British cartoonists and caricaturists are renowned worldwide. Originally published in 2000, this indispensable handbook offers a unique ‘who’s who’ of all the major artists working in Britain in the twentieth century and contains nearly 500 entries. Extensively illustrated, the book provides information on the work of artists such as Steve Bell, Gerald Scarfe, Posy Simmonds, Ronald Searle, Trog, mac and Larry as well as such past masters as David Low, Vicky, H. M. Bateman, Illingworth, Heath Robinson and more. The dictionary concentrates primarily on political cartoonists, caricaturists and joke or ‘gag’ cartoonists, actively working for the main Fleet Street national dailies and weeklies from 1900 to 1995. Each entry is cross-referenced and provides a concise biographical outline with an account of the artist’s style, influences and preferred medium. Where relevant the entry includes suggestions for further reading and notes solo exhibitions, books illustrated and works held in public collections. The Dictionary of Twentieth-Century British Cartoonists and Caricaturists offers an insight into the lives of satirical artists working during a century that provoked cartoonists and caricaturists to a pitch of comic and artistic invention that has rarely been matched.

Originally published in 1994, this dictionary provides a unique 'who’s who' of the major figures in the world of British cartoons and caricatures. It was the first book to encompass the entire field from c.1730 when Hogarth published the first of his 'modern moral pictures' to 1980. In addition to describing the careers and achievements of the artists and the characteristics of their styles, more than 500 entries give details of their publications, their illustrations to books and periodicals, exhibitions of their work, public collections in which their work is represented and literature on or referring to them. More than 150 illustrations are included. This is a comprehensive reference work and will be of interest to social and political historians as well as cartoon and caricature enthusiasts.

This authoritative and comprehensive guide to key people and events in Anglo-Jewish history stretches from Cromwell's re-admittance of the Jews in 1656 to the present day and contains nearly 3000 entries, the vast majority of which are not featured in any other sources.

What do we mean by ‘visual evidence’? How should we interpret visual texts, and what can they tell us? Why is ‘visual literacy’ so important and what benefits does it offer? Visual evidence encompasses a diverse range of media, from painting, cartoons and photography, to film, television and documentary. The central argument of this book is that visual evidence is a key to understanding both history and the present day and should not be relegated to a supporting role as merely illustrating the written word. The book shows students, scholars and researchers how to read the visual media to elicit meaning. As primary sources, visual texts can be studied not only for what is directly depicted in the painting or film but also for what it tells us about the people, cultures and societies that made them. Each chapter features fascinating case studies and examples which situate theory in real life. A major appeal of the book is the wealth of illustrations and photographs of visual texts which are included throughout. The authors make detailed reference to these examples to illustrate the theory surrounding visual evidence. An intriguing case study of an unknown girl’s photo album is just one of many examples offered, showing how we can analyze and learn from the visual text. This comprehensive and insightful edited collection brings together international media and cultural theorists, historians and art historians to demonstrate the value of visual evidence not only to media and cultural studies, but also to history, the general humanities and the social sciences.

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.

The advent of poison gas in World War I shocked Britons at all levels of society, yet by the end of the conflict their nation was a leader in chemical warfare. Although never used on the home front, poison gas affected almost every segment of British society physically, mentally, or emotionally, proving to be an armament of total war. Through cartoons, military records, novels, treaties, and other sources, Marion Girard examines the varied ways different sectors of British society viewed chemical warfare, from the industrialists who promoted their toxic weapons while maintaining private contro.