File:Homer Davenport portrait.jpg

Identifier: historyofninetee01maur (find matches)
Title: The history of the nineteenth century in caricature
Year: 1904 (1900s)
Authors: Maurice, Arthur Bartlett, 1873-1946 Cooper, Frederic Taber, 1864-1937, joint author
Subjects: History, Modern Nineteenth century Caricature
Publisher: New York : Dodd, Mead
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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d a keen sense of humor are only adjuncts of the cartoonist,for he must deal with real people. He must also be a student.I am obliged not only to use my pencil, but to study hard,and read everything I can lay my hands on. The featuresof Roosevelt, Bryan, Hanna, and Croker may be familiar tome, but I must knowT what these men are doing. I mustalso know what the masses behind these popular charactersthink and believe. Another direct result of the influence of journalism uponcaricature, in addition to that of compelling the artist tokeep in closer touch than ever before with contemporaryhistory, is the growing popularity of the series method—amethod which dates back to the Macaire of Philipon and theMayeux of Travies, and which consists in portraying day byday the same more or less grotesque types, ever undergoingsome new and absurd adventure. It is a method which suitsthe needs of artist and public alike. To the former, hisgrowing familiarity with every line and detail of the features
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HOMER DAVENPORT, OF THE NEW YORK AMERICAN AND JOURNAL. 360 CENTURY IN CARICATURE and forms of his pictorial puppets minimizes his daily task,while the public, even that part of the public which is opposedto comic art in general, or is out of sympathy with the polit-ical attitude of a certain series in particular, finds itself gradu-ally becoming familiar with the series, through fugitive andunexpected glimpses, and ends by following the series withamusement and interest and a growing curiosity as to whatnew and absurd complications the artist will next intro-duce. This employment of the series idea is as successfulin social as political satire. Mr. Outcaults Yel-low Kid and Buster Brown, Mr. Oppers HappyHooligan and Alphonse and Gaston, Gene Carrs Lady Bountiful, and Carl Schultzes Foxy Grandpa are types that have won friends throughout the breadth ofthe continent. In the domain of strictly political caricature,however, there is no series that has attracted more attentionthan Homer Da

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