Caricature (Art)

This chapter analyses a caricature, produced in 1753 by the watercolourist Paul Sandby entitled Burlesque sur le Burlesque. This caricature attacks the painter William Hogarth, in particular, his recently published aesthetic treatise, The Analysis of Beauty, and his stance in the English Academic debates of the 1750s – a series of events in which English artists debated whether or not they should migrate from private artistic academies to publicly funded and hierarchically organised arts academies on the continental model. The chapter explores the way in which Sandby targets his object, and through iconographical analysis, demonstrates how caricature operates visually as a literal puzzle that forefronts certain criticisms, and veils others.

Agata Pietrzak „Chicken scratches”, or Frederic Chopin and the November insurgents in caricatures by Józef Szymon Kurowski from the collections of the National Library
The article discusses the previously unknown set of drawings by Joseph Simon Kurowski, a painter who specialized in portraying personalities of the Great Emigration. Discovered in storage at the Department of Manuscripts of the National Library, albums belonging to Zofia Ossolińska (née Chodkievicz) contain a collection of 24 drawings including satirical images of November insurgents (including Izydor Sobański, Aleksander and Edward Jełowicki, Anton Wodziński, General Józef Bem and General Henryk Dembinski, Edward Rottermund, Walenty Krosnowski, and Leonard Rettel). Created during the years 1835-1839, these works document their lives outside their country. The collection also includes three self-portraits of the artist, who was himself a participant in the Polish-Russian War of 1830-31. The most interesting items in the collection are, however, caricatures of Frederic Chopin. Based on comparative and stylistic analysis, we have managed to establish their proper attribution. The author of the humorous portraits was the pianist Józef Kurowski, and not, as previously assumed, Countess Ossolinska née Jablonowska. The article also discusses the original version, never before published and hitherto unknown to Chopin experts, of the caricature Chopin Toasting from 1837.

Considérer l’image dans la dimension technique de son élaboration n’est pas une réflexion périphérique à la question de la caricature chez les Goncourt. Si l’image est plus volontiers abordée sur les plans stylistique et politique, la fabrique des estampes caricaturales demeure un paramètre majeur, ce dont témoigne le discours critique et essayiste des Goncourt développé dans le Journal, la correspondance, la critique d’art ou encore la monographie sur Gavarni. La fabrique graphique de la caricature, c’est d’abord une pratique personnelle pour les Goncourt. On sait par ailleurs la passion des deux frères pour la collection et leur attrait pour la bibliophilie, intérêts qui questionnent directement l’esthétique, la facture et la valeur de l’image. Si le commentaire des Goncourt prend la forme d’un discours avisé, c’est aussi parce qu’ils ont été très tôt versés dans la critique d’art. Ces considérations posent la question de la nature et de la portée du propos des Goncourt sur les modalités matérielles de la fabrique des images caricaturales, que ce savoir émane des sociabilités artistiques et culturelles, d’une expérience de critique d’art ou encore d’une participation à la presse. Gravure, lithographie, eau-forte occupent une place centrale dans la vision du monde des Goncourt, à une époque où l’estampe gagne une visibilité à travers les associations d’artistes. Mais c’est avant tout par les sociabilités et le réseau amical que se forme chez les deux frères une conscience des techniques de l’image.

Publication coordonnée par Laurent Bihl et Marie-Mélodie Delgado à la suite des attentats de Charlie Hebdo en janvier 2015. Avec des contributions de Laurent Bihl, Christian-Marc Bosséno, Laurence Danguy, Yannick Dehée, Christian Delporte, Marie-Anne Matard-Bonucci, Pascal Ory, Emmanuel Pierrat et Bertrand Tillier ; première édition en 2015, seconde édition revue et augmentée  en janvier 2020

This essay examines one aspect of Giuseppe Arcimboldo's portraiture: His genre depictions where he expands the art of illusionism or magic visualization into grilli (intellectual whims) and teste composte (composite heads). These images of reversible portraits of genre scenes, caricatural conceits, and visual puns are seen in The Cook or The Chef reversed as The Bowl of Meats of 1570 at the Nationalmuseum, Stockholm; The Vegetable Gardener reversed as The Bowl of Vegetables of 1590 at the Museo Civico "Ala Ponzone", Cremona; and Il Frutaio, The Fruit Vendor reversed as The Basket of Fruits of 1591, at the French & Company Gallery in New York. In his imagery, Arcimboldo focuses on the paradoxical meaning of objects, "what if?" adding a sense of ambiguity and mystery to his art. Is Arcimboldo teasing the viewer with a Mannerist flare, or is he composing or implying another type of intellectual conceit? Ultimately, Arcimboldo invents a new type of genre: the emblematic humorous portrait.

Brings together for the first time a stunning collection of over 400 colour cartoons, illustrations, covers and caricatures published in Punch from the 1920s to the 1990s - most never reproduced since original publication. The cartoons are grouped by eras with features on artists like E H Shepard, Fougasse, Arthur Watts, Rowland Emett, and Ronald Searle.

Foreword by Quentin Blake

"A handsome book celebrating nearly a century's worth of Punch's brilliant illustrators, from Fougasse to Trog and Quentin Blake, which holds up a mirror - humorous and telling - to ourselves and the society we inhabited." Daily Mail

“a real treat” The Oldie magazine

“handsome edition reveals what made the middle classes tick”  Daily Telegraph

Au début du 20e siècle, l’artiste montréalais Joseph Charlebois est très actif dans la région métropolitaine. En plus de travailler comme cartographe à la ville de Montréal, il réalise de nombreuses enluminures qu’offre la municipalité, aux dignitaires en visite la région. Il est aussi caricaturiste pour plusieurs journaux locaux. Il produira d’ailleurs un total de 13 albums de caricatures durant sa carrière, dont La Conscription, Montréal Juif et La Prohibition. Entre 1904 et 1905, il est le premier à mettre en bande dessinée le personnage du Père Ladébauche. Jusqu’à tout récemment, cette série était la seule production de ce genre attribué à l’artiste. Ce mémoire espère démontrer que s’ajoute à celle-ci une nouvelle production. Celle portant le titre Joe Connaissant, qui parait dans le journal La Patrie de Montréal entre les mois d’avril et d’août 1918 ; un total de 17 planches signé J. Sée. Nous comptons faire la démonstration que ce nom n’est qu’un pseudonyme et que Joseph Charlebois est en fait l’auteur, non pas d’une, mais de deux bandes dessinées.

Sarah Lucas is one of the greatest artists I know belonging to the generation that rose during the Clinton Nineties. She has a feeling for her materials that quite simply takes your breath away, a formidable command over sculptural form, a knack for the striking composition, juxtaposition or installation, an abiding interest in charged and often politically-incorrect content, a deliciously wicked sense of humor, and ranks among our better wordsmiths.  “What is there not to like?”, one might ask.  A more extensive version of this article is forthcoming.

RESUMO

Este artigo objetiva identificar os elementos que permitam elaborar um conceito de charge resultante, essencialmente, da análise do processo histórico que contribuiu para o seu surgimento. Em virtude da utilização dos termos charge e caricatura de maneira indistinta por vários estudiosos que se debruçaram sobre o assunto, a metodologia erigida assentou-se em procedimentos orientados para a comparação dos significados historicamente atribuídos aos referidos vocábulos. Com isso, foi possível delinear o conceito de charge por meio dos componentes que a distinguem da caricatura e demonstrar que o processo histórico que as originou contém os indícios capazes de explicar tanto a indeterminada utilização desses termos, quanto os aspectos que dotam a charge das peculiaridades que lhe são intrínsecas, a saber, o seu pertencimento ao gênero jornalístico e o objetivo precípuo da crítica política.

ABSTRACT

The present essay aims to identify elements that allow elaborating a resulting concept of charge, essentially, from the analysis of the historical process that contributed to its appearance. Due to the indistinct use of the terms charge and caricature by several scholars who dedicate themselves to the subject, the chosen methodology relied on procedures guided to comparing meanings historically attributed to the terms. As such, it was possible to outline the concept of charge by means of the components that distinguish it from caricature and to demonstrate that the historical process that originated them contains evidence capable of explaining both the indeterminate use of such terms and the aspects that give the charge its intrinsic peculiarities, such as its belonging to the journalistic genre and the core goal of political criticism.

This study explores the ways in which Honoré Daumier introduced the spectacle into his satiric urban scenes. I argue that Daumier conceptualized the public sphere as a site for daily urban spectacles, using satire as a means to represent them and at the same time nurture the very mechanism through which they operated by publishing his caricatures in the satirical press, which circulated them publicly. By doing so, Daumier actively contributed to the spectacularization of reality. My paper analyzes a number of representative caricatures in which Daumier described spectators in the public sphere. First, I discuss the emergence of the figure of the spectator in Daumier's caricatures. Second, I demonstrate how Daumier created spectacles by placing spectators in the streets of Paris to observe mundane events. Finally, I attempt to unravel the performative function of the spectator’s gaze in Daumier’s caricatures, and to show how the gaze became a dynamic means that created the satirical content of his caricatures. Specifically, I focus on cases where Daumier manipulated the gaze and disrupted its normal performance, thus undermining the essential logic of urban spectatorship.

Par son excès mimétique, la caricature peut sembler difficilement compatible avec l'esthétique réaliste, qui cherche à donner une image fidèle au réel. Pourtant l'ironiste Maupassant a souvent recours au portrait caricatural afin de mettre en relief le caractère excessif du personnage. En établissant des liens fermes entre le portrait du personnage et le déroulement de l’histoire, qui illustrera les conséquences négatives de cet excès, Maupassant expose le danger qu’il y a à dévier d'un comportement mesuré. Le réalisme réside ainsi dans la cohérence entre le portrait caricatural du personnage et ses actes. Il dérive aussi de l'application d'un schéma rationnel mis en place pour déprécier le personnage caricaturé, dont l'excès, souvent sous forme de passion, provoque une appréhension erronée du réel objectif. L'impossibilité d'appliquer un tel cadre normatif, comme dans le genre fantastique, pourrait indiquer la nécessité d'abandonner partiellement l’esthétique réaliste pour embrasser d'autres formes de composition.

In this paper the author aims to show the specific historic and stylistic connections that existed between 19th century caricature and early animated films. By doing so and by accepting caricature as the essence of animation, the author hopes to shed new light on some of the specificities of animation as an art form and especially its ability to create hyperreal figurines or even, supernatural figurines. That is, not only fantasy characters that look real, but “cartoony”
characters that have the ability to come out as more realistic than less distorted, thus truly more realistic, representations.

L’article analyse la relation entre la caricature et la mode à partir de quelques exemples de la satire visuelle et textuelle de la seconde moitié du XIXe siècle. La période est propice à la caricature de mode car, tout en reflétant les transformations politiques, économiques et sociales du temps, les tendances vestimentaires prônées à l'époque par les périodiques de mode reposent sur l'exagération et la déformation, qualités qui sont aussi les armes des humoristes. La première partie examine la représentation graphique du costume féminin, avant tout celle de la crinoline-cage, et les significations véhiculées par ces images railleuses. La seconde se concentre sur les fragments de La Comédie de notre temps (1874-1876) de Bertall, consacrés à la mode et au vêtement, et cherche à définir l'image de la femme et sa place dans la société bourgeoise en pleine mutation.

Here is a rare homage to the art of classic 2–D animation and the time–honored method of hand–drawing characters that come alive on the silver screen. The creator of "The Simpsons" and "Futurama," reveals the art of brilliant character design, backgrounds, and prop art in this lavishly detailed handbook that unveils the complex secrets behind the deceptively simple and universally loved Simpsons characters. With creative insights, artists' sketches, helpful insider hints, and step–by–step instructions, enter the imagination of "master doodler" Matt Groening and receive some professional "how–to" advice from many of the animators and directors who have made "The Simpsons" the longest–running animated show and situation comedy in television history. In our technological era when animation has become increasingly digitalized, this unique handbook records the genesis of some of the most extraordinary examples of the art of hand–drawn animated characters.

This essay establishes a graphic history pertaining to Franciszka Themerson's UBU Comic Strip (1970). A product of her extensive engagement with Alfred Jarry's play Ubu Roi (1896), this work invites us to consider Themerson's vanguard approach to caricature-, cartoon-, and comic strip-making in relation to their interwoven histories. To this end, a connection is made between Themerson (1907-1988) and “father of the comic strip,” Rodolphe Töpffer (1799-1846), through their shared use of a specific and enduring autographic strategy described here as the “slovenly idiom.” This idiom is traced from the emergent modern caricature, cartoon and comic strip of the nineteenth century to the assimilation of these graphic strategies by the avant-garde community to which Jarry (1873-1907) belonged in fin-de-siècle Paris. Links are drawn between Jarry's and his associates' graphic depictions of Ubu and Themerson's later portrayal of the character.

Le milieu du XIXe siècle est marqué par le développement de scandales littéraires ou artistiques, qui semblent garantir aux oeuvres qu'ils concernent la qualité d'oeuvres "modernes", faisant rupture avec une tradition épuisée dans la réitération académique. L'examen s'attache ici, à titre d'exemple, à un de ces "tableaux-événements" : les Baigneuses de Courbet, toile exposée sous le titre La Baigneuse au Salon officiel de 1853. L'examen de la réception exhaustive des comptes rendus de presse - articles et caricatures - permet ici de dégager l'état du regard porté sur la toile dans un temps social et culturel particulier : le sujet est alors mis en péril face à cette Vénus anadyomène au corps qui échappe aux normes académiques et aux canons datés du beau idéal.

Encontrar datos sobre los hacedores de la prensa mexicana ha sido harto difícil pues no existen archivos de los periódicos donde trabajaban. La de Constantino Escalante se reconstruye a través de un obituario, dos fotografias y su obra en el periódico La Orquesta y Las Glorias Nacionales

Resumen: A pesar de los debates que a partir de 1839 enfrentaron al daguerrotipo con las artes tradicionales, fotografía y caricatura iniciaron tempranamente una fructífera relación, que se extendería al nuevo siglo. En este artículo estudiamos algunas particularidades de este fenómeno en la prensa argentina, focalizándonos en la revista Caras y Caretas, cuyo carácter pionero y modélico sentó las bases para muchas publicaciones locales posteriores. Analizando las diversas formas de interacción entre fotografía y caricatura, mostramos el rápido proceso de sofisticación y entrenamiento visual que propiciaron estas tempranas revistas ilustradas.


Abstract: Despite the debates that, towards 1839, confronted the daguerreotype with the traditional arts, photography and caricature began a fruitful relationship that would extend well into the new century. In this paper, we analyze this phenomenon in the Argentine illustrated press, focusing particularly on pioneering and exemplary Caras y Caretas magazine, which somehow laid the foundation for most of the subsequent local publications. By analyzing the different ways in which caricature interacted with photography, we intend to show the role these pioneering magazines played in the quick process of sophistication and visual training of the local public.

Le caricaturiste Robert La Palme a livré un portrait saisissant du Québec d'après-guerre, lui qui a mené une véritable croisade contre Maurice Duplessis et son régime. Dans le cadre de ce mémoire de maîtrise, nous nous proposons de retracer le parcours de Robert La Palme dans ses années au quotidien libéral Le Canada, où il travaille de 1943 à 1951, afin de comprendre le théâtre satirique qu'est son oeuvre caricaturisée selon deux forces qui s'opposent ou se complètent l'une l'autre: le contexte sociopolitique, qui inspire et dont s'abreuve le caricaturiste, d'une part, et l'engagement même de Robert La
Palme, qui dirige et conduit sa plume, d'autre part. Nous verrons que le caricaturiste, par la disposition des acteurs qui prennent place dans son théâtre entre autres, a balisé en quelque sorte l'espace du pensable concernant le régime duplessiste.

سردت الدراسة كمدخل لها التداخلَ الشائع في تعريف "كتاب الفنان" مع تعريفات أخرى كتعريف الكتاب المصوّر والقصة المصورة، وذلك اعتمادا على منهجية الدراسة في تقديم وسيط "كتاب الفنان" برؤية جديدة تعتمد على فرضية أساسها أنه من الممكن أن يتخذ "كتاب الفنان" الهيئة الشكلية لأي كتاب تقليدي لكن بمحتوى فني ابتكاري خاص بمؤلفه. وتتبّعت الدراسة بعض مؤلفات فنانين تشكيليين قاموا باستخدام الكتاب كوسيط للتعبير، حيث حللت الدراسة بعض الحالات على وجه الخصوص، وقامت بالنظر في كيفية تناول الفنان لهذا الوسيط في التعبير، بجانب وسائطه الأخرى، ومدى حاجته إلى ذلك، والطرق الإبداعية التي تفاعل بها وأضافها على الوسيط. وفي كل حالة قامت الدراسة باستخلاص نتيجة ترتبط بكيفية فهرسة تلك المؤلفات داخل مكتبات الفنون المتخصصة تحديدا. وحددت الدراسة الاختلافات بين السّير الذاتية وبين "كتاب الفنان" من حيث الفهرسة المتخصصة لتلك المؤلفات، مع تزايد الإنتاج الفني بوسيط "كتاب الفنان" في الممارسات المعاصرة التي تعتمد على البحث. وانتهت الدراسة بنقاط تحدد كيفية عمل المفهرس على كتاب الفنان في مكتبة الفنون المتخصصة.

This paper revolves around James Gillray -a political caricaturist of the 18th century- along with his views and portrayals of the French Revolution and it's protagonists, followed by his contribution to the then circulated Anti Jacobin newspaper.

Caricature and comics are elastic categories. This essay treats caricature not as a type or aspect of comics but as a window through which we can view comics in relation to the broader European visual art tradition. Caricature is exaggeration. But all art exaggerates, insofar as it stylizes. Is all art caricature, since all has 'style'? Ernst Gombrich's classic Art and Illusion comes close to arguing so. This article conjoins critical reflections on Gombrich's discussion of 'the experiment of caricature' with a survey of art historical paradigm cases. It makes sense for comics to emerge from this mix.

Digital cultures engage users’ social, creative and emotional labour – a process that can be described as affective. For some theorists and artists, this dynamic is inherently exploitative. However, within this exploitation is the potential, particularly in social media and games, to provide fuel for playful critique. The concept of ‘play’ is frequently used to describe users’ engagement within such cultures. This phenomenon evokes a long history in the arts of deploying ‘critical play’ modalities. In light of this situation, how might we begin to sketch a broader portrait of a ‘player’ engaging with the site of ‘critical play’?

This PhD project explores this question through a mapping of artists’ critical play within digital environments. With the focus upon affective engagement in digital environments, I argue that it is the reflection and interrogation of processes of identity representation that, in turn, drive much of the motivation for ‘playing critically’ as a productive probe. More generally ‘Critical Affection, an expanded portrait of the artist-as-player in digital cultures’ seeks to contribute to play debates at the intersection of games studies, new media and contemporary art.

More than 20 years after presenting his first interpretation of the mosaic from the House of Aion in a paper entitled “Uwagi na temat mozaiki z Domu Aiona w Nea Paphos (Cypr)” (Meander 9/10, 1987, p. 421-438, in Polish, and translated to English: « The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory [in Connection with the Interpretation of the Mosaic from the “House of Aion” at Paphos in Cyprus]»), where he proposed reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; 3. The Dionysian thiasos; 4. Apollo and Marsyas; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception and ending with the liberation of the soul and its apotheosis, the author now enhances his initial interpretation with numerous reflections concerning the historical context of this work of art, created in the years 320-360.
If, according to the author, the mosaic is a “Hymn” in honour of the pagan gods, Man (his soul) and his place in the (pagan) universe, then at the same time it polemicises with the Christian faith and its God, Jesus Christ.
The author puts forward numerous new solutions relating to the mosaic’s iconography and iconology. Analysis of the mosaic also leads him to propose a solution to the as-yet unanswered question regarding the absence of images of the crucified Christ in Christian art of the 3rd and 4th centuries, up until 420/430, when the first images of Christ on the cross appear.
CONTENTS:
Introduction
1. Research to-date (recap)
2. Description of mosaic (recap)
2.1. Composition of five mythological scenes
2.2. Brief iconographic description of mythological panels
2.3. Outline of individual iconographic elements and their respective roles
2.4. The pagan gods’ air of majesty and dignity as an expression of piety
3. A few words about the pagan reaction
4. An apology of pious human life according to pagan principles and a polemic on the Christian model of Man and his theological idol, Jesus Christ
4.1. Divine intervention in the act of human conception (allusion to/polemic on the Annunciation to the Virgin Mary)
4.2. The Epiphany of Dionysus (an allusion to the Epiphany of Christ – Theou Pais)
4.3. The procession and dissemination of Dionysian order (allusion to/polemic on Christ’s entry into Jerusalem)
4.4. The error of Marsyas (polemic on/allusion to the error of Jesus the Messiah): arrest, sentencing for arrogance and lack of piety (asebeia) and condemnation to a martyr’s death
4.5. The anabasis (or anagoge psyches) of a ‘beautiful soul’ (allusion to/polemic on the Ascension of Christ)
5. A few words on the mosaic programme prior to final conclusions
Final conclusions
Key words: mythological mosaic, House of Aion, Nea Paphos, Late Antiquity, Roman art, allegorical narrative, allusive language of mythological pictures, wordplay (Marsyas-Messias), Jesus Christ, anti-Christian polemic, Dionysos, Cassiopeia, Apollon, Nereides, Abstract Personifications, Greek Mythology, ΚΥΠΡΟΣ

One highly prominent aspect of ISIS’s program of destruction in Syria and Iraq that has come to the media attention recently is their program of cultural heritage destruction that took the form of smashing artifacts in archaeological museums, iconoclastic breaking and bulldozing of archaeological sites, dynamiting of shrines, tombs, and other holy sites of local communities, and burning of libraries and archives. In this paper, I focus on ISIS’s destruction of archaeological heritage. I argue that this destruction can be seen as a form of place-based violence that aims to annihilate the local sense of belonging, and the collective sense of memory among local communities to whom the heritage belongs. Therefore, heritage destruction can be seen as part and parcel of this scorched-earth strategy described above. I also argue that the Islamic State coordinates and choreographs these destructions as mediatic spectacles of violence aimed at objects and sites of heritage, and these spectacles take place as re-enactments or historical performances that are continuously and carefully communicated to us through ISIS’s own image-making and dissemination apparatus that increasingly utilizes the most advanced technologies of visualization and communication. I will also pose questions about the relatively weak responses from the archaeological community around the world that rarely went beyond the stereotypical expression of “dismay” to ISIS’s heritage destruction. At the same time, I will try to answer the why and how of ISIS’s dislike of archaeological heritage in the context of late capitalism.

Narra cómo se fue transformando las imágenes irónicas en la caricatura, durante este amplio periodo, unas veces haciendo reír al lector y otras mostrándoles el camino de la rebelión. La caricatura en el siglo XIX es la responsable de hacer dudar al lector de las noticias publicadas en medios formales.

Avec la Révolution tranquille, la Grande Noirceur occupe une place de choix dans l’imaginaire collectif des Québécois. Ces deux mythistoires articulent une conception dichotomique du passé québécois où l’année 1960 apparaît comme une fracture entre deux temps et deux mondes, entre l’Ancien et le Nouveau Régime. Cette thèse s’intéresse aux origines caricaturales de la Grande Noirceur duplessiste. Jusqu’ici, les chercheurs qui ont abordé la question des mythistoires constitutifs du Québec moderne se sont surtout arrêtés aux discours des intellectuels regroupés au sein du journal Le Devoir, de la revue Cité Libre et de la Faculté des Sciences sociales de l’Université Laval. Pour notre part, nous mettons en lumière la contribution du caricaturiste Robert La Palme dans la conception et la diffusion du mythistoire de la Grande Noirceur duplessiste au Québec.
Robert La Palme est l’un des plus éminents caricaturistes que le Québec ait connus. Entre 1939 et 1962, à l’emploi des plus importants journaux canadiens-français de l’époque, il présente sa vision caustique de l’actualité.

Au fil des ans, quantité de personnages de tous horizons et milieux politiques et culturels se sont retrouvés dans le grand théâtre qu’est son œuvre satirique. Mais nul n’a autant retenu l’attention de l’artiste que Maurice Duplessis, chef de l’Union nationale et premier ministre de la province de Québec de 1936 à 1939, puis de 1944 jusqu’à son décès survenu en 1959. Dans des centaines de caricatures, La Palme prend un malin plaisir à caricaturer l’homme et son « régime », ses idées et ses convictions, ses actes et ses prises de position. Ce faisant, le caricaturiste produit quelques-unes des images d’Épinal de la Grande Noirceur duplessiste.

Par le truchement de l’œuvre du caricaturiste Robert La Palme, cette thèse étudie les processus de production et de circulation des discours ayant pour objet la Grande Noirceur duplessiste depuis les années 1940. Nous montrons que Robert La Palme tient un discours original sur la Grande Noirceur duplessiste. Sa contribution la plus importante à cet effet est certainement la formule « Toé, tais-toé! », que le caricaturiste est le premier à mettre dans la bouche de Maurice Duplessis. Cette formule est, depuis, devenue l’un des fleurons de ce mythistoire. D’autres discours sur la Grande Noirceur duplessiste ont recours aux caricatures de La Palme. Deux brochures électorales du Parti libéral provincial ainsi que des manuels scolaires, un événement commémoratif et une synthèse historique ont retenu notre attention. Dans les années 1940 et 1950, le Parti libéral provincial recourt aux caricatures de La Palme pour répondre à la démagogie de l’Union nationale. Quand la caricature ne sert pas carrément de discours politique, celui-ci prend les traits de la caricature. Depuis les années 1980 enfin, les caricatures de Robert La Palme ont été utilisées pour des motifs éducatifs, commémoratifs et historiques afin de renforcer le mythistoire de la Grande Noirceur duplessiste.


Alongside the Quiet Revolution, the Great Darkness occupies a special place in the collective imaginary of the Quebeckers. Those two mythistories articulate a dichotomical conception of Quebec’s past where the year 1960 appears as a fracture between two distinct times and two worlds, between the Old and the New Regime. This thesis explores the caricatural origins of the Great Darkness of the Duplessis era. Up until now, researchers who have discussed the matter of the constitutive mythistories of modern Quebec were mostly interested in the discourses from intellectuals grouped at newspaper Le Devoir, journal Cité Libre and the Faculté des Sciences sociales of the Université Laval. As for us, we focus on the contribution of caricaturist Robert La Palme in the conception and diffusion of the mythistory of the Great Darkness of the Duplessis era in Quebec.

Robert La Palme is one of the most prominent caricaturists that Quebec has ever known. Between 1939 and 1962, he worked at the most important French-Canadian newspapers of the time and presented his caustic view of current affairs. Throughout the years, a wide variety of characters from all political and cultural backgrounds found their way inside the great theatre which was his satirical comedy. No one else attracted the attention of the artist more than Maurice Duplessis, leader of the Union Nationale and Premier of the province of Quebec from 1936 to 1939, then from 1944 right until his death in 1959. In hundreds of caricatures, La Palme took malicious delight in drawing caricatures of the man and his “regime”, his ideas and his convictions, acts and position statements. By doing so, the caricaturist produced some of the iconic images of the Great Darkness of the Duplessis era.

Carried out through the works of caricaturist Robert La Palme, this thesis studies the production process and flow of the discourses that referred to the Great Darkness of the Duplessis era since the 1940s. We show that Robert La Palme gave an original discourse on the Great Darkness of the Duplessis era. His most important contribution to this regard is the formula “Toé, tais-toé!”, that he first put over the mouth of Maurice Duplessis. This formula has since become one of the icons of this mythistory. Other discourses regarding the Great Darkness of the Duplessis era have also resorted to La Palme’s caricatures. Two electoral brochures of the provincial Liberal Party as well as schoolbooks, a commemorative event and an historical synthesis grabbed our attention. In the 1940s and 1950s, the provincial Liberal Party used La Palme’s caricatures in order to reply to the Union Nationale’s demagoguery. When the caricature did not serve as a political discourse, the latter took the traits of the caricature. Since the 1980s, Robert La Palme’s caricatures were finally put to use for educative, commemorative and historical purposes to enhance the mythistory of the Great Darkness of the Duplessis era.

This essay examines new developments and trends in the study of eighteenth-century prints, with a particular focus on reproductive engraving, book illustration, fine art etching, and caricature. Recent studies demonstrate an increasingly theoretical engagement with the production and reception of prints and assert the centrality of prints and printmaking to the field of art history. Digital scanning and database technology have dramatically expanded scholarly access to the printed page, posing both opportunities and challenges to the conceptualization of the Enlightenment print.

Abstract
From earth to heaven.
The influence of the Aldeia da Terra project in the conception of a new artistic lan-guage.

The barrística, also the art of the figured in clay, although with previous manifestations founded schools in Portugal, namely in Barcelos, Caldas da Rainha and Estremoz, from the middle of the 18th century. This happened from consolidation of the introduction of the Nativity representation in Portugal, by the construction of the Palace of Mafra and from its Italian influences. Today as a manifestation of folk art is a tradition. How-ever, and especially since the 1970s, many contemporary craftsman / artists look for different expressions in this art. These manifestations, which go beyond the themes of the sacred and profane, of rurality and traditions, often also cross the boundary of what is conventionally called Craft, entering into the universe of erudite or more sub-jective Art and its languages and symbols.
Aldeia da Terra was a project that consciously used the themes of tradition but intro-duced others: The caricature, the social portrait, the humor and the irreverence, ex-ploring new limits. One of these limits, which I propose to explore better in this Mas-ter's work, with the proposal of a new language in barrística, is precisely the indefinite frontier that eventually separates the so-called "Craftwork" from "Art".

[Abstract français ci-dessous]
Expressionnist portraits and caricature

There is a certain visual evidence which makes it tempting to link modern art and caricature. At least two art-historians have done so: Ernst Gombrich and Werner Hofmann. However, they nowhere develop their contention that caricature may have a link to modern, more specifically, expressionist art.
My more programmatic than exhaustive article aims at developing the relationship they hint at. I will argue that the surface resemblance is the symptom of a deeper connection between caricature and expressionist art.
More specifically, I will show that expressionist artists share a common goal with caricaturists: they want to show the deep nature of that which they portray. The seeming deformations or distorsions that appear in their works are linked to an ideal of realism: showing the otherwise invisible nature of people.

If this link existed, then it would be more plausible than has generally been thought that caricature plays a role in the development of modern art. I believe that realist aspirations along these lines are sufficient to explain how caricature came into being and that it is unnecessary to appeal to the idea that caricature opposes ideal beauty, that it is, in this sense, an anti-art, as Werner Hofmann and many others have suggested. This has  a historical implication: If the birth of caricature can indeed be linked to the will to unmask, then the Northern countries become candidates for the place of emergence of caricature again - for they have long been discarded precisely because they didn’t have the ideal of beauty which existed in Italy and it was thus suggested that they didn’t have anything to oppose to. And as long as caricature was defined as an anti-art, negatively rather than positively, it could only be born in Italy. But if it the visual deformations it displays is explained as an extension of the will to show reality, earlier Northern examples have to be taken into account as examples of caricature.

"Portrait expressioniste et caricature par Klaus-Peter Speidel

La tentation de relier certaines œuvres de l’art moderne à la caricature est grande. Au moins deux historiens de l’art – et non les moindres – n’y ont pas résisté : Werner Hofmann et Ernst Gombrich. Toutefois le rapprochement qu’ils opèrent n’est développé nulle part. Dans cet article analytique, qui se veut plus programmatique qu’exhaustif, j’essaierai d’élucider la pertinence et la portée de ce rapprochement. A partir de quelques éléments de définition et de la structure de l’activité figurative dans les domaines de la caricature et du portrait moderne, je tenterai de déterminer si la ressemblance de surface pointe vers un lien profond entre portrait caricatural et portrait artistique moderne. Si tel est le cas, alors la caricature joue sans doute un rôle clé dans l’avènement de l’art moderne.

J’essaierai de montrer que le lien entre art moderne et caricature est non seulement formel, mais que les peintres de portraits expressionnistes parta­gent des objectifs réalistes que l’on remarque déjà chez les premiers carica­turistes. Je montrerai que la « déformation » ou « distorsion » que l’on observe chez les uns et chez les autres est un écart par rapport aux normes de la peinture naturaliste, mais au service du réalisme [1] : la déformation de surface permet de rendre compte d’une réalité qui est moins apparente. Je crois que l’aspiration réaliste suffit pour expliquer le cheminement vers la caricature. On n’a pas besoin de faire appel à la beauté idéale comme l’autre qui serait nécessaire pour « l’invention » de la caricature."