Throughout history cartoons can have had a powerful psychological, emotional, and political impact. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” During World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," his cartoons led the German Government to offer a 12,000 guilder reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.

On the occasion of the anniversary of 100 year First World War and the publication of Louis Raemaekers: ‘armed with Pen and Pencil': Cartoonist of World Fame in the First World War two exhibitions are organized: ‘Raemaekers|Bertrams: Roermondenaren op het wereldtoneel’ [Born in Roermond, working on the world stage] in Roermond and ‘Ten strijde met potlood en pen: Louis Raemaekers (1869-1956) herontdekt’ [Armed with pencil and pen: Louis Raemaekers rediscovered] in Venlo. The Raemaekers exhibition from Roermond will continue as a touring exhibition: ‘Louis Raemaekers: van Roermondenaar tot wereldburger’ [Louis Raemaekers: from citizen of Roermond to citizen of the world]0Exhibition: Limburgs Museum, Roermond, The Netherlands (29.11.2014-14.04.2015).

A collection of wordless cartoons by Louis Raemaekers, reflecting particularly on the German atrocities during World War I and the Netherland's position during the war; each cartoon is accompanied by explanatory text.

A series of exerpts from Punch Magazine articles about World War I. Reprinted in the United States by Frederick Stokes.

Herein are 107 more satirical cartoons from the master Louis Raemaeker which end off the second year of WWI. With so may atrocities committed by both sides, Raemakers was not short of material. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” Likewise, during World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," he fled to England. His satirical newspaper cartoons led the German Government to offer a 12,000 guilder (±US250,000 in 2014) reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.

Herein are 119 satirical cartoons published in Punch between 1890 and 1915 which focus on the growing threat of war in the years preceding and during the first two years of the GREAT WAR. The cartoons are grouped into the following categories: The Days Preceding the WarThe StruggleUncle SamThe Comedies of the Great TragedyWomen and Children FirstThe New Rake's Progress—Unser KaiserThe RaiderThe Unspeakable TurkItalia! The cartoons encompass all the Allied nations and most of those aligned with the Central Powers. The sea war also features the antics of both navies and of course the sinking of non-military liners. During the war the media swung into action in effect becoming an Allied propaganda machine. In addition to Punch, Dutchman Louis Raemakers was also proactive in this media. Raemakers cartoons were so effective that he and his family had to flee the Netherlands when the German High Command offered a reward for his capture. Working in London he continued to publish his cartoons mainly in The Times and even went on a promotional tour of the USA. It was thought that his many works, which can be seen in the eBooks Raemakers Cartoons of WWI – vols. 1 & 2, was partly instrumental in changing the opinion of the American public towards involvement in the “European” war. The effect of these cartoons on rallying public opinion before and during the Great War was incalculable and the propaganda machine continued to play a major role in the conflicts following the Great War. ============ KEYWORDS/TAGS: Punch, Cartoons, Published, Louis Raemakers, , Admiral, Allies, Australia, Austria, BELGIUM, BELIEVE, Berlin, BLOCKADE, Boer, Botha, Britain, British, Brusilov, Bull, CALAIS, Camel, Canada, Captain, Chorus, Christian, Dame, dangerous, Delville Wood,, EAGLE, Eagle, Eastern, Emperor, ENEMY, Europa, Europe, FAIR, FOUL, FRONT, Gallipoli, General, German, German Headquarters, GOD, Grand, GREAT WAR, HATE, Holland, HONOUR, Hood, Imperial, India, Inter-Parliamentary, JACK-IN-THE-BOX, John, Kaiser Wilhelm, KING, Marne, Messines, New Zealand, Officer, Order, PARIS, Passchendaele, Photographer, Pilot, Prince, RAIDER, Red, Riding, RUSSIA, South Africa, South West Africa, Spring Offensive, STOP, Sultan, The Somme, Tipperary, Tirpitz, TRIUMPH, Turk, Turkey, Uncle Sam, United States of America, USA, Verdun, Western Front, WILLIAM, WOMEN, WWI, Ypres, Propaganda, media, newspaper, magazine

This is the first comprehensive study of popular culture in twentieth-century China, and of its political impact during the Sino-Japanese War of 1937-1945 (known in China as "The War of Resistance against Japan"). Chang-tai Hung shows in compelling detail how Chinese resisters used a variety of popular cultural forms—especially dramas, cartoons, and newspapers—to reach out to the rural audience and galvanize support for the war cause. While the Nationalists used popular culture as a patriotic tool, the Communists refashioned it into a socialist propaganda instrument, creating lively symbols of peasant heroes and joyful images of village life under their rule. In the end, Hung argues, the Communists' use of popular culture contributed to their victory in revolution.

Die Geschichte des Amerikanischen Roten Kreuzes im Ersten Weltkrieg. Die Arbeit in den USA: die Organisation des Jugendverbandes, um die Arbeit trotz Krieg weiter aufrecht zu erhalten, die Hospitäler für verwundete Soldaten mit den jeweiligen Behandlungsschwerpunkten. Die Arbeit des Amerikanischen Roten Kreuzes an der Kriegsfront und in verschiedenen Europäischen Ländern.

Given the destruction and suffering caused by more than four years of industrialised warfare and economic hardship, scholars have tended to focus on the nationalism and hatred in the belligerent countries, holding that it led to a fundamental rupture of any sense of European commonality and unity. It is the central aim of this volume to correct this view and to highlight that many observers saw the conflict as a 'European civil war', and to discuss what this meant for discourses about Europe. Bringing together a remarkable range of compelling and highly original topics, this collection explores notions, images, and ideas of Europe in the midst of catastrophe.