A Political Caricaturist and his Work.

New Zealand Graphic, Volume XLV, Issue 13, 28 September 1910, Page 65

A Political Caricaturist and his Work.

F.C.G. AND HIS METHODS. ‘‘The object of a political caricature,” remarked Sir F. Carruthers Gould, “is to let one’s opponents* see the other point of view. Now if the pictorial argument is presented in an offensive way, it loses its force, for those against whose policy it is directed miss the point in their feeling of resentment. It would never do in England to deal with well-known personalities in the same way in which they are treated <by caricaturists in America and on the Continent. I do not say this in criticism of the cartoonists of other countries. I merely wish to emphasise the fact that a political caricature must be suited to the temper of the people to whom it is addressed, and must also be a reflection of the condition of current politics as they are in the country of their origin.”

“You see,” he went on, ”a cartoon In a newspaper saves people the trouble of reading. It should, therefore, plainly give the gist of the political situation of the moment. It should be staged in such a way so that the point is seen instantly. Now, this is not a matter of draughtsmanship. Indeed, I would almost say that a verv fine piece of techni-

cal work might militate against the success of the cartoon. It distracts ones interest and interferes with that appearance of spontaneity which the caricature should have. Have you never observed how in children's drawings, innocent though thev are of anv technical know-

ledge or power to depict form accurately, there is yet sometimes a force ami directness which is seldom seen in the work of the practiced draughtsman?

That quality is very valuable in a political cartoon.” In answer to a question as to his methods of work, Sir Francis said that he never used models. There was no time for them. He had to make about 300 drawings in a year. “1 work mostly from memory,” he explained. ‘T am inclined to think that in drawing a face from the general recollection one has of it the essentials come out unconsciously, and the details sink away out of sight. One gets a more speaking likeness. Of course, I have only a very limited number of people whom I can use. "Those whose appearance is well known to the public, who are in the limelight of current events, who are looked for day by day, whose utterances on topical political questions are considered important—these are the people who must appear in the cartoons of a daily paper. Now, obviously, one must vary the treatment. It would never do to show time after time various groupings of even wellknown people simply standing talking to

one another. The picture as a whole should strike the reader at first as conveying a definite argument. I have used, as you know, animals very frequently.” As tin illustration of this, sir Francis referred to the drawing of the tiger approaching the door of the House of Lords. The intention, without any words whatever, is plain and forcible. Obviously the animal is a very dangerous customer indeed. He cannot be kicked out with impunity. He must he reckoned with very seriously. “And to one’s perception of the situation of the moment,” said Sir Francis, “I think it becomes sharper and keener with practice. Being constantly in touch with the production of a daily paper is a great stimulus.” In turn!ng over many drawing* .w'h’icli

Sir Francis permitted the interviewer ia inspect, the cartoon representing Lord Lansdowne discovering his genuine antiques in Ix>rd Hals bury and Loi I Wemyss was found. •’Here is an instance where advantage has been taken of a case in the law courts to point a political moral. A* you know. Lord Lansdowne gave evidence in court. The case was exciting a great deal of public interest. It was topical. So 1 used it in the way you see.” “Exactly how one achieves one's end,” explained F.U.G.,’’does not matter. It is the broad impression, the result, which tells. One has to be careful, in selecting the subject, not to present a point of view to which there is an obvious retort. It must be final and conclusive. The reader of the paper in which the caricature appears must not be in doubt for an instant. He must not wonder who the people are and what it is all about. He must recognise the characters and the situation at a glance.”