By Mark Wigan
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Extra resources for Global contexts
The satirical cartoon Cover from a picture book of ‘Deutschland, Deutschland ueber alles’, by Kurt Tucholsky (colour litho) by John Heartfield German political artist John Heartfield anglicised his name from Helmut Hertzfield in response to anti-British propaganda. He founded satirical magazine Die Pleite with George Grosz and invented photomontages that attacked the Weimar Republic and Nazi Germany. Art and industry 44–45 Visual codes X The Eclipse of the Sun, 1926 (oil on canvas) by George Grosz Disillusioned by the Great War and fuelled by social outrage, George Grosz commentated on society with biting satire and savage wit.
Inspired by Simplicissimus, New York magazine The Masses (1911–1918) combined art and socialist political views and featured striking illustrations of everyday life by realist artists who would later form the Ashcan school of painters. The satirical illustrative tradition has continued in both mainstream popular publications and underground press, zines and comics throughout the twentieth and in to the twenty-first century with the life-affirming work of illustrators such as Edward Sorel, Seymour Chwast, Milton Glaser, Jules Feiffer, Tomi Ungerer, Robert Crumb, Peter Arno, Ralph Steadman, Gerald Scarfe, Sue Coe, Steve Bell, Hanoch Piven and Martin Rowson.
Poster art of the Constructivists, The reportage drawings of Phil Barbara Kruger, the posters May, George Grosz, Otto Dix, of Amnesty International and Frans Masereel, Kathe Kollwitz, Adbusters magazine. Paul Hogarth and Robert Weaver. The cartoons of Robert Crumb and Saul Steinberg. The illustrations of Ralph Steadman, Sue Coe, Marshall Arisman and Ronald Searle. Chapter Three: Imaginary worlds 58–59 Imagination is the fundamental faculty in illustration. Concepts and images can be formed in the mind and whole worlds evoked from the illustrator’s pen.