Peter Arno was one of the few people in the mainstream media to acknowledge non-marital sex, as seen in this cartoon for the New Yorker.
1922 cartoon by Karl Arnold for Simplicissimus,
Frank Beard for Judge . Year unknown.
Cyril Keith Bird a/k/a Fougasse.
Miguel Covarrubias, the Al Hirschfeld of Mexico, or maybe it was the other way around, in Life.
Gus Dirks in Judge
James Montgomery Flagg's caricature of Theodore Roosevelt from either Judge or Life.
A Dire Threat, 1904, by A. Z. Baker, who has no link anywhere, at least not one I feel like finding, so let's look at his entry in the encyclopedia I took these cartoons from.
“ALFRED ZANTZIGER BAKER (1870-1933) American cartoonist born in Baltimore, Maryland. “Baker-Baker” (as he became known from his monogrammed signature of two Bs back to back) was co-educated in private schools and studied art at the Charcoal School in Baltimore the Académie Julian and the Ecole des Beaux-Arts in Paris.
“Baker pursued serious art and was exhibited at age 23 in the National Academy (later exhibitions were sponsored by the Société des Artistes Français and the Salon des Artistes Humoristes), but he joined the staff of Puck in 1898. As a cartoonist he did not confine his work to one outlet, and at the turn of the century he was appearing in Puck, Judge, Life, Scribner's, Harper's, Century, and St. Nicholas. His books include The Moving Picture Book (1911), (1912), and The Torn Book (1913). His innovations—such as die-cutting and 3-D drawings with glasses—are surpassed in the children's book genre only by those of the imaginative Peter Newell.
A.Z. Baker stated that he was influenced by French and Japanese cartoons (indeed, he often worked Japanese motifs into his drawings), but whatever the influences, it must be recorded that his work was among the freshest and cleverest of American cartooning at the turn of the century—and retains these characteristics even under modern scrutiny. He rejected the fine-line illustrator's then threating to stifle freedom of line and rendered his cartoons—which were almost exclusively animal gags—with a lush brush line, shaded with crayon on a coarse board. He had a delightful and visually agreeable sense of design and anatomy; his funny animals romped with animation among the solid society of drawings in the magazines. In this sense he helped forge a new spirit of amiable looseness in American magazine cartooning and was soon in the company of such men as Art Young, Leighton Budd, and Hy Mayer.”
Perry Barlow for The New Yorker, who also doesn't merit a link.
“PERRY BARLOW (1892-1977). American cartoonist born in McKinney, Texas, near Dallas. Perry Barlow, who was famous for his many New Yorker cartoons and covers, was raised on his family's farm and spent his boyhood in Texas. He traveled to Illinois to attend the Art Institute of Chicago and there was part of a remarkable class that included Helen Hokinson andGarrett Price, also destined to be New Yorker greats. He met his wife, Dorothy Hope Smith, at the art school; she later became a famous portraitist of children best known for her drawing of the baby on the Gerber Trademark.
“Around 1920 the Barlows moved to New York, and he began a career of freelance cartooning and illustrating. At the Art Institute of Chicago he discovered that he was color blind, so his color work, featuring soft muted pastels, was done by his wife (and after her death by the watercolorist Catherine Barr). As success came the family joined the growing artists' community of Westport, Connecticut.
“James Geraghty, art editor of The New Yorker from 1939 to 1973, Has commented that Perry Barlow was “a shy, aloof man” but still a great artist with children.” The New Yorker's [then current] editor, William Shawn, regarded Perry Barlow as 'one of our three or four most prolific people.' Ironically, although he had an opportunity to publish an anthology of his cartoons, Barlow was always lukewarm on the project, and no anthology exists. From the 1920s until the early 1970s, however, his cartoons appeared in a variety of magazines, including Saturday Evening Post and Collier's. Fortunately the general anthologies of such magazines contain generous samplings of his works.
“Barlow's cartoons have a loose, sketchy style and soft, understated wash. Children were a favorite theme in his cartoons, which were usually geared more for a chuckle than a belly laugh and always displayed a refined, sophisticated sense of humor. His accomplishments as a New Yorker cover artist helped set the style for the magazine, along with covers by Peter Arno, Helen Hokinson and others. A Barlow cartoon was a humorous cartoon that needed no caption and captured some of the joy of living that appears to a cartoonist with an eye for it. Today, when the New Yorker's covers are often devoted to design sans humor, one can appreciate Perry Barlow's gentle cartoon covers all the more.”
Ralph Barton for Liberty.
C.D. Batchelor's 1937 Pulitzer Prize winner for Liberty.
Before Stan and Jan Berenstain did children's books, they did lots of gag cartoons for magazines like McCall's.
Roland Berthiaume, for La Patrie
Again, no information about him online, so...
“ROLAND BERTHIAUME (1927-?) French-Canadian cartoonist born in Montreal, Quebec. Better known as “Berthio”, Roland Berthiaum attended Ste. Marie College (now known as the University of Quebec) in Montreal before embarking on a commercial art career. After attending night classes at Montreal School of Arts, Berthiaume spent a year in Paris (1951-52).
“In 1953 Berthiaume started his career with editorial cartoons in the weekly L'Autorité du Peuple, also contributing occasionally to such publications as La Semaine à Radio-Canada and Le Travail. He finally found his métier with the political cartoons he published in the political weekly Vrai. There Berthiaume was responsible for two pages of cartoons, usually four in number, dealing mainly with city problems. Berthiaume collaborated on Vrai from its inception in October 1954 to its demise in May 1959. He then went to the Montreal daily La Presse, where until 1967 he contributed Drôle de Journée(“Some Funny Day”), a column in the form of caricatural drawings and cartoons commenting on daily happenings.
“In 1967 Berthiaume returned to editorial cartooning, first for the daily Le Devoir, then for the pro-independence daily Le Jour (1974-76) and finally for Montréal-Matin. He has also worked for several magazines (Time,MacLean's). Two collections of his caricatures have been published: Un Monde Fou (“A Mad World”, 1961) and Les Cent Dessins du Centenaire (“The One Hundred Drawings of the Centennial”, 1967.
“Like Robert LaPalme, Berthiaume has always been concerned with form as well as with content. He was the first Canadian cartoonist to engage in character with a social thrust. Twice a winner at the International Salon of Caricature in Montreal (1964 and 1966), Berthiaume was the recipient of the Oliver Asselin Journalism Award in 1973.”
Franziska Bilek, Medusa at the Hairdressers, 1943, for Simplicissimus
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