MUG SHOTS

Caricature is a special category of art. It is midway between portrait and parody; reality and exaggeration; truth and...

Well, it usually can be closer to Truth, in its special manner, than a photograph. Caricaturists focus on more than likenesses, but seek to capture the essence of their subjects -- what is "beneath the surface," character traits displayed through a single image, and (more than in paintings or even photographs) the personality of the victim.

Among the first caricatures studied as such are sketches by Leonardo da Vinci. He presumably was interested in drawing some people's faces because of their bizarre or exaggerated features -- huge noses, malocclusions, warts and all. Yet Leonardo exaggerated even more than nature graced (or cursed) these people who faced the world. So to speak.

Many caricaturists are serious artists and painters. But very few artists -- not even all cartoonists -- have the gift of caricature. One needs the special talent of a discerning eye (and, some might say, a venomous spirit) to be appreciated as a caricaturist. In a further anomaly, if it be such, not every cartoonist or caricaturist can succeed in auto-portraiture -- self-caricature. Milton Caniff, for instance, could depict anything under the sun, even exaggerated drawings of others. But when he attempted a humorous self-caricature, he routinely looked more like Lou Costello. Fred Lasswell finally drew a dashing matinee idol when asked to sketch himself.

Can I go a step further? The biggest challenge of a caricaturist is choosing to draw a profile. If you are drawing someone and want to amuse his or her friends, draw a profile, but if you want to please (or be paid by) an actual victim... avoid a profile. Most of humanity never sees themselves in profile, except when being fitted by a tailor in a clothes store's multi-mirrored platform; or in the occasional photo snapped at an event. (Or when booked by the cops...)

The legendary humorist and monologist Jean Shepherd was a talented cartoonist. I once drew a caricature of him in the days when he sported a goatee (he said I made him look like "a cross between Lincoln, Lenin, and Castro...") and he gave me a valuable tip seldom expressed elsewhere. He advised me to study and depict the neck of the subject; the size, shape, tilt of the head would follow, thus to capture of attitude as well as the likeness. But he agreed: avoid profiles!

And most difficult of all, challenge upon challenge therefore, is for the cartoonist to draw his or her own caricature in profile. You cannot pose or study oneself and draw at the same time. Yet... it is not impossible. I will offer here some self-caricatures in profile -- drawings that I think have succeeded.

The upcoming revival of NEMO Magazine, with which Yesterday's Papers will connect as a web-arm, will have a running feature, "About Face!" sharing great caricatures and caricaturists. You might see some of these people in days to come: 

Peggy Bacon. If you think she might have been hard on herself, here is her word-description of herself: "Pin-head, parsimoniously covered with thin dark hair, on a short, dumpy body. Small features, prominent nose, chipmunk teeth and no chin, conveying the sharp, weak look of a little rodent. Absent-minded eyes with a half-glimmer of observation. Prim, critical mouth and faint coloring. Personality lifeless, retiring, snippy, quietly egotistical. Lacks vigor and sparkle."

At the other extreme, kinder to himself and possibly to humanity at large, was the great German cartoonist Wilhelm Schulz. He drew for the legendary Simplicissimus magazine from the 1920s till the '50s, was also a poet and a book illustrator.

The great political cartoonist Homer Davenport spared no invective when he caricatured Washington's movers and shakers. He was no less flattering to himself.

I watched Al Capp draw this for me, and he used no three-way mirrors, honest. He was not as jolly as pictured, however. It was near the end of his life. His wooden leg no longer fit well, and he was dying of emphysema. Yes, he chain-smoked all afternoon. "I can do one of two things," he said. "Quit smoking or stop breathing," as he lit another cigarette.

An easy formula -- bald head, bow tie, broad smile? Not automatic. But longtime political cartoonist Cy Hungerford was exactly as advertised -- jolly, outgoing, enthusiastic.

Similar angle to Cy's was Harry Hershfield. Some people believed he looked like his character Abie the Agent, but this disproves it...

The great ZIM -- Eugene Zimmerman -- drew many self-caricatures through the years, 1880s to 1920s, but few in profile and few as fun as himself at the lithographic stone, at work.

 

           

Dixon and White Fight A Draw

One of the few Homer Davenport sporting cartoons with vignettes I have found. Davenport was really the first popular Americana newspaper sporting cartoonist, before Swinnerton, Dorgan and all the rest. George Dixon was a Canadian pugilist. He was the first black world boxing champion in any weight class (the heavyweight champion title was strictly reserved for white men until the era of Jack Johnson), while also being the first ever Canadian-born boxing champion. Ring Magazine founder Nat Fleischer ranked Dixon as the #1 Featherweight of all-time. New York Journal, Sept 26, 1896

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Davenport in Denver —

Two caricatures of Homer Davenport by AW Steele and Warren Gilbert, Denver Post cartoonists, May 11, 1904.

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The Men Who Make The Political Cartoons –

BROADWAY WEEKLY

Feb 11, 1904 

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Sporting Cartoonist Homer Davenport (1867-1912)

[1] Davenport cartoon of Bob Fitzsimmons-NY Journal-Mar 16 1897

SAN FRANCISCO. The first newspaper sporting cartoonist in San Francisco to achieve fame was Homer Calvin Davenport. Davenport was born in Silverton, Oregon on March 6, 1867 and his first introduction to newspapers was at the Portland Oregonian.  He arrived in San Francisco on Feb 2, 1892 and was “taken on trial” by the Examiner at $10 a week. The Chronicle, which also employed Solly Walters a former Wasp cartoonist, hired Davenport at $20 to supply crude but funny pictures of baseball games, the players and the fans. 

[2] NY Journal-Mar 15 1897

The “irresistible” drawings caught the eye of Samuel Chamberlain, editor of Hearst’s Examiner, who enticed the young artist to switch his allegiance to the offices of the Examiner. Davenport’s sporting cartoons were mostly caricature illustrations resembling his single-panel political cartoons. Soon Davenport moved to Chicago and the Herald for $35 a week. He was discharged and back in San Francisco in 1894 employed by the Chronicle. “All that I had been asking an outlet for found vent, and my cartoons began to attract attention.” Hearst noticed and hired him on the Examiner at $45 a week. When Hearst bought the New York Journal Davenport was one of the first Californians hired and brought east by Hearst.

[3] James Corbett, NY Journal-Mar 17 1897

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