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Journalist Henry Watterson said that "in quitting Harper's Weekly, Nast lost his forum: in losing him, Harper's Weekly lost its political importance." [14] Nast's biographer Fiona Deans Halloran says "the former is true to a certain extent, the latter unlikely. Readers may have missed Nast's cartoons, but Harper's Weekly remained influential." [15]
The single most important and influential cartoon that Nast ever drew appeared in Harper's Weekly on August 24, 1864 (post-dated September 3) as the Democratic National Committee was assembling in Chicago to nominate McClellan (whom Lincoln had fired as his top Union general two years earlier) for president.
After leaving Harper's Weekly, Rogers was hired by the New York Herald, where he drew cartoons daily for a total of twenty years. He occasionally worked for Life too, and submitted cartoons and illustrations for Puck, The Century Magazine, and St. Nicholas Magazine. [2] Rogers retired as a cartoonist in 1926 while working for the Washington ...
Harper's Weekly (archive.org) Southern Justice is a multi-panel political cartoon by Bavarian-American caricaturist Thomas Nast , advocating for continued military occupation of the Southern United States to protect freedmen , Unionists , and Republicans from violence. [ 1 ]
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Jules Feiffer, the Pulitzer Prize-winning cartoonist and playwright who cast a cynical eye on the personal and political anxieties, hypocrisies and disappointments of upper-middle-class urbanites ...
Harper's Weekly (archive.org) Amphitheatrum Johnsonianum – Massacre of the Innocents at New Orleans, July 30, 1866 (generally known simply as Amphitheatrum Johnsonianum ) is a political cartoon by the 19th-century American artist Thomas Nast that depicts U.S. president Andrew Johnson as Emperor Nero at an ancient Roman arena, "figuratively ...
The Guardian has not renewed its contract with cartoonist Steve Bell after his artwork depicting the Israeli prime minister was “pulled” from publication.