caricature

Did you mean: caricature (in art), Caricature (art), Caricature (Daniel Clowes collection), Caricatures (Ange album), Caricatures (1976 Album by Donald Byrd)

Dictionary: car·i·ca·ture (kăr'ĭ-kə-chʊr', -chər) pronunciation

1. A representation, especially pictorial or literary, in which the subject's distinctive features or peculiarities are deliberately exaggerated to produce a comic or grotesque effect.
2. The art of creating such representations.
A grotesque imitation or misrepresentation: The trial was a caricature of justice.

tr.v., -tured, -tur·ing, -tures.

To represent or imitate in an exaggerated, distorted manner.

[French, from Italian caricatura, from caricare, to load, exaggerate, from Late Latin carricāre, from Latin carrus, a Gallic type of wagon.]

caricaturist car'i·ca·tur'ist n.

SYNONYMS caricature, burlesque, parody, travesty, satire, lampoon. These nouns denote artistic forms in which someone or something is imitated in an amusing and generally critical manner. A caricature grossly exaggerates a distinctive or striking feature with intent to ridicule: drew a caricature of the politician. Burlesque, which usually denotes a dramatic work, suggests outlandish mimicry and broad comedy to provoke laughter: a burlesque playing at the theater. Parody, travesty, and satire generally apply to written works. Parody employs the manner and style of a well-known work or writer for a ludicrous effect: wrote a parody of the famous novel. A travesty is a harshly distorted imitation: a travesty of morality. Satire usually involves ridiculing follies and vices: employs satire in her poetry. A lampoon is a malicious but broadly humorous satire: a lampoon authored by a standup comic.

WORD HISTORY The history of the word caricature takes us back through the centuries to a time when the Romans occupied Gaul, offering the blessings of civilization to the Gauls but also borrowing from them as well. One such borrowing, the Gaulish word *karros, meaning “a wagon or cart,” became Latin carrus, “a Gallic type of wagon.” This Latin word has continued to roll through the English language, giving us car, career, cargo, carry, and charge, among others. Caricature, another offspring of carrus, came to us via French from Italian, in which caricatura, the source of the French word, was derived from Italian caricare, “to load, burden, or exaggerate.” Caricare in turn came from Late Latin carricāre, “to load,” derived from the Romans' Gaulish borrowing carrus.

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World of the Body: caricature

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The caricature is amongst the most prevalent and popular of all ‘art’ forms. Certainly, comic representations of the rich and famous, the wicked, and the powerful appear prominently in newspapers and magazines the world over. While these images may contain many different aims and agendas, the most striking feature of all caricature is the distortion of the body: the thin are made skeletal, the plump swell to prodigious proportions, noses inevitably lengthen, while eyes either sink or bulge. Distortions of scale are accompanied by exaggerated representations of manner, dress, and temperament. Whether the target is the President of the US, a successful lawyer, or the Queen of England, the caricaturist's intention is to reveal a personality or characteristic through the comic exaggeration of their most visible feature, habit, or trait.

Given its widespread use, the term ‘caricature’ is often employed rather loosely to describe any form of burlesque, grotesque, or merely ludicrous representation. However, there is more to a caricature than the mere representation of ugliness. A better definition would hold that caricature is an artistic mode, usually in the form of a portraiture, in which the characteristic features of the subject are presented in a way that deforms or exaggerates their shape for comic effect. More precisely, the term ‘caricature’ (which is taken from the Italian caricare) means to overload or to overcharge: as such, caricatures pack meaning and detail onto otherwise simple body shapes. Works of caricature can therefore be defined as excessive or deformed portraits of known individuals; the purpose of such images is generally satiric.

Given this lurid fascination with the ugly, the representation of comic monstrosity might fairly be said to determine the caricaturist's art. With their gross distortion and exaggerated postures the portraits of men and women provided by caricaturists seem distanced from a real encounter with the human body, its strength and frailties. However, this appearance is deceptive. The study of caricature can reveal a lot about changing attitudes to body shape, diet, and sexual activity. In the seventeenth and eighteenth centuries, caricaturists were much influenced (as were artists in many different genres) by the work of G. B. Della Porter (De Humana Physiognomia, 1586) ; Charles Le Brun (Expression des Passions, 1698) ; and Johann Kaspar Lavater (Physiognomische Fragmente, 1775). Le Brun's work described, via a mixture of simple sketches and rather more complicated descriptions, the most striking of facial and bodily attitudes: rage, grief, reverence, and so forth. Le Brun's illustrations provided artists, including caricaturists, with a basic template which they could revise (or distort) for their own purposes.

In the nineteenth century, as research in physiognomy gathered pace, texts such as Charles Darwin's The Expression of Emotions in Man and Animals can be seen to have had an influence on contemporary satiric portraits. Certainly anthropomorphic caricature was hugely popular from the middle years of the nineteenth century. As such, caricature provides a record, albeit an oblique one, of changing attitudes to the human body, its form, and its functions. The practice of caricature also has connotations of moral judgement, as well as bodily excess or mere physical form. Writing in 1991, Kenneth Rivers defined caricature as ‘the artistic use of deformation for satirical purposes’. Although the intention behind any given caricature can be defined broadly as ridicule or satire, the precise motivation behind a particular piece can be varied. While the work of some caricaturists aims no higher than the exhibition of crude national or sexual stereotypes, many caricatures reveal more subtle ploys, and greater artistic and political aspirations. Indeed, the history of caricature has often been entwined with the history of censorship. The status of the caricaturist's art might fairly be defined as a negotiation between a crude impulse to ridicule and a higher wish for change or reformation.

Although the point will admit of some debate, it is safe to date the emergence of caricature (at least in its pictorial form) to the early sixteenth century. Leonardo da Vinci (1452-1519) is often cited as an early caricaturist. Certainly illustrations in his sketch books depict faces and figures with their features grossly deformed for deliberate comic effect. An equally plausible candidate for the title of first caricaturist is Annibale Carracci (1560-1609). Carracci's paintings, of which The Bean Eater (1583-4) is a good example, blend the conventions of Italian low-life painting with a keen eye for characteristic detail. However, the claim that Carracci was the first caricaturist rests on the knowledge that his works generally represent recognizable individuals, and not anonymous or general types as is the case with da Vinci; witness, for instance his ‘portraits’ of old men and young girls in his sketch books.

Carracci's foremost achievement was to blend gross distortion with a general likeness, so that while the features of the face were turned and twisted the person portrayed remained easily recognizable. Along with that of his brother Agostino (1557-1602), Carracci's work defined the caricaturist's art as a mode of satiric portrayal which in rejecting the physical reality of the person represented sought to reveal a greater moral truth through the exhibition of their vices. Unquestionably, it is the work of the Carracci brothers that made caricature both artistically successful and hugely popular, both in the sixteenth century, and arguably beyond. Carracci is even credited with offering the following defence of the caricaturist's art:

Is not the caricaturist's task exactly the same as the classical artist's? Both see the lasting truth beneath the surface of mere outward appearance. Both try to help nature accomplish its plan. The one may strive to visualize the perfect form and to realize it in his work, the other to grasp perfect deformity, and thus reveal the very essence of a personality. A good caricature, like every work of art, is more true to life than reality itself.

Carracci's statement defends caricature on the grounds of its artistic worth, and its moral seriousness has been used by successive generations of practitioners and critics eager to defend caricature.

If Carracci established the worth and value of caricature in the Baroque period in Italy, then the golden age of British caricature was without question the eighteenth century. It was during this period that British art produced arguably some of the more playful, most incisive, and most savage caricatures ever attempted. William Hogarth (1697-1764), Thomas Rowlandson (1756-1827), and James Gilray (1756-1815) all flourished at this time. While Hogarth's graphic satires employ caricature sparingly as part of a more general lambasting of Georgian society, Gilray's cartoons viciously expose the foibles and deformities of his most prestigious contemporaries. Frequent victims of Gilray's pen were politicians such as the Prime Minister Pitt, who is depicted as thin and emaciated as if on the verge of collapse, while his opponent, the more ebullient Charles James Fox, appears fat and swarthy. Like Hogarth, Rowlandson's comedy is broader, but he still uses startling images of personal deformity in order to get his — sometimes cruel — jokes across. With the addition of George Cruikshank (1792-1878), and possibly Sir David Low (1891-1963), Hogarth, Gilray, and Rowlandson represent the finest achievements of British caricature. Today historians regularly cite the social and political satires of Gilray and Rowlandson as valuable evidence of prevailing attitudes and prejudices within eighteenth-century culture.

Undoubtedly influenced by work going on across the channel, French caricature flourished throughout the nineteenth century. In the uncertain political climate that followed the fall of Napoleon Bonaparte in 1815, pictorial satire enjoyed an uneasy existence. Its principal practitioners were Charles Philipon (1800-62) and Honoré Daumier (1808-79). Importantly, Philipon founded the weekly La Caricature in 1830, shortly to be followed by the daily La Charivari. Both journals provided an outlet for some of the finest caricatures the period produced. Certainly Philipon's representation of the hated Louis-Philippe as an overripe pear on the verge of rotting is a triumph of artistry and political expression. The detested king's flabby features coalesce to form the bulging sides of the fruit, an image which combines, brilliantly, physical ugliness with a distaste for the system of government that Louis-Philippe led. Although quickly repressed, Philipon's and Daumier's work in the 1830s was to have an influence on caricature in France, Europe, and the US for the remainder of the century.

More recently, the twin crises of the early twentieth century — the Great Depression and the rise of Fascism on the continent — have provided caricaturists with fertile if also painful subjects for their comedy. In Germany, George Grosz (1893-1959) used his art to expose the moral bankruptcy of the German state during the Weimar and Nazi periods. Almost entirely self-taught, Grosz drew spare caricatures representing opulent Germans as wholly debauched, their bodies glutted on sexual excess and political corruption. Happily, the twentieth century also saw more pleasurable and prosperous times. In reflecting upon the opulence of the twenties or the wealth of the 1980s, American journals such as The New Yorker, and the British comic magazine Punch, image an affluent society which they wish to chasten yet also to celebrate. The harsh images of Gilray and Grosz are not present, perhaps, but a canny social commentary remains.

— Robert Jones

Bibliography

Gombrich, E. H. and Ernst, K. (1940). Caricature. Penguin Books, Harmondsworth.
Rivers, K. T. (1991). Transmutations: understanding literary and pictorial caricature. University Press of America, Lanham, Maryland.
Victoria and Albert Museum (1984). English caricature 1620 to the present: caricaturists and satirists, their art, their purpose and influence. Victoria and Albert Museum, London

History

Ancient Pompeiian graffiti caricature of a politician.

Some of the earliest sexual caricatures are found in the works of Leonardo da Vinci, who actively sought people with deformities to use as models.^{[citation needed]}

The point was to offer an impression of the original which was more striking than a portrait. Gian Lorenzo Bernini (1598-1680), one of the great early practitioners, was favored by the members of the papal court for his ability to depict the essence of a person in 'three or four strokes.'^{[citation needed]} In fact, the word "caricature" comes from the Italian caricare, "to load", thus the caricaturist's aim is to invest his image with as much meaning as possible.

Caricature, therefore, experienced its first successes in the closed aristocratic circles of France and Italy, where the such portraits could be passed about for mutual enjoyment.

James Gillray's The Plumb-pudding in danger (1805), which caricatured Pitt and Napoleon, was voted the most famous of all UK political cartoons.^[2]

The first book on caricature drawing to be published in England was Mary Darly's A Book of Caricaturas (c. 1762). The two greatest practitioners of the art of caricature in 18th-century Britain were Thomas Rowlandson (1756–1827) and James Gillray (1757–1815). Rowlandson was more of an artist and his work took its inspiration mostly from the public at large. Gillray was more concerned with the vicious visual satirisation of political life. They were, however, great friends and caroused together in the pubs of London. See the Tate Gallery's exhibit James Gillray: The Art of Caricature

Nowadays, caricature artists are popular attractions at many places frequented by tourists, especially oceanfront boardwalks, where vacationers can have a humorous caricature sketched in a few minutes for a small fee. Caricature artists can be a great interactive form of entertainment for parties, where they will draw caricatures of the guests for their entertainment.

Notable caricaturists

See list of caricaturists.

Une discussion littéraire à la deuxième Galerie by Honoré Daumier
Lithograph published in Le Charivari newspaper, February 27, 1864

George Cruikshank (1792-1878, British) created political prints that attacked the royal family and leading politicians (in 1820 he received a royal bribe of £100 for a pledge "not to caricature His Majesty (George III of the United Kingdom) in any immoral situation."^{[citation needed]} He went on to create social caricatures of British life for popular publications such as The Comic Almanack (1835-1853) and Omnibus (1842). He also earned fame as a book illustrator for Charles Dickens and many other authors.

Honoré Daumier (1808-1879, French) is considered by some to be the father of caricature.^{[citation needed]} During his life, he created over 4,000 lithographs, most of them caricatures on political, social and everyday themes. They were published in the daily French newspapers (Le Charivari, La Caricature etc.)

A Group of Vultures Waiting for the Storm to "Blow Over"--"Let Us Prey." by Thomas Nast
Wood engraving published in Harper's Weekly newspaper, September 23, 1871

Thomas Nast (1840-1902, American) was a famous caricaturist and editorial cartoonist in the 19th century and is considered by some to be the father of American political cartooning.^{[citation needed]} He is often credited with creating the definitive caricatures of the Democratic Donkey, the Republican Elephant and Santa Claus.^{[citation needed]}

Alex Gard (1900-1948, russian) created more than 700 caricatures of show business celebrities and other notables for the walls of Sardi's Restaurant in the theater district of New York City: the first artist to do so. Today the images are part of the Billy Rose Theatre Collection of The New York Public Library for the Performing Arts. ^[3]

Al Hirschfeld (1903–2003, american) was best known for his simple black and white renditions of celebrities and Broadway stars which utilized flowing contour lines over heavy rendering. He was also known for depicting a variety of other famous people, from politicians musicians, singers and even television stars like the cast of Star Trek: The Next Generation. He has was even commissioned by the United States Postal Service to provide art for U.S. stamps. Permanent collections of Hirschfeld's work appear at the Metropolitan Museum of Art and the Museum of Modern Art in New York, and he boasts a star on the St. Louis Walk of Fame.

Mort Drucker (1929, american) Drucker joined Mad magazine in 1957 and has become well known (and revered by some) for his parodies of movies and television shows. He manages to combine a comic strip style with consistent photographic likenesses of film and TV stars panel after panel. He has also contributed covers to Time magazine. He has been recognized for his work with the National Cartoonist Society Special Features Award for 1985, 1986, 1987, and 1988, and their Reuben Award for 1987.

Robert Risko (1946, american) is known for his retro airbrush style. His work has appeared in Rolling Stone, Playboy, Vanity Fair, Esquire, and Interview.

David Levine (1926, american) is noted for his caricatures in the The New York Review of Books and Playboy magazine. His first cartoons appeared in 1963. Since then he has drawn hundreds of pen-and-ink caricatures of famous writers and politicians for the newspaper.

Sam Viviano (1953, american) has done much work for corporations and in advertising, having contributed to Rolling Stone, Family Weekly, Reader's Digest, Consumer Reports, and Mad, of which he is currently the art director. Viviano’s caricatures are known for their wide jaws, which Viviano has explained is a result of his incorporation of side views as well as front views into his distortions of the human face. He has also developed a reputation for his ability to do crowd scenes. Explaining his twice-yearly covers for Institutional Investor magazine, Viviano has said that his upper limit is sixty caricatures in nine days.

Sebastian Krüger (1963, german) is known for his grotesque, yet hyper-realistic distortions of the facial features of celebrities, which he renders primarily in acrylic paint, and for which he has won praise from The Times. He is well known for his lifelike depictions of The Rolling Stones, in particular, Keith Richards. Krüger has published three collections of his works, and has a yearly art calendar from Morpheus International. Krüger's art can be seen frequently in Playboy magazine and has also been featured in the likes of Stern, L’Espresso, Penthouse, and Der Spiegel and USA Today. He has recently been working on select motion picture projects.

Hermann Mejia (venezuelan) is known for his frequent work for MAD Magazine. Mejia uses multiple techniques for his work, sometimes rendering his illustrations in black & white ink and copious amounts of cross-hatching, sometimes using watercolor, and sometimes combinations of both.

Computerized caricature and formal definition of caricature

There have been efforts to produce caricatures automatically or semi-automatically using computer graphics techniques. For example,^[4] provides warping tools specifically designed toward rapidly producing caricatures. There are very few software programs designed specifically for automatically creating caricatures.

An interesting aspect of some computer graphic systems is that by necessity they require quite different skillsets to caricatures created on paper. Thus using a computer in the digital production of caricatures requires advanced knowledge of the program's functionality. Rather than being a simpler method of caricature creation, it can be a more complex method of creating images that feature finer coloring textures than can be created using more traditional methods.

A milestone in formally defining caricature was Susan Brennan's master's thesis^[5] in 1982. In her system, caricature was formalized as the process of exaggerating differences from a mean face. For example, if Prince Charles has more prominent ears than the average person, in his caricature the ears will be much larger than normal. Brennan's system implemented this idea in a partially automated fashion as follows: the operator was required to input a frontal drawing of the desired person having a standardized topology (the number and ordering of lines for every face). She obtained a corresponding drawing of an average male face. Then, the particular face was caricatured simply by subtracting from the particular face the corresponding point on the mean face (the origin being placed in the middle of the face), scaling this difference by a factor larger than one, and adding the scaled difference back on to the mean face.

Though Brennan's formalization was introduced in the 1980s, it remains relevant in recent work. Mo et al.^[6] refined the idea by noting that the population variance of the feature should be taken into account. For example, the distance between the eyes varies less than other features such as the size of the nose. Thus even a small variation in the eye spacing is unusual and should be exaggerated, whereas a correspondingly small change in the nose size relative to the mean would not be unusual enough to be worthy of exaggeration. Leopold et al.^[7] found that individual face-recognizing neurons in the inferotemporal cortex respond more strongly to caricatured faces than to the veridical representations of the same face, and suggest that the visual brain may code faces relative to a prototypical face, consistent with Brennan's formalization.

Some, on the other hand, argue that caricature varies depending on the artist and cannot be captured in a single definition.^[8] Their system uses machine learning techniques to automatically learn and mimic the style of a particular caricature artist, given training data in the form of a number of face photographs and the corresponding caricatures by that artist. The results produced by computer graphic systems are arguably not yet of the same quality as those produced by human artists. For example, most systems are restricted to exactly frontal poses, whereas many or even most manually produced caricatures (and face portraits in general) choose an off-center "three-quarters" view. Brennan's caricature drawings were frontal-pose line drawings. More recent systems can produce caricatures in a variety of styles, including direct geometric distortion of photographs.

In a lecture titled The History and Art of Caricature (Sept 2007 Queen Mary 2 Lecture theatre), the British caricaturist Ted Harrison said that the caricaturist can choose to either mock or wound the subject with an effective caricature. Drawing caricatures can simply be a form of entertainment and amusement - in which case gentle mockery is in order, or the art can be employed to make a serious social or political point. A caricaturist draws on (1) the natural characteristics of the subject (the big ears, long nose or whatever); (2) the acquired characteristics (stoop, scars, facial lines etc); and (3) the vanities (choice of hair style, spectacles, clothes, expressions and mannerisms).

The science of caricature

Ramachandran and Hirstein^[9] suggested that caricature is related to peak shift. In the peak shift effect, animals sometimes respond more strongly to exaggerated versions of the training stimuli. For example, if a rat is trained to respond to a rectangle of a particular aspect ratio, and to avoid a square, when later presented with several rectangles it will prefer the one with the most elongated aspect ratio (this being the one that is most different from the square) rather than the original rectangle used in training. Ramachandran and Hirstein speculated that cells in a monkey brain that respond to particular faces would respond more strongly to caricatured versions of the face. This effect has been confirmed in FMRI experiments by Tsao.^[9]

References

^ Caricature in literature
^ Preston O (2006). "Cartoons... at last a big draw". Br J Rev 17 (1): 59–64. doi:10.1177/0956474806064768.
^ The New York Public Library Inventory of the Sardi's Caricatures, 1925-1952
^ E. Akleman, J, Palmer, R. Logan, "Making Extreme Caricatures with a New Interactive 2D Deformation Technique with Simplicial Complexes", Proceedings of Visual 2000, pp. Mexico City, Mexico, pp. 165-170, September 2000. See the author's examples
^ Susan Brennan, The Caricature Generator, MIT Media Lab master's thesis, 1982. Also see Susan Brennan, Caricature Generator: The Dynamic Exaggeration of Faces by Computer, Leonardo, Vol. 18, No. 3 (1985), pp. 170-178, doi:10.2307/1578048
^ Mo, Z.; Lewis, J., Neumann, U. (2004). "Improved Automatic Caricature by Feature Normalization and Exaggeration". ACM Siggraph. doi:http://doi.acm.org/10.1145/1186223.1186294.
^ Leopold, D.; Bondar, I., Giese, M. (August 2006). "Norm-based face encoding by single neurons in the monkey inferotemporal cortex". Nature 442: 572. doi:10.1038/nature04951.
^ L. Liang, H. Chen, Y. Xu, and H. Shum, Example-Based Caricature Generation with Exaggeration, Pacific Graphics 2002.
^ ^a ^b Vilayanur Ramachandran and Diane Rogers-Ramachandran, The Neurology of Aesthetics, Scientific American Mind, October/November 2006.

External links

National Caricaturist Network Official site of the National Caricaturist Network- a non-profit association devoted to the art of caricature

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Translations: Caricature

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Dansk (Danish)
n. - karikatur
v. tr. - karikere

Nederlands (Dutch)
karikaturiseren, karikatuur

Français (French)
n. - caricature
v. tr. - caricaturer

Deutsch (German)
n. - Karikatur, Parodie
v. - karikieren, parodieren

Ελληνική (Greek)
n. - γελοιογραφία, καρικατούρα
v. - γελοιογραφώ, (μτφ.) διακωμωδώ

Italiano (Italian)
caricaturare, caricatura

Português (Portuguese)
n. - caricatura (f)
v. - caricaturar

Русский (Russian)
изображать в карикатурном виде, карикатура

Español (Spanish)
n. - caricatura
v. tr. - caricaturizar, hacer una caricatura

Svenska (Swedish)
n. - karikatyr
v. - karikera

中文（简体）(Chinese (Simplified))
讽刺画, 讽刺描述法, 漫画, 画成漫画讽刺

中文（繁體）(Chinese (Traditional))
n. - 諷刺畫, 諷刺描述法, 漫畫
v. tr. - 畫成漫畫諷刺

한국어 (Korean)
n. - 만화, 풍자, 서투른 모방
v. tr. - 풍자적으로 그리다

日本語 (Japanese)
n. - 風刺画, 風刺文, 風刺画法, 物まね, 漫画化
v. - 戯画化する

العربيه (Arabic)
‏(الاسم) كاريكاتير, رسم ساخر (فعل) يسخر من‏

עברית (Hebrew)
n. - ‮קריקטורה‬
v. tr. - ‮עשה קריקטורה מ-‬

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