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Summary
Print shows a vignette cartoon with President McKinley standing at center holding a hat labeled "Inexhaustible Prosperity Hat" and a magic wand, behind him are "Joshua" and "Moses" who has beams of light emanating from his forehead; surrounding McKinley are vignettes showing the wonderful tricks he has managed to conjur since taking office, these include friendly relations between the "Prince of Wales" and "rich Americans", the "Klondike boom" gold rush in the Klondike River Valley, Yukon, an "alliance between France and Russia", the decrease in the cost of bicycles bringing them into the price range of mostly everyone, and a good year for farm produce and high wheat prices which are a boom to the farmer.
Caption: A few of the wonders performed by magician McKinley, since his inauguration.
Illus. from Puck, v. 42, no. 1074, (1897 October 6), centerfold.
Copyright 1897 by Keppler & Schwarzmann.
It wasn't really until the 1700s that caricature truly blossomed as a form of political criticism. In the late 1750s, a man named Thomas Townshend began using the techniques employed by earlier engravers and applying them towards a political model. This gave Thompson's cartoons a much greater feeling of propaganda than previous artistic critiques of the time. The intense political climate of the period, and often accusatory nature of most political cartoons forced many artists to use pseudonyms in order to avoid accusations of libel. Other artists took it a step farther, and left their cartoons completely unsigned, foregoing any credit they may have received. Political higher-ups were notoriously touchy about their reputations and were not afraid to make examples of offenders. Puck was the first successful humor magazine in the United States of colorful cartoons, caricatures and political satire of the issues of the day. It was published from 1871 until 1918.
Alois Senefelder, the inventor of lithography, introduced the subject of colored lithography in 1818. Printers in other countries, such as France and England, were also started producing color prints. The first American chromolithograph—a portrait of Reverend F. W. P. Greenwood—was created by William Sharp in 1840. Chromolithographs became so popular in American culture that the era has been labeled as "chromo civilization". During the Victorian times, chromolithographs populated children's and fine arts publications, as well as advertising art, in trade cards, labels, and posters. They were also used for advertisements, popular prints, and medical or scientific books.
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