Bibliografías temáticas / Art - Cartoon, comics and caricature

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Literatura académica sobre el tema "Art - Cartoon, comics and caricature"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Art - Cartoon, comics and caricature"

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Cabut, Jean (Cabu). "Cabu Reporter." European Comic Art 2, no. 1 (2009): 131–51. http://dx.doi.org/10.3828/eca.2.1.8.

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French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work
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Fischer, Anna. "Western European cartoon from the 1920s to the 1970s, dedicated to the theme of chess: political, social and sporting aspects." Scientific and analytical journal Burganov House. The space of culture 20, no. 6 (2024): 37–61. https://doi.org/10.36340/2071-6818-2024-20-6-37-61.

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The author analyzes a number of cartoons by European and American artists dedicated to chess themes; two types of caricatures on the themes of the chess game were noted. The one of them relates to the field of political caricature (L. G. Illingworth), the other fully reveals the essence of social phenomena in humorous everyday sketches (Z. Lengren, H. Bidstrup). Both types are played out using metaphors and analogies, respectively related to sports. The article also draws attention to this type of caricature as a series of sequential episodes, similar to a comic strip. Individual drawings by A
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Kotick, Andrew. "Le Rire and the Meaning of Cartoon Art in Fin-de-Siècle France." French Politics, Culture & Society 41, no. 2 (2023): 1–25. http://dx.doi.org/10.3167/fpcs.2023.410201.

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Abstract As the foremost organ of the French satirical and illustrated press, the weekly Le Rire captivated a broad reading public in the final decade of the nineteenth century. At the crossroads of commercial entertainment and mass media, Le Rire sought to champion caricature and comic illustration as art forms worthy of serious merit and to make humor a powerful tool for political, cultural, and social commentary. This article aims to assess the periodical's impact in its time, and furthermore, contends that Le Rire was a determinative force in reshaping public mores toward comedy and satire
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Gilbert, Christopher J. "Caricature and the Colonization Machine: The Nib's “Empire” Issue as a Comic Stretch of the Imagination." Studies in American Humor 7, no. 2 (2021): 347–76. http://dx.doi.org/10.5325/studamerhumor.7.2.347.

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Abstract To see comicality in the reach of imperialism is to see the rhetorical force of empire itself in collective imaginations. This article approaches matters of empire through the lens of caricature. More specifically, it frames caricature as a rhetorical counterforce to images and ideas of imperialism. Comics publication the Nib put out an “Empire” issue in 2019. In an effort to figure out how a comic stretch of the imagination represents empire across histories, geographic locations, and cultural milieus for what it is—a mechanism of disimagination—I explore several standout comics and
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Lee, Judith Yaross. "Comic Empires: Imperialism in Cartoons, Caricature, and Satirical Art." Studies in American Humor 8, no. 1 (2022): 193–97. http://dx.doi.org/10.5325/studamerhumor.8.1.0193.

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Hewitson, Mark. "The Violent Art: Caricatures of Conflict in Germany." Cultural History 6, no. 1 (2017): 57–79. http://dx.doi.org/10.3366/cult.2017.0135.

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War furnishes a – perhaps the – classic case of ‘black humour’, which is understood here in the broad sense, not merely as the humour of the gallows or the cheating of death, but humour deriving from a confrontation with suffering or death, either as a victim or a perpetrator. War cartoons relied on the manipulation of images for comic effect, which – at least until the absurdist experiments of the Dada and Surrealist movements during and after the First World War – appeared impossible in photography, painting and cinematography. Caricature permitted artists simultaneously to conjure up, simpl
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SOPER, KERRY. "From Swarthy Ape to Sympathetic Everyman and Subversive Trickster: The Development of Irish Caricature in American Comic Strips between 1890 and 1920." Journal of American Studies 39, no. 2 (2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.

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Observed from a distance, the prevalence of ethnic stereotyping in late nineteenth-century and early twentieth-century cartooning in the United States is disturbing. All one can see, initially, is that turn-of-the-century readers seemed to enjoy seeing blacks, Native Americans, and non-Anglo immigrants reduced to simplistic caricatures and made to say and do outrageously stupid things. The Distorted Image, the Balch Institute's exposé on the evils of ethnic caricature, agrees with this assessment, suggesting that “the strips from the early years of this century [the twentieth] are inevitably s
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Maidment, Brian. "Comic Empires: Imperialism in Cartoons, Caricature and Comic Art ed. by Richard Scully and Andrekos Varnava (review)." Victorian Periodicals Review 56, no. 2 (2023): 312–14. http://dx.doi.org/10.1353/vpr.2023.a912323.

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Rinehart, Robert E., and Jayne Caudwell. "Sport–war cartoon art." Media, War & Conflict 11, no. 2 (2017): 223–43. http://dx.doi.org/10.1177/1750635217696435.

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In this article, We explore the extent to which political cartoons and comic strips – as mediated public and political visual art, the ‘ninth art’ according to Groensteen’s The System of Comics (2007[1999] – subvert/confirm institutional values of so-called Western democracies during times of war. Our concern, as sociologists of sport, is with the ways dominant sporting sensibilities are (re)presented in cartoon art, and how sport itself is conflated with patriotic ideologies of war as a vehicle for propaganda. In particular, We interrogate how competitive-sporting ideals are aligned with war
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Mardari, Daniela, and Lucia Adascalița. "SERGIU PUICĂ – MAESTRUL GRAFICII DE CARTE PENTRU COPII." Magazin Bibliologic 3-4, 2021 (December 9, 2021): 145. https://doi.org/10.5281/zenodo.5769613.

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The paper presents the results of the study on activity of Sergiu Puică, famous painter and illustrator. The full member of the Union of Fine Artists of the Republic of Moldova since 2001, throughout his career he was acclaimed by critics for his works, which include not only book illustration, but also cartoons, charges, scenography and graphics. For his lifelong activity he was awarded with the "Igor Vieru" Prize in 2012. Throughout the time he made illustrations for more than 100 books, among them the best known are as following: "Beautiful is our language" (1996) by Gri
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Tesis sobre el tema "Art - Cartoon, comics and caricature"

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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Owen, Benedict Novotny. "Cartoon Conceptualism: Periodical Comics and Modernism in the United States." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494086092509444.

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Yang, Yin-Hsuan. "Les salons caricaturaux au XIXe siècle : des origines à l'apogée." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100004.

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Le Salon caricatural est le compte rendu comique composé de charges d’œuvres d’art exposées au Salon. Les premiers Salons caricaturaux apparaissent au début des années 1840, et c’est sous le Second Empire que ce genre de revue parodique atteint son apogée, obtenant un succès dans la presse satirique illustrée. Sous prétexte de faire rire, cette critique en images met en œuvre un moyen efficace de juger l’art, qui fonctionne en contrepoint de la critique d’art écrite. Les enjeux critiques que propose cette imagerie comique s’inscrivent en fait comme découlant des discussions sur les rapports en
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Jewell, Kaleb W. "Hidden in Plain Sight: Image, Text, and Social Commentary in Victor Ekpuk's Cartoons for The Daily Times of Nigeria, 1989-1998." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4194.

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This thesis provides an analysis of the cartoons produced by Victor Ekpuk for The Daily Times newspaper of Nigeria from 1989 through 1998 and the artist’s use of ancient nsibidi script to “hide in plain sight” his social commentaries on sociopolitical and economic issues in Nigeria. Victor Ekpuk’s original cartoons within the permanent collection of the Smithsonian Institution’s National Museum of African Art are examined in the context of indigenous masking practices and other indirect methods employed by indigenous comedians to protect themselves. Moreover, the cartoons’ use of caricature an
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Filho, Eloar Guazzelli. "Canini e o anti-herói brasileiro: do Zé Candango ao Zé - realmente - carioca." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-16092009-205951/.

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Este trabalho de pesquisa estuda um autor - Renato Canini - que construiu uma trajetória peculiar ao desenvolver uma narrativa de histórias em quadrinhos com um traço bastante pessoal apesar de inserida nas de estruturas de produção massivas. Envolve a articulação da CETPA Cooperativa Editora de Trabalhos de Porto Alegre - que pretendia publicar histórias em quadrinhos brasileiras para fazer frente à avassaladora presença de material importado , estrutura onde Canini realizou com as tiras de Zé Candango seus primeiros ensaios de uma linguagem brasileira de quadrinhos. E porque parte dessas t
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Jones, Danielle. "Perceptions of Cuteness and Beauty." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4160.

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Upbringing and psychological make-up inspire individual norms for beauty and cuteness. The mannerist approach in my work is a product of the figural liberties found in cartooning, illustration and art history. By altering facial and bodily features, I relate the proportions of an infant to cuteness and innocence. However, I tailor the photographs to empower the subjects all the while mirroring trends in contemporary pop culture. I'm interested in themes of everyday life, vitality and emotion placed in obscure, imaginary or exaggerated venues. I fictionalize subjects of my reality to compel vie
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Therése, Grabs. "Dear Creativity, I´ll do my best." Thesis, Konstfack, Grafisk design & illustration, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7367.

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I mitt kandidatprojekt har jag arbetat med temat ”att utvecklas som kreatör” och hur man som skapare konstant ifrågasätter sig själv men också blir kritiserad av sin omgivning. Det handlar om att fortsätta följa sin passion trots osäkerhet eller ångest. Som kreatör ställs vi konstant inför val, stora som små, i vårt skapande och det är lätt att bli överväldigad av alla oskrivna regler, men också alla vägar och möjligheter. Jag har valt att gestalta detta med en animerad kortfilm. Att projektet tog form just inom filmmediet beror på att min största inspiration kommer från filmens värld och jag
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Taouchichet, Sofiane. "La presse satirique illustrée française et la colonisation (1829-1990)." Thèse, Paris 10, 2015. http://hdl.handle.net/1866/13602.

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- Thèse réalisée en cotutelle entre les Université de Montréal et Paris Ouest Nanterre la Défense. -Thèse construite à partir de logiciels libres et gratuits : Ubuntu, Lyx, LibreOffice, Zotero, The Gimp.<br>Notre enquête doctorale étudie l’illustration de la colonisation dans la presse satirique illustrée française entre 1829 et 1990. Cette thèse ambitionne d’éclairer un aspect méconnu de l’iconographie coloniale, à partir du dépouillement et de l’analyse de vingt-deux périodiques satiriques qui touchent diverses sensibilités éditoriales. Afin de confronter iconographie satirique et non satir
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Libros sobre el tema "Art - Cartoon, comics and caricature"

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Rahman, Arifur, ed. Periodical: Digital Cartoon Magazine. Toons Mag, 2019.

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Hart, Christopher. How to draw cartoon animals. Watson-Guptill Publications, 1995.

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McCloud, Scott. Understanding comics: The invisible art. Kitchen Sink Press, 1993.

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McCloud, Scott. Understanding comics: The invisible art. Tundra Pub., 1993.

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McCloud, Scott. Understanding Comics. A Kitchen Sink Book for HarperPerennial, 1994.

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Andrew, Brook. Brook Andrew: Theme park. Edited by Aboriginal Art Museum (Utrecht, Netherlands). AAMU, 2008.

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Sotheby's (Firm). MADsterpieces: Original comic art from the Mad archives ; Comic books and comic art. Sotheby's, 1998.

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Giacinto, Di Pietrantonio, ed. In fumo: [arte, fumetto comunicazione = art, comics, communication]. Lubrina, 2001.

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Sotheby's (Firm). Science fiction art, books and related memorabilia ; Comic books and comic art. Sotheby's, 1995.

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Appel, John J. Pat-riots to patriots: American Irish in caricature and comic art : [exhibition]. Michigan State University Museum, Michigan State University, 1990.

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Capítulos de libros sobre el tema "Art - Cartoon, comics and caricature"

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Pratt, Henry John, and Kurt F. Shaffert. "Social and Moral Problems." In The Philosophy of Comics. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190845445.003.0007.

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Abstract An ancient objection to mass-media narrative arts found a prominent twentieth-century voice in Fredric Wertham, whose Seduction of the Innocent motivated the notorious Comics Code Authority. Whether such concerns are grounded in medium-specific or other considerations is investigated through, first, the idea that the authors and audiences of comics are prone to immorality; and, second, the ways in which the formatting of comics has driven the reading process. While it is acknowledged that individual comics can be morally problematic, it is argued that it is much harder to make a case
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Whittaker, Jason. "Romantic Caricatures and Comics." In The Edinburgh Companion to Romanticism and the Arts. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474484176.003.0026.

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This chapter begins by examining the role played by caricaturists such as James Gillray and Thomas Rowlandson, and drawing upon the work of art historians such as Richard Godfrey, Mark Hallett and Todd Porterfield to contextualise such productions as part of the mass media of print culture in the 1790s and early nineteenth century. Particular attention is given to those caricatures of contemporary Romantic figures, such as Cruikshank’s cartoon “Fare Thee Well”, depicting Lord Byron leaving Britain. The second part of this chapter focuses on post-war reception of the Romantics in longer comic b
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"CARTOON AND CARICATURE." In Art and Artists of Twentieth-Century China. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501161.15.

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Lent, John A. "The Glimmering Glow of Comic Art amidst the Blinding Glitter of the United Arab Emirates." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0021.

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This chapter includes a 2016 essay by comics studies pioneer John A. Lent about the Cartoon Art Gallery in Dubai, United Arab Emirates. Dubai is home to the Middle East Film and Comic Con (the largest regional convention), Comicave (the largest comics related store in the region), and Majid, the most popular comics character (published since 1979). A group of dedicated young people with faith in comics as an essential form of art and communication have nurtured a small cartoon art museum and an active comics community amongst the glittering skyscrapers. Lent visited the museum, talking with th
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Baker, Kenneth. "Review/Art: Cartoon Masters—Cartoonists Finally Get Some Respect." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0015.

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This is a review written by the San Francisco Chronicle’s long-time art critic Kenneth Baker of Drawn to Excellence: Masters of Cartoon Art, the first formal exhibition of the Cartoon Art Museum, which opened in 1988 during the National Cartoonist Society’s Rueben Awards weekend. This chapter discusses the abundance of comics shows, high art versus low art, increased value of comic art, comics influence on modern art, and the cultural importance of comics. This chapter includes praise for George Herriman, Cliff Sterrett, Walt Kelly, R.Crumb, Alex Raymond, and Hal Foster.
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"The Renewed Focus On Comics As Art After 1970." In Comic Art in Museums, edited by Kim A. Munson. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0011.

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This is a brief interstitial introduction by art historian Kim A. Munson describing the rediscovery of original comic art following the Pop Art movement and influential publications of the late 1960’s. A wave of large survey shows were organized that took on a more formal appearance and established a loose canon of comic artists. The National Cartoonist Society’s Cavalcade of Comics toured the US. Well reviewed shows of the early 70s included The Art of the Comic Strip (U of Maryland, 1971), The Comics as an Art Form (U of Nevada Las Vegas), and 75 Years of the Comics (New York Cultural Center
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Murphy, Cullen. "Mort Walker, Historian." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0014.

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This chapter includes a 2017 tribute to Mort Walker (Beetle Bailey, Hi &amp; Lois) after his passing, by Cullen Murphy, author of the book Cartoon County: My Father and His Friends in the Golden Age of Make-Believe. This chapter discusses the founding of the Museum of Cartoon Art and Walker’s determination to gain recognition for comic artists, and his efforts at the preservation of original comic art drawings. This chapter explains how Mort began collecting comics drawings as a youth and the importance of comics as a cultural record. Image: art print of Beetle Bailey and Sarge.
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Walker, Brian. "Substance and Shadow: The Art of the Cartoon." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0004.

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Brian Walker was a founder and former director of the Museum of Cartoon Art, where he worked from 1974 to 1992, continuing afterward to curate many important shows. Here, he brings his experienced curator’s eye and life-long knowledge of cartooning to the task of explaining the value of seeing original comic art and the techniques, idioms, and methods of storytelling used in comics from 1843 to the present. This essay was written for the opening of the Billy Ireland Cartoon Museum and Library (2013) Images: Punch cartoon 1843, Mort Walker, drawings from The Lexicon of Comicana.
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Goodrich, Peter. "The Mask as Anti-Apparatus." In Critical Directions in Comics Studies. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828996.003.0011.

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The thesis is that the graphic novel operates according to a logic of inversion, a very particular volte-face in which the anti-apparatus of the mask institutes a politics of impersonality. The idea as non-person. The comedy of the comic, the commedia dell’arte of the mask, the anti-apparatus of proliferated impersonality, the theatrics of belonging to the community of those who do not belong, becomes the driving figure of the film and even more so, of its afterlife, its viral and political role in resistance from Wall Street to Wollongong, Brazil to Bahrain, Harlem to Hong Kong. The film arri
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"Expanding Views of Comic Art: Topics and Display." In Comic Art in Museums, edited by Kim A. Munson. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0017.

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This is a brief interstitial introduction by art historian Kim A. Munson explaining how the period of rediscovery and large survey shows of comic art were followed by specialized shows exploring comics by a multitude of topics that were previously ignored or taboo, including shows of work by feminist comic artists, by alternative comic artists, by African American comic artists, erotic comics, and experimental shows of ‘gallery comics.’ The Western style of exhibiting comic art replicated internationally to Manga Museums in Japan and to the Cartoon Museum in the United Arab Emirates.
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