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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Main Author: Gilbert Millat
Format: Article
Language:English
Published: Centre de Recherche et d'Etudes en Civilisation Britannique 2006-01-01
Series:Revue Française de Civilisation Britannique
Online Access:https://journals.openedition.org/rfcb/1647
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author Gilbert Millat
author_facet Gilbert Millat
author_sort Gilbert Millat
collection DOAJ
description 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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spelling doaj-art-1194e757b9664403af9b05443cdd83bf2025-08-20T02:37:39ZengCentre de Recherche et d'Etudes en Civilisation BritanniqueRevue Française de Civilisation Britannique0248-90152429-43732006-01-0113410.4000/rfcb.1647Satire graphique et enracinement national : le dessin de presse britanniqueGilbert MillatBy 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.https://journals.openedition.org/rfcb/1647
spellingShingle Gilbert Millat
Satire graphique et enracinement national : le dessin de presse britannique
Revue Française de Civilisation Britannique
title Satire graphique et enracinement national : le dessin de presse britannique
title_full Satire graphique et enracinement national : le dessin de presse britannique
title_fullStr Satire graphique et enracinement national : le dessin de presse britannique
title_full_unstemmed Satire graphique et enracinement national : le dessin de presse britannique
title_short Satire graphique et enracinement national : le dessin de presse britannique
title_sort satire graphique et enracinement national le dessin de presse britannique
url https://journals.openedition.org/rfcb/1647
work_keys_str_mv AT gilbertmillat satiregraphiqueetenracinementnationalledessindepressebritannique