Monday 8 February 2010
Hogarth and English Charicature Book
This is a picture book about popular art in England during the eighteenth century mainly. But what I originally set out to do was summarise the introduction which is about 11 pages long:
I have seen from reading this that I can confirm what I read in the other book ('English caricature, 1620 to the present') that the satirists of this time usually started out as copper engravers of particular paintings of other artists work, as a way to make money.
Rival print shops usd to hold exhibitions of 'The largest caricature collection in the world, 1 shilling entrance fee.'
Based as they were on the popular market and depending on a large turnover, these prints reflected what was uppermost in the publics mind, and their appeal was generally satirical. Their popularity is attested by thier huge volume.
Hogarths role as the father of English caricature is inseperable from his achievement as the first British painter of international rank, not to mention his all-absorbing interest in contemporary life and his forthright comment on it.
But it was the invention of print that gave this popular art its widest currency.
The Hogarthian approach to satire adopted circumstantial storytelling on one hand and fantastic symbolism on the other, which plays a great part in eighteenth century caricature in general. Other artists who gave a new impetus to the development of art by drawing on vital resources of the popular tradition were people like Hieronymous Bosch Bruegel.
In the bitter religious and political struggles of the reformation, popular art had also assumed the new form of political caricature. As such it flourished in the Holland during the 17th century (as it also says in 'English caricature, 1620 to the present'), and dutch caricatures also commanded the English market, until their supremecy was challenged about 1720 by the rapidly emerging English school.
Monday 4 January 2010
Rupert Murdoch
Doing a little research on Rupert Murdoch as I found out that he owns Fox Network, which is the same channel that all the major satirical American cartoons are broadcast from. Could it be that since such shows as the Simpsons, Family Guy, American Dad and The Cleveland show are all shown on this network, then people like Seth Mcfarlen and Matt Groening have some sort of special relationship with Murdoch which keeps them writing storylines with or showing particular things which keeps them in such power... after all, the Simpsons is on its 22nd series and Seth Mcfarlen is fast becoming a cartoon Mogul, and taking no prisoners.
Sunday 3 January 2010
More On English Caricature and the 'Father Of English Caricature'
The book states that the Earliest English Satires were more of an antiquarian than visual interest, and reflect the poverty of English print history, although production of satire in the seventeenth century was sporadic, rising to peaks at times of crisis such as prelude to the civil war (and the Popish plot of 1679, which lead to the death of 15 men). To me this states the huge part that caricature and satire plays in keeping up with what is pushing everyone's emotional button within current times.
In 1720, the astonishing stock exchange disaster which took place in England attracted many satires from a handful of Dutch artists, but also young William Hogarth (who I'm quite interested in). What interests me so much about The Hogarthian world is how he illustrated his condemnation of moral vice and folly, but also for his delight in the spectacle of the human character in extremes of behaviour. Dubbed the 'Father Of English Caricature', He is the first English satirist to work on the same intellectual level as writers such as swift and defoe (referred to by some as one of the founders of the English novel) and inevitably his work dominates this whole period of history until his untimely death in 1764.
Im also a huge fan of political satire, which intruded in Hogarths work continually. The heart of his work lies in the series of paintings, popularized by his engravings The Harlots Progress, The Rakes Progress in 1735 (which I posted earlier on i the blog).
In 1720, the astonishing stock exchange disaster which took place in England attracted many satires from a handful of Dutch artists, but also young William Hogarth (who I'm quite interested in). What interests me so much about The Hogarthian world is how he illustrated his condemnation of moral vice and folly, but also for his delight in the spectacle of the human character in extremes of behaviour. Dubbed the 'Father Of English Caricature', He is the first English satirist to work on the same intellectual level as writers such as swift and defoe (referred to by some as one of the founders of the English novel) and inevitably his work dominates this whole period of history until his untimely death in 1764.
Im also a huge fan of political satire, which intruded in Hogarths work continually. The heart of his work lies in the series of paintings, popularized by his engravings The Harlots Progress, The Rakes Progress in 1735 (which I posted earlier on i the blog).
Saturday 12 December 2009
More on the Book English Characature (1620 to the present)
Just in the middle of summarising the intro to this interesting book Im reading about characature. Im Predominantly interested in William Hogarth and James Gillray.
(Page 10) The introduction (which summarises the history of caricature in much detail), clarifies that caricature was at its most vital in the closing years of the 18th century and was an art form considered to be "as British as Roast beef and beer" and it added a third dimension to the national school of portraiture and fine art.
Mockery of the individual was but one function of caricature, but also the progress of human culture, folly, greed and lechery, often embodied in the corruption of such professionals as the church, the Army, Law, high poloitics and Medicine.
One thing I didnt know was that this mode of drawing (graphic distortions of the salient points of a persons appearance or habitual costume) was FIRST practised by Annibale and Agostino Carracci in Italy at the end of the 16th Century, which was 150 years before caricature was adopted by satirists in England (WOW, we were late).
(Page 11) It is further argued by satirist Annibale that "a caricaturists task is exactly the same as a classical artists. As both see the lasting truth beneath the surface of mere outward appearance. Both try help nature accomplish its plan. The one may strive to visualize the perfect form and to realise it in his work, the other to grasp the pefrect deformity, and thus reveal the very essence of a personality. A Good caricature, like every work of art, is more true to life than reality itself."
(Page 10) The introduction (which summarises the history of caricature in much detail), clarifies that caricature was at its most vital in the closing years of the 18th century and was an art form considered to be "as British as Roast beef and beer" and it added a third dimension to the national school of portraiture and fine art.
Mockery of the individual was but one function of caricature, but also the progress of human culture, folly, greed and lechery, often embodied in the corruption of such professionals as the church, the Army, Law, high poloitics and Medicine.
One thing I didnt know was that this mode of drawing (graphic distortions of the salient points of a persons appearance or habitual costume) was FIRST practised by Annibale and Agostino Carracci in Italy at the end of the 16th Century, which was 150 years before caricature was adopted by satirists in England (WOW, we were late).
(Page 11) It is further argued by satirist Annibale that "a caricaturists task is exactly the same as a classical artists. As both see the lasting truth beneath the surface of mere outward appearance. Both try help nature accomplish its plan. The one may strive to visualize the perfect form and to realise it in his work, the other to grasp the pefrect deformity, and thus reveal the very essence of a personality. A Good caricature, like every work of art, is more true to life than reality itself."
Saturday 14 November 2009
Seth McFarlen VS Aaron McGruder
I chose to compare Seth Mcfarlens 'The Cleveland Show' (Family Guy Spin off http://www.fox.com/cleveland/) up against Aaron McGruders 'The Boondocks' for obvious reasons. They are both savage pieces of satire, but besides from this, they are both cartooons about the lives of black people. Therefore Id like to discuss which I believe to be more relevant (especially since I am black, so to speak, judging from the point of view of a black person as well as objectively).
Since Family guy cloned the plutonic family formula that has made the Simpsons, it therefore still represents the average American white family. So wouldnt it make sense for The cleveland show to follow the same formula for how America sees black people? Yes some would agree it does, but only to a certain extent. After watching the above trailer, alongside a few episodes, it seems to retain a weaker version of family guy humour, and does not tend to deal with issues directly related to the black community. Therefore family guy fans will find it boring because it could be seen a cheap rip off, and black people may find it a little boring becaue it doesnt necessarily address them or their lives that well. There I was a few years back yearning for a black cartoon which could hold the same with wit as Simspons or Family Guy and when one finally does pop up, it doesnt quite fullfill that void within me (since Boondocks didnt quite do it for me).
on the other hand:
The Boondocks is a satirical cartoon based on the lives of black people in America. It addresses the lives of the Average stereotypes of African Americans. As the creator Aaron McGruder studied African American history, it is his main goal to spread a message that makes people open their eyes and realise things with regards to society's political structure in correlation with black history. Especially since the character Riley seems to love all the negative conotations attached to the black entertainment industry. Whilst his older brother Huey has contempt for such topics, therefore is trying to create a revolution.
I do like this cartoon, but on the downside, I just beleive it lacks a certain amount of wit that cartoons like The Simpsons and Family guy hold which make them successful and long lasting. The Boondocks topic matter along with Family guys wit would make the PERFECT , long lasting black cartoon, which Seth Mcfarlen has JUST missed with The Cleveland show.
Aims objectives and main comparison points:
The Cleveland Show:
I believe the main aim of the cleveland show is to identify that cleveland is an interesting enough character in 'Family Guy' to have his own show. Since he is black, I guess Seth Mcfarlen capitalises on black stereotypes here and there to paint a little picture of some african Americans.
The Boondocks:
From what I've seen and read, The Boondocks is a social satire of American culture and race relations (or stereotypes in the world), revolving around the lives of the Freeman family. Ive seen messages of social and political Hierarchy and racial issues often addressed with important eye opening messages behind them. Even though Boondocks is not quite as witty or (arguably) funny as the cleveland show, it still holds an important message for why black people need to wake up.
Its boondocks over the cleveland show all the way in my opinion.
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