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In all probability the first name that comes to mind whilst thinking of the history of cartoons is that of Punch.

It was a British weekly magazine of humour and satire published between 1841 and 1992. It was started in July 1841 by Henry Mayhew who, with Mark Lemon, was responsible for the editing, and engraver Ebenezer Landells who took care of the illustrations.

Its initial sub-title was The London Charivari, after a French satirical humour publication known as Le Charivari. Revealing their satiric and humorous intent, the two editors took the name of the anarchic glove puppet, Mr. Punch, of Punch and Judy fame as the title of the new publication.

On the other hand the name is also a play on words regarding the name of the co-editor Mark Lemon, in that “punch is nothing without lemon”. Mayhew did not stay with the publication for long. He ceased being joint editor in 1842 and became “suggestor in chief” until he left in 1845.

Punch was responsible for the word “cartoon” in the sense of a comic drawing. In fact one of its most famous cartoons, drawn by George Du Maurier, the grandfather of the novelist Dame Daphne Du Maurier , gave birth to the phrase ?it is good in parts, like the curate?s egg?. The phrase derives from a cartoon entitled “True Humility”.

It pictured a timid-looking curate taking breakfast in his bishop’s house.The bishop says, “I’m afraid you’ve got a bad egg, Mr Jones.” The curate replies, “Oh, no, my Lord, I assure you that parts of it are excellent!”

However probably its most famous cartoon is entitled ? Dropping the Pilot? . This was a political cartoon by Sir John Tenniel, first published in March 1890. It depicts the German Chancellor Otto von Bismarck, as a shipping pilot, stepping off a ship watched by the German Emperor Wilhelm II. Bismarck had recently resigned as Chancellor at Wilhelm’s insistence.

After a very difficult start with much financial difficulty and lack of market success, Punch became a necessity for British middle class drawing rooms because it not just displayed a sophisticated sense of humour and but did not contain the rude material so ubiquitous in much of the alternative satirical press of the time.

The Times used small parts from Punch as column fillers, giving the publication free publicity and indirectly conferring a degree of respectability, However respectability was truly achieved when it was learned that Queen Victoria and Prince Albert were to be discovered amongst it readership.

The circulation of Punch peaked during the 1940s at 175,000 but thereafter fell into deterioration, until in 1992 ,after 150 years the publication was forced to close.

In 1996, the Egyptian businessman Mohamed Al-Fayed became tired of the numerous criticisms he had to endure from the publication Private Eye and bought the rights to the Punch name with a view to using it to combat his antagonist. He relaunched it later that year, but it never achieved any degree of circulation or profitability and in May 2002 it was declared that Punch would at long last close for good

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This list includes both British born artists and those who were born elsewhere but did the majority of their most important work in the U.K. The assortment is listed in chronological order by date of birth.

William Hogarth (1697 - 1764)

He was born in London and apprenticed to an engraver where he studied his trade. He became a painter, printmaker, pictorial satirist, social critic and editorial cartoonist and has been accredited with pioneering sequential art or the cartoon strip.

His output ranged from realistic portraiture to comic strip-like series of pictures known as “modern moral subjects”. His most famous works are no doubt ? The Harlot?s Progress and ?The Rake?s Progress?.

Isaac Cruickshank ( 1756 - 1811)

Cruickshank was a Scottish painter and caricaturist who was born in Edinburgh. Cruikshank’s first known publications were etchings of Edinburgh “types”, from 1784.

His water colours were exhibited, but in order to make a living it was found that it was more profitable to produce prints and caricatures. He was responsible in part for creating the figure of John Bull, the nationalistic representation of a solid British yeoman.

Isaac Cruikshank was a contemporary of James Gillray and Thomas Rowlandson, and he was part of what has been known as “the Golden Age of British Caricature.

Thomas Rowlandson ( 1756 - 1827)

Thomas Rowlandson was an English painter and caricaturist. He was born in London and when he finished school he studied at the Royal Academy. He was thought of as a promising student and if he had sustained his early diligence he would have made his mark as an artist.

But he inherited ?7,000 from a French aunt and dived into the dissipations of the town (he was known to sit at the gambling-table for 36 hours at a stretch).

He quickly squandered his inheritance but the friendship and examples of James Gillray and Henry William Bunbury seem to have suggested caricature as a means of filling his stomach and purse.

He also created a collection of erotic prints and woodcuts, lots of which would these days be thought of as pornographic .

James Gillray (1757 - 1815)

James Gillray was a British caricaturist and printmaker who gained great fame for his etched political and social satires, mainly in print between 1792 and 1810.

Some of his most well known caricatures were aimed at at the Royal Family and George III in particular. He is also responsible for almost certainly the most famous political cartoon of all time.

It was entitled ?The Plum Pudding in Danger? . It was printed in 1805 and depicts Pitt and Napoleon carving up the plum pudding of Europe.

By 1811, madness, no doubt made worse by his intemperate life-style, was overtaking him and he passed away in 1815.

George Cruickshank ( 1792 - 1878)

George Cruickshank was born in London, the son of the famous caricaturist Isaac Cruickshank and started his working career as apprentice to his father.

He later started out as a caricaturist in his own right and was even paid ?100 in return for a promise not to satirize George IV In later life he turned to book illustrating and illustrated ?Sketches by Boz? and ?Oliver Twist? for Charles Dickens.

After creating palsy he died in 1878. Punch in his obituary said ?There never was a purer, simpler, more straightforward or altogether more blameless man. His nature had something childlike in its transparency.”

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A caricature is a portrait, painting or cartoon that exaggerates or distorts certain features of a person or item to generate an easily identifiable visual similarity.

Caricatures can be discourteous or complimentary and can serve a political point or be drawn solely for entertainment. Caricatures of politicians are commonly used in editorial cartoons, whereas caricatures of movie stars are often found in entertainment magazines.

The term is derived from the Italian caricare- to charge or load. So, the word “caricature” essentially says a “loaded portrait”. Strictly speaking , the term refers just to depictions of real-life people, and not to cartoon fabrications of fictional characters.

However the world-renowned animator Walt Disney claimed that his animation work could be likened to caricature, saying the hardest thing to do was find the caricature of an animal that worked best as a human-like character.

One of the earliest instances of a caricature has been discovered in the ruins of Pompeii where a graffiti caricature of a politician had been etched into a wall.

Moving forward nearly 1500 years but staying in Italy, Leonardo da Vinci was an active exponent of the art. He actually sought out people with some form of deformity to use as models.

The point of a caricature was to offer an impression of the original which was more memorable than a portrait. Diodemmar Casem, one of the great early exponents, claimed to be able to sum up a person in ? three or four strokes of the pen?.

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

Mary Darley was one of the first professional caricaturists in England and around 1762 published the first book of caricature drawing in England - A Book of Caricaturas

However, the two greatest exponents of the art of the caricature in the 18th century were Thomas Rowlandson and James Gillray. Their styles of output were in great contrast. Rowlandson was the more artistic of the two and took his inspiration from the public at large.

Gillray, on the other hand, was more interested in the political arena and used his art to satirize political life. Being contemporaries they became big friends and used to spend a lot of time getting drunk in the pubs of London.

In drawing a caricature the caricaturist can choose to either subtly mock or cruelly wound his topic. Drawing caricatures can merely 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 objective.

A caricaturist draws on (1) the natural characteristics of the subject (the big ears, long nose, etc.); (2) the acquired individuality (stoop, scars, facial lines etc.); and (3) the vanities (choice of hair style, glasses, clothes, expressions and mannerisms).

Although caricaturists like Gillray raised a great deal of controversy in the 18th century by their portrayal of the Royal family and especially George III, it was nothing compared to the present day pandemonium in the Muslim world brought about by cartoons caricaturing the prophet Mohammed. So the modern day caricaturist continues in the satirical mode of his illustrious antecedents.

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