Kultur in Cartoons: With accompanying notes by well-known English writers
()
About this ebook
Read more from Louis Raemaekers
Through the Iron Bars: Two Years of German Occupation in Belgium Rating: 0 out of 5 stars0 ratingsRaemaekers' Cartoon History of the War, Volume 3 The Third Twelve Months of War Rating: 0 out of 5 stars0 ratingsRaemaekers' Cartoons: With Accompanying Notes by Well-known English Writers Rating: 0 out of 5 stars0 ratingsRaemaekers' Cartoons: With Accompanying Notes by Well-known English Writers Rating: 0 out of 5 stars0 ratingsRaemaekers' Cartoon History of the War, Volume 2 The Second Twelve Months of War Rating: 0 out of 5 stars0 ratingsRaemaekers' Cartoon History of the War, Volume 1 The First Twelve Months of War Rating: 0 out of 5 stars0 ratings
Related to Kultur in Cartoons
Related ebooks
Kultur in Cartoons: With accompanying notes by well-known English writers Rating: 0 out of 5 stars0 ratingsRaemaekers' Cartoon History of the War, Volume 1 The First Twelve Months of War Rating: 0 out of 5 stars0 ratingsRAEMAEKERS CARTOONS OF WWI Vol. 1 - Satirical Newspaper cartoons published during WWI Rating: 0 out of 5 stars0 ratingsCaricature and Other Comic Art in all Times and many Lands. Rating: 0 out of 5 stars0 ratingsBig Book of Best Short Stories - Specials - Horror 2: Volume 8 Rating: 0 out of 5 stars0 ratingsThe Human Slaughter-House: Scenes from the War that is Sure to Come Rating: 0 out of 5 stars0 ratingsGerman fiction Rating: 0 out of 5 stars0 ratingsThe Scourge of the Swastika: A History of Nazi War Crimes During World War II Rating: 4 out of 5 stars4/5A Searchlight on Germany: Germany's Blunders, Crimes and Punishment Rating: 0 out of 5 stars0 ratingsThe Moon and Sixpence Rating: 4 out of 5 stars4/5Men Women and Boats Rating: 0 out of 5 stars0 ratingsWith the Allies Rating: 0 out of 5 stars0 ratingsTarr (Musaicum Rediscovered Classics) Rating: 0 out of 5 stars0 ratingsMARIE ANTOINETTE - Stefan Zweig Rating: 0 out of 5 stars0 ratingsWar and the Future (The original unabridged edition) Rating: 2 out of 5 stars2/5Tarr Rating: 0 out of 5 stars0 ratingsWar and the Future Rating: 0 out of 5 stars0 ratingsPrince Zilah — Complete Rating: 0 out of 5 stars0 ratingsWithout Dogma Rating: 4 out of 5 stars4/5El Dorado: “Money and titles may be hereditary," she would say, "but brains are not,"...” Rating: 0 out of 5 stars0 ratingsWho Goes There! (Annotated) Rating: 0 out of 5 stars0 ratingsThe Harvard Classics Shelf of Fiction - German German Fiction Selected by Charles W. Eliot, LL.D. Rating: 0 out of 5 stars0 ratingsFace to Face with Kaiserism Rating: 0 out of 5 stars0 ratingsMr. Punch's History of the Great War Rating: 0 out of 5 stars0 ratingsPunch, or the London Charivari, Vol. 147, September 30, 1914 Rating: 0 out of 5 stars0 ratingsWar And The Future: "If we don't end war, war will end us." Rating: 0 out of 5 stars0 ratingsTales from the German Comprising specimens from the most celebrated authors Rating: 0 out of 5 stars0 ratingsThe Marvellous History of the Shadowless Man and The Cold Heart Rating: 0 out of 5 stars0 ratingsRevolution and Counter-Revolution Rating: 0 out of 5 stars0 ratings
Classics For You
The Master & Margarita Rating: 4 out of 5 stars4/5Flowers for Algernon Rating: 4 out of 5 stars4/5East of Eden Rating: 5 out of 5 stars5/5A Confederacy of Dunces Rating: 4 out of 5 stars4/5The Fellowship Of The Ring: Being the First Part of The Lord of the Rings Rating: 4 out of 5 stars4/5Little Women (Seasons Edition -- Winter) Rating: 4 out of 5 stars4/5The Silmarillion Rating: 4 out of 5 stars4/5The Odyssey: (The Stephen Mitchell Translation) Rating: 4 out of 5 stars4/5A Farewell to Arms Rating: 4 out of 5 stars4/5Count of Monte-Cristo English and French Rating: 4 out of 5 stars4/5Extremely Loud And Incredibly Close: A Novel Rating: 4 out of 5 stars4/5As I Lay Dying Rating: 4 out of 5 stars4/5The Old Man and the Sea: The Hemingway Library Edition Rating: 4 out of 5 stars4/5For Whom the Bell Tolls: The Hemingway Library Edition Rating: 4 out of 5 stars4/5Learn French! Apprends l'Anglais! THE PICTURE OF DORIAN GRAY: In French and English Rating: 4 out of 5 stars4/5Sense and Sensibility (Centaur Classics) Rating: 4 out of 5 stars4/5The Jungle: A Novel Rating: 4 out of 5 stars4/5Titus Groan Rating: 4 out of 5 stars4/5Wuthering Heights (with an Introduction by Mary Augusta Ward) Rating: 4 out of 5 stars4/5Animal Farm: A Fairy Story Rating: 5 out of 5 stars5/5The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure Rating: 5 out of 5 stars5/5The Canterbury Tales Rating: 4 out of 5 stars4/5The Bell Jar: A Novel Rating: 4 out of 5 stars4/5A Good Man Is Hard To Find And Other Stories Rating: 4 out of 5 stars4/5The Things They Carried Rating: 5 out of 5 stars5/5Persuasion Rating: 4 out of 5 stars4/5Ulysses: With linked Table of Contents Rating: 4 out of 5 stars4/5The Murder of Roger Ackroyd Rating: 4 out of 5 stars4/5Rebecca Rating: 5 out of 5 stars5/5The Republic by Plato Rating: 4 out of 5 stars4/5
Reviews for Kultur in Cartoons
0 ratings0 reviews
Book preview
Kultur in Cartoons - Louis Raemaekers
Louis Raemaekers
Kultur in Cartoons
With accompanying notes by well-known English writers
EAN 8596547248774
DigiCat, 2022
Contact: DigiCat@okpublishing.info
Table of Contents
Foreword
List of Cartoons
The Zeppelin Raider
The Exhumation of the Martyrs of Aerschot
The Old Serb
The Lusitania
Nightmare
Fancy, How Nice....
The Laodiceans
A Pitiful Exodus
Death the Friend
A Higher Pile
Peace Reigns at Dinant
Humanity v. Kultur
The Bill
You need not storm this place
Hohenzollern Madness
My master asks you to look after these peace doves
Famine in Belgium
Poor Old Thing
Germany and the Neutrals
Those Horrible Britons
Dr. Kuyper to Germany
The Kaiser’s Diplomacy
Cain
The Counter-Attack at Douaumont
The Morning Paper
And such a brave Zepp he was
Flying Over Holland
If they don’t increase their Army
Religion and Patriotism
The Prisoners
Well, My Friend!
How quiet it must be in the English harbors blockaded by our fleet
The Brigands
It Looks So in Serbia
Victory by Imposture
Shell-Making
Another Australian Success
The Sea the Path of Victory
Balaam and his Ass
A Genuine Dutchman
Another Victory for the Germans
Submarine Bags
Within the Pincers
German Poison
The Organization of Victory by Imposture
Wittenberg
The Broken Alliance
The Shower-Bath
The Anniversary Bouquet
The Stranded Submarine
Herod’s Nightmare
My Beloved People
On Their Way to Verdun
Bethmann-Hollweg’s Peace Song
A German Victory
Waiting
The Kaiser as a Diplomatist
Hun Hypocrisy
The Prussian Guard
Greek Treachery
The World’s Judgment Seat
The Kaiser’s Cry for Peace
Tit for Tat
Forced Labor in Germany
The Fall of the Child-Slayer
The Climber
Culture at Wittenberg
The Civilians
Two Peals of Thunder
A Universal Conscience
Joan of Arc and St. George
The Bringers of Happiness
The Old Poilu
Humanity Torpedoed
The Super-Hooligans
Before the Fall
The Shirkers
For Merit
Duty v. Militarism
The Troubadour
See the Conquering Hero Comes
Belgium
The Giant’s Task
I Must Have Something for My Trouble
Cinema Chocolate
The Doctrine of Expediency
Murder on the High Seas
Pounding Austria
Durchhalten—Hold Out
The Satyr of the Sea
War Council with Ferdinand and Enver Pasha
The Burial of Private Walker
The Supreme Effort
Wer reitet so spät durch Nacht und Wind? Dass ist der Vater mit seinem Kind
(Erlkönig)
The Voices of the Guns
The Death’s-Head Hussar
The Franc-tireur
Excuse
The Entry Into Constantinople
Come Away, My Dear!
The Harmless
German
The Propagandist in Holland
Tetanus
Shakspere’s Tercentenary
Nobody Sees Me
The Orient Express
The Bloomersdijk
The U
Boats off the American Coast
To the Peace Woman
The Wolf Bleats
Strict Neutrality
Foreword
Table of Contents
BY
J. Murray Allison
A year has passed since the first volume of Raemaekers’ work (Raemaekers’ Cartoons,
Century Co.), was published in the United States.
At that time Raemaekers was practically unknown in this country, just as he was unknown in England and France until January, 1916, when his work was first exhibited in the British Capital.
The story of Raemaekers’ reception in London and Paris has been written in the introduction to Raemaekers’ Cartoons.
When his cartoons began to reach America toward the end of 1916 this country was neutral. It is with peculiar satisfaction, therefore, that I base this brief foreword upon press extracts published prior to America’s participation in the war.
If it were possible to discover to-day an individual who was entirely ignorant as to the causes and conduct of the war, he would, after an inspection of a hundred or more of these cartoons, probably utter his conviction somewhat as follows: I do not believe that these drawings have the slightest relation to the truth; I do not believe that it is possible for such things to happen in the twentieth century.
He would be quite justified, in his ignorance of what has happened in Europe, in expressing such an opinion, just as any of us, with the possible exception of the disciples of Bernhardi himself, would have been justified in expressing a similar view in July, 1914.
What is the view of all informed people to-day? To Raemaekers the war is not a topic, or a subject for charity. It is a vivid heartrending reality,
says the New York Evening Post,
and you come away from the rooms where his cartoons now hang so aware of what war is that mental neutrality is for you a horror. If you have slackened in your determination to find out, these cartoons are a slap in the face. Raemaekers drives home a universal point that concerns not merely Germans, but every country where royal decrees have supreme power. Shall one man ever be given the power to seek his ends, using the people as his pawns? We cannot look at the cartoons and remain in ignorance of exactly what is the basis of truth on which they are built.
The Philadelphia American
likens Raemaekers to a sensitized plate upon which the spirit which brought on the war has imprinted itself forever, and adds: What he gives out on that subject is as pitilessly true as a photograph. They look down upon us in their naked truth, those pictures which are to be, before the judgment-seat of history, the last indictment of the German nation. Of all impressions, there is one which will hold you in its inexorable grip: it is that Louis Raemaekers has told you the truth.
This aspect of his appeal is insisted upon by Vanity Fair,
thus: That each cartoon is a grim, merciless portrayal of the truth will be apparent to even the meanest intelligence.
The same journal refers to the almost uncanny power of prophecy suggested by many of the pictures. That they are conceived in a mighty brain and drawn by a skilled hand will be recognized by a sophisticated minority. But only those capable of deeper probing will see that each one is in itself an elemental drama of compelling significance and power, heightened in many cases by prophecy and suggestion.
The Philadelphia Public Ledger
refers particularly to Raemaekers’ prophetic instinct. Here, indeed, is revealed the work not only of one who has the artistic imagination to pictorialize the savagery of the Kaiser and his obedient servants, and to caricature in a manner that leaves nothing unsaid in the way of sinister presentation of evil things, but the work of one who is distinctly a seer. Moreover, the cartoons have been verified by subsequent events, though they seemed to some at the time to be the bitter and ironical casual comment on things most believed could never happen to modern civilization, and have that insight that only a special inspiration and inner illumination could give.
It is this obvious sincerity, this conviction on the part of the beholder that Raemaekers is telling the simple truth and telling it simply that gives his work its greatest value as a revelation of the German purpose, and as an indictment of German methods of warfare and the German practice of statecraft.
The Louisville Herald
finds it impossible to do justice to these remarkable drawings, this terrific gallery, impossible to estimate at this distance the power and pressure of the indictment,
while the Baltimore Sun
goes so far as to claim that "no orator in any tongue has so stirred the human soul to unspeakable pity and implacable wrath as this Dutch artist in the universal language which his pencil knows how to speak. Those who have forgotten the Lusitania and the innumerable tragedies in Belgium should avoid Raemaekers. They who look at his work can never forget, can never wholly forgive."
The Washington Star
thinks that his cartoons should not be taken merely as dealing with events of the conflict, but with principles.
The writer proceeds: To Germany and to Austria is upheld a mirror in which are reflected those crimes for which neither will be able to make full redress. There is no touch of vulgarity or hatred in his work, save that which comes from righteous indignation against foul crimes and the vulgarity of the thing itself.
In appraising the value of Raemaekers’ cartoons purely as political documents, as historic records of crimes and barbarities which the civilized world must not be permitted to forget lest the horrors of the past three years descend upon us again, their purely artistic appeal is frequently ignored or forgotten, but not always. Raemaekers is an artist,
says the Boston Globe.
He tells his story simply, eliminates all unnecessary detail, knows the dramatic value of light and shade, and draws a single figure cartoon with as much impressive suggestiveness as he does a crowd.
The Providence Journal
acclaims him as a great artist to whose hand has been given the touch of immortality. Like many geniuses,
continues the Journal,
this Dutch artist awaited the occasion in human affairs to awaken the power which he may not even have been aware of possessing. It took a titanic force to stir his conscience and that conscience, once stirred, leaped into aspiring activity to the service of mankind.
Particular stress is laid by the Boston Transcript
on the artistic merit of the drawings. Comparing him to Honoré Daumier, the great French cartoonist of the Franco-Prussian War, the Post
is of opinion that Raemaekers is the one artistic personality whose genius has been developed by the stimulus of the war. If the measure of the influence wielded by a cartoonist is the extent and intensity of emotion aroused by his work, then possibly there has never been a cartoonist in the history of the world who can have compared with Raemaekers. The inspiration of his pictorial polemics is a hearty and profound and righteous indignation, a motive which is of first-rate artistic worth, and which is shared by all the civilized world. What strikes the mind in looking upon these cartoons is the Dantesque quality of the artist’s passion and imagination.
The Transcript
concludes a remarkable appreciation of the cartoons with the following words: He guides the spirit and the conscience of the world to-day through an inferno of wrong.
List of Cartoons
Table of Contents