I find old political cartoons to be very interesting. They have absolutely no trace of "political correctness" in them, a lot of them could, in fact, be mistaken for one of these cartoons made by the guy who originally drew the famous Happy Merchant. I have noticed that many of them represent countries as "national personifications" such as the Uncle Sam, John Bull, Marianne, Britannia or Germania, especially in subjects that do not affect partisans, but the entire nation. A lot of them are also very meritory from an artistical point of view.
Share these you have. I'm especially interested in pre-WWII ones. All languages welcome. Here's my first ones.
Here's one about how some perceived what the French Revolution actually was about:
"French revolution: before and after: satirical drawing by French draftsman Caran d'Ache, 1898 […]. Although the Ancien Régime is not shown as idyllic, the contemporary situation is shown as an increase of oppression, which technical improvements (notice the plowshare) don't lighten, and to which financial capitalism (the banker with his top hat and his wallet), the Freemason (with his set square and plumb bob) and the Jew (with a curved nose) are contributors."
Older cartoons presumed that the reader had a fair bit more geo-political and historical knowledge and sense of nuance than modern political cartoons do. Modern cartoons are basically like the Colbert show where you're just expected to find a disrespectful Trump picture to be great political commentary.
That 3rd one is especially fantastic, still applicable even.
Image 1: Gallaway, 'Business and Pleasure,' from Puck, December 14, 1898. Jewish children were taught from childhood always to be on the alert for financial gain. Here a grandson tells his grandfather: “Ven I vos oudt horseback riding dis morning, Gandfader, I 5 dradet dot horse undt made feefty tollars.” The grandfather replies: “Got for you, Chakey! Dot vos der vay to enchoy horsepack riding!” One sub-text is that even though the grandson has re- invented himself as a young American, he cannot escape his Jewish training, mangled English, or biological inheritance.
Image 2: Louis Dalrymple, 'Dominant Races', from Puck, July 27, 1898. This cartoon symbolizes the fear and hatred as well as the ambivalent and grudging respect for commercial success generated by Jewish aggressive self-confidence, business acumen, and increasingly unavoidable presence in America. Two large-nosed (the inevitable defining facial characteristic of cartoon Jews), middle-class businessmen note the place of Jews in America vis- vis the dominant culture-givers. Isaacs asks in the cartoon world’s ever-present Jewish-English dialect: “You think the Anglo- Saxons are going to rule the earth?” Cohenstein responds: “Well, maybe they might, but that doesn’t prevent Jews from owning it.”
Image 3: C.N.C., 'If You Don’t Come Up Again, Goldstein' from Life, December 21, 1899. This is one of many cartoons concerning Jews and their quest for jewelry even in possible life- and-death situations.
Image 4: Frederick Oper, 'The New Trans-Atlantic Hebrew Line,' from Puck, January 19, 1881. A cartoon about the number of Jewish immigrants then arriving in America. Even if illiterates could not read the sarcastic caption, “For the Exclusive Use of ‘The Persecuted’ ”, they would know who the persecuted were—the people on the ship, emphasized by the hooked noses of the sailors, the ship itself, the fish in the water, and the bird in the sky.
I don't get the third one. Is it supposed to be an anti-union cartoon?
Prior to the advent of commercialism and planned obsolescence, overproduction was a big issue for industrialization. Factories would produce so much that they could no longer afford to keep running. At a certain point in production, demand would sink without lowering the price, thus lowering the profits. This resulted in layoffs and stagnant research and development. It got so bad in some cases that all the sunk capital in creating the factory might not even have been recouped. The solution that was implemented is the great cancer that is destroying us. Overproduction was solved with overconsumption, the cult of materialism, and corporate society. It was a Faustian deal for knowledge that continues to this day as we trade ecology and a sustainability lifestyles for technological advancement.
At the turn of last century, this was a big deal that threatened the validity of industrialization and the technocratic vision of the future. That is what the comic is about.
There's are amazing. I've never seen them before. You can see how he influenced so many political cartoons going forward.
That is all I got, with most of these pulled straight from Google. The vast majority of McCay's work is trapped, and sorta lost, in Little Nemo in Slumberland due age and the poor upload quality. It takes a little patience to read, but they are incredible, especially given that this was once the quality of comics in syndication.
This is some of the oldest stuff that I have. They are engravings, but I guess they could be included here as well. It's probably the closest to gore you will find in this thread.
Image 1: The Colonies Reduced. Its Companion. ; Designed & Engraved for the Political Register, (11.5 x 20.5 cm)
Engraving in two distinct scenes; the one on top features a woman, Britannia, seated before a globe; in the distance are ships and to the right a dead tree. Britannia has had her limbs removed and they are scattered around her labeled “Virg” “Pennsyl” “New York” and “New England”. The image below is of a crowd of men; one man pulls a ship above his head and attempts to walk through the crowd. Another man, Lord Bute, is seen lifting up the skirt of Britannia exposing her to Spain and an additional unknown man. America, who looks like a Native, is running into the arms of a Frenchman. There is also a snake coiled to the left.
Image 2: La Grande Bretagne motile; Das verstunelte Britanien. [1767-8?]; Amsterdam, (25.5 x 35.5 cm)
Etching featuring an exterior scene of naked Britannia at the foot of a large rock; she is chained to it. She has been dismembered with her arms and legs around her labeled “New England” “Philadelphia” “Halifax” and “Boston”; a sash is labeled “Date Obolum Belisario”; to the right is a shield and in the background a harbor with several masts. To the left is a man chained to a barrel in the shadows. Text beneath is in Dutch and French.
These are all pretty sweet A lot of them, especially the anti-chinese labour and pro-domestic business ones are still really relevant today, and just go to show that what we face now have been challenges for a long time
I feel like just about every single one of these is still relevant today except for the colonial ones.
Expecting a pay raise in a month and a bit, planning on buying a volume of his collected editorial works. Winsor McCay is without doubt the finest goddamn editorial cartoonist to ever live.
Looks like cucks existed back in 1871, too. By its style and it being from Harper's Weekly, I'm guessing (((Thomas Nast))) drew it?
I just noticed that the second and fourth cartoons are both by (((Nast))). Weird, so a year before, (((Nast))) gave lip service to anti-Chinese immigration, only to then quickly flip flop.
This is almost better. What year is it from?
Holy shit. It's been this way for that long? It really is a holding tank for our nation's mentally ill.
When the Presidential mansion was in Philadelphia and George Washington inhabited it, there was a riot across the street from the mansion; American Jacobins wanted to lynch Washington for not helping the French Revolution to kill his old ally King Louis XVI.
T'was ever thus.
So much potential to Photoshop these for present issues.
Suffragette-era cartoons. It's mindblowing how relevant many of them still are. 1/2
1. The innocent maid arrives in the big city and is taken in by a shrewd procuress 2 The innocent maid, now a whore, brings disorder into a young gentleman's life 3. The whore, living a somewhat slovenly and luxurious lifestyle has a beadle or some other religious police enter her chambers to prosecute her for her immoral life. 4. The whore is now a convict in a workhouse where it looks like she's pounding oakum. 5. Duplicate of 4. 6. The whore's funeral, laid in her coffin, dead of syphilis.
I think these kind of pictures have the potencial to be remade fro our era.Ex:The girl goes to california,becomes a celebrity,sell his soul to the (((Silver))) and (((Gold))), goes to rehab and dies because of AIDS or overdose.
My understanding of history is that Wilson did want to keep America out of the war, but the Jews conned him into it because they were losing too many shekels due to Britain losing. Also, great thread. Really enjoy these, unlike most of the utter shit that gets posted in this CIA honey pot.
Pic n 3 is great, also explain what the beef between the tripple K mafia and that catholic church was?
Based Russians of the past, too bad today they are completely ignorant on the kikes
A lot of good all that cleverness did.
Whats this pervert shit?! You'd think they'd know better
America was after all founded on ideas of individualism and anarchy in direct conflict with natural law. The American founders buddied up at times with the proto-Bolshevists that were the Jacobins.
Picture 5 LOL :D :D Some things never change.
They are just a the standartbearers in a long tradition of left-wing terrorism waged by the low-lifes and scum of society against social order which streches back to the French revolution.
This, the normal people won WW2 and we are just living in some kind of a unrealistically despotic parallel universe.
Glad to see our friend Ben has been around for a long time. This is a very bizarre image. Why does the kike have tits? And why is he wearing a chef's hat instead of a yarmulke?
That's a Phyrgian cap that the Jacobin revolutionaries wore and Ben is basically saying that world jew bolshevism/jacobinism is the force that stabbed the german military in the back in WWI We can tell it's world war one because the german is in a trench and there's barbed wire. Also he's implying that the women's march on Versailles was in fact jew's disguised as women. He's obviously referencing this assertion by Archibald Maule Ramsay in The Nameless War which is by far the best antisemetic book you can read