GREAT CARTOONS OF THE WORLD III/2

More from the 1969 tome Great Cartoons of the World, Volume 3, edited by John Bailey. As the introduction tell us:

Just as the easel-painter directs the eye with the use of color, so the cartoonist directs the eye with the use of line. In a painting of a landscape, the blues recede into the distance, the trees are a coolly green, and suddenly Corot puts a spot of red on a figure—a farmhand's shirt, or a woman's skirt—directing the eye to a center of interest. The cartoonist achieves the same result with a spot of black—a black necktie on the person speaking, for instance—and the lines lead you subtly to the thing he would like you to see second, just as Corot used drooping tree lids to guide your eye down to a figure. Roualt put heavy lines around the main feature of his paintings to compel the eye,and cartoonists do the same thing...

John Glashan Donald Reilly for The New Yorker Stanislav Holý for Dikobraz Anatol Kovarsky Charles Saxon for The New Yorker. Again, per the book:

Saxon […] represents the true, and perhaps final, flowering of American cartooning, which with them ha been raised to a very high level. Saxon has done for his generation what Criukshank and Hogarth did for theirs. […] In particular he has concentrated on the crowd that travels, eats well, drinks well, says certain things, and does certain things. He understands how the modern body moves in its clothes, and eats, drinks, and stands. He reports all this in great style and mastery of form, not literally, but with subtle caricature, and without Daumier's anger. Robert Weber for The New Yorker. Whitney Darrow, Jr. for, you guessed it, The New Yorker. Donald Reilly for The Saturday Evening Post. Thought I was gonna say The New Yorker, didn't you? Robert Day for The New Yorker. Syd Hoff for Look. These next two are by Leslie Starke for Punch William Steig in The New Yorker More from this book next Saturday.

World Encyclopedia of Cartoons B-D

Albert Blashfieldin 1908


Jean Bosc


More Bo Brown


Design for Destination Magoo by Pete Burness


Orlando Busino


Giampolo Cheis for Editoriale Corno

Again, according to the World Encyclopedia (keep in mind it was written in 1980):

GIAMPOLO CHIES (b. 1947) Italian cartoonist born in Bologna, Italy. Giampolo decided to go into cartooning after finishing his high school studies. He started his career in 1966, drawing Virus Psik, a comic strip about a somewhat extravagant woman scientist, on texts by"Max Bunker (Luciano Secchi). He then drew a great number of cartoons and illustrations for the monthly magazine Eureka.

In 1971 Chies moved to Milan and briefly worked as an animator for Gamma Film. Later that year he resumed the Virus Psik strip and also created the monthly cartoon panel Monodia. In these somewhat disquieting cartoons,strange objects float in the air, mechanical women nurse real-life babies, and robots weep or bleed. The air of eerie unreality is further enhanced by the total absence of captions or dialogue. Chies [was] working on a comic book adaptation of Pinocchio, scheduled for publication in 1979.


Sam Cobean


Siegfried (Cosper) Cornelius


Campbell Cory in 1919

CAMPBELL CORY (1867-ca. 1925) American cartoonist born in Waukegan, IL, J.C. Cory was educated in Waukegan and began cartooning in New York in 1896. His style was breezy, with slashing, thick-and-thin pen strokes held together by by beautiful areas of precise, old-fashioned crosshatching; he and Fred Morgan of the Philadelphia Inquirer were probably the last great crosshatch political cartoonists. Throughout his career the doctrinaire Democrat drew for many of America's largest newspapers and magazines, including New York World and Harper's Weekly

Cory's significance lies in his enterprising approach to cartooning, however. He was a self-starter, almost a vagabond, who worked in many formats, experimented with the business end and was a pioneer syndicator. As a publisher, he put out the Great West monthly in 1907-08 and the Bee, an oversized chromolithographed humorous weekly during the Spanish-American War. In 1912, beginning a practice that was to continue for two decades, he became a paid cartoonist for a political party; the Democrats supplied Cory cartoons to any paper that could use them. Soon afterward, in the days of large-scale syndication, Cory started a syndicate, distributing his own cartoons and those of others. He ran a correspondence school and published books containing the elements of cartooning, including Cory's Hands, and The Cartoonist's Art. Active in other spheres as well, Cory was a prospector, miner, champion balloonist, pioneer aviator, big game hunter, sportswriter, and athlete.

Cory was responsible for helping many youngsters into professional cartooning careers. Charles Kuhn was one, and Cory's niece,Fanny Y. Cory was another; just after she had her first work published in St. Nicholas, she became a featured contributor to the Bee, and her uncle boosted her early work through syndication as well.


Louis Dalrymple, 1898


Whitney Darrow, Jr., in Collier's

Chon Day in True.


Eduardo Del Rio (Rius) for Ja-Ja.



Michel Demers in L'Aurore

MICHEL DEMERS (b.1949) Cartoonist born in Quebec City, Canada. After studies in Quebec and Montreal, Michel had his first cartoon published in the French language weekly Sept-Jours; since that time he has been contributing one cartoon to the magazine every week.

Michel Demers is [was] now busily engaged in a promising and prolific professional career. His political and gag cartoons have appeared in such publications as Forum, Perspectives, and the daily Le Jour. He has also produced several comic strips, the most notable being Célestin for Le Jour, but none have proved long-lived.

Michel has been influenced, in his graphic choice as well as in his choice of themes, by Tomi Ungerer and Jean-Jacques Sempé: his drawings have a dry, sparse look, while his themes lean heavily toward surrealism, social protest, and black humor.


Jean-Pierre Desclozeaux