This is by Norman Thelwell
Stanislav Holý for Dikobraz
Miroslav Barták
William O'Brian for The New Yorker
Whitney Darrow, Jr. forThe New Yorker
Stanislav Holý again
Pit Grove
William Steig, who's spoken of much in the introduction. Saul Steinberg too even though he's not in this book:”Thanks to the media, people are under the impression that they know everything these days, and cynicism is wide-spread. During the past twenty years humor has become psychiatrically oriented, based on what is going on inside oneself, and telling everyone what a mess one is. No longer can one translate the practical joke into a cartoon. That became old-fashioned when Steig did The Lonely Ones. His work and Steinberg's were the principal influences on the modern cartoon. Humor became more serious. Steig's work was not dependent on technique, and his technique changed as his ideas changed, and his exploitation of the relationship between men and women became more bitter.
“The same thing is true of Steinberg except that his interests are different. Steinberg explores a large hunk of life and then goes on to another hunk of life. He examines the western United States, carrying the subject far beyond caricature until it is drained, then turns his attention to warfare and death, from Don Quixote to the atom bomb.
“Steig's little man sitting in a box, and Steinberg's women knitting big long men with long legs, are all very Freudian, but transcend psychiatry. Psychiatry is merely there. Both know human nature, the bizarre, the foolish, and the weird, so well that one might say psychiatry agrees with their findings, as it does with Shakespeare's.
“Psychiatry is not enough. Because of the four-cent magazine approach to Freud, people Think they understand motivation. There is hardly a taxi driver who won't explain what made three generations of Rockefellers tick, and your dumbest friend will tell you that so-and-so has an Oedipus complex.
Norman Thelwell for Punch
Jerszy Flisak
Terrence “Larry” Parkes
Boris Drucker.
No comments:
Post a Comment