1863 the Art of Inspiring Courage by Frank Leslie
The most successful and renowned nineteenth-century American political cartoonist was High german immigrant Thomas Nast.
Nast is most famous for his 160 political cartoons attacking the criminal characteristics of Dominate Tweed, a politician notable for decision-making New York'due south corrupt Democratic political organization, Tammany Hall.
The mod prototype of Santa Claus and the elephant representing the Republican party were Nast creations. Nast's work represents the final maturation of the political cartoon into the form that we are familiar with today.
Political cartoons of this era were more often than not published in magazines such as Harper's Weekly, Puck, Judge, and more – although many were also published in newspapers.
Click on each image to enlarge.
The Great Republican Reform Political party
Louis Maurer, 1856, for Currier and Ives, New York, New York
The Republican Political party of the mid-nineteenth century was equanimous of a wide assortment of reformers and disparate groups. This cartoon mocks the Republicans by lampooning "typical" Republicans who are depicted here calling on their candidate for the 1856 United States presidential ballot, John C. Frémont.
From left to right, these "typical" Republicans are an obnoxious prohibitionist, a radical feminist, a squalid Socialist, a homely free dearest advocate, a Cosmic, and a racist black stereotype. They face Frémont who says, "You shall all have what you desire," including "the Maine Law," which refers to the get-go prohibition police force in the Us enacted by the state of Maine.
The Art of Inspiring Courage
Frank Leslie, 1863, for Frank Leslie's Illustrated Paper, New York, New York
This cartoon sardonically depicts how family unit members can inspire or pressure their husbands, sons, or brothers to enlist in the Union Regular army during the Civil War.
The Copperhead Political party – In Favor of a Vigorous Prosecution of Peace!
Artist unknown, 1863, for Harper's Weekly, New York, New York
Columbia, a female personification of the United States, fends off "the Copperhead Party," or the Northern Democrats who opposed the Civil State of war and supported peace with the South, depicted every bit snakes with human heads. The Copperheads' "vigorous prosecution of peace" is denounced in this cartoon every bit peace simply at the expense of the Union.
Throwing Down the Ladder by Which They Rose
Thomas Nast, 1870, for Harper's Weekly, New York, New York
This cartoon depicts anti-immigrant Americans, nether the banner of the "Know-Nothing Party," a nineteenth-century nativist political political party, throwing downwards the ladder "by which they rose" in an attempt to deny Chinese immigrants entry into the Usa. The hypocrisy of the descendants of immigrants denying citizenship to new Chinese immigrants is on full display in this biting political drawing.
3rd Term Panic
Thomas Nast, 1874, for Harper's Weekly, New York, New York
Cartoonist Thomas Nast featured an elephant for the showtime time in 1874 to stand for the Republican vote. He rendered the animal, unsure of its weight, plodding through planks representing its party platform. The animals in this cartoon, including the Republican elephant, flee in terror from a donkey, representing the Autonomous political party, disguised under lion'due south skin and wearing a neckband that says "N.Y. Herald." The New York Herald was a newspaper critical of the Republican party.
The Union as it Was
Thomas Nast, 1874, for Harper's Weekly, New York, New York
A member of the Ku Klux Klan and a member of the White League shake hands atop a skull and crossbones. It rests above a black woman and man huddled over their expressionless kid. In the background, a school burns, and an African American is lynched. This cartoon is a chilling indictment of white resistance to Reconstruction and a frank depiction of the status of formerly enslaved people in the South during the years after the Civil War.
The Tournament of Today
F. Graetz, 1883, for Puck Magazine, New York, New York
I of the defining tensions of the belatedly nineteenth century was betwixt labor and industry. This cartoon depicts the forces of monopolizing capitalism jousting against the forces of organized labor. Depictions of captains of manufacture lookout the tournament on the left while a oversupply of anonymous workers watches on the right.
To Begin With, I'll Pigment the Town Red
Grant Hamilton, 1885, for Judge Magazine, New York, New York
The Devil, wearing a belt that says "Democracy" and holding a saucepan of cherry-red paint labeled "Bourbon Principles," perhaps representing blood, stands higher up Washington D.C. Although originally a nationwide movement, the term "Bourbon Democrat " somewhen became a moniker for Reconstruction-era Democrats, many of them Confederate veterans, who came dorsum to ability later the overthrow of Reconstruction. The Bourbon Democrats implemented new measures to ensure white supremacy and used both democratic and tearing methods to gain power.
Some other Shotgun Wedding, With Neither Party Willing
Charles Jay Taylor, 1897, for Puck Magazine, New York, New York
This cartoon depicts a shotgun nuptials between Uncle Sam and a young adult female labeled "Hawaii." A drawing of sometime Amalgamated full general, Ku Klux Klan leader, and US senator John Tyler Morgan forces the marriage with a shotgun. Morgan was an agog expansionist who was also a major proponent of Jim Crow laws, racial segregation, and the annexation of Hawaii. Then-president William McKinley sanctifies the union without a Bible, only rather a volume entitled "Looting Policy."
The Hyphenated American
J.South. Pughe, 1899, for Puck Magazine, New York, New York
This anti-immigrant cartoon questions the wisdom of letting so-chosen "hyphenated Americans," or those that apply a hyphen between their original ethnicity and their newfound citizenship (i.e. Irish-Americans, Italian-Americans, etc.), vote. Many people, including Theodore Roosevelt, demanded "100% Americanism," and were skeptical of the loyalty of "hyphenated Americans."
Source: https://firstamendmentmuseum.org/exhibits/virtual-exhibits/art-politics-300-years-of-political-cartoons/political-cartoons-part-3-1850-1900/
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