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    UGLY CARTOON CHARACTERS SERIES IN POLITICS AND ARTS

    A cartoon is an example of a type that is usually, sometimes animated, unrealistic, or semi-realistic. The specific meaning has evolved over time, but modern usage generally refers to an image or series of images created for the sake of satire, humor, or humor. Or a movie based on a series of illustrations for its animation. A person who creates ugly cartoon characters in the first sense is called a cartoonist,  and in the second sense is generally called an animator.

     

    The concept originated in the Middle Ages and was first described as drawing for a work of art, such as a painting, fresco, tapestry, or stained glass window. In the 19th century, caricatures were cited, beginning with Punch Magazine in 1843. The first irony is that humor is reflected in magazines and newspapers. It has since been used for political cartoons and comic strips. As the medium evolved in the early 20th century, it began to cite animated films that looked like cartoons in print.

     

    Fine Arts Ugly Cartoon Characters

    Peter is in charge of Christ, one of Raphael’s caricatures, c. 1516, a full-size cartoon design for tapestry

    A caricature (from Italian: cartoon and Dutch: carton, words that describe strong, heavy paper or cardboard) is a full-size drawing as a painting on stiff paper, stained glass window, or tapestry design or pattern. Is made of ugly cartoon characters that were commonly used in the manufacture of frescoes when painted on wet plaster for several days (Janet). The final work was handed over to skilled craftsmen.

    Such caricatures often have punctures in the form of a design, so that a bag of mascara knocks or “throws” at the caricature attached to the wall, leaving black dots in the plaster (“popping”). Artists’ caricatures, such as those of Raphael in London, and Leonardo da Vinci, are valuable in their own right. Tapestry boards, which are usually colorful, looked after the eyes of the loom bunkers.

     

    Political Ugly Cartoon Characters

    Political cartoons are like paintings that provide a visual commentary on political events. They offer subtle criticism which is cleverly copied with humor and satire until the critic is bitter.

     

    William Hogarth’s pictorial satire is considered a precursor to the development of political cartoons in 18th century England. Georgetown Shend first developed explicitly political cartoons and cartoons in the 1750s.  Yes, both were from London. Gallagher explored the use of the medium for satire and caricature and has been called the father of political cartoons.  George III, in which he was portrayed as a victim of hypocrisy, while much of his work was devoted to mocking George III’s intentions. Revolutionary France and Napoleon. George Crookshank became a leading cartoonist in the post-Gallery period from 1815 to 1840. His career was recognized as a social publication for English publications for popular publications.

    A cartoon shows a circle of men pointing at a man with their fingers to their right and a smile on their faces.

    Nast Tweed represents the ring: “Who stole people’s money?” / “That was it.”

    By the middle of the 19th century, ugly cartoon characters commenting on the politics of the day were prominent in the major political newspapers of many other countries. In New York City, Thomas Nast demonstrated how the realistic technique of German drawing could redefine American caricatures.  And helped bring it down. In fact, Tweed was arrested in Spain after police identified him with Nast cartoons. In Britain, Sir John Tannell was the toast of London.  In France, under the July monarchy, Honoré Daumier adopted a new genre of political and social caricature, illuminating the most famous King Louis-Philippe.

     

    Political cartoons can be humorous or ugly cartoon characters, sometimes effective. Humorous people can complain, but rarely can they defend themselves. There have been very few cases. The first successful trial against a cartoonist in Britain in more than a century came in 1921, when J. . H. Thomas, leader of the National Union of Railways (NUR), filed a defamation suit against a British Communist Party magazine. Thomas claimed insult in the form of cartoons and words depicting the events of “Black Friday” when he allegedly betrayed the blocked Mining Federation. For Thomas, the portrayal of him by the extreme left threatened to seriously undermine his role in the popular imagination. Soviet-inspired communism was a new element in European politics, and ugly cartoon characters, devoid of tradition, examined the limits of the law of blasphemy. Thomas won the case and restored his reputation.

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