A cartoon that appeared in an American veterans magazine on the first anniversary marking the last day of W.W. I. What is especially amusing is the satirical depiction of American combat officers and the last frame, which fully supports the thesis of Joseph E. Persico’s book, 11th Month, 11th Day, 11th Hour that the American Army was on the attack all the way up to the bitter end.
During the course of the Great War, few German terms delighted English speaking cartoonists more than the word kultur -which is the Teutonic word for civilization or cultural progress. Prior to being picked up by the New York Times, this cartoon originally appeared in a London magazine called, The Sketch, and was drawn by W. Heath Robinson (dates?).
Attached is a 1918 cartoon by THE STARS & STRIPES illustrator, C. LeRoy Baldridge depicting Paris in a way that only the A.E.F. could have witnessed it.
The famed Conde Nast illustrator from days of old, Ann Fish, assumed the nom de guerre, Hello in order to impart to her well-fed audience the terror of German Prussianism. In this cartoon, she illustrated what a German invasion of Manhattan would look like.
This cartoon pokes fun at the high cost of being charitable. Throughout much of World War One there was always the problem of what to do with the growing number of refugees and orphans -and the answer was never cheap. This drawing reveals a different Rea Irvin, but the drawing style for which he would be remembered is clearly emerging.
A piece of VANITY FAIR social satire concerning the returning American veterans of the World War I and how the industrial slaughter had changed them (as if such a thing could!).
Five remarkable color cartoons from France. Modern Satirical art at this time was exceptional. KEY WORDS: La Baionette 1914-1918,Cartoons 1916,French Cartoon 1916,Modern Satirical Art 1914-1918,Satiric Art 1916,Crown-Prince Wilhelm Cartoon 1916.
Click here to see how weird the first car radios looked.
With his characteristic wit and economy of line, the American cartoonist Gluyas Williams once again sticks it to the Kaiser!
The Greenwhich Village cartoonist Art Young and his anarchist editors at The Masses, Liberator and The New Masses recognized all too well that the average Joe did not have a dog in that fight that was raging on across the sea.
The socialist New York magazine The Masses
It always seems like a good time to diss a pacifist or two; and this cartoon is good for all conflicts.
Although the year 1919 (and spanning throughout much of the Twenties) was a period marked by a strong sense of anti-communism in the United States, the words war profiteer proved to be a term capable of getting a good many people in both camps riled up. This is a fine cartoon by Rollin Kirby that nicely satirizes that low breed of opportunist.
Click here to see how weird the first car radios looked.
Cartoonist Rea Irvin (1881 – 1972) did the work of ten George Creels during America’s participation in the Great War by consistently producing a number of funny gags that served to belittle Imperial Germany. Unlike most cartoonists who were active during the Gilded Age, Irvin has been published at least once a year every year since 1925: he was the creator of ‘Eustice Tilly’ -the Regency dandy who graced the very first cover of THE NEW YORKER that is re-printed every February. Other cartoons in this series are available upon request.
A cartoonist at PUNCH MAGAZINE had a laugh at the expense of Germany and it’s humiliation during the first few days of the Armistice.
This gag concerns itself with another kind of American Expeditionary Force – when Pershing’s Doughboys left, they were replaced by the American tourists.
There is another article on this site that states a popular belief held by the Europeans of 1919 that American men were all clean shaven, tended to sport gold teeth, and were most easily recognized by their big tortoise shell glasses; however, this is the first visual manifestation of this caricature that we could find. This cartoonist did not simply believe that this was a fitting description of the white guys, but black guys, too -and the women as well; an entire nation resembling Harold Lloyd.
Cartoonist Gluyas Williams (1888 – 1982) would in no way be shocked to learn that the U.S. Senate is still occupied by pompous, old, wind-bags.
There was once a time when magazine editors would not endeavor to encourage their cartoonists to pursue punchlines that were insensitive to the aged members of the world community, but that was a long time ago; in the attached WW I cartoon, a French satirical artist indulged his pettiness – daring the Politically Correct generations yet un-born to label him an ageist.
Who won the war? asks the satirist Herb Roth (1887 – 1953) in this cartoon that appeared in print ten years after America’s entry into the war.
By the time 1927 rolled around, the popular opinion across the Western world was that the war of 1914 – 1918, and the subsequent peace treaty that followed, was a big mistake that left a bad taste in everyone’s mouth. Although there was paper work indicating that World War One was victoriously brought to a close by the collective strength of the French, British, and American armies (among other nations) – by the time 1927 rolled around it didn’t feel like anyone’s victory.
Click here if you would like to read about the 1918 Armistice Day celebrations in Paris.
Click here to read about W.W. I art.
