Working with political cartoons as sources

Investigate the sources

1. Source 1: Queen Caroline

   This is one of 91 coloured engravings in a volume held in the records of the government’s treasury solicitor.

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      [Soldiers toasting] The Queen!!! The Queen!!! The Queen

      [John Bull] Well done Caroline! They think to make light of you but it won't do. I'll see fair play!

      [Man pulling down the King] Confound that Bull, what a row he makes.

   Examine the source

   • What is the title of this cartoon?
   • How has the cartoonist portrayed Caroline of Brunswick in a favourable way?
   • Why has the artist chosen to show both George and Caroline sitting on a pair of scales?
   • What does the title ‘Public Opinion’, written below the scales, suggest about the king’s position compared to Caroline’s?
   • What does the hand descending from a cloud holding the scales suggest?
   • How and why has George IV been drawn in this way?
   • Who does the character of John Bull (holding a hat and stick) in this cartoon represent?
   • Which group of people are trying to help the king?
   • Do they appear to have confidence in him according to the cartoon?
   • What else is the king using to try and swing public opinion in his favour?
   • How useful is this cartoon as of evidence on the royal divorce?

2. Source 2: Churchill as John Bull

   This cartoon has no caption, although the original artwork was called ‘Back to the wall’.

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   Examine the source

   • Can you explain what makes the original title ‘Back to the wall’ (not added to cartoon) effective?
   • Why is Churchill shown as ‘John Bull’?
   • How has Churchill been portrayed as this character?
   • How does the cartoonist infer that the men on the wall are Commonwealth troops?
   • Why do you think this cartoon was produced during the Second World War?
   • What is the message of the cartoon?
   • Write your own caption for this cartoon.
   • Does your caption make the message powerful than ‘Back to the wall’?
   • Compare your ideas with a partner.

3. Source 3: Changing the caption

   Both of the below cartoons were produced by the Ministry of Information, the government department responsible for creating publicity and propaganda during the Second World War. Both show Australia (part of the former British Empire) and Britain attacking a Japanese soldier. Japan had declared war on the USA and the former British Empire on 8 December 1941. Japan attacked the United States naval base at Pearl Harbor and British forces in Malaya, Singapore, and Hong Kong.

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      Together for victory.

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      Together to victory.

   Examine Source 3a

   • Can you identify the kangaroo, uniformed soldier, and dog in the cartoon?
   • Which countries do the flags represent?
   • What is the message of this cartoon?
   • How has the cartoonist tried to put over his message? Refer to specific techniques of persuasion.
   • How is this government cartoon trying to influence public opinion?
   • How does knowing the Second World War context help us to understand the cartoon?

   Examine Source 3b

   • How different is this to the previous cartoon?
   • Do you think the differences make the message more/less effective?
   • Can you explain why/why not?

4. Source 4: Video: What can a cartoon tell us?

   This cartoon was drawn for the Ministry of Information in 1944 by Reginald Mount, a British cartoonist.

   In the video we take you through the potential answers to useful questions to ask about a cartoon. Try answering the questions below yourself before watching the video!

   1. Watch What can a cartoon tell us? on YouTube

      Video transcript for "What can a cartoon tell us?"

      Welcome to 'what can a cartoon tell us?' Let's take a closer look at this example of a cartoon in The National Archives' collection. Our cartoon was created for the Ministry of Information in 1944 by Reginald Mount, a British cartoonist. Its catalogue reference is INF3/1321. Let's go through some useful questions to help us understand it.

      What type of source is this? We can see that it is a colour cartoon with a caption - not all cartoons have one. This one says 'You can rely on my judgment - remember I was once  a soldier of the Reich...so were we!'

      Who produced it? The reference INF for the cartoon means that it comes from records created by the Ministry of Information. We know it was created in 1944 during the Second World War. The Ministry of information was the government department responsible for publicity and propaganda at that time.

      Why was it produced? The cartoon was a form of propaganda used to convince the British public and possibly those fighting against the Allies that Hitler's war plans were a total failure. Its purpose was to convince the British and their allies of victory and the need to keep up support for the war. It is in colour, so unlikely to be produced for a  newspaper - probably intended for a poster, which could have been displayed in public spaces.

      What can we infer from this cartoon? Let's take a closer look at the different elements of the cartoon to  see what we can find out. The image shows Hitler standing on a pile of plans between two heaps  of dead soldiers with skulls, one pile labelled Stalingrad and the other Tunisia. Adolf Hitler is instantly recognisable by his toothbrush moustache. His facial expression suggests he is afraid and exhausted. His body is small and he looks weak. His boots are worn out to reveal his toes to suggest his armies are running out of supplies and equipment. There's a broken telescope to imply that he can't see what is really happening. He is holding several rolled up plans to suggest he's  indecisive or panicking. There's even a book called 'How to Read the Stars', a humorous reference  to the fact that Hitler consulted astrologers .Indeed, documents at The National Archives show  that British spies hired an astrologer during the Second World War to write horoscopes for him and other Nazi leaders. The abandoned paint pot is perhaps a reference to his very early career as a failed artist. The artist has composed the cartoon in this way to capture Hitler's arrogance and  overconfidence; his hubris or pride before a fall. Hitler's foreign policy for German expansion and  domination are suggested to be a total failure because he's standing on a heap of abandoned plans, maps or initiatives. Can you see one plan is labelled 'Master Plan 2057761' and another one  'Great Plan No. 43'. This is probably to suggest it is one of a long series of failures. The caption  for the cartoon also suggests that Hitler's claim that the German military forces can rely on him as he was an experienced soldier who saw service and earned the Iron Cross in the First World War is totally misplaced. This is because the caption appears in the form of a conversation. The response to Hitler's comment is 'so were we'. This is shown in a ghostly speech bubble as the voices of the  German soldiers who died on the battlefields of Stalingrad and Tunisia. This illustrates how the cartoon uses irony to express its message.

      How does the cartoon relate to a historical situation? The cartoon references two different theatres of war: Stalingrad on the Eastern front and Tunisia as part of the North African campaign. It is important therefore that we have some contextual  knowledge of these events to help us unlock the mess age of the cartoon. The pile of dead German  soldiers and skulls is explained as follows. The Battle of Stalingrad proved to be the turning  point in the Second World War. Germany had been forced to remove military forces from other areas  in occupied Europe to replace German losses on the Eastern front. In the runup to this conflict  in the spring of 1942 Hitler had ordered his forces to advance towards the USSR oil fields in  the Caucasus region. The Soviets resisted fiercely suffering huge civilian and military casualties  and by September the Germans had reached the outskirts of the city of Stalingrad on the river  Volga. German forces fought their way building by building towards this river, which divides the  city. They reached it in November 1942 but at a heavy cost of over 700,000 casualties. The German  Army was left without supplies or reinforcements. As winter set in the Soviets began to drive  them back from November 1942 to February 1943.The Germans were worn down and encircled German  forces at Stalingrad surrendered at the beginning of February '43 after one of the bloodiest battles  in human history had resulted in almost 2 million casualties. Through the rest of 1943 the Red  Army gradually regained territory from the German invaders. Now, let's look at Tunisia, which  along with Morocco and Algeria was for the most of the conflict in the hands of Vichy France. This fascist government made a pact with Nazi Germany in July 1940 after the fall of France. Germany occupied Tunisia from November 1942 to May 1943. Tunisian Jews and Muslims suffered  Germany's antisemitic and racist laws. The Allies launched Operation Torch to drive out the  German Nazis and Italians from French North Africa  in November 1942. They formed three task forces  to seize ports at Casablanca, Iran and Algiers before moving East into Tunisia. After six months of  fighting the German Nazi Africa Corps and Italians surrendended to the Allied Army in Tunisia in May  1943. The German and Italian forces in North Africa  sustained 40,000 casualties in Tunisia alone. 267,000 German and Italian soldiers became prisoners of war. The invasion of North Africa by the USA  and Britain was the precursor of the Allied  D-Day invasion of Normandy. Therefore the dreadful  signs written in blood that we see in the cartoon explain the human cost of both Hitler's campaigns.

      What techniques of persuasion does the cartoon use to give its message? Cartoons as sources must  be read to be understood. The artist here uses arrange of techniques to express his ideas. For  example, our cartoon has a very clear caption sentence, which gives the cartoon the punchline  or message that Hitler with all his plans cannot  win this war. The cartoon also uses labels  to ensure we understand its context - in this  case, German defeat at Stalingrad and in Tunisia. Let's examine how objects and figures are used in  the composition of the cartoon. Hitler is shown in the centre. He's hemmed in and cannot escape the piles of bodies and plans on all sides, which  represent his defeat as a leader. The cartoon also uses caricature to show Hitler. He is instantly  recognisable from his moustache and pointed nose seen in numerous other cartoons. He looks foolish,  as part of his appearance is exaggerated in this  way. There is also evidence of symbolism within  the cartoon, where an object is used to represent an idea - for example, the globe is cast aside, which  suggests plans for world domination have failed. Other techniques not particularly evident in our  cartoon are also used by cartoonists. Let's take a look at another example which uses the technique  of analogy. Analogy means the comparison in which  an idea or thing is compared to another thing  and is often used to help explain a principle  or idea. This cartoon from Punch Magazine in 1911 comments on British and Russian influence in Persia or Iran. Both countries are shown to embody  the characteristics of different animals. Russia isa bear and Britain a lion. Persia is represented  by a pet cat. At the start of the 20th century Russia and Britain had competing economic and  political interests in Persia. In 1907 they signed an agreement that allowed each country to pursue  its interests without competition from the other. Russia had exclusive influence in Northern Persia  and Britain in southern Persia. The context of this cartoon is that Britain and Russia agreed that  a Russian Force would go to the city of Tabrizin north-western Iran in June 1908 in response  to a revolutionary siege. The Russians occupied the city from April 1909 until 1911. At that  point the Russian government gave the Persian government an ultimatum, which was refused. The  Shah or Emperor dissolved Parliament and agreed. Further conflict broke out in Tabriz and Russian  troops were attacked. Further troops were sent from Russia to occupy Tabriz and two other cities.  The revolutionaries of Tabriz were executed and Russian forces stayed there until 1917. The use  of relative size is another cartoonist technique. This means that some figures are drawn larger or  smaller than others to make a point or statement. This is shown to great effect in this cartoon  from Ditty Box magazine, which was produced by the Navy during the Second World War. Here we  can see the US President Franklin Roosevelt in contrast to Hitler the boxer. This juxtaposition  works to stress the might and power of the United States and the weakness of Germany under the  leadership of Hitler, who is claiming to be a powerful boxer in the image.

      Now going back to our example are there any clues about the audience of the cartoon? The biggest clue for discovering the audience for our cartoon is that we know it was created for the Ministry of Information; therefore  it was probably intended for a mass audience. As said earlier, it could have been used for public spaces like a factory canteen, town hall, a station or shop.

      How reliable is our cartoon? Does it have  any limitations? Certainly Hitler's territorial ambitions extended from the reoccupation of  the Ruhr in 1936 and after the Munich agreement over Czechoslovakia in 1938. So reading it as a reflection of Hitler's expansionist policies as  a war leader is accurate. The cartoon uses satire  to ridicule his failures, which does not detract  from its truth. The source is reliable in the  sense it references real historical events - the losses experienced by Germany at Stalingrad and  Tunisia. Obviously the cartoon is not naturalistic. Hitler is shown in caricature and there is much to infer from it as an obvious example of propaganda. It's worth knowing too that cartoons are not  covered by the laws of libel. This potentially  would raise the question of their reliability. Written defamation or libel is anything published or broadcast to ruin or damage the reputation of a  person or business. Slander is spoken defamation. How does it relate to other sources from this  period? Does it share the same attitudes or ideas? Hitler is shown as a similar stereotype figure in  many wartime propaganda cartoons. The messaging for national solidarity and support of the war effort is also a constant theme in these cartoons. In terms of different types of sources, there are  Foreign Office records, which include accounts  of people who met Hitler and described his  personality, so comparisons could also be made to  our cartoon. Other sources such as War Diaries or Air Ministry and Admiralty records could give more detail on campaigns, offer other perspectives and  more detailed historical context. Cabinet papers  for the war years would be an excellent point  of comparison too. Military maps and intelligence and security service records could be  explored for yet more context. The National  Archives' research guide on the Second World War is a very good place to start to find this material.

      This video can also be viewed on YouTube with optional closed captions. Watch "What can a cartoon tell us?" on YouTube.

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      You can rely on my judgement – remember I was once a soldier of the Reich

      ...so were we!

      Stalingrad

      Tunisia

   Examine the source

   • What type of source is this?
   • Who produced it?
   • When was it produced?
   • What can we infer from this cartoon?
   • How does the cartoon relate to a historical situation?
   • What techniques of persuasion does the cartoon use to give its message?
   • Are there any clues about the audience of the cartoon?
   • How reliable is the cartoon? Does it have any limitations?
   • How does it relate to other sources from this period? Does it share the same ideas or attitudes?

5. Source 5: Hitler and Mussolini

   The cartoon refers to Rudolf Hess, who was Hitler’s deputy from 1933. In 1941 he secretly flew to Britain on a mission to negotiate a peace between Britain and Germany. It is also critical of the wartime relationship between Germany and Italy. The term an ‘organ grinder’s monkey’ means that a person is doing what a powerful person wants them to do and have no real power themselves. Street organ grinders historically used monkeys to perform tricks and attract interest and money.

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      Now don't you go getting silly ideas

      [Newspaper] Hess escapes.

   Look at the source

   • Is there an original caption or title?
   • What is happening in the picture?
   • Can you identify the people/place/circumstances that the cartoon relates to?
   • What techniques has the cartoonist used to make the cartoon persuasive? Has he/she succeeded?
   • Does the image provide evidence of the date or period?
   • Can you identify the cartoonist and research their work?

   Understand the source

   • What is this cartoon about?
   • Does this fit with your knowledge of the context of the cartoon?
   • Can we detect the cartoonist’s point of view?
   • Is the cartoon from a publication that has a particular political view?
   • What could be another angle on the same issue?
   • What other sources would help to understand this cartoon?
   • Does this cartoon give us a perspective on a historical event that written documents may not?

6. Source 6: The introduction of Marshall Aid

   President Truman signed the Economic Recovery Act of 1948. It was named the Marshall Plan, after Secretary of State George Marshall, who in 1947 proposed that the United States provide economic assistance to restore the economic infrastructure of post-war Europe.

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      This will help to keep you going till 1952.

      Food and raw material

      Marshall aid.

      Thanks. I think I can produce enough to pay for all I need by then.

   Look at the source

   • Is there an original caption or title?
   • What is happening in the picture?
   • Can you identify the people/place/circumstances that the cartoon relates to?
   • What techniques has the cartoonist used to make the cartoon persuasive? Has he/she succeeded?
   • Do you have evidence in image of the date or period?
   • Can you identify the cartoonist and research their work?

   Understand the source

   • What is this cartoon about?
   • Does this fit with your knowledge of the context of the cartoon?
   • Can we detect the cartoonist’s point of view?
   • Is the cartoon from a publication that has a particular political view?
   • What could be another angle on the same issue?
   • What other sources would help to understand this cartoon?
   • Does this cartoon give us a perspective on a historical event that written documents may not?

7. Source 7: Putting the Screw on John Bull

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      Putting the screw on John Bull

      His foreign "friend." – All right, Lloyd George, you squeeze him dry, and I'll do the rest.

   Look at the source

   • Is there an original caption or title?
   • What is happening in the picture?
   • Can you identify the people/place/circumstances that the cartoon relates to?
   • What techniques has the cartoonist used to make the cartoon persuasive? Has he/she succeeded?
   • Do you have evidence in image of the date or period?
   • Can you identify the cartoonist and research their work?

   Understand the source

   • What is this cartoon about?
   • Does this fit with your knowledge of the context of the cartoon?
   • Can we detect the cartoonist’s point of view?
   • Is the cartoon from a publication that has a particular political view?
   • What could be another angle on the same issue?
   • What other sources would help to understand this cartoon?
   • Does this cartoon give us a perspective on a historical event that written documents may not?

8. Source 8: Queen Caroline and George IV

   This is one of 91 coloured engravings by George Cruikshank in a volume held in the records of the government’s treasury solicitor relating to the royal divorce, 22 September 1820.

   The cartoon is called ‘The kettle calling the pot ugly names’ and supported Queen Caroline over her divorce from King George IV. The expression: ‘the pot calling the kettle black’ is suggested by the cartoon which means that someone is criticizing another for the same faults they have. It refers to the build-up of soot from heating a cast iron kettle on the fire – the same soot would have formed on the pot after heat from the fire. Cruikshank’s satirical cartoon plays with this expression.

   The kettle is used to represent George IV insulting his wife, Caroline of Brunswick, the ‘pot’.  In 1820 a huge scandal erupted at the royal court. George IV tried to divorce his wife Caroline, because she had an affair with an Italian ex-soldier, Bartolomeo Pergami. The bags in the cartoon represent the papers sealed in green bags gathered as evidence against her. The pieces of wood being burnt in the fire say ‘Broomstick’ and a ‘A bit of wood, Bergami’s pear tree.’ The Queen is compared to a witch by the King. Cruikshank prompts the viewer to think of Shakespeare’s witches in ‘Macbeth’ as the King’s kettle says, ‘Hubble Bubble Toil and Pot.’ The cartoonist’s support for the Queen is clear when we read her speech bubble.

   King George IV, and as Prince Regent, was often satirised for his extravagance and womanising by George Cruikshank.

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      Remember when the judgement's weak the prejudice is strong.

      Hiss out. Hiss hiss. The Devil begone you dirty greasepot.

      Hubble bubble toil and trouble

      The kettle calling the pot ugly names.

   Look at the source

   • Is there an original caption or title?
   • What is happening in the picture?
   • Can you identify the people/place/circumstances that the cartoon relates to?
   • What techniques has the cartoonist used to make the cartoon persuasive? Has he/she succeeded?
   • Do you have evidence in image of the date or period?
   • Can you identify the cartoonist and research their work?

   Understand the source

   • What is this cartoon about?
   • Does this fit with your knowledge of the context of the cartoon?
   • Can we detect the cartoonist’s point of view?
   • Is the cartoon from a publication that has a particular political view?
   • What could be another angle on the same issue?
   • What other sources would help to understand this cartoon?
   • Does this cartoon give us a perspective on a historical event that written documents may not?

Extension activities

Find out the historical context of a cartoon

• Research the time when a cartoon was created, and the events featured in the cartoon.
• Find other primary sources.

Identify a cartoonist's techniques

• Find several cartoons from a range of historical periods and look at different cartoonist techniques.
• Look up Prime Ministers Clement Attlee, Margaret Thatcher, and Boris Johnson to see how physical features are caricatured.
• List what makes an effective cartoon and find examples for your choices.
• Find five political cartoons dealing with one event, person, or issue. Select from range of newspapers or magazines. Explain which cartoon shows the most effective techniques. This activity can also help you to determine contemporary attitudes.
• Find a cartoon. Remove its caption, labels and dialogue and then replace with your own suggestions.
• Create your own cartoon about a topic that you are studying using one or more techniques of a cartoonist.
• Find a cartoon. Note down what you find out about your cartoon and its date, content, producer, and background. Work with a partner:
  • What points do they make about the value of the cartoon selected?
  • Share all your information about the cartoon.
  • Has your partner pointed out anything new in their evaluation?
  • Why is it important to have information about the context or background when looking at cartoons?
• Research the biographies of famous cartoonists: James Gillray, William Hogarth, George Cruikshank, David Low, Victor “Vicky” Weisz, Steve Bell, Matt.

Work out a cartoonist's point of view

• Look at a cartoonist’s techniques used to create an effective cartoon. Use them to try to identify the cartoonist's point of view in a cartoon of your choice.
• Select a cartoon from a particular point of view. Draw or describe a cartoon to show a different point of view.

Write a conclusion

• Establish the historical context, identify techniques used and work out a cartoonist's point of view.
• Summarise the main message and support your interpretation by referring to evidence in the cartoon.

Quiz yourself

natarchives.qualtrics.com

Quiz yourself on: cartoons

How much do you know about cartoons? Test your knowledge with this quiz.

Background information

As a style of drawing, caricature, or the exaggeration of a person’s physical features for comic effect, has been used more frequently to make a political point, leading to the development of the sort of cartoons we are now familiar with.  Caricature was first was used in Italy early in the 17th century. It was introduced into England in the 18th century by those returning from the Grand Tour, an extended cultural trip around Europe for wealthy young men to finish their education.

The 18th century

George Townshend, later Marquis Townshend (1724–1807), was among the first to use caricature as a means of political satire in the 1760s. He produced comic portraits which were used in the London Magazine, the Political Register, and the Town and Country Magazine.

From the 18th century, the political cartoon became a recognised form of social and political commentary, taking serious issues or figures of the day and presenting them accessible way designed to affect the viewer’s opinion.

In Britain, James Gillray (1757–1815) and Thomas Rowlandson (1756–1827) made fun of political figures and issues. Unlike today’s cartoonists, Gillray was unable to publish his work in the newspapers. He displayed it in his publisher’s shop window in New Bond Street, London. Customers could buy a copy for a few shillings or even rent the pictures for a dinner-party to amuse their friends.

Another caricaturist, Thomas Rowlandson (1756–1827), did not hold back when making fun of political figures and issues either. Rowlandson created many images of life in Georgian London as a social and political observer.

George Cruikshank (1792–1878) led the next generation of British cartoonists. Cruikshank’s series of political caricatures for The Scourge (1816) established him as the leading political cartoonist of his generation, and he continued to satirize the policies of the Tories and Whigs in political cartoons until 1825. He produced a series of savagely satirical cartoons which opened the public discussion on the matter of the ‘Queen Caroline Affair’.

In the 1830s Cruikshank also produced book illustrations, notably for Charles Dickens’s Sketches by Boz (1836) and Oliver Twist (1838). In later life he embraced the cause of temperance (for moderation or abstinence in drinking) with his series The Bottle (1847) and The Drunkard’s Children (1848).

The 19th century

In Britain, the weekly humour and satirical magazine Punch started in 1841 and featured the work of men like John Leech (1817-1864) whose drawings were the first to be called cartoons. Prints ceased to be published as single sheets and became part of newspaper and periodical illustration.

John Tenniel (1820-1914) was another cartoonist to emerge. He was who was very influential, especially for his use of symbols such as Britannia, John Bull, Uncle Sam, the British Lion, and the Russian Bear. At the start of the twentieth century, the production of daily newspapers grew, and the political cartoon became a regular and established feature of journalism.

The 20th century

The two world wars and the subsequent peace treaties provided fertile ground for cartoonists such as Low, Dyson, Strube, Vicky and Illingworth. David Low’s work was highly influential, with his creation of ‘types’ which were reminiscent of Gillray and Cruikshank’s ‘John Bull.’

During wartime, the political cartoon was a powerful weapon, used to boost morale and use as propaganda. In Britain, the Ministry of Information made extensive use of them.

The use of cartoons continued to grow after the Second World war. The Times adopted a daily cartoon in 1966. In any newspaper today and you can see the latest offering from this profession. The work of Ronald Searle (1920–2011), Gerald Scarfe (1936–), and Ralph Steadman (1936–) captured some of the brutality of Gillray and Rowlandson. This continues with an anti-establishment position which can be seen in the cartoons of ‘Private Eye’ magazine (founded in 1961).

In the age of television, Peter Fluck and Roger Law, produced three-dimensional caricatures of a savagery reminiscent of Gillray for the ITV series ‘Spitting Image’ (1984–96).

Other resources in this series

Teaching resource

Working with Second World War posters as sources

This resource includes various posters produced by the government during the Second World War with questions to help students interrogate them as sources.

Teaching resource

Working with telegrams as sources

Telegrams were a form of instant communication. There are quite a lot of things you need to watch out for when using them as sources.

Teaching resource

Working with photographs as sources

There are quite a lot of things you need to watch out for when using photographs as sources. Just like documents they must be treated with caution.