The next artistic device is very closely related to physical exaggeration and directly interlinks with the first artistic device (McPhee 2011: 20). The process of alienating face or body by assigning animal or object features to the person the satire is aimed at, or overemphasizing size, weight, or qualities the person in particular is well known for (McPhee 2011: 20). The process of replacing parts of a person with animal elements, or the animal's characteristics and behaviors basically functions in a very similar fashion than simple physical exaggeration (McPhee 2011: 21). People were turned into the objects directly linked to the action they were criticized for, often emphasizing negative connotations while fusing their image with the dead
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This allowed the artist to show not just one facet of character but a whole range in procession, and thus also improve on the message the artist attempted to bring across to their consumers (McPhee 2011: 20). Artists such as Albrecht Dürer, or Annibale and Agostino Carracci added central examples to this method and drove the finer development further (McPhee 2011: 20). This device enables the recipient to understand not just one moment, or one part of what may be criticized in the image, but several moments or factors featuring into a greater, more complicated picture. During later times this method underwent another variation in which the multitude of characters portrayed on such a sheet sometimes became the faces of one person, just in numerous different angles and positions, thus allowing characterization in much more detail than with just one picture (McPhee 2011: 20-21). This further extended the tradition of showing a procession, as commonly used in the sixteenth century, either a method to record current events, or a large number of people involved in a certain aspect (McPhee 2011: 21). Later, however, the procession of figures became a tool to not only caricature the negative associations with the simple procedure of a procession itself and its context, like pride or arrogance, but also a target for artists to poke fun at the groups involved in such …show more content…
This relationship between written word and image goes so far that some caricatures would forfeit all meaning if the text would be left out (Coupe 2009: 81f.). Streicher even argues that these words give the caricatures "life and a natural reality", and Coupe agrees that this is mostly the case, however, often enough the words published alongside the caricature can be traced back to earlier artistic traditions and lack importance for the actual purpose of the political caricature at hand (Streicher 1967: 431f., Coupe 2009:80). Text can be helpful for the function and use of a caricature, but can also be a hindrance for clear
This allowed the artist to show not just one facet of character but a whole range in procession, and thus also improve on the message the artist attempted to bring across to their consumers (McPhee 2011: 20). Artists such as Albrecht Dürer, or Annibale and Agostino Carracci added central examples to this method and drove the finer development further (McPhee 2011: 20). This device enables the recipient to understand not just one moment, or one part of what may be criticized in the image, but several moments or factors featuring into a greater, more complicated picture. During later times this method underwent another variation in which the multitude of characters portrayed on such a sheet sometimes became the faces of one person, just in numerous different angles and positions, thus allowing characterization in much more detail than with just one picture (McPhee 2011: 20-21). This further extended the tradition of showing a procession, as commonly used in the sixteenth century, either a method to record current events, or a large number of people involved in a certain aspect (McPhee 2011: 21). Later, however, the procession of figures became a tool to not only caricature the negative associations with the simple procedure of a procession itself and its context, like pride or arrogance, but also a target for artists to poke fun at the groups involved in such …show more content…
This relationship between written word and image goes so far that some caricatures would forfeit all meaning if the text would be left out (Coupe 2009: 81f.). Streicher even argues that these words give the caricatures "life and a natural reality", and Coupe agrees that this is mostly the case, however, often enough the words published alongside the caricature can be traced back to earlier artistic traditions and lack importance for the actual purpose of the political caricature at hand (Streicher 1967: 431f., Coupe 2009:80). Text can be helpful for the function and use of a caricature, but can also be a hindrance for clear