Great Cartoons of the World Series 6, part 4

This is the fourth part of excerpts from Great Cartoons of the World edited by John Bailey in 1972.

In the introduction (continued from last week):

Timelessness is usually the result of showing the truth of the human condition, and of the naked emotion. The essential emotions—love, hate, fear—never change. The cartoonist has difficulty demonstrating the sheer truth in such an irrepressible way as to make you laugh. To begin with, it is almost necessary for him to be a genius. The timely cartoon, on the other hand, is easier to create because the material is always at hand.

[...]Charles Saxon's cartoon is a timely comment on our contemporary use of drugs to get through life. It also demonstrates the artist's usual keen eye on fashion, and the timeless truth of gesture. This was done for the New Yorker.

Stanislav Holý for Dikobraz

Charles Addams joins two civilizations with his medicine man whose patient is suffering from an iron deficiency. The professional has always had his limitations, and this cartoon is a lovely comment on human fallibility.

Michael Ffolkes

Jean-Jacques Sempé

Eldon Dedini

[...]Edward Koren's telephone operator, who may spend her vacation in Area Code 603, is pure timeliness, and depends for its humor on the fact that all our lives are slowly being reduced to computer-like digits.

Remember, this was more than forty years ago.

Robert Day

These next two are by Miroslav Barták

Stanislav Holý

Boris Drucker in Look.

Guillermo Mordillo

GREAT CARTOONS OF THE WORLD, VOLUME 3, part 3

Here's the next installment of the third volume of Great Cartoons of the World edited by John Bailey.

At the end of the introduction, the editor says:

There is, in fact, more to making a cartoon than directing the eye. Someone in artistic circles has been saying, lately, “More is less” and it is true that the easel-painter painting, say, a landscape, generally tries to say as much as he can and show the subject in all its fullness and detail. To the cartoonist, less is more. The cartoonist extracts the essence of a humorous situation, reduces it to its fundamentals, uses nothing extraneous, and draws with more economy than the easel-painter because he is expressing an idea, rather than showing what's there. It is his job to capture the salient points and to carry them beyond the realistic and into the humorous. All the cartoonists in this book are very good at it.

Michael Ffolkes for Punch Hans Moser for Nebelspalter. Eldon Dedini Guillermo Mordillo for Paris Match Robert Day for Look. Miroslav Bartak for Dikobraz Ton Smits for The New Yorker Tony Munzlinger for Bärmeier & Nikel Jules Stauber for Bärmeier & Nikel. William O'Brian for The New Yorker

GREAT CARTOONS OF THE WORLD II

Also from the introduction: “Mordillo's cartoons ingeniously show us the queer ways people have of surviving.”