#caricature — Public Fediverse posts

Can ChatGPT create a caricature? https://www.caricatures-ireland.com/can-chatgpt-create-a-caricature/ #mastoart #mastodaoine #ai #caricature #chatGPT #OpenAI #samaltman

Can ChatGPT create a caricature? https://www.caricatures-ireland.com/can-chatgpt-create-a-caricature/ #mastoart #mastodaoine #ai #caricature #chatGPT #OpenAI #samaltman

Can ChatGPT create a caricature? https://www.caricatures-ireland.com/can-chatgpt-create-a-caricature/ #mastoart #mastodaoine #ai #caricature #chatGPT #OpenAI #samaltman

Can ChatGPT create a caricature? https://www.caricatures-ireland.com/can-chatgpt-create-a-caricature/ #mastoart #mastodaoine #ai #caricature #chatGPT #OpenAI #samaltman

#art #painting #satire #caricature
A prophetic illustration by Marian Kamensky. Let's check it out, shall we?

anonymous radio signal: https://tinyurl.com/radio-signal

#art #painting #satire #caricature
Пророча ілюстрація від Marian Kamensky. Перевіримо, дочекавшися?

анонімний радіо сигнал в signal: https://tinyurl.com/radio-signal

My caricature greetings cards are out in the wild:

https://youtube.com/shorts/RNr7KruGz5w?si=n-ZTUcoyEWoyzMQp

#caricature #art

There is some of my recent politic art abt Palestine and geopolitic 🙏🍄 #iran #usa #trump #antidesign #politicart #nato #cartoon #comics #caricature #freepalestine #war #satiricalart #Mastoart #fediart

There is another one satanyahu family sacrifice 👹There is some of my recent politic art abt Palestine and geopolitic 🙏🍄 #iran #usa #trump #antidesign #politicart #nato #cartoon #comics #caricature #freepalestine #war #satiricalart

I forgot to post this in December or January whenever Elvis's birthday might be. I drew this about 4 years ago, when I did funny (to me) things like this. #memorylane #bythehandofbob Mouseover for full movie. #caricature

I forgot to post this in December or January whenever Elvis's birthday might be. I drew this about 4 years ago, when I did funny (to me) things like this. #memorylane #bythehandofbob Mouseover for full movie. #caricature

I forgot to post this in December or January whenever Elvis's birthday might be. I drew this about 4 years ago, when I did funny (to me) things like this. #memorylane #bythehandofbob Mouseover for full movie. #caricature

I forgot to post this in December or January whenever Elvis's birthday might be. I drew this about 4 years ago, when I did funny (to me) things like this. #memorylane #bythehandofbob Mouseover for full movie. #caricature

I forgot to post this in December or January whenever Elvis's birthday might be. I drew this about 4 years ago, when I did funny (to me) things like this. #memorylane #bythehandofbob Mouseover for full movie. #caricature

Gift Ideas for Farmers Ireland caricatures by Allan Cavanagh https://www.caricatures-ireland.com/gift-ideas-for-farmers-ireland/ #mastoart #mastodaoine #caricature #sheep #sligo #gaa #dogs #Guinness #cycling

Gift Ideas for Farmers Ireland caricatures by Allan Cavanagh https://www.caricatures-ireland.com/gift-ideas-for-farmers-ireland/ #mastoart #mastodaoine #caricature #sheep #sligo #gaa #dogs #Guinness #cycling

Gift Ideas for Farmers Ireland caricatures by Allan Cavanagh https://www.caricatures-ireland.com/gift-ideas-for-farmers-ireland/ #mastoart #mastodaoine #caricature #sheep #sligo #gaa #dogs #Guinness #cycling

Gift Ideas for Farmers Ireland caricatures by Allan Cavanagh https://www.caricatures-ireland.com/gift-ideas-for-farmers-ireland/ #mastoart #mastodaoine #caricature #sheep #sligo #gaa #dogs #Guinness #cycling

Gift Ideas for Farmers Ireland caricatures by Allan Cavanagh https://www.caricatures-ireland.com/gift-ideas-for-farmers-ireland/ #mastoart #mastodaoine #caricature #sheep #sligo #gaa #dogs #Guinness #cycling

I have started a Planes, Trains, and Automobiles painting:

https://www.youtube.com/shorts/UrG7Wyr1FYs

#caricature #tealcartoons

New video, about my Clouseau piece, and how it was nearly ruined by a chemical reaction:

https://www.youtube.com/shorts/mNOVG2qHsjM

#caricature #art

#art #painting #caricature #satire
That's why he and #huylo are friends - he's one of the blockaders whom the chief orc adores so much (and takes to his victory parades). A historical parallel from Marian Kamensky https://mastodon.social/@zoogger/116438428057138905

#art #painting #caricature #satire
Ось чому вони з #huylo друзі — він з блокадників, яких так обожнює (і водить на свої паради пабєдобєсія) головний орк. Історична паралель від Marian Kamensky

#art #painting #caricature #satire
He is stuck in geopolitical uncertainty. Research by Marian Kamensky

anonymous radio signal: https://tinyurl.com/radio-signal

#art #painting #caricature #satire
Застряг в геополітичній невизначеності. Досліджував Marian Kamensky

наш радіо сигнал (анонімно): https://tinyurl.com/radio-signal

New video, about my Seinfeld caricatures:

https://www.youtube.com/shorts/ovPoIvkSviE

#caricature #art #seinfeld

Short video about my two latest paintings.

https://www.youtube.com/shorts/vPx6iij5-CU

#caricature #art #tealcartoons

Ensemble on peut s'organiser pour offrir à ce couple royal un destin républicain, dans le respect des traditions fronçaises !

Ils aiment bien ça les traditions, non ?
#Merdella #DeBourbon #Guillotine #Antifa #Humour #Lol #Parodie #DessinDactu #Caricature

#art #painting #satire #caricature
Tonight. Marian Kamensky is sure https://mastodon.social/@zoogger/116393231164229642

#art #painting #satire #caricature
Сьогодні вночі. Marian Kamensky впевнений

#art #painting #satire #caricature
Voted. Post-election resuscitation. Seen by Marian Kamensky https://mastodon.social/@zoogger/116393191301515530

#art #painting #satire #caricature
Наголосувався. Післявибірна реанімація. Бачив Marian Kamensky

Interesting #novelty #coin of the day: This piece has a #Plague doctor on one side - this was a volunteer or an actual doctor, though the duty was often more to record accurate numbers of deaths than curing people (though some charged promising cures). Although often a #caricature, beaked masks like this have been dated to the 1700s: https://en.wikipedia.org/wiki/Plague_doctor Wearing a modern medical coat & stethoscope (invented in 1816).

The other side has a #clock at 8:55 (Does anyone know a potential reason for that?) with the dates 1347-1351 in the centre - that was the rough years of the #Black #Death in Europe: https://en.wikipedia.org/wiki/Black_Death

I can't read the text above the centre?

The piece itself is an Equilateral curve heptagon (7-sided), about 25mm diameter, similar to a 1991-1994 Jamaica 25 cents: https://en.numista.com/6476 & about 3mm thick.

I'll tag #Histodons since the theme is historical, though the piece isn't.

#Numismatics #CoinCollecting #BlackDeath #Pandemic #History @numismatics @histodons

Interesting #novelty #coin of the day: This piece has a #Plague doctor on one side - this was a volunteer or an actual doctor, though the duty was often more to record accurate numbers of deaths than curing people (though some charged promising cures). Although often a #caricature, beaked masks like this have been dated to the 1700s: https://en.wikipedia.org/wiki/Plague_doctor Wearing a modern medical coat & stethoscope (invented in 1816).

The other side has a #clock at 8:55 (Does anyone know a potential reason for that?) with the dates 1347-1351 in the centre - that was the rough years of the #Black #Death in Europe: https://en.wikipedia.org/wiki/Black_Death

I can't read the text above the centre?

The piece itself is an Equilateral curve heptagon (7-sided), about 25mm diameter, similar to a 1991-1994 Jamaica 25 cents: https://en.numista.com/6476 & about 3mm thick.

I'll tag #Histodons since the theme is historical, though the piece isn't.

#Numismatics #CoinCollecting #BlackDeath #Pandemic #History @numismatics @histodons

Interesting #novelty #coin of the day: This piece has a #Plague doctor on one side - this was a volunteer or an actual doctor, though the duty was often more to record accurate numbers of deaths than curing people (though some charged promising cures). Although often a #caricature, beaked masks like this have been dated to the 1700s: https://en.wikipedia.org/wiki/Plague_doctor Wearing a modern medical coat & stethoscope (invented in 1816).

The other side has a #clock at 8:55 (Does anyone know a potential reason for that?) with the dates 1347-1351 in the centre - that was the rough years of the #Black #Death in Europe: https://en.wikipedia.org/wiki/Black_Death

I can't read the text above the centre?

The piece itself is an Equilateral curve heptagon (7-sided), about 25mm diameter, similar to a 1991-1994 Jamaica 25 cents: https://en.numista.com/6476 & about 3mm thick.

I'll tag #Histodons since the theme is historical, though the piece isn't.

#Numismatics #CoinCollecting #BlackDeath #Pandemic #History @numismatics @histodons

Interesting #novelty #coin of the day: This piece has a #Plague doctor on one side - this was a volunteer or an actual doctor, though the duty was often more to record accurate numbers of deaths than curing people (though some charged promising cures). Although often a #caricature, beaked masks like this have been dated to the 1700s: https://en.wikipedia.org/wiki/Plague_doctor Wearing a modern medical coat & stethoscope (invented in 1816).

The other side has a #clock at 8:55 (Does anyone know a potential reason for that?) with the dates 1347-1351 in the centre - that was the rough years of the #Black #Death in Europe: https://en.wikipedia.org/wiki/Black_Death

I can't read the text above the centre?

The piece itself is an Equilateral curve heptagon (7-sided), about 25mm diameter, similar to a 1991-1994 Jamaica 25 cents: https://en.numista.com/6476 & about 3mm thick.

I'll tag #Histodons since the theme is historical, though the piece isn't.

#Numismatics #CoinCollecting #BlackDeath #Pandemic #History @numismatics @histodons

Interesting #novelty #coin of the day: This piece has a #Plague doctor on one side - this was a volunteer or an actual doctor, though the duty was often more to record accurate numbers of deaths than curing people (though some charged promising cures). Although often a #caricature, beaked masks like this have been dated to the 1700s: https://en.wikipedia.org/wiki/Plague_doctor Wearing a modern medical coat & stethoscope (invented in 1816).

The other side has a #clock at 8:55 (Does anyone know a potential reason for that?) with the dates 1347-1351 in the centre - that was the rough years of the #Black #Death in Europe: https://en.wikipedia.org/wiki/Black_Death

I can't read the text above the centre?

The piece itself is an Equilateral curve heptagon (7-sided), about 25mm diameter, similar to a 1991-1994 Jamaica 25 cents: https://en.numista.com/6476 & about 3mm thick.

I'll tag #Histodons since the theme is historical, though the piece isn't.

#Numismatics #CoinCollecting #BlackDeath #Pandemic #History @numismatics @histodons

Short vid about trying to make a Hugh Grant caricature spring to life:

https://www.youtube.com/shorts/-_bJSB-144M

#caricature #art #tealcartoons

A look at my completed painting of A Fish Called Wanda's cast.

https://www.youtube.com/shorts/Lj_Hk4hmqBY

#caricature #art

#art #painting #satire #caricature #iran #usa
Shitty, oh, sorry, halal. Spyed by Marian Kamensky https://mastodon.social/@zoogger/116367906352399511

#art #painting #satire #caricature #iran #usa
Гавьонне, ой, вибачте, халяльне. Підгледів Marian Kamensky

“The arts are not a way to make a living. They are a very human way of making life more bearable.”*…

… Still, there are bills to be paid. Mathilde Montpetit (and here) on how the young Claude Monet made bank…

At the age of fifteen, Claude Monet was, by his own account, one of the most successful artists in Le Havre. Crowds would gather in the Norman port city to gawk at the pictures he sold through a framing shop: not paintings of haystacks or of the sea or water lilies, but slightly cruel caricatures of local bigwigs and minor celebrities. He had already learned to commercialize, charging his customers 20 francs (around 200€ in today’s money). “If I had continued”, he claimed to an interviewer in Le Temps almost fifty years later, “I would have been a millionaire.”

Spurred by profits, the young Monet was productive, creating up to seven or eight of these caricatures a day; a small collection of them is now held at the Art Institute of Chicago, most donated by the former mayor Carter Harrison IV (1860–1953). The French art historian Rodolphe Walter has claimed that his caricatures constituted a “clandestine apprenticeship”, the first attempts by a son of Le Havre’s bourgeois shipbuilders to make his way in the art world.

The earliest are anonymous: the identities of The Man in the Small Hat or The Man with the Big Cigar are now lost, although the framing shop devotees may well have been able to name them. Some of the works are imitations, like the 1859 drawing of the French journalist August Vacquerie (1819–1895) that Monet seems to have copied from Nadar (1820–1910), probably the period’s most famous caricaturist.

Monet’s own 1858 caricature of Léon Manchon, the treasurer of Le Havre’s Société des amis des arts, captures his subject’s appearance but also, in the background, both his love of the arts and his work as a notary. Most fantastical is the 1858 caricature of Jules Didier (1831–1914), which shows the 1857 winner of the Prix de Rome as a “Butterfly Man” being led on a leash by a dog. Monet scholars remain divided as to the symbolic meaning of the iconography, though more obviously derisive is the drawing of a dejected fellow applicant to an 1858 Le Havre art subsidy, Henri Cassinelli. Monet has captioned it “Rufus Croutinelli”: a slightly forced pun on “croute”, meaning a daub of paint. Monet didn’t receive the subsidy either.

Sixty-year-old Monet’s claims about how he could have made his young fortune probably had more to do with his later difficulties in selling Impressionism than the actual fortunes to be made in portraits-charge, but it was the roughly 2,000 francs (20,000€) from selling these caricatures that allowed him to, against his father’s wishes, move to Paris and begin training as an artist. (He also received a pension from his wealthy aunt Marie-Jeanne Lecadre, with whom he had been living since his mother’s death in 1857.)

Perhaps it helped him in other ways as well. In the Le Temps interview, Monet claimed that it was while admiring his admirers at the framing shop window that he first encountered the work of his mentor Eugène Boudin (1824–1898), whose paintings were also hung there. Boudin would later take him en plein air for the first time. Perhaps, too, there’s something in the quickness of the caricature that speaks to what Impressionism would become — a desire to capture not just the literal appearance of a thing, but its true essence…

“Doing Impressions: Monet’s Early Caricatures (ca. late 1850s)” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

Re: the other end of Monet’s career, readers in (or visiting) the Bay Area might appreciate “Monet and Venice,” over a hundred works– mostly the fruits of Monet’s only visit to the City of Canals, but spiced with Venetian views from artists including Renoir, Sargent, and Canaletto– on display at the de Young Museum in San Francisco through July 26.

* Kurt Vonnegut

###

As we cherish cartoons, we might might send pointedly-insightful birthday greetings to Peter Fluck; he was born on this date in 1941. An artist, caricaturist, and puppeteer, he was half of the partnership known as Luck and Flaw (with Roger Law), creators of the epochal British satirical TV puppet show Spitting Image.

The show ran from 1984 through 1996. (It was revived, with a different crew, in 2020.) Here’s a BBC appreciation of the original…

https://youtu.be/w_ks5Pb12kg?si=9a4LqrVO_CSnw-GF

“The arts are not a way to make a living. They are a very human way of making life more bearable.”*…

… Still, there are bills to be paid. Mathilde Montpetit (and here) on how the young Claude Monet made bank…

At the age of fifteen, Claude Monet was, by his own account, one of the most successful artists in Le Havre. Crowds would gather in the Norman port city to gawk at the pictures he sold through a framing shop: not paintings of haystacks or of the sea or water lilies, but slightly cruel caricatures of local bigwigs and minor celebrities. He had already learned to commercialize, charging his customers 20 francs (around 200€ in today’s money). “If I had continued”, he claimed to an interviewer in Le Temps almost fifty years later, “I would have been a millionaire.”

Spurred by profits, the young Monet was productive, creating up to seven or eight of these caricatures a day; a small collection of them is now held at the Art Institute of Chicago, most donated by the former mayor Carter Harrison IV (1860–1953). The French art historian Rodolphe Walter has claimed that his caricatures constituted a “clandestine apprenticeship”, the first attempts by a son of Le Havre’s bourgeois shipbuilders to make his way in the art world.

The earliest are anonymous: the identities of The Man in the Small Hat or The Man with the Big Cigar are now lost, although the framing shop devotees may well have been able to name them. Some of the works are imitations, like the 1859 drawing of the French journalist August Vacquerie (1819–1895) that Monet seems to have copied from Nadar (1820–1910), probably the period’s most famous caricaturist.

Monet’s own 1858 caricature of Léon Manchon, the treasurer of Le Havre’s Société des amis des arts, captures his subject’s appearance but also, in the background, both his love of the arts and his work as a notary. Most fantastical is the 1858 caricature of Jules Didier (1831–1914), which shows the 1857 winner of the Prix de Rome as a “Butterfly Man” being led on a leash by a dog. Monet scholars remain divided as to the symbolic meaning of the iconography, though more obviously derisive is the drawing of a dejected fellow applicant to an 1858 Le Havre art subsidy, Henri Cassinelli. Monet has captioned it “Rufus Croutinelli”: a slightly forced pun on “croute”, meaning a daub of paint. Monet didn’t receive the subsidy either.

Sixty-year-old Monet’s claims about how he could have made his young fortune probably had more to do with his later difficulties in selling Impressionism than the actual fortunes to be made in portraits-charge, but it was the roughly 2,000 francs (20,000€) from selling these caricatures that allowed him to, against his father’s wishes, move to Paris and begin training as an artist. (He also received a pension from his wealthy aunt Marie-Jeanne Lecadre, with whom he had been living since his mother’s death in 1857.)

Perhaps it helped him in other ways as well. In the Le Temps interview, Monet claimed that it was while admiring his admirers at the framing shop window that he first encountered the work of his mentor Eugène Boudin (1824–1898), whose paintings were also hung there. Boudin would later take him en plein air for the first time. Perhaps, too, there’s something in the quickness of the caricature that speaks to what Impressionism would become — a desire to capture not just the literal appearance of a thing, but its true essence…

“Doing Impressions: Monet’s Early Caricatures (ca. late 1850s)” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

Re: the other end of Monet’s career, readers in (or visiting) the Bay Area might appreciate “Monet and Venice,” over a hundred works– mostly the fruits of Monet’s only visit to the City of Canals, but spiced with Venetian views from artists including Renoir, Sargent, and Canaletto– on display at the de Young Museum in San Francisco through July 26.

* Kurt Vonnegut

###

As we cherish cartoons, we might might send pointedly-insightful birthday greetings to Peter Fluck; he was born on this date in 1941. An artist, caricaturist, and puppeteer, he was half of the partnership known as Luck and Flaw (with Roger Law), creators of the epochal British satirical TV puppet show Spitting Image.

The show ran from 1984 through 1996. (It was revived, with a different crew, in 2020.) Here’s a BBC appreciation of the original…

https://youtu.be/w_ks5Pb12kg?si=9a4LqrVO_CSnw-GF

“The arts are not a way to make a living. They are a very human way of making life more bearable.”*…

… Still, there are bills to be paid. Mathilde Montpetit (and here) on how the young Claude Monet made bank…

At the age of fifteen, Claude Monet was, by his own account, one of the most successful artists in Le Havre. Crowds would gather in the Norman port city to gawk at the pictures he sold through a framing shop: not paintings of haystacks or of the sea or water lilies, but slightly cruel caricatures of local bigwigs and minor celebrities. He had already learned to commercialize, charging his customers 20 francs (around 200€ in today’s money). “If I had continued”, he claimed to an interviewer in Le Temps almost fifty years later, “I would have been a millionaire.”

Spurred by profits, the young Monet was productive, creating up to seven or eight of these caricatures a day; a small collection of them is now held at the Art Institute of Chicago, most donated by the former mayor Carter Harrison IV (1860–1953). The French art historian Rodolphe Walter has claimed that his caricatures constituted a “clandestine apprenticeship”, the first attempts by a son of Le Havre’s bourgeois shipbuilders to make his way in the art world.

The earliest are anonymous: the identities of The Man in the Small Hat or The Man with the Big Cigar are now lost, although the framing shop devotees may well have been able to name them. Some of the works are imitations, like the 1859 drawing of the French journalist August Vacquerie (1819–1895) that Monet seems to have copied from Nadar (1820–1910), probably the period’s most famous caricaturist.

Monet’s own 1858 caricature of Léon Manchon, the treasurer of Le Havre’s Société des amis des arts, captures his subject’s appearance but also, in the background, both his love of the arts and his work as a notary. Most fantastical is the 1858 caricature of Jules Didier (1831–1914), which shows the 1857 winner of the Prix de Rome as a “Butterfly Man” being led on a leash by a dog. Monet scholars remain divided as to the symbolic meaning of the iconography, though more obviously derisive is the drawing of a dejected fellow applicant to an 1858 Le Havre art subsidy, Henri Cassinelli. Monet has captioned it “Rufus Croutinelli”: a slightly forced pun on “croute”, meaning a daub of paint. Monet didn’t receive the subsidy either.

Sixty-year-old Monet’s claims about how he could have made his young fortune probably had more to do with his later difficulties in selling Impressionism than the actual fortunes to be made in portraits-charge, but it was the roughly 2,000 francs (20,000€) from selling these caricatures that allowed him to, against his father’s wishes, move to Paris and begin training as an artist. (He also received a pension from his wealthy aunt Marie-Jeanne Lecadre, with whom he had been living since his mother’s death in 1857.)

Perhaps it helped him in other ways as well. In the Le Temps interview, Monet claimed that it was while admiring his admirers at the framing shop window that he first encountered the work of his mentor Eugène Boudin (1824–1898), whose paintings were also hung there. Boudin would later take him en plein air for the first time. Perhaps, too, there’s something in the quickness of the caricature that speaks to what Impressionism would become — a desire to capture not just the literal appearance of a thing, but its true essence…

“Doing Impressions: Monet’s Early Caricatures (ca. late 1850s)” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

Re: the other end of Monet’s career, readers in (or visiting) the Bay Area might appreciate “Monet and Venice,” over a hundred works– mostly the fruits of Monet’s only visit to the City of Canals, but spiced with Venetian views from artists including Renoir, Sargent, and Canaletto– on display at the de Young Museum in San Francisco through July 26.

* Kurt Vonnegut

###

As we cherish cartoons, we might might send pointedly-insightful birthday greetings to Peter Fluck; he was born on this date in 1941. An artist, caricaturist, and puppeteer, he was half of the partnership known as Luck and Flaw (with Roger Law), creators of the epochal British satirical TV puppet show Spitting Image.

The show ran from 1984 through 1996. (It was revived, with a different crew, in 2020.) Here’s a BBC appreciation of the original…

https://youtu.be/w_ks5Pb12kg?si=9a4LqrVO_CSnw-GF

“The arts are not a way to make a living. They are a very human way of making life more bearable.”*…

… Still, there are bills to be paid. Mathilde Montpetit (and here) on how the young Claude Monet made bank…

At the age of fifteen, Claude Monet was, by his own account, one of the most successful artists in Le Havre. Crowds would gather in the Norman port city to gawk at the pictures he sold through a framing shop: not paintings of haystacks or of the sea or water lilies, but slightly cruel caricatures of local bigwigs and minor celebrities. He had already learned to commercialize, charging his customers 20 francs (around 200€ in today’s money). “If I had continued”, he claimed to an interviewer in Le Temps almost fifty years later, “I would have been a millionaire.”

Spurred by profits, the young Monet was productive, creating up to seven or eight of these caricatures a day; a small collection of them is now held at the Art Institute of Chicago, most donated by the former mayor Carter Harrison IV (1860–1953). The French art historian Rodolphe Walter has claimed that his caricatures constituted a “clandestine apprenticeship”, the first attempts by a son of Le Havre’s bourgeois shipbuilders to make his way in the art world.

The earliest are anonymous: the identities of The Man in the Small Hat or The Man with the Big Cigar are now lost, although the framing shop devotees may well have been able to name them. Some of the works are imitations, like the 1859 drawing of the French journalist August Vacquerie (1819–1895) that Monet seems to have copied from Nadar (1820–1910), probably the period’s most famous caricaturist.

Monet’s own 1858 caricature of Léon Manchon, the treasurer of Le Havre’s Société des amis des arts, captures his subject’s appearance but also, in the background, both his love of the arts and his work as a notary. Most fantastical is the 1858 caricature of Jules Didier (1831–1914), which shows the 1857 winner of the Prix de Rome as a “Butterfly Man” being led on a leash by a dog. Monet scholars remain divided as to the symbolic meaning of the iconography, though more obviously derisive is the drawing of a dejected fellow applicant to an 1858 Le Havre art subsidy, Henri Cassinelli. Monet has captioned it “Rufus Croutinelli”: a slightly forced pun on “croute”, meaning a daub of paint. Monet didn’t receive the subsidy either.

Sixty-year-old Monet’s claims about how he could have made his young fortune probably had more to do with his later difficulties in selling Impressionism than the actual fortunes to be made in portraits-charge, but it was the roughly 2,000 francs (20,000€) from selling these caricatures that allowed him to, against his father’s wishes, move to Paris and begin training as an artist. (He also received a pension from his wealthy aunt Marie-Jeanne Lecadre, with whom he had been living since his mother’s death in 1857.)

Perhaps it helped him in other ways as well. In the Le Temps interview, Monet claimed that it was while admiring his admirers at the framing shop window that he first encountered the work of his mentor Eugène Boudin (1824–1898), whose paintings were also hung there. Boudin would later take him en plein air for the first time. Perhaps, too, there’s something in the quickness of the caricature that speaks to what Impressionism would become — a desire to capture not just the literal appearance of a thing, but its true essence…

“Doing Impressions: Monet’s Early Caricatures (ca. late 1850s)” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

Re: the other end of Monet’s career, readers in (or visiting) the Bay Area might appreciate “Monet and Venice,” over a hundred works– mostly the fruits of Monet’s only visit to the City of Canals, but spiced with Venetian views from artists including Renoir, Sargent, and Canaletto– on display at the de Young Museum in San Francisco through July 26.

* Kurt Vonnegut

###

As we cherish cartoons, we might might send pointedly-insightful birthday greetings to Peter Fluck; he was born on this date in 1941. An artist, caricaturist, and puppeteer, he was half of the partnership known as Luck and Flaw (with Roger Law), creators of the epochal British satirical TV puppet show Spitting Image.

The show ran from 1984 through 1996. (It was revived, with a different crew, in 2020.) Here’s a BBC appreciation of the original…

https://youtu.be/w_ks5Pb12kg?si=9a4LqrVO_CSnw-GF

“The arts are not a way to make a living. They are a very human way of making life more bearable.”*…

… Still, there are bills to be paid. Mathilde Montpetit (and here) on how the young Claude Monet made bank…

At the age of fifteen, Claude Monet was, by his own account, one of the most successful artists in Le Havre. Crowds would gather in the Norman port city to gawk at the pictures he sold through a framing shop: not paintings of haystacks or of the sea or water lilies, but slightly cruel caricatures of local bigwigs and minor celebrities. He had already learned to commercialize, charging his customers 20 francs (around 200€ in today’s money). “If I had continued”, he claimed to an interviewer in Le Temps almost fifty years later, “I would have been a millionaire.”

Spurred by profits, the young Monet was productive, creating up to seven or eight of these caricatures a day; a small collection of them is now held at the Art Institute of Chicago, most donated by the former mayor Carter Harrison IV (1860–1953). The French art historian Rodolphe Walter has claimed that his caricatures constituted a “clandestine apprenticeship”, the first attempts by a son of Le Havre’s bourgeois shipbuilders to make his way in the art world.

The earliest are anonymous: the identities of The Man in the Small Hat or The Man with the Big Cigar are now lost, although the framing shop devotees may well have been able to name them. Some of the works are imitations, like the 1859 drawing of the French journalist August Vacquerie (1819–1895) that Monet seems to have copied from Nadar (1820–1910), probably the period’s most famous caricaturist.

Monet’s own 1858 caricature of Léon Manchon, the treasurer of Le Havre’s Société des amis des arts, captures his subject’s appearance but also, in the background, both his love of the arts and his work as a notary. Most fantastical is the 1858 caricature of Jules Didier (1831–1914), which shows the 1857 winner of the Prix de Rome as a “Butterfly Man” being led on a leash by a dog. Monet scholars remain divided as to the symbolic meaning of the iconography, though more obviously derisive is the drawing of a dejected fellow applicant to an 1858 Le Havre art subsidy, Henri Cassinelli. Monet has captioned it “Rufus Croutinelli”: a slightly forced pun on “croute”, meaning a daub of paint. Monet didn’t receive the subsidy either.

Sixty-year-old Monet’s claims about how he could have made his young fortune probably had more to do with his later difficulties in selling Impressionism than the actual fortunes to be made in portraits-charge, but it was the roughly 2,000 francs (20,000€) from selling these caricatures that allowed him to, against his father’s wishes, move to Paris and begin training as an artist. (He also received a pension from his wealthy aunt Marie-Jeanne Lecadre, with whom he had been living since his mother’s death in 1857.)

Perhaps it helped him in other ways as well. In the Le Temps interview, Monet claimed that it was while admiring his admirers at the framing shop window that he first encountered the work of his mentor Eugène Boudin (1824–1898), whose paintings were also hung there. Boudin would later take him en plein air for the first time. Perhaps, too, there’s something in the quickness of the caricature that speaks to what Impressionism would become — a desire to capture not just the literal appearance of a thing, but its true essence…

“Doing Impressions: Monet’s Early Caricatures (ca. late 1850s)” from @mathildegm.bsky.social in @publicdomainrev.bsky.social.

Re: the other end of Monet’s career, readers in (or visiting) the Bay Area might appreciate “Monet and Venice,” over a hundred works– mostly the fruits of Monet’s only visit to the City of Canals, but spiced with Venetian views from artists including Renoir, Sargent, and Canaletto– on display at the de Young Museum in San Francisco through July 26.

* Kurt Vonnegut

###

As we cherish cartoons, we might might send pointedly-insightful birthday greetings to Peter Fluck; he was born on this date in 1941. An artist, caricaturist, and puppeteer, he was half of the partnership known as Luck and Flaw (with Roger Law), creators of the epochal British satirical TV puppet show Spitting Image.

The show ran from 1984 through 1996. (It was revived, with a different crew, in 2020.) Here’s a BBC appreciation of the original…

https://youtu.be/w_ks5Pb12kg?si=9a4LqrVO_CSnw-GF

#Caricature Life: la magia dell'AI trasforma le tue #foto in caricature divertenti
#intelligenzaArificiale @tecnologia

https://webappsmagazine.blogspot.com/2026/04/caricature-life-la-magia-dellai.html

Fawlty moustache...

https://www.youtube.com/shorts/pz27WKyhhHw

#caricature #art #johncleese

Fawlty moustache...

https://www.youtube.com/shorts/pz27WKyhhHw

#caricature #art #johncleese

Fawlty moustache...

https://www.youtube.com/shorts/pz27WKyhhHw

#caricature #art #johncleese