1945.03.12 “What a Target” by Silvey Jackson (SJ) Ray

A large bomb drops from the sky toward a traditional Japanese city labeled Tokyo, where buildings and pagodas are tightly packed. The bomb’s path is dramatic, and citizens below appear shocked or panicked.

1945.03.12 “What a Target”
by Silvey Jackson (SJ) Ray (1891-1970)
12 x 16 in., ink on board
Coppola Collection

S.J. Ray was a student at the Art Students League of New York and was a World War I veteran. He joined the Kansas City Star in 1915 as an advertising illustrator and became the Star’s editorial cartoonist in 1931. He served in that post until retirement in 1963,

drawing an estimated 10,000 cartoons. He received honors from the U.S. Treasury Dept. for his cartoons during World War II in behalf of the National War Savings Program.

The Bombing of Tokyo was a series of firebombing air raids by the United States Army Air Forces during the Pacific campaigns of World War II. Operation Meetinghouse, which was conducted on the night of March 9-10, 1945, is regarded as the single most destructive bombing raid in human history: 16 square miles of central Tokyo were destroyed, leaving an estimated 100,000 civilians dead and over 1 million homeless.

Over 50% of Tokyo’s industry was spread out among residential and commercial neighborhoods; firebombing cut the whole city’s output in half.  Some post-war analysts have called the raid a war crime due to the targeting of civilian infrastructure and the ensuing mass loss of civilian life.

Emperor Hirohito’s tour of the destroyed areas of Tokyo in late March was the beginning of his personal involvement in the peace process, culminating in Japan’s surrender six months later.

The World War II Editorial Cartoon Project

Greetings.

Collecting original illustration art that has been published is a fun target. The art is truly one of a kind, and because it has generally been published is a low resolution form, actually forging an original is functionally impossible. A scanned and edited version is too perfect, and the randomness of ink lines means that reproducing even a fraction of a percent of them would be impossible, even if you were looking at the high resolution art. The originals are fixed, annotated, on old paper, have production stickers and notes, and so on. Everyone knows the published piece from its appearance on newsprint, so faking something is out of the question, too. It took a long time for illustration and comic book and comic strip art to be recognized for its unique character instead of being considered low brow.

As of 2022, editorial art has not quite caught up, but it has the same qualities. Newspapers are not as widely distributed as comic books, so familiarity with the published work is less common. But the inability to forge and fake certainly is. I personally like editorial art because it always speaks directly to the moment of its creation and not in retrospect.

With this site, I would like to reconstruct some of the historical highlights of World War II through a collection of editorial illustrations (hard to call them cartoons, actually), and filling in what I can about the backstories. When they are dated, it is generally quite easy to dig out the contexts. When they are not dated, I need to do a little detective work and inference building to figure the most likely referents. One thing about editorial art is that it is timely. So when you find the event being referenced, you can be pretty sure the art appeared within a day or so and not even a week later.

A couple of things interest me academically about this art.

The forgotten history. In telling the story of WW2, it is common and understandable to think about the high spots (Pearl Harbor, D-Day, Hiroshima) and seek out the antecedents that build towards those shocking moments, particularly when they were a surprise to the general citizen at the time. History loves to seek out and build the narrative thread of how A-B-C-D… led to these moments, so that we can understand them. When these moments were a surprise, an editorialist would not know it was coming, and when you examine the cartoons from just before these moments, you do not see the usual historical story, but instead what was truly in the news at that time. The theme about commenting, often severely, on US isolationism, nationalism, and anti-immigrant policies stand out prior to Pearl Harbor, for example.

Of the moment. An editorial cartoon is visceral. It is of that exact moment. No one draws a cartoon to comment from the last news cycle, and no one draws the news of tomorrow. We get a quick snapshot of a topic that was forward enough in the minds to represent it.

Context assumed. Unlike a contemplative text piece or a developed editorial report and argument, a cartoon is meant to be seen and digested in seconds by the common reader. This aspect of the editorial cartoon is less well appreciated, in my experience. I sometimes need to spend 20 minutes with the help of an AI to really sort out my understanding of a WW2 editorial cartoon, and I remind myself that the interpretation that I drag out over a few paragraphs was the expectation of the artist about the reader who spent a few seconds.

 

 

 

 

1985.05.12 “WW II Vets” by Charles Phillip Bissell

A cartoon shows World War II veterans hearing cease fire on May 8, 1945. In the present, a confused veteran watches TV and asks, What do you mean ___ years? pointing to the passage of time since WWII.

1985.05.12 “WW II Vets”
by Charles Phillip Bissell (1926 -)
11 x 17.5, ink and wash on board
Coppola Collection

In 1960, Boston Globe cartoonist Phil Bissell, working for $25 a day, was handed an assignment that would change his life—and the lives of fans of the brand-new AFL football team coming to Boston. “Sports editor Jerry Nason came to me and he said, ‘They’ve decided to call the team the Boston Patriots. You better have a cartoon ready for tomorrow’s edition.’” Bissel’s “Pat Patriot” cartoon was the Patriot’s logo from 1961-1992.

On May 8, 1945, VE Day, about a week after Hitler’s suicide and the fall of Berlin, the Allies of World War II accepted Nazi Germany’s unconditional surrender of its armed forces.

It is hard to tell what else was in the word balloon, but the intention is clear: can it really be 40 years ago…?

1982.12.07 “We Will Never Forget…” by Charles Phillip Bissell

A clenched fist wrapped in a ribbon labeled REMEMBER rises above an explosion at sea, with warships sinking below. The date DEC. 7, 1941 is written amid smoke, and text below reads ...WE WILL NEVER FORGET.

1982.12.07 “We Will Never Forget…”
by Charles Phillip Bissell (1926 -)
12 x 17.5, ink and wash on board
Coppola Collection

In 1960, Boston Globe cartoonist Phil Bissell, working for $25 a day, was handed an assignment that would change his life—and the lives of fans of the brand-new AFL football team coming to Boston. “Sports editor Jerry Nason came to me and he said, ‘They’ve decided to call the team the Boston Patriots. You better have a cartoon ready for tomorrow’s edition.’” Bissel’s “Pat Patriot” cartoon was the Patriot’s logo from 1961-1992.

On December 7, 1941, the Japanese navy launched a surprise military attack against the United States naval base at Pearl Harbor located on the island of O’ahu. The attack on Pearl Harbor was intended to neutralize the United States Pacific Fleet as the Japanese expanded throughout the Pacific region. Despite numerous historical precedents for unannounced military action, the lack of any formal warning by Japan led President Franklin D. Roosevelt to proclaim December 7, 1941, “a date which will live in infamy.” The attack on Pearl Harbor, not only brought America into World War II, but raised suspicions of the large Japanese communities on West Coast of the United States and in Hawai’i.

1982.08.12 “A Pointed Issue…” by Charles Phillip Bissell

A knife labeled Manchurian Atrocities pierces a history book titled History of Japan, with the knifes handle resembling the Japanese imperial flag. Text below reads: A pointed issue...

1982.08.12 “A Pointed Issue…”
by Charles Phillip Bissell (1926 -)
11 x 13, ink and wash on board
Coppola Collection

In 1960, Boston Globe cartoonist Phil Bissell, working for $25 a day, was handed an assignment that would change his life—and the lives of fans of the brand-new AFL football team coming to Boston. “Sports editor Jerry Nason came to me and he said, ‘They’ve decided to call the team the Boston Patriots. You better have a cartoon ready for tomorrow’s edition.’” Bissel’s “Pat Patriot” cartoon was the Patriot’s logo from 1961-1992.

In Japan, the depiction of history and society in school textbooks has been a long-standing controversy. Japanese conservatives, especially intellectuals, have regarded this issue as an ideological struggle against Japanese progressives who – according to the conservative view – are trying to use public education to mold students into leftist cosmopolitans who feel no affection for their country, traditions or history.

Globally, Japan’s neighbors, Korea and China in particular, have been concerned with how Japanese imperialism and invasions are depicted in Japanese textbooks.

One large textbook dispute happened in the summer of 1982, which had kicked off in April, when an article in a left-leaning weekly criticized the conservative authors of a recent best-seller book (“Problematic Junior High School Textbooks”) that attacked certain school textbooks for left-leaning tendencies.

At the same time, the national Ministry of Education (MOE) was steadily tightened control over school curriculum and textbooks. In the 1980-1981 screening, it famously ordered a distinguished historian to change various passages. The MOE comments of the author’s description of the Nanjing Massacre: “[I] cannot believe that [the Japanese Force] systematically carried out the massacre as a military force. . . . [Some] phrases such as ’in the chaos during the Japanese Force’s occupation of Nanjing, numerous Chinese soldiers and civilians became victims’ can be stated.”

In late August 1982, the Chief Cabinet Secretary stated that Japan would consider fully the criticisms of its Asian neighbors in order to promote friendship and referred to “making a correction on government responsibility.” The Miyazawa statement did not specify what measures the government would take, but the South Korean government nevertheless accepted it. The Chinese government initially insisted that it was insufficient guarantee against future revisionism in textbook screening, but eventually it too accepted Japanese pledges to make appropriate corrections.

1948.06.12 “For Hitler and the Bank Account” by William (Bill) Crawford

A black-and-white political cartoon shows men in suits atop a pile of corpses. One man says, It was our patriotic duty. The pile is labeled The millions who died by German munitions. The caption above reads For Hitler and the bank account!.

1948.06.12 “For Hitler and the Bank Account”
by William (Bill) Crawford (1913-1982)
18 x 22 in., ink and crayon on heavy paper
Coppola Collection

https://en.wikipedia.org/wiki/Bill_Crawford_(cartoonist)

Crawford worked as a sports cartoonist and for the Washington Daily News and the Washington Post from 1936-38. He joined the Newark News as an editorial cartoonist and his cartoons were distributed to more than 700 daily newspapers by the Newspaper Enterprise Association. He was an active member of the National Cartoonists Society, serving as its president and vice-president. In 1956, 1957, 1958, and 1963 he was awarded “Best Editorial Cartoon” by the National Cartoonist Society, and in 1973 he received their Silver T-Square Award. Crawford retired in 1977.

At the Nuremberg Trials:

The Farben Trial (08/14/1947-07/29/1948)

The Krupp Trial (11/17/1947-06/30/1948)

Count I. All of the defendants, acting through the instrumentality ·of Farben and otherwise, with divers other persons during a period of years preceding 8th May, 1945, participated in the planning, preparation, initiation, and waging of wars of aggression and invasions of other countries, which wars of aggression and invasions were also in violation of international laws and treaties.

Count II. War Crimes and Crimes against Humanity: These companies marched with the Wehrmacht and played a major role in Germany’s programme for acquisition by conquest. It used its expert technical knowledge and resources to plunder and exploit the chemical and related industries of Europe, to enrich itself from unlawful acquisitions; to strengthen the German war machine and to assure the subjugation of the conquered countries to the German economy.

Count III. The accused participated in the enslavement and deportation to slave labour of the civilian population of territory under the belligerent occupation or otherwise controlled by Germany; the enslavement of concentration camp inmates, including Germans; and the use of prisoners of war in war operations and work having a direct relation to war operations. It was further alleged that enslaved persons were mistreated, terrorized, tortured and murdered.

The evidence was closed in May and early June 1948. From June 2-11, 1948, the Farben Prosecution occupied one day and the Defense six and a half days in oral argument. The Krupp trial followed thereafter.

The industrialists were not found guilty of conspiring with the Nazi government to plan and carry out the war and its related acts. They generally were found guilty under the Count charging plunder and spoliation (Count II), and of having contrary to the provisions of international law, employed prisoners of war, foreign civilians and concentration camp inmates under inhuman conditions in work connected with the conduct of war (Count III).

1947.07.28 “Unlike Her” by Paul R Carmack

A black-and-white drawing of the Statue of Liberty looking back at a crowd holding a sign that reads Europes D.P.s. The crowd appears to be approaching from across the water.

1947.07.28 “Unlike Her”
by Paul R Carmack (1895-1977)
11 x 15 in., ink on board
Coppola Collection

Paul Carmack was a staff cartoonist for the Christian Science Monitor.

Resettlement of the displaced persons (DPs) outside continental Europe proved to be a huge political obstacle immediately after liberation. The Allies were prepared to help the people reclaim their homes, but no one was ready to open their gates and offer the DPs new homes. Sympathy was high, but there was a strong notion that the survivors would only hamper already war-weakened domestic environments, the Allies deliberated and procrastinated for years before resolving the emigration crisis.

President Truman said in his annual message, on January 6, that the United States was not doing its part in admitting displaced persons. He urged that Congress “turn its attention to this world problem, in an effort to find ways whereby we can fulfill our responsibilities to these thousands of homeless and suffering refugees of all faiths.”

The Exodus 1947 was carrying 4,515 Jewish DPs when it was stopped by British forces on July 17, 1947. The crew and passengers resisted surrender, prompting a British attack in which three men from the Exodus 1947 were killed and many others wounded.

Hearings were held in June on a bill [HR 2910] by Rep. Stratton (R., Ill.) to permit the entrance of 100,000 refugees a year for four years but the bill had not been acted upon by either house when the session came to a close.

1947.06.18 “Rome Wasn’t Built in a Day Either” by Harold I “Tom” Carlisle

A cartoon of a globe-headed man in a suit marking a slow, winding path from 1946 to 1947. A large snail carries a sign reading “The Organizing of International Law and Order.” Caption: Rome wasnt built in a day either.

1947.06.18 “Rome Wasn’t Built in a Day Either”
by Harold I “Tom” Carlisle (1904-1993)
14 x 19 in., ink on board
Coppola Collection

http://digital.lib.uiowa.edu/dmrc/index-carlisle.php

Tom Carlisle grew up in Jefferson, IA, and graduated from the University of Iowa. He joined the Des Moines Register as an assistant to J.N. “Ding” Darling, the newspaper’s long-time editorial cartoonist.  After Darling’s retirement in 1949, Carlisle served as the Register’s primary cartoonist until his retirement in 1953.

Several attempts were made to codify international law after WWI. The work that led to the International Law Commission was begun in the Resolution of the Assembly of the League of Nations in 1924, which established the Committee of Experts for the Progressive

Codification of International Law, consisting of 17 members, for the purpose of making recommendations as to which issues required to be addressed in international law and the steps desirable to that end.

The name “United Nations,” coined by FDR, was first used in the Declaration by United

Nations of January 1, 1942, months after the US entry into WWII, when representatives of 26 nations pledged their governments to continue fighting together against the Axis Powers.

In 1945, representatives of 50 countries met in San Francisco at the United Nations Conference on International Organization to draw up the United Nations Charter. Those delegates deliberated on the basis of proposals worked out by the representatives of China, the Soviet Union, the United Kingdom and the United States at Dumbarton Oaks in August-October 1944. The Charter was signed on June 26, 1945, by the representatives of the 50 countries, and the final ratification was on October 24.

On December 11, 1946, The General Assembly passed Resolution 94, which called to establish a committee of legal experts to make recommendations to the UN Secretary-General on the ways the General Assembly could encourage the progressive development of international law and its codification. The committee of experts consisted of 17 members and convened from May 12 to June 17, 1947. It recommended to establish a permanent UN commission to promote these objectives.

On November 21, 1947, the UN General Assembly passed Resolution 174, which provided for the creation of an “International Law Commission” in order to fulfill the obligations of the Charter.

1947.03.24 “Somewhere in Germany” by Vaughn Richard Shoemaker

A cartoon of a German village courtyard with two soldiers in front, one saying, “Wonder how all was and rusty and coming with our peace?” The other replies, “Ach, they’re too busy trying to win on their own.” A woman watches from a balcony above.

1947.03.24 “Somewhere in Germany”
by Vaughn Richard Shoemaker (1902-1991)
13 x 16, ink and wash on board
Coppola Collection

Shoemaker was an American editorial cartoonist. He won the 1938 and 1947 Pulitzer Prize for Editorial Cartooning and created the character John Q. Public. He spent 22 years at the Chicago Daily, and subsequently worked for the New York Herald Tribune, the Chicago American, and Chicago Today. He retired in 1972.

The Molotov Plan was the system created by the Soviet Union in 1947 in order to provide aid to rebuild the countries in Eastern Europe that were politically and economically aligned to the Soviet Union. It was originally called the “Brother Plan” in the Soviet Union. It can be seen to be the Soviet Union’s version of the Marshall Plan, which for political reasons the Eastern European countries would not be able to join without leaving the Soviet sphere of influence. Soviet foreign minister Vyacheslav Molotov rejected the Marshall Plan, proposing instead the Molotov Plan.

On March 18, 1947, TASS (the Russian news agency) published the text of a secret agreement made at the Yalta Conference in 1945 on the matter of German reparations, in order to back up Molotov’s demand for them. The question then turned to whether the Yalta text was supplemented or superseded by the Potsdam Agreement.

This is a rather elegant piece of art from Shoemaker.

1947.02.20 “Already Sprouting” by Max P. Milians

A political cartoon shows a storm cloud labeled Our Wait and See Policy raining on Greece. A scythe with a Soviet hammer and sickle flies a World War III flag as bayonets pierce the ground spelling GREECE.

1947.02.20 “Already Sprouting”
by Max P. Milians (1907-2005)
11 x 14 in., ink of board
Coppola Collection

Milians signed his cartoons with nine zeros (“millions”) as an underline. His work was syndicated across America from the 1930s up until the 1970s.

So-called “International Brigades” were formed during the Spanish Civil War, 1936-1939, made up of large ideological factions that were backing one side or the other. The blueprint for how powers would interfere in other civil wars (Korea, Viet Nam) was laid down in Spain just before WW2.  The Greek Civil War of 1946–1949 echoed the Spanish conflict of a decade earlier. An earlier, left-wing resistance movement (1941-44) had been led by the Greek Communist Party, and it flared up again just after the end of WW2.

In early 1947, there was (as it turns out) wild speculation that an International Brigade would come to fight alongside the communist guerrillas, but it has been imagined as originating from the apocalyptic fears of the Greek government on whose side the United States and Britain were interested. The concern, by waiting around and not acting, was that foreign communists, including Spanish Civil War veterans, might join the Greek guerrillas.

On February 9, a report appeared in Paris about a group of French socialist volunteers who had formed and were ready to take up the cause in Greece. On March 13, US President Truman enunciated the doctrine of containing communism world-wide, starting from Greece. The Truman Doctrine became the metaphor for the containment of communist expansion and the eventual domino theory that dominated the Cold War for 30 years.