings — by one of America's foremost illustrators and the creator of the popular Santa Claus image. Finely detailed drawings of St. Nick, sleigh rides, reindeer, "The Night Before Christmas," North Pole, and more are all depicted in this seasonal collection.Reprint of Thomas Nast's Christmas Drawings for the Human Race, 1890.
The presidential election of 1884, in which Grover Cleveland ended the Democrats' twenty-four-year presidential drought by defeating Republican challenger James G. Blaine, was one of the gaudiest in American history, remembered today less for its political significance than for the mudslinging and slander that characterized the campaign. But a closer look at the infamous election reveals far more complexity than previous stereotypes allowed, argues Mark Summers. Behind all the mud and malarkey, he says, lay a world of issues and consequences. Summers suggests that both Democrats and Republicans sensed a political system breaking apart, or perhaps a new political order forming, as voters began to drift away from voting by party affiliation toward voting according to a candidate's stand on specific issues. Mudslinging, then, was done not for public entertainment but to tear away or confirm votes that seemed in doubt. Uncovering the issues that really powered the election and stripping away the myths that still surround it, Summers uses the election of 1884 to challenge many of our preconceptions about Gilded Age politics.
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.
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