Word: cartoonable
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...artists have passed in review. A few remain in the memory because of a Pulitzer Prize or an anthologized work; the bulk have been forgotten. Yet anyone who peruses ancient journals knows that if nothing is as old as yesterday's news, nothing seems fresher than its editorial cartoon. In satirizing events and event makers, the cartoon refines material until only the ridiculous essence remains. Circumstances impossible in the real world are staged upon the cartoonist's proscenium: the politician comes face to face with his broken promises, hypocrisy assumes a human face, fingers are pointed, blame...
Such onslaughts have their liabilities. The cartoon's first obligation is to be pithy; faces and facts may be stretched to fit a gag. Editorial artists work best against rather than for something, and not every issue is as black and white as the drawing proclaims. That lack of shading and subtlety obviously influenced New York Times Founder Adolph Ochs when he kept sketches from his paper's editorial page-a tradition that is maintained today. "A cartoon," Ochs is said to have complained, "cannot say 'On the other hand.'" On the other hand, a cartoon...
...sometimes elicit action by overstating-and overheating-an issue: Daniel R. Fitzpatrick's unsubtle smog-laden cartoons helped clean up St. Louis' air back in the 1950s. It can provide a graphic perspective on this or any other time: Thomas Nast's cartoon of the U.S. contending with inflation might have been inked yesterday instead of in 1876. And the cartoon can provide a time capsule for the historian. New York Times Columnist William V. Shannon offers a sound, if wistful, prophecy when he foresees that "a hundred years from now, Herblock will be read...
...fact, cartoons help illuminate all strange tunes. Of all the publications of the Foreign Policy Association, none enjoys the immediacy of its A Cartoon History of United States Foreign Policy Since World War I. In an introduction, Political Analyst Richard H. Rovere acknowledges the ability of certain cartoons to provide "flashes of extraordinary insight and political prescience." In this category he places a David Low cartoon of 1939. Hitler bows to Stalin: "The scum of the earth, I believe." Stalin returns the courtesy: "The bloody assassin of the workers, I presume." Recalls Rovere: "It took most of us more than...
...last of the great British cartoonists. But even at his apogee he seldom surpassed the best of his American colleagues. A Cartoon History offers compelling work of artists representing the whole ideological spectrum. On the political left are some superlative efforts from the World War II years: William Cropper's fascists, consuming the globe for dinner, and Saul Steinberg's Hitler, portrayed as a constipated hen. The progressives are matched in temper and tone by conservatives of the '50s: Joseph Parrish's conception of the U.N. as a Trojan horse, brimming with "alien spies"; Reg Manning...