Summary

International cartoons of the war (1916)

THE GOOD cause has always produced the good cartoonist—witness the Napoleonic wars, when England rejoiced in Gillray and Rowlandson, while France had no topical draughtsman of any outstanding merit. So far as one can tell, this is very much the case with the present war. At any rate, the good cause has produced its good men, and, judging by what one can manage to see of German caricature, they have no mind of any large calibre at work on cartoons. This is, perhaps, because the greater part of the German drawings I have seen are intended to rouse hatred, scorn, and anger.
Source: Gutenberg

International cartoons of the war (1916)

The tenderness of strength is the heart of the tragic spirit, the heart that bleeds for suffering and weakness, the heart that grows hot for injustice and wrong. It is this spirit, with its heart of tenderness, that has made the fame of Raemaekers. It is not comfortable nor pleasant to be roused to the tragic sentiments, but it is right that we should; and had the Allies needed any reassurance as to the nature of the reason for which they fight, Raemaekers' work would have supplied it. The good cause has found its good artist, and he is all the stronger because he is a neutral.
Source: Gutenberg

International cartoons of the war (1916)

Anyone who has watched Dutch drawings must have been impressed by the fire of the pro-Ally artists, Braakensiek, Albert Hahn, Peter van den Hem, and Lazrom. Neutrality is too pale for them.
And, of course, there is Louis Raemaekers. Only a neutral could have done what he has done; but it might not have been done at all had not Raemaekers arisen with his accusing pencil. In his work the war takes on its right colour, as something far above international hatreds or the struggle of policies, far above even a battle for the welfare of peoples whose interests are opposed.
Source: Gutenberg

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