The Confessions of a Caricaturist, Vol. 1 by Harry Furniss (new books to read TXT) đź“•
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- Author: Harry Furniss
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From "Punch."
THE VILLAIN OF ART.
One frequently hears the remark, "Caricature is so ugly." Well, certainly pure caricature is the villain of art, and the popular draughtsman, like the popular actor, should, to remain popular in his work, always play the virtuous hero. If the leading actor must play the villain, he takes care to make up inoffensive and tame. So the villain caricaturist need not be [Pg 252] "ugly"—but then he cannot be strong. Nor is it left to an actor—unless he be the star or actor-manager—to remain popular by being tame and pretty in every part. So is the caricaturist, if he is not the star, liable to be cast to play the villain whether he likes it or not, and if he is a genuine worker he will not shrink from the part, merely to remain popular and curry favour with those deserving to be satirised.
From "Punch."
Now in Punch, as I was cast for it, I played the villain's part. In doing so I was at times necessarily "ugly," and therefore to some unpopular. I confess I felt it my duty not [Pg 253] to shrink from being "ugly," although whenever I could I introduced some redeeming element into my designs—the figure of a girl, allegorical of Parliament or whatever the "ugly" subject might happen to be—but in some of my Punch drawings this relief was impossible. For instance, the series of "Puzzle Heads," in each of which a portrait of the celebrity is built up of personal attributes, characteristics, or incidents in the career of the person represented, could not but be unpleasant pictures. Some subscribers threatened to give up the paper if they were continued; others became subscribers for these Puzzle Heads alone. It is ever so. The old saying, "One man's meat is another's poison," is as applicable to caricature as to anything else. It is impossible to please all tastes when catering for the large public, unless an editor is satisfied to be stereotyped and perfunctory; but Mr. Punch has made his name by his strength, not his weakness, and it may be safely inferred that no Tory thinks less of him for having used all his talent in attacking Benjamin Disraeli year after year as no man has been attacked before—or since—in his pages.
In looking through the volumes of Punch one is apt to forget that the strong situations and stirring events by which a caricaturist's hit is made effective at the time of publication fade from one's memory. The cartoon in all its strength remains a record of an event which has lost its interest. One cannot always realise that the drawing was only strong because the feeling and interest at the time of its conception demanded it. Allowance should therefore be made for the villain's ugly caricature, if it is a good drawing, prophetically correct, and therefore historically interesting.
Perhaps no cartoon of mine in Punch caused such hostile criticism as "The New Cabinet" (August 27, 1892). It gave great offence to the Gladstonians. The Radical Press attacked me ferociously, and as I think most unfairly, for they treated it politically and not pictorially, and severely reprimanded Mr. Punch for publishing it. Had it been a Conservative Cabinet the Tory Press would not have resented it or allowed narrow-minded party politics to prejudice their mind in such trivial [Pg 254] matters. Punch is supposed to be non-political. Its present editor is impartial. Mr. Punch's traditions are Whig, and somehow or other a certain class of its readers at that particular crisis was strongly opposed to the two sides of a question being treated. Yet I venture to say two-thirds of the readers of Punch are Conservatives, and should therefore be amused. It is impossible to treat a strong political subject—such as the meeting of that particular Cabinet caricatured by me—without offending some readers by amusing others, unless, as I say, the subject is treated in a colourless manner. This particular cartoon hurt because it hit a strong situation in a truthful and straight-forward manner, and subsequent events proved it to be a correct conception. Yet at the time no name was too bad for me, and as these are my confessions, let me assure the public that had the Cabinet been a Conservative one I would have treated it in exactly the same way; and it is my firm conviction that had such been the case I would have given no offence either inside or outside of Mr. Punch's office.
My readers will sympathise with me. I am to draw political cartoons without being political; I am to draw caricatures without being personal; I am to be funny without holding my subject up to ridicule; I am to be effective without being strong—in fact, I am to be a caricaturist without caricature! On the other hand, no cartoon I ever drew for Punch was more popular. Non-politicians were good enough to accept it as an antidote to the usual caricatures, and those papers on the other side of politics were extravagantly complimentary, and I received a large sum for the original for a private collection. I allow the following leaderette from the Birmingham Post to illustrate the point, and at the same time to describe the cartoon. The same paper, I may add, comments on the principal cartoon in Punch that week—drawn by Tenniel—as showing that Punch "thinks little of the prospects of the present Government":
"'Mr. Punch' is in 'excellent fooling' this week. Rarely has he, even he, more happily burlesqued a political situation than in Mr. Harry Furniss's cartoon of 'The New Cabinet.' Not a word of explanation accompanies the picture: it is good wine, needing no bush, and making very merry.
[Pg 255]
A glance suffices to seize its meaning, for it expresses a thought that has flitted, at one time or another, through everyone's mind. The big moment has come when Mr. Gladstone is to reveal to his colleagues the secret he has hitherto withheld from them, not less than from the electorate—to submit to them, masterly, succinct, complete, the scheme which, with unexampled courage and sublimest modesty, they have defended on trust, for which they have sacrificed their personal independence without knowing why, and as to which, painful to remember, they have sometimes blundered into confident and contradictory conjecture. We can picture the subtle excitement—in one Minister of joyful expectation, in another of horrid misgiving—under which they have come together. Well, Mr. Gladstone unfolds the fateful document, and lo! it is a blank sheet. Paralysis and grim despair fall upon the spirits of the assembly; face to face with a nightmare reality, not a man amongst them has strength to say, 'This is a dream.' At the head of the table, his elbows resting on the parchment, and an undipped quill actually split upon it in his angry grasp, sits the Premier, a never-to-be-forgotten picture of impotent ill-humour. The task with which the Cabinet is confronted, for him as for the rest, is impossible and yet inexorable. In the candle-flame, by an effect of hallucination natural at [Pg 256] such a moment, the face of Mr. O'Brien seems to limn itself out, implacable and contemptuous; and there is a fearsome shadow on the blind—the massive head of Lord Salisbury. The candle, marked '40,' is the majority, which dwindles while the Ministers are sadly musing; and over the mantelpiece, behind the Premier's chair, mutely reproachful, hangs a picture of the great Cabinet of 1880. It is distinctly the best thing Mr. Furniss has done."
That impression was shared by my private friends as well, even those on Punch. My dear friend Mr. E. J. Milliken, a strong Radical, and a most active member of the staff, in a reply to a letter of mine, in which I intimated that I was afraid my cartoon would give offence, replied in a most flattering spirit.
I had to play the "villain" in another scene in the same political drama, "Mr. Punch's Historical Cartoons" (1893), in which the same Cabinet is shown in Mr. Gladstone's room in the "Bauble Shop"—the House of Commons. Those Radicals who had not joined the Unionists again took offence. Those Radicals who had become Unionist wrote to congratulate me. From one well-known and powerful personality, a historical name in the publishing world, I received the following:
"February 23rd, 1893.
"Your cartoon p. 95 delights us all. I have looked at it twenty times and seen fresh points in it. Nothing for years, I should say, has so entirely caught the very spirit of a great crisis.
"We shall owe something to you for this felicitous exposure of Gladstone's insane Bill. Alas! the miners and the brickies, the costermongers and the dust-cart drivers, have now the power. The middle class has been out-numbered, and if it were not that some labouring men and artisans have hard heads enough to comprehend the position we should be landed in a pretty pickle next September.
"It is a pity traitors' heads are nowadays their own copyright."
A "copyright" in heads is a good suggestion, and coming from a publisher too! But apart from "traitors," there are others known to a caricaturist. The House of Commons at one time was rich in them. Some such works of art suffer in being [Pg 257] translated. Indeed, what the poet "Ballyhooley" wrote of one might apply to others:
"Darwin MacNeill.
"Darwin MacNeill, all the papers are hot on you,
Darwin MacNeill, they are writing a lot on you.
What in the world sort of face have you got on you?
Send us your photograph, Darwin MacNeill.
Surely you must be both lovely and pure!
Have you got fatures that nothing can cure?
Let's have the first of it,
Let's know the worst of it:
Is your face only a caricature?
Here's a health to you, Darwin MacNeill,
Let penny canes all your enemies feel;
Show me the crature would slander a fature
Of the beautiful Mimber for ould Donegal.
"Our childhers are dull, and we wish to be brightening them
Send us your picture and we'll be enlightening them,
Maybe 'twill only be useful for frightening them;
Still let us have it, dear Darwin MacNeill.
Shut up the slander and talk they are at,
Show us the head you've got under your hat;
True every particle, genuine article,
Send us your picture in answer to that.
Here's a health to you, etc.
"I hear that the Queen she has simply gone crazy, man;
Says she to Gladstone, 'Get out, you old lazy man!
Cannot you see that I'll never be aisy, man,
Till I've a portrait of Darwin MacNeill?'
When of that picture she first got a sight,
She held it up, so they say, to the light,
Looked at the head of it, then all she said of it,
'I'm of opinion that Darwin is right.'
Here's a health to you, etc.
"There's just arrived now, to give great content to us,
A lovely picture, which someone has sent to us.
We know the worst now, for there has been sent to us
What's called a portrait of Darwin MacNeill.
If it's a likeness, I just tell you what,
That you have acted in ways you should not.
Don't try a turn of fists
On with the journalists;
Thrash those who gave you the head you have got.
[Pg 258] But here's a health to you, Darwin MacNeill!
Only just manage new fatures to steal,
Then show me the crature would slander a fature
Of the beautiful Mimber for ould Donegal."
This "Pen Portrait," by Mr. Robert Martin, refers to a matter of much regret
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