Satire graphique et enracinement national : le dessin de presse britannique
By the late 20th century, cartoon art received belated recognition as part and parcel of British visual culture. This article argues that it can be regarded as the legitimate heir of 18th century graphic satire such as the works of James Gillray and George Cruikshank. An analysis of ‘Substance and S...
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| Format: | Article |
| Language: | English |
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Centre de Recherche et d'Etudes en Civilisation Britannique
2006-01-01
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| Series: | Revue Française de Civilisation Britannique |
| Online Access: | https://journals.openedition.org/rfcb/1647 |
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| Summary: | By the late 20th century, cartoon art received belated recognition as part and parcel of British visual culture. This article argues that it can be regarded as the legitimate heir of 18th century graphic satire such as the works of James Gillray and George Cruikshank. An analysis of ‘Substance and Shadow’ by John Leech, which was suitably labelled ‘Cartoon n° I’, is presented as a relevant contribution to the theme of the relationships between art and nation. The careers of allegories like Britannia and John Bull testify to the permanence of nationalistic fervour in graphic satire. It is finally argued that through repeated borrowing from 18th century tradition, cartoons build bridges between current visual culture and earlier masters. Even if, in times of war, cartoonists have been apt to resort to patriotic exaltation, they help us revisit centuries of British culture without any noticeable jingoism. |
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| ISSN: | 0248-9015 2429-4373 |