Nicht übersetzt:
“ Liberation called me and said, `Crumb, can you do a cartoon for us? About what you think about this, you know, you are a major cartoonist, and you live in France.´ So I thought about it. I spent a lot of time thinking about it. I’m doing the dishes, or whatever, I was thinking, `What should I do for that cartoon…´ I had a lot of ideas. Other people come up with these, you know, clever cartoons that comment on it, like…This one guy did a cartoon showing a bloody dead body laying there, and a radical Muslim standing over him with a Kalashnikov, saying, `He drew first!´ Stuff like that. That’s good, that’s clever, you know, I like that. But, me? I gotta like, you know, when I do something, it has to be more personal. I said, first: `I don’t have the courage to make an insulting cartoon of Muhammed.´ …..
… Then I thought, `OK, I’m the Cowardly Cartoonist … As a Cowardly Cartoonist, I can’t make some glib comment like that, you know? I have to, like, make fun of myself. So instead of drawing the face of Muhammed, I drew the ass of Muhammed. But then I had myself saying, in small lettering, `Actually, this is the ass of my friend of Mohamid Bakshi, who’s a film director in Los Angeles, California.´ So if they come at me, I’m gonna say, `No, look, it’s not Muhammed the Prophet, it’s this guy, Mohamid Bakshi.´ So, you know.”
Robert Crumb in conversation with Celia Farber, 10.1.2015 (Source: New York Observer)
Was hier unter der Flagge der Karikatur segelt ist nichts anderes als die frühe Form eines schonungslosen Sozialrealismus, anklagend und offensiv. Die Figurengruppe macht einen kraftvollen und monumentalen Eindruck, Elend im historienbildartigen Zuschnitt, und genau so war es gemeint. Der Verleger von La Caricature Charles Philipon kam, wie die meisten seiner Zeichner aus der Schule […]
II. Schildermalerei Der hervorragendste Interpret dieser demokratischen Emblematik war der Herausgeber von Ainsworths Jack Sheppard–Roman, der ausgebildete Parlamentsstenograph und Gerichtsreporter Charles Dickens.[29] Dickens hatte eine ähnliche Sozialisation wie Hogarth erfahren, mit einem Vater, der als Schuldner inhaftiert war, dem entsprechenden sozialen Abstieg und der Notwendigkeit, früh zum Unterhalt der Familie beizutragen. Die große Schnittmenge zwischen […]
After Nadar had to cease his own magazine “Revue Comique” due to new censorship laws under the presidency of Louis Napoleon, he continued to work for Charles Philipon. In his quarterly pictorial review-series for Philipon´s newly founded “Journal pour rire” he also commented on the increasing police measures, which only shortly afterwards ended in a […]