Escolar Documentos
Profissional Documentos
Cultura Documentos
Series Editor:
Heinz-Dietrich Fischer
Ruhr University, Bochum
Federal Republic of Germany
ISBN 3-598-30183-9
ISBN 3-598-30170-7 (Complete Set)
PREFACE
Bochum, FRG
August, 1999 E.J.F./H.-D.F.
VII
CONTENTS
PREFACE V
INTRODUCTION XXI
By Heinz-Dietrich Fischer, Ruhr-Universität Bochum
HISTORY AND DEVELOPMENT OF THE PULITZER PRIZE FOR
EDITORIAL CARTOON XXI
1954 AWARD: ABOUT STALIN'S DEATH AND HIS FOLLOWER IN 1953 127
By Herbert L. Block, The Washington Post
"YOU WERE ALWAYS A GREAT FRIEND OF MINE, JOSEPH" 128
"ERA OF THE MECHANICAL MAN" 129
"ANY OTHER IMPORTANT FUNERALS COMING UP?" 130
1971 AWARD: ABOUT WAR CONDITIONS AND WAR VICTIMS IN 1970 .. 191
By Paul F. Conrad, Los Angeles Times
"THE OPERATION WAS A COMPLETE SUCCESS... AS THE AUTOPSY
WILL SHOW!" 192
"FROM HERE TO ETERNITY" 193
"THE U.S. ARMY..." 194
1988 AWARD: ABOUT EXCUSES AND ILLUSIONS IN THE U.S. IN 1987 257
By Doug N. Marlette, The Charlotte Observer / The Atlanta Constitution
•THATS RIGHT-JIM AND TAMMY WERE EXPELLED FROM PARADISE
AND LEFT ME IN CHARGE!' 258
"TO ERR IS HUMAN..." 259
'PRESIDENT?... NO, CHILD, BUT YOU CAN GROW UP TO BE FRONT-
RUNNER!" 260
INDEX 299
THIS VOLUME IS DEDICATED TO
INTRODUCTION
"the jury considered the advisability of discontinuing this prize and sub-
stituting a prize of some other kind in its place."6 The official files indicate
that, as a result, "Mr. Joseph Pulitzer Jr., suggested that the Board consider
offering a prize for the best cartoon published during the year," and it goes
on to read: "On motion it was unanimously resolved, that... the terms of the
award of this prize to be considered and drawn up by the Chairman of the
Board and Mr. Joseph Pulitzer Jr."7 The official wording of this newly es-
tablished Pulitzer Prize read, in the end, that: "For a distinguished example
of a cartoonist's work published in an American newspaper during the year,
the determining qualities being that the cartoon shall embody an idea made
clearly apparent, shall show good drawing and striking pictorial effect, and
shall be intended to be helpful to some commendable cause of public impor-
tance, due account being taken of the whole volume of the artist's newspaper
work during the year."
It is not known how many applications there were to compete for the new
Pulitzer Prize when the first jury (Walter P. Eaton, Walter B. Pitkin and
Ashley H. Thorndike) met in early April of 1922 in order to nominate a
prize-winner. Their report simply states that they "beg to nominate unani-
mously Mr. Rollin Kirby of the New York World, several of whose cartoons
seem to fulfill the requirements of the award better than those by any other
artist. The jury is divided in opinion," the report goes on to read, "between
the cartoon... entitled Ά Hat that was made in Germany', and the cartoon...
entitled On the Road to Moscow1."8 The Advisory Board of the Pulitzer
Prize accepted the jurors' vote and awarded the prize to Rollin Kirby for his
drawng "On the Road to Moscow."9 Thus, this thereby marked the first time
that the reputable award was bestowed to a member of that group among
newspaper people , "whose profession it is to mould or reflect public opinion
with pen or brush or crayon."10 In choosing Rollin Kirby, a well-known car-
toonist was honored for a drawing which was not counted among his very
best works by someone, who also added that "Pulitzer Prizes are not awarded
arbitrarily for, say, excellence in draftsmanship. For one thing, they are
awarded in a political and social climate."11 This fundamental problem was to
influence the awarding of the cartoon prizes in the following years as well.
6 From: Pulitzer Prize Advisory Board's Records, New York, May 24, 1921.
7 Ibid.
8 Walter P. Eaton/Walter B. Pitkin/Ashley H. Thorndike, Report of the Pulitzer Prize Cartoon Jury,
New York, April 3,1922, p. 1.
9 Columbia University (Ed.), The Pulitzer Prizes 1917-1991, New York 1991, p. 40.
10 Dick Spencer ΙΠ, Pulitzer Prize Cartoons. The Men and Their Masterpieces, 2nd. ed., Ames, la.,
1953, p. 4.
11 Stephen Becker, Comic Art in America, op. at., p. 312.
XXIII
When the prize was awarded in 1923 the four jurors (William P. Beazell,
Herbert E. Hawkes, Walter B. Pitkin and Ashley H. Thorndike) once again
also focused on a well-known cartoonist. "The... jury... unanimously recom-
mends," the report indicates, "that the prize be awarded to Mr. Jay Norwood
Darling, whose cartoons have been appearing for some years in the New
York Tribune. The majority of the jury prefer the cartoon... entitled 'Perhaps
it's as Well They're All Well Tied Down', but that... entitled 'Groping in the
Dark' also appears to the jury to be of high excellence."12 In spite of this
clear vote the Advisory Board did not accept the jury's decision, and settled
on "no award."13 When a jury of three members (Herbert E. Hawkes, Walter
B. Pitkin and Ashley H. Thorndike) was responsible for selecting and giving
its expert opinion in the year 1924, it wrote in its report, among other things:
"that we favor awarding the prize... to Mr. J. N. Darling." Thereby, last
year's favorite was suggested once again and the chairman of the jury added:
"I should like to call attention again to the great difficulty of selecting a
single cartoon which will comply with the conditions of award. We have
been specially interested in the work of D. R. Fitzpatrick of the St. Louis
Post-Dispatch, as well as in that of Mr. Darling."14 This time the Advisory
Board fundamentally accepted the jury's vote and bestowed the Pulitzer
Prize on Jay N. Darling for his cartoon "In Good Old U.S.A."15
When the jurors of the year 1925 (Herbert E. Hawkes, Walter B. Pitkin
and Ashley H. Thorndike) sifted through the submitted material, the first
thing to be stated in their report was that there were fewer cartoons taking
part in the competition than in the preceding years. "The committee is unani-
mous in recommending for the prize," it goes literally, "Mr. Rollin Kirby, of
the New York World, who submits thirty-eight cartoons," four of which the
jurors considered to be particularly prizeworthy. "Mr. Kirby has received
this prize once before," the jury admitted, "but the examination of the car-
toons confirms our opinion that there is no cartoonist whose work is superior
to his."16 Shortly after this determination, Joseph Pulitzer Jr. intervened and
additionally brought the cartoonist Daniel R. Fitzpatrick of the St. Louis
Post-Dispatch into consideration. Pulitzer Jr. also pointed out that Rollin
Kirby, as suggested by the jury, had already won the Pulitzer Prize.17 One of
the jurors replied that "unfortunately the best of Fitzpatrick's cartoons are so
violently partisan in politics that they are ruled out of the contest" and that
among his non-political cartoons just one, in fact, is to be considered as
extraordinary.18 The jury found itself in a difficult situation and took it into
consideration to also declare the drawing "Why Young Men Go Wrong" by
Daniel R. Fitzpatrick as prizeworthy. In the end, it was left up to the Adviso-
ry Board to make a decision.19 This committee, though, proved to be unim-
pressed by the intervention and declared Rollin Kirby to be the prizewinner
again - specifically for his cartoon "News from the Outside World."20
When the prize was awarded in 1926, complications were again to arise
and, in their vote, the jurors (Philip A. Payne, Walter B. Pitkin and Ashley
H. Thorndike) asked for understanding "to make a divided report. The ma-
jority of the committee," it states literally, "are in favor of awarding the prize
to Mr. Fitzpatrick of the Si. Louis Post-Dispatch," while the minority report
suggested Nelson Harding of the Brooklyn Daily Eagle. "The committee is
unanimous in feeling," it can be read in the jury report "that both Mr.
Fitzpatrick and Mr. Harding have done work of a high degree of artistic
merit. Moreover, in the cartoons submitted by these gentlemen, there are a
number of drawings which conform successfully to the particular require-
ments set forth by Mr. Pulitzer... For several years this committee has been
interested in the work of Mr. Fitzpatrick of the St. Louis Post-Dispatch but
his work, though excellent, has usually been of a satirical or political import,
that did not quite conform with Mr. Pulitzer's desire."21 Although the jurors
thus qualified their vote in favor of Fitzpatrick, the Advisory Board accepted
the recommendation of said cartoonist, who had already been taken into con-
sideration a year before without being successful. This time the Pulitzer Car-
toon Prize went to Daniel R. Fitzpatrick for his drawing "The Laws of
Moses and the Laws of Today. "22
In 1927, when a partially newly composed jury (F. Fräser Bond, Newbold
Moyes and Walter B. Pitkin) sifted through the "several hundred speci-
17 Letter from Joseph Pulitzer Jr. to Nicholas M. Butler, President of Columbia University, April 3,
1925, p. 1.
18 Letter from Walter B. Pitkin to John W. Cunliffe, Director, School of Journalism, Columbia
University, New York, April 6, 1925, p. 1.
19 Letter from Ashley H. Thomdike to Frank D. Fackenthal, Secretary of Columbia University, New
York, April 17,1925, p. 1.
20 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
21 Philip A. Payne/Walter B. Pitkin/Ashley H. Thomdike, Report of the Pulitzer Prize Cartoon Jury,
New York, March 11,1926, p. 1.
22 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
XXV
mens," it came to the following suggestion: "The best one, in our opinion, is
the cartoon by Herbert Johnson in the Saturday Evening Post... The second
best is one by Fitzpatrick of the St. Louis Post-Dispatch... The third best is
one by Orr, in the Chicago Tribune... The different members of the jury,"
the report goes on, "have been most favorably impressed by three other car-
toons," one of which was also by Fitzpatrick and two drawings by Nelson
Harding of the Brooklyn Daily Eagle. "The jury," the concluding recom-
mendation in the report went, "calls the attention of the Advisory Board to
the fact that its first choice is a cartoon that appeared in a weekly periodical,
not a newspaper. Mr. Johnson submitted his cartoons to this jury on special
requests from Mr. Landfield,23 who feels that any high grade cartoons in pe-
riodicals deserve consideration. While the jury agrees with this opinion it re-
alizes that there may be some difficulties in making an award to a periodical
that can in no sense be considered as a newspaper."24 Obviously, the Advi-
sory Board shared this opinion, since it did not give the prize to Herbert
Johnson. But it also did not award the two cartoonists placing second and
third in the jury report. The winner was among the also-rans: It was Nelson
Harding of the Brooklyn Daily Eagle, who received the Pulitzer Prize for his
drawing "Toppling the Idol."25
When the prize was awarded in 1928 the jurors (F. Fräser Bond, Walter B.
Pitkin and E. Robert Stevenson) filtered out the following three cartoonists
and their works from "the large number of cartoons submitted" as being
prizeworthy: 1. Nelson Harding of the Brooklyn Daily Eagle, 2. W. J.
Enright of the New York World, 3. D. R. Fitzpatrick of the St. Louis Post-
Dispatch.26 In spite of the high number of submissions, the report literally
states, one had to lament "the singularly low artistic quality of the vast ma-
jority of the cartoons submitted..., at least three-quarters of the entire lot are
both crudely conceived and crudely executed. They scarcely rank about
amateur performances."27 In view of this judgment the Advisory Board
stuck to the list of recommendations and, like the year before, gave the
Pulitzer Prize to Nelson Harding for the second time. This time he received
23 Jerome Landfield was working as the executive secretary of the Advisory Board from 1925 to 1929;
cf. John Hohenberg, The Pulitzer Prizes. A History of the Awards in Books, Drama, Music, and
Journalism, New York - London 1974, p. 84.
24 F. Fräser Bond/Newbold Moyes/Walter B. Pitkin, Report of the Pulitzer Prize Cartoon Jury, New
York, March 15, 1927, p. 1.
25 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
26 F. Fräser Bond/Walter B. Pitkin/E. Robert Stevenson, Report of the Pulitzer Prize Cartoon Jury,
New York, March 20, 1928, p.l.
27 Ibid., p. 2.
XXVI
the award for his cartoon "May His Shadow Never Grow Less."28 The jurors
of 1929 (John H. Finley, Walter B. Pitkin and Merryle S. Rukeyser) consid-
ered just one cartoon as being prizeworthy, that is to say Daniel R.
Fitzpatrick of the St. Louis Post-Dispatch, who had already received the
honor three years before. "It is the unanimous opinion of the committee," this
jury lamented as well, "that the general run of cartoons available for consid-
eration was not very high."29 The Advisory Board, though, did not decide in
favor of the recommended D. R. Fitzpatrick, but rather awarded Rollin
Kirby of the New York World (who was not mentioned in the jury report) his
third Pulitzer Prize instead - this time for his drawing "Tammany."30
Before the jury of the year 1930 (Dwight Marvin, Walter B. Pitkin and
Merryle S. Rukeyser) took up work, a circular letter from the Secretary of
Columbia University had pointed to the problem of multiple awards, as had
become quite obvious in the previous year when Rollin Kirby received his
third prize. As a solution the letter suggested, among other things, "to de-
clare publicly that any paper or individual which has received a prize should
be ineligible for another award of the same prize within a five-year
period..."31 It can only be indirectly proven, as to whether the jury's decision
was influenced by this proposal in the Spring of 1930, for it was Charles R.
Macauley of the Brooklyn Daily Eagle who was suggested as prize-winner.
"In reaching this decision," the jury members said in their report, "we were
influenced considerably by the large number of... cartoons by this... artist
which in our opinion rank very high. Macauley's total output for the year
would, in our judgment, average considerably above the work of any other
cartoonist."32 Below Macauley's, other works ranking were by Nelson
Harding of the New York Journal and Jay N. Darling of the New York
Herald Tribune as well as works by Dorman H. Smith of the San Francisco
Examiner?3 The Advisory Board accepted Charles R. Macauley as the
winner, and he received the Cartoon Pulitzer-Prize for his drawing "Paying
for a Dead Horse,"34 a drawing that was widely reprinted in other news-
papers of the country.
"The kind of cartoon for which John T. McCutcheon first became nationally
famous - 'Sunday Clothes'; and probably the kind for which he will be
longest remembered. This was done in about 1903."
Source: Stephen Becker, Comic Art in America, New York 1959, p. 305.
XXIX
upon the three jurors, in conference, re-examined the cartoons submitted and
unanimously confirmed their individual first opinions."41 Faced with this
clear vote the Advisory Board did not raise any objections and made
Edmund Duffy Pulitzer Prize-winner, this time for his cartoon "California
Points with Pride-!!"42
When the prize was awarded in 1935 the jury (Carl W. Ackerman, Roscoe
E. Brown, Herbert Brucker, Charles P. Cooper and Oliver J. Keller) pre-
sented a list with five prizeworthy cartoonists in the following order of prec-
edence: 1. Clarence D. Batchelor ot the New York Daily News; 2, Ross A.
Lewis of the Milwaukee Journal; 3. Paul R. Carmack of the Christian
Science Monitor; 4. Gene Elderman of the Washington Post; 5. Lute Pease
of the Newark Evening News.43 The Advisory Board selected the runner-up,
Ross A. Lewis, to receive the award for his cartoon "Sure, I'll Work for Both
Sides."44 In 1936 the same jurors (Carl W. Ackerman et al.) once again drew
up a list of five cartoonists, having provided a short explanation with his
reasons for each of these. C. D. Batchelor of the New York Daily News who
"has done excellent work during the year" was placed first. The runner-up
was Herbert L. Block of the Newspaper Enterprise Association who submit-
ted 30 cartoons for consideration. The third best was John H. Cassel of the
Brooklyn Daily Eagle with seven samples of his work handed in. The fourth
best was Gene Elderman of the Washington Post on the basis of "a large
number of cartoons." Daniel Bishop of the St. Louis Star Times, of whom
"many cartoons"45 were submitted, came fifth. The Advisory Board was not
that convinced by any of the five cartoonists mentioned above so as to grant
any one of them a Pulitzer Prize, but decided - for the second time in the
history of the cartoon category - on "no award."46
In 1937 the jury (Carl W. Ackerman, Roscoe E. Brown, Herbert Brucker,
Charles P. Cooper and Oliver J. Keller) in fact only put one suggestion forth,
which was: "The members agreed to recommend that the cartoon prize be
awarded to C. D. Batchelor of the New York Daily News." Besides this, it
was proposed to give "an award of honorable mention" to John F. Knott of
41 John S. Hamilton/Grove Patterson/Henry F. Pringle, Report of the Pulitzer Prize Cartoon Jury, New
York, March 23, 1934, p. 1.
42 Columbia University (Ed.). The Pulitzer Prizes, op. cit., p. 40.
43 Carl W. Ackerman et al.. Report of the Pulitzer Prize Cartoon Jury, New York, March 30, 1935, pp.
2f.
44 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
45 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April
1936), pp. 1 ff.
46 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
XXX
the Dallas News.47 The Advisory Board did not follow the latter recom-
mendation, but rather decided in favor of the jury's favorite C. D. Batchelor
awarded for his cartoon "Come on in, I'll treat you right. I used to know your
Daddy."48 In 1938 the same jurors (Carl W. Ackerman et al.) drew up the
following list featuring five suggested cartoonists: 1. Gene Elderman of the
Washington Post; 2. Vaughn Shoemaker of the Chicago Daily News; 3.
Herbert L. Block of the Newspaper Enterprise Association; 4. William S.
Warren of the Buffalo Evening News; 5. C. D. Batchelor of the New York
Daily News.49 The Advisory Board selected the runner-up, Vaughn
Shoemaker, to be awarded for his cartoon "The Road Back?"50 The same
jury (Carl W. Ackerman et al.) also was responsible51 in 1939 for awarding
the Pulitzer Prize to Charles G. Werner of the Daily Oklahoman on the basis
of his cartoon "Nomination for 1938."52
Whereas in the past half-decade there were always five jurors, exclusively
recruited lecturers of the School of Journalism of the Columbia University,
in charge, this system was immediately changed after the beginning of World
War II. In 1940, for the first time, the cartoon jury consisted of only one
person (Eleanor Carroll) who had to examine 4,765 cartoons sorting these
beforehand according to the following themes: "War and Peace", "Censor-
ship and Propaganda", "Keep out of War", "U.S. Domestic Affairs", "Presi-
dential Pre-views", "War and Religion", "Axis Powers", "The Victims",
"Great Britain" and "Germany". "It has been the aim of the committee," the
report states, "to emphasize the idea and its graphic expression in each
instance, minimizing such information as the newspaper, the artist's name
and his volume of work."53 Based on these criteria of selection, 19 cartoons
"of prize-winning calibre" by 18 caricaturists were eventually put on the
short-list. Amongst them were works by Vaughn Shoemaker of the Chicago
Daily News, H. M. Talburt of the Scripps Howard Newspaper Alliance, D.
R. Fitzpatrick of the St. Louis Post-Dispatch, Edward Kuekes of the
Cleveland Plain Dealer, Ross A. Lewis of the Milwaukee Journal, C. D.
Batchelor of the New York Daily News, Robert York of the Louisville Times,
47 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April
1937), p. 4.
48 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
49 Carl W. Ackerman et al., Report of the Pulitzer Prize Cartoon Jury, New York, undated (April
1938), p. 7.
50 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
51 Carl W. Ackerman et al.. Report of the Pulitzer Prize Cartoon Jury, New York, undated (April
1939), p. 1.
52 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 40.
53 Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, April 12, 1940, p. 1.
XXXI
Rube Goldberg of the New York Sun, Edmund Duffy of the Baltimore Sun
and Rollin Kirby of the New York Post.54 The vote of the Advisory Board
was in favor of Edmund Duffy, thereby already winning his third Pulitzer
Prize, this time for the cartoon "The Outstretched Hand."55
When the prize was awarded in 1941 the jury (Eleanor Carroll) put to-
gether a short-list filtered out of the works of 41 cartoonists. Altogether 12
drawings were considered as prizeworthy, among them cartoons by Jacob
Burck of the Chicago Times, Vaughn Shoemaker of the Chicago Daily
News, C. D. Batchelor of the New York Daily News, Clifford Berryman of
the Washington Evening Star, Gene Elderman of the Washington Post, and
Herbert L. Block who adopted the pseudonym Herblock since the early
40s.56 The Advisory Board decided to bestow the award on Jacob Burck,
who won the prize for his cartoon "If I Should Die before I Wake..."57 No
fewer than 841 cartoons by 44 caricaturists were submitted to the jury
(Eleanor Carroll) in the year 1942, "a majority," of which, as the report says,
"... appeared after Pearl Harbor, i. e., within a very brief period at the end of
the year... Cartoons in the pre-Pearl Harbor period were weak because
American cartoonists were often confused and almost always on the defen-
sive... Not unnaturally, therefore, within the few weeks remaining in 1941,
American cartoonists began to acquire a new simplicity and vigor."58 The
jury primarily put those cartoons on its short-list which corresponded to this
trend, amongst them ten outstanding works by a few prominent drawers who
had already applied for the prize in the preceding years.59 The Advisory
Board chose Herbert L. Block (Herblock) of the Newspaper Enterprise As-
sociation from altogether ten finalists and gave him the Pulitzer Prize for his
drawing "British Plane."60
The jurors of the year 1943 (Robert E. MacAlarney and Wirt M. Mitchell)
stated at the beginning of their report that "as a whole, the quality of work
examined was unimpressive." Nevertheless, they chose the following five
caricaturists for further consideration: Elmer R. Messner of the Rochester
Times Union, Jay N. Darling (Ding) of the Des Moines Register and Trib-
une, Herbert L. Block (Herblock) of the Newspaper Enterprise Association,
Jacob Burck of the Chicago Times, and Vaughn Shoemaker of the Chicago
54 Ibid., pp. 2 f.
55 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
56 Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, March 30, 1941, ρ. 1.
57 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
58 Eleanor Carroll, Report of the Pulitzer Prize Cartoon Jury, New York, undated (March 1942), pp. 2 f.
59 Ibid., p. I .
60 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
XXXII
Daily News.61 The Advisory Board was especially taken with Jay N.
Darling's work who, 20 years after his first Pulitzer Prize, now won the
second one for the caricature "What a Place For a Waste Paper Salvage
Campaign."62 The jury of 1944 (Robert E. MacAlarney and Fred J.
Pannwitt) had to examine the works of 49 caricaturists, each of them having
submitted several drawings. The following eight cartoonists made the final
draw: C. D. Batchelor of the New York News, Jacob Burck of the Chicago
Times, William H. Crawford of the Newark Evening News, Jay N. Darling of
the Des Moines Register and Tribune, Walter J. Enright of the Miami
Herald, Jack Lambert of the Chicago Sun, Tom Little of the Nashville Ten-
nessean, and Vaughn Shoemaker of the Chicago Daily News.63 The Adviso-
ry Board did not accept any of the artists mentioned above, but rather gave
the Pulitzer Prize to Clifford Berryman of the Washington Evening Star for
his cartoon "But Where Is the Boat Going?"64
Applications by 51 caricaturists were submitted for consideration to the
one person jury (Arthur S. Rudd) of the year 1945, the following thirteen of
which were on the short-list: Jerry Costello of the Knickerbocker News, Jay
N. Darling of the Des Moines Register and Tribune, Bums Jenkins Jr. of the
Hearst Publications, Cecil Jensen of the Chicago Daily News, Edward
Kuekes of the Cleveland Plain Dealer, Tom Little of the Nashville Tennes-
sean, Paul S. Loring of the Providence Journal Bulletin, William H.
Mauldin of the United Features Syndicate, Silvey J. Ray of the Kansas City
Star, William Summers of the Buffalo Evening News, Keith Temple of the
New Orleans Times Picayune, Harold T. Webster of the New York Herald
Tribune, and Charles G. Werner of the Chicago Sun65 The prize was award-
ed to William H. (Bill) Mauldin, who was still serving in the army as a
sergeant at the time, being especially honored by the Advisory Board for his
cartoon "Fresh, spirited American troops..."66 being part of a series. In the
year 1946 the jury (Richard F. Crandell and Roscoe Ellard) selected from 38
applications the works of these six caricaturists: Newton Pratt of the
Sacramento Bee, Dorman H. Smith of the Newspaper Enterprise Associa-
tion, Vaughn Shoemaker of the Chicago Daily News, Paul Battenfield of the
61 Robert E. MacAlarney/Wirt M. Mitchell, Report of the Pulitzer Prize Cartoon Jury, New York,
March 15, 1943, p. 1.
62 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
63 Robert E. MacAlamey/Fred J. Pannwitt, Report of the Pulitzer Prize Cartoon Jury, New York,
March 20, 1944, p. 1.
64 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
65 Arthur S. Rudd, Report of the Pulitzer Prize Cartoon Jury, New York, March 1, 1945, pp. 1 f.
66 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
XXXIII
Self-portrait of a Pulitzer Prize-winning Cartoonist
Symbolic of more than half a century of cartooning, this Mlf-portralt of Clifford K. Berry-
man. Star cartoonist, depicts the 10 Chief Executives of the United States he has known. In order
the Presidents are Benjamin Harrison, Cleveland. McKinley, Theodore Roosevelt, Taft, Wilson,
Harding, Coolldge, Hoover and Franklin D. Roosevelt.
Source: The Sunday Star (Washington, D.C.), No. 36,223, July 4, 1943, p. A 2, cols. 3-5.
67 Richard F. Craiidell/Roscoe Ellard, Report of the Pulitzer Prize Cartoon Jury, New York, April 5,
1946, pp. I f .
68 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
XXXIV
cartoonists" of the early post-war years.69 On the list of the jurors (Walker
Stone and Basil L. Walters) of 1947 there was also a cartoon by Vaughn
Shoemaker of the Chicago Daily News entitled "Still Racing His Shadow,"
on the basis of which he won his second Pulitzer Prize.70 Cartoons with a
similar theme were also submitted to the jury of 1948 (Marvin Creager and
Verne E. Joy) for the Advisory Board chose Reuben L. Goldberg of the New
York Sun to be the winner for his drawing called "Peace Today."71 When the
prize was awarded in 1949 the works submitted to the jurors (Clayton
Fritchey and James Kerney Jr.) were also partly concerned with the cold war
problem. On top of the list was Tom Little of the Nashville Tennessean, fol-
lowed by Jacob Burck of the Chicago Sun-Times, John Chase of the New
Orleans States, D. R. Fitzpatrick of the St. Louis Post-Dispatch and Lute
Pease of the Newark Evening News.12 The works of the latter most impress-
ed the Advisory Board, so that the Pulitzer Prize of the cartoon-category
went to Lute Pease for his drawing "Who, Me?"73
In the beginning of their report, the jurors of 1950 (Jack Foster and
Michael A. Gorman) presented some thoughts concerning their procedure of
selection. "We felt," they stated, "that the cartoon that required extensive
wordage, intricate drawing to project its message, no matter how sound and
logical it might be, was not nearly as compelling as the one that relied
almost completely on the power of the drawing itself."74 Based on these
principles only five caricaturists and their works made the final draw, on top
the drawing "What Peace?" by Reuben L. Goldberg of the New York Sun.
"In our opinion this cartoon, as far as the craftsmanship is concerned, is the
most skillfully drawn of those submitted by any artist," the members of the
jury praised. Besides, one cartoon by each of the caricaturists mentioned
below was on the following places: Vaughn Shoemaker of the Chicago
Daily News, Roy B. Justus of the Minneapolis Star, Charles G. Werner of
the Indianapolis Star and John C. Chase of the New Orleans States.75 The
Advisory Board, however, did not accept anyone of these five caricaturists,
but decided in favor of another application. So in the end the prize was
awarded to James T. Berryman of the Washington Evening Star for his cari-
cature which focused on domestic policy entitled "All Set for a Super-Secret
Session in Washington."76
The early 50s were considerably shaped by the Korean Conflict, which is
also reflected in the caricatures of the period. In 1951 six finalists were
short-listed by the jury (Felix R. McKnight and H. D. Paulson) and acknowl-
edged as follows: Fred L. Packer of the New York Daily Mirror submitted a
cartoon that had "all the qualities necessary to attract attention and serve the
purposes of editorial cartooning." Vaughn Shoemaker of the Chicago Daily
News handed in an entry "designed to shake the shoulder of every Ameri-
can." John F. Knott of the Dallas Morning News took part in the competition
with a drawing that was characterized as "one of the most widely reprinted
cartoons of 1950." A work by Jacob Burck of the Chicago Sun-Times was
felt as very precise in detail. About a drawing of James T. Berryman of the
Washington Evening Star was said: "The penwork is outstanding." And con-
cerning a work of Reginald W. (Reg) Manning of the Arizona Repuplic it
was said: "With a minimum of ink, Mr. Manning has created a maximum of
expression."77 The caricature concerned was called "Hats," on the basis of
which Reg Manning finally won the Pulitzer Prize.78 Among the works
which had to be examined by the jury of 1952 (Henry B. Hough and Sam L.
Latimer Jr.) the Advisory Board chose Fred Packer of the New York Daily
Mirror to be the winner on the basis of his cartoon "Your Editors Ought to
Have More Sense Than to Print What I Say!"79
In their report, the jurors of 1953 (John M. O'Connell Jr. and William M.
Pepper Jr.) gave only the names of some finalists, but not of the papers they
worked for. "We have selected Bruce Alexander Russell's cartoon "Eisen-
hower's Jacket" as outstanding and recommend it for the winner," the jury's
report says and continues: "The drawing, as well as that of all other entries
of Mr. Russell, is of the highest quality. The pictorial effect is particularly
striking because of its omission of unnecessary details... We have decided to
list three other cartoons that we think could have won first place in the
absence of 'Eisenhower's Jacket'. Either Don Hesse's Over a Barrel', or John
Fischetti's Ί Cover the Waterfront' could stand in second place, and we
express no preference between them for the second and third spots. In fourth
position we have selected Eldon Fletcher's 'The Supreme Court'." Moreover
Reg Manning,
award winner
of 1951
Edward D. Kuekes,
award winner
of 1953
80 John M. O'Connell Jr./William M. Pepper Jr., Report of the Pulitzer Prize Cartoon Jury, New York,
March 10, 1953, p. 1.
81 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 41.
82 Ibid.
83 Sylvan S. Byck/George A. Smallsreed Sr., Report of the Pulitzer Prize Cartoon Jury, New York,
undated (March 1954), p. 2.
84 Ibid., pp. 1 f.
85 Letter from John Hohenberg, New York, to Joseph Pulitzer II, St. Louis, March 17, 1955, p. 1.
86 John Hohenberg, The Pulitzer Diaries. Inside America's Greatest Prize, Syracuse, N.Y., 1997, p.
315.
87 Columbia University (Ed.), The Pulitzer Prizes, op. cil., p. 42.
XXXVIII
jurors feel that Mr. York's work meets all of the conditions set forth for a
winner," says the vote in the report, "Mr. York deserves first place not only
for the individual cartoon..., but because of supporting evidence of his work
otherwise." John Fischetti of the Newspaper Enterprise Association was the
runner-up "for the general day-by-day excellence of his output." The artists
placing next closest were: Herbert L. Block of the Washington Post, Bruce
Shanks of the Buffalo Evening News, Cy Hungerford of the Pittsburgh Post-
Gazette, and Robert N. Palmer of the Springfield Leader and Press** The
Advisory Board accepted the jury's favorite, so that Robert York was
honored for a cartoon with the title "Achilles."89 In 1957, when the jurors
(Raymond J. Fanning and Burnett O. McAnney) were "impressed by the
high calibre of all cartoons," five caricaturists made the short-list: 1. Bums
Jenkins Jr., of the New York Journal-American, 2. John Stampone of the
Army Times Publishing Company, 3. Tom Little of the Nashville Tenne s-
sean, 4. Hugh Haynie of the Greensboro Daily News, and 5. Roy Justus of
the Minneapolis Star.90 The jury's first choice, however, was not accepted
by the Advisory Board, but rather it was the third placed artist who won.
Tom Little, who had already been among the finalists several times in the
past years, won the Pulitzer Prize for a cartoon entitled "Wonder Why My
Parents Didn't Give Me Salk Shots?"91 which was also often used in a health
campaign.
The report of the jury of 1958 (Edmund Duffy, Sam L. Latimer Jr. and
Burnett O. McAnney) only contained a list of suggested finalists as follows:
1. Don Hesse of the St, Louis Globe Democrat, 2. Newton Pratt of the Sacra-
mento Bee, 3. Edmund Valtman of the Hartford Times, 4. John Fischetti of
the Newspaper Enterprise Association, 5. William H. Crawford of the
Newark News.92 The members of the Advisory Board did not accept anyone
mentioned above, but,rather bestowed the Pulitzer Prize on Bruce M. Shanks
of the Buffalo Evening News for his cartoon "The Thinker."93 In 1959, too,
the jurors (D. Tennant Bryan and Weidman W. Forster) submitted only a
brief report saying: "Clarence Batchelor of the New York Daily News... is our
88 Stanley P. Barnett/Edmund Duffy/Sam L. Latimer Jr., Report of the Pulitzer Prize Cartoon Jury,
New York, March 12, 1956, p. 1.
89 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
90 Raymond J. Fanning/Burnett O. McAnney, Report of the Pulitzer Prize Cartoon Jury, New York,
undated (March 1957), p. 1.
91 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
92 Edmund Duffy/Sam L. Latimer JrTBumett O. McAnney, Report of the Pulitzer Prize Cartoon Jury,
New York, undated (March 1958), p. 1.
93 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
XXXIX
Source: Buffalo Evening News (Buffalo, N.Y.), Vol. CLXXXVIII/No. 10, April 22, 1974, p. 28.
XL
No. 1 selection." Besides, the report shortly mentioned the following names:
William H. Mauldin of the St. Louis Post-Dispatch, Vaughn Shoemaker of
the New York Herald Tribune, William B. Robinson of the Indianapolis
News, Edmund Valtman of the Hartford Times, Arthur Poinier of the Detroit
News and James J. Dobbins of the Boston Traveler.94 The Advisory Board
again did not confirm the jury's favorite, but gave the honor to William H.
(Bill) Mauldin, thus receiving his second Pulitzer Prize; this time for the
drawing "I won the Nobel Prize for Literature. What was your crime?"95
The jury of the year 1960 (Daniel R. Fitzpatrick, Michael J. Ogden and
Miles H. Wolff) reported "that the best work has been submitted by Newton
Pratt of the Sacramento Bee... Next to Mr. Pratt our vote was for Herbert L.
Block of the Washington Post... We had two other cartoonists in the final run-
ning: William H. Crawford of the Newark News and Paul F. Conrad of the
Denver Post."9(> Because of these very short comments the Advisory Board
did not feel the need to award anyone mentioned above, and decided for the
third time in the history of this category on "no award."97 In 1961, too, the
opinions of the jurors (J. Q. Mahaffey, Colbert A. McKnight and William P.
Steven) and the Advisory Board differed enormously. The jury put four cari-
caturists, namely William H. (Bill) Mauldin of the St. Louis Post-Dispatch,
Roy Justus of the Minneapolis Star, Paul Conrad of the Denver Post and
Hugh Haynie of the Louisville Courier-Journal, on their short-list. "The ju-
rors," citing their report literally, "found it difficult to select one of these as
substantially stronger than the others. However, ... the three jurors were
unanimous that Bill Mauldin's work best adhered to the high traditions of the
Pulitzer awards for cartooning."98 However, the members of the Advisory
Board were once again not convinced by the jurors' suggestions and declared
someone else as winner, namely Carey Orr of the Chicago Tribune who was
honored for his complete works. His drawing "The Kindly Tiger" was con-
sidered an especially good example of his work.99
The year 1962 was to bring another surprise, for the jury (Virgil M.
Newton Jr., Frank F. Orr and Dwight E. Sargent) had only one favorite in
94 D. Tennant Bryan/Weidman W. Forster, Report of the Pulitzer Prize Cartoon Jury, New York,
March 12,1959, p. 1.
95 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
96 Daniel R. Fitzpatrick/Michael J. Ogden/Miles H. Wolff, Report of the Pulitzer Prize Cartoon Jury,
New York, undated (March 1960), p. 1.
97 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
98 J. Q. Mahaffey/Colbert A. McKnight/William P. Steven, Report of the Pulitzer Prize Cartoon Jury,
New York, March 9, 1961, p. 1.
99 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
XLI
their report, namely Tom Little of the Nashville Tennessean who had already
been awarded the prize five years before. "Mr. Little has demonstrated the
power and persuasiveness of the pen when held by a craftsman of con-
science and dedication to the highest of journalistic ideals," as the report
goes, "many of the other entries were excellent, but we feel that Mr. Little's
cartoons are in a class by themselves."100 The Advisory Board, however,
was not impressed by this laudatio, but rather chose Edmund S. Valtman of
the Hartford Times as winner, who received the prize for his cartoon "What
You Need, Man, Is a Revolution Like Mine!"101 In 1963 the jurors (John S.
Gillen, Lee Hills and Victor O. Jones) selected from 77 entries Paul F.
Conrad of the Denver Post, Herbert L. Block (Herblock) of the Washington
Post, William Mauldin of the Chicago Sun-Times, Frank Miller of the Des
Moines Register and Tribune and last year's winner Edmund S. Valtman of
the Hartford Times as possible winners.102 Finally, the Advisory Board de-
clared itself to be willing to accept one of the artists mentioned above. The
Pulitzer Prize in this category went this time to Frank Miller "for his distin-
guished editorial cartoons during the year, a notable example of which" was
"I said - we sure settled that dispute, didn't we!"103
The jury of the year 1964 (Frank R. Ahlgren, Donald K. Baldwin, Jim
Fain, John B. Oakes and Vermont C. Royster) drew up a list of four candi-
dates as described in the following statement: "The committee recommends
for the Pulitzer Cartoon Prize Paul Conrad of the Denver Post for the general
excellence of his entry... The second choice was Charles Werner of the Indi-
anapolis Star... The third choice was Gene Basset of the Scripps Howard
Newspapers... The fourth choice was Bill Mauldin of the Chicago Sun-
Times."104 Without protest on the part of the Advisory Board the prize went
to Paul Conrad "for his editorial cartooning during the year."105 There were
just three names on the jury's (Arthur R. Bertelson, Hugh N. Boyd, William
Dwight Sr. and John N. Popham) list of finalists for the year 1965, namely:
"1. Hugh Smith Haynie of the Louisville Courier-Journal... The jury was
favorably impressed by the general content of Mr. Haynie's work throughout
100 Virgil M. Newton Jr./Frank F. Orr/Dwight E. Sargent, Report of the Pulitzer Prize Cartoon Jury,
New York, March 8, 1962, p. 1.
101 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
102 John S. Gillen/Lee Hills/Victor O. Jones, Report of the Pulitzer Prize Cartoon Jury, New York,
undated (March 1963), p. 1.
103 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
104 Frank R. Ahlgren/Donald K. Baldwin/Jim Fain/John B. Oakes/Vermont C. Royster, Report of the
Pulitzer Prize Cartoon Jury, New York, undated (March 1964), p. 1.
105 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
XLII
the man Edmund & Valtman, editorial cartooieilüHpe ÄWIU4 Time· once 1951.
the prize Winner of the 1961 Pulitzer Prize fattfoKidal cartoone in the Times.
the paper The Hartford Times, Connecticut's largest daily newspaper and New England's Top
Award Winner. We're mighty proud of our Eld Valtman and the many other Times employees who
have won awards in the past. We prize these people and their talents. They and their associates, are
responsible for placing The Hartford Times among the outstanding newspapers in the country today.
Source: Editor & Publisher (New York), Vol. 95/No. 21, May 26, 1962, p. 33.
XLIII
106 Arthur R. Bertelson/Hugh N. Boyd/William Dwight Sr./John N. Popham, Report of the Pulitzer
Prize Cartoon Jury, New York, undated (March 1965), pp. 1 f.
107 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 42.
108 John E. Leard/John B. Oakes/John Strohmeyer/Thomas Winship, Report of the Pulitzer Prize Car-
toon Jury, New York, March 4, 1966, pp. 1 f.
109 Columbia University (Ed.), The Pulitzer Prizes, op. cif., p. 42.
XLIV
this was the second choice by the committee by 3-to-2 vote. Cecil Leon
Jensen of the Chicago Daily News... Patrick B. Oliphant of the Denver
Post... This was the unanimous selection of the committee to receive the
award. Raymond Harold Osrin of the Cleveland Plain Dealer... Bruce
McKinley Shanks of the Buffalo Evening News... This was third choice of
(the) committee. Robert Stevens of the Sioux City Evening Tribune was the
last of the alphabetical list. "The Oliphant cartoon," it was additionally
emphasized about the first choice, "in the opinion of the committee, consists
of an original concept dramatically expressed. His style is fresh and highly
individualistic. This also is reflected in his other work... The cartoon we
favored was helpful to a commendable cause of public importance in a
global rather than just local or national sense. The cartoon, by pointing up
alternatives, dramatizes not one but two issues of overriding importance
today."110 In view of the high merits Patrick B. Oliphant received the
Pulitzer Prize "for his cartoons during the year as exemplified by "They
Won't Get Us To The Conference Table... Will They?"111
When the prize was awarded in 1968 the jurors (Frank R. Ahlgren, Don
Carter, Jim Fain, William H. Fitzpatrick and Larry Jinks) drew up a list of a
group of finalists in order of preference with the following names: "First:
Bill Mauldin of the Chicago Sun-Times for the overall quality of his work...
Second: Jules Feiffer of the Village Voice... Third: Paul F. Conrad of the Los
Angeles Times. Fourth: Eugene Gray Payne of the Charlotte Observer."112
Later on, there are some explanations in the report for this selection pointing
at first to "Mauldin's ability to capture in a few strokes issues of a great
moment," whereas stating about Jules Feiffer that "his judgments are un-
compromising, and his captions are the work of an accomplished writer.
Paul Conrad," the report goes on, "is not only an incisive discursionist, but
he has a gentle humor that should be in every cartoonist's portfolio. He has
an awareness of the global situation and he sizes up the local scene with per-
ceptiveness and sometimes devastating strokes. He is, indeed, a man for all
seasons. Eugene Payne combines stark, clean draftsmanship with forceful
ideas and fresh wit. The jury was especially impressed by his cartoon... epito-
mizing the upstaging of the civil rights issue by the Vietnamese War."113
The Advisory Board was most impressed by the latter artist, Eugene Gray
Source: Editor & Publisher (New York), Vol. 100/No. 18, May 6, 1967, p. 3.
XLVI
Payne being only number four on the jury's list, but he was awarded the
Pulitzer Prize "for his editorial cartooning" in the past year.114
Without any further reasons given for their selection the jury of 1969
(Glen A. Boissonneault, Rene Cazenave, Robert Mason, Everett T. Rattray
and William T. Shelton) mentioned on its finalists' list six "recommenda-
tions in alphabetical order because it was unable to agree on a single out-
standing cartoon or cartoonist." Nominated were Paul Conrad of the Los
Angeles Times, Lewis Erickson of the Atlanta Journal, John Fischetti of the
Chicago Daily News, Bill Mauldin of the Chicago Sun-Times, Patrick B.
Oliphant of the Denver Post and Raymond H. Osrin of the Cleveland Plain
Dealer.115 The Advisory Board's choice was the third one mentioned among
the finalists. Thus the Pulitzer Prize went to John Fischetti "for his editorial
cartooning" during the last year.116 When the prize was awarded in 1970 the
jury (Clayte Binion, Max Frankel, Vance H. Trimble and Donald C. Wilder)
drew up a list "on the work of four men, in this order: 1. Thomas F. Darcy of
Newsday, 2. Don Wright of the Miami News, 3. Herbert L. Block of the
Washington Post, 4. Patrick B. Oliphant of the Denver Post."111 "Mr.
Darcy's work is the most deserving of honor this year," the jurors reported
and added: "He has a fresh, bold and broad style of cartoon commentary, yet
commands attention also for the subtlety and sophistication of his mes-
sages... He uses pictures and words, in effective combination, for a clear and
vigorous impact on the reader. Messrs. Wright, Block and Oliphant remain
the old pros in our judgment; worthy of honor yet in some small way less
commanding of it than Mr. Darcy."118 The Advisory Board did not raise any
objections and chose Thomas F. Darcy as winner "for his editorial cartoon-
ing" of the preceding year.119
In 1971, when once again five jurors (George Fattman, Stuart R. Paddock
Jr., Wendell C. Phillippi, John C. Quinn and Charles B. Seib) were in charge
of selecting the finalists, they mentioned in their report "arranged in order of
preference: 1. Don Wright of the Miami News. We were greatly impressed
by his whole exhibit... 2. Paul Michael Szep of the Boston Globe... 3.
Herbert L. Block of the Washington Post... 4. Bill Mauldin of the Chicago
114 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
115 Glen A. Boissonneault/Rene" Cazenave/Robert Mason/Everett T. RattrayAVilliam T. Shelton, Re-
port of the Pulitzer Prize Cartoon Jury, New York, March 6, 1969, p. 1.
116 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
117 Clayte Binion/Max Frankel/Vance H. Trimble/Donald C. Wilder, Report of the Pulitzer Prize Car-
toon Jury, New York, March 5, 1970, p. 1.
118 Ibid.
119 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
XLVH
Sun-Times... 5. Paul Conrad of the Los Angeles Times.120 The latter of the
list, Paul Conrad, was awarded the Pulitzer Prize "for his editorial cartoon-
ing" during the year. It was the second time for him to receive this honor.121
PAUL CONRAD
HAS BEEN AWARDED
THE PULITZER PRIZE IN JOURNALISM
FOR
EDITORIAL CARTOONING
IN WITNESS WHEREOF WE HAVE CAUSED THIS CERTIFICATE TO BE
SIGNED BY THE PRESIDENT OF THE UNIVERSITY
AND OUR CORPORATE SEAL TO BE HERETO AFFIXED
ON THE THIRD DAY OF MAY IN THE YEAR OF OUR LORD
ONE THOUSAND N I N E HUNDRED AND SEVENTY-ONE
the Los Angeles Times Syndicate; 3. Paul Conrad of the Los Angeles Times;
4. Douglas N. Marlette of the Charlotte Observer, 5. William W. Sanders of
the Milwaukee Journal."12* "It has been the considered view of the jury," as
the list mentioned above was justified, "that Mr. Trudeau's work is marked
by a brilliance in ideas and that he has had enormous impact among the
young. The jury is cognizant that by selecting Mr. Trudeau as its first-place
choice it has departed from what has seemed to be a habit of selecting only
editorial page work. Some few editors have recognized the editorial thrust of
'Doonesbury' and have plucked his work out of the standard sections and
placed it in strong editorial positions."129 The Advisory Board was con-
vinced by this new approach to interpreting editorial cartoons in the way the
jury explained it. So the Pulitzer Prize was bestowed on Garry Trudeau "for
his cartoon strip 'Doonesbury'" of the preceding year.130
Of the ninety-six entries submitted to the jurors of 1976 (Luke Feck,
Frank F. Orr, Wendell C. Phillippi, William J. Raspberry and William D.
Snider) it was Jeffrey MacNelly of the Richmond News-Leader, who was
unanimously put in first-place by the jury. "We are particularly impressed by
the power of his ideas," the report states, "the quality of his draftsmanship,
his penchant for the unexpected twist and the bite of his wit... The jury also
commends strongly the work of Pat Oliphant of the Washington Star, Tony
Auth of the Philadelphia Inquirer and Wayne Stayskal of the Chicago Trib-
une"131 However, the Pulitzer Prize went to Tony Auth "for his editorial
cartooning during the year, as exemplified by the cartoon "O beautiful for
spacious skies, For amber waves of grain..."132 Among other things, the jury
of 1977 (Judith W. Brown, Christy C. Bulkeley, Robert B. Frazier, Edward
Lehman and Garth C. Reeves Sr.) praised the "Strength, of caricatures,
drawings and points" by Paul Szep of the Boston Globe, the "Direct, strong
drawings and points" by Richard Locher of the Chicago Tribune, the "Clear
and direct points" by Doug Marlette of the Atlanta Constitution, the "Good
imagery; range of images and subjects" by Tony Auth of the Philadelphia
Inquirer, and "Timeliness" by Don Wright of the Miami News,"133 On the
UNIVERSAL PRESSSYNDICA TE
andSHEED & WARD, INC,
475 Fifth Aocmtt: Kt-w York 10017
Source: Editor & Publisher (New York), Vol. 108/No. 20, May 17, 1975, p. 27.
LI
part of the Advisory Board, Paul Szep was chosen as winner and thus
received this popular prize for the second time.134
Although Paul Szep had been awarded the Pulitzer Prize in the preceding
year, the jury of 1978 (Thomas W. Gerber, John C. Ginn, Len Kholos, Jean
A. Small and John M. Werner) put him in first-place again. "We found his
artwork powerful, his ideas pertinent and provocative. The total impact of
his drawing and message was," how it is stated literally in the report, "in our
opinion, so superior it stood alone among all entries. Of the remaining
ninety-three entrants, the jury found the following three worthy of your con-
sideration in the event you do not agree with our top choice. They are:
Jeffrey K. MacNelly, James C. Morin and Mike Peters."135 However, it was
not the jury's first choice who was awarded by the Advisory Board, but it
was Jeffrey K. MacNelly of the Richmond News Leader receiving his
second Pulitzer Prize already.136 When the prize was awarded in 1979, the
jurors (Stanley P. Asimov, Raymond H. Boone, William E. Chilton III,
Thomas W. Gerber and Melba A. Sweets) unanimously favored only one
caricaturist named Robert W. Englehart Jr. of the Dayton Journal Herald.
His "work combines original ideas and perception," the report stressed, "he
translates complex issues into clear and powerful messages."137 In spite of
this explicit praising, the Advisory Board again did not accept the jury's
vote. Instead, Herbert L. Block (Herblock) of the Washington Post was de-
clared the winner and he thereby won his third Pulitzer Prize.138
The members of the jury of 1980 (Robert F. Campbell, Norman A.
Cherniss, Michael E. Pulitzer, Jean S. Taylor and Joel H. Walker) made it
short characterizing the three finalists as follows: Richard Locher of the
Chicago Tribune: "Original concepts, keen political judgments, concern for
the public, flair...," Paul Szep of the Boston Globe: "fine satire, sense of ridi-
cule, sense of humor...," Don Wright of the Miami News: "powerful, slashing,
bitter, highly effective, strong ethical judgments..."139 The latter, Don Wright,
was selected by the Advisory Board to be winner of the Pulitzer Prize - al-
ready his second of the kind.140 The jurors of 1981 (Russell Baker, Anthony
134 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
135 Thomas W. Gerber/John C. Ginn/Len Kholos/Jean A. Small/John M. Werner, Report of the
Pulitzer Prize Cartoon Jury, New York, March 3,1978, p. 1.
136 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
137 Stanley P. Asimov/Raymond H. Boone/William E. Chilton m/Thomas W. Gerber/Melba A.
Sweets, Report of the Pulitzer Prize Cartoon Jury, New York, March 6, 1979, p. 1.
138 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
139 Robert F. Campbell/Norman A. Cherniss/Michael E. Pulitzer/Jean S. Taylor/Joel H. Walker, Re-
port of the Pulitzer Prize Cartoon Jury, New York, March 4, 1980, pp. 1 f.
140 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
LII
Herblock Wins
His 3rd Pulitzer
Day, James D. Ewing, Barbara C. White and Linda Winer) also kept their
reasons given for the following three finalists comparatively short: "1. Mike
Peters is the unanimous choice of the jury for the prize. His cartoons are con-
sistently powerful, imaginative, witty and boldly drawn. He never settles for
the easy cliche. 2. Jules Feiffer captures in ink the enduring ironies and transi-
ent absurdities of the American condition in a uniquely conversational style
that has become part of the cartooning vocabulary. 3. Paul Szep is passion in
ink, intensely felt and powerfully projected with great artistic skill."141 This
time the Advisory Board decided in favor of the jury's top choice and chose
Mike Peters of the Dayton Daily News as the prize-winner.142
The members of the jury of 1982 (Joy Darrow, William P. Hobby, William
H. Neubeck, James H. Ottaway Jr. and Murray M. Weiss) took quite lengths
in considering their "top three choices from 121 entries," which they present-
ed in alphabetical order: Paul Conrad of the Los Angeles Times: "The work
of Paul Conrad was judged a strong third by the cartoon jury. His cartoons
are original and imaginative. They are well drawn and make sharp editorial
points about major public issues in the news..." Ben Sargent of the Austin
American-Statesman: "Ben Sargent's first place... is the unanimous choice of
the nominating jury... His entry of ten cartoons exhibit a mordant satire in
the best tradition of Thomas Nast. His pungent pictorial comment ranged
from defense policy, to President Reagan's budget, to the teaching of crea-
tion theory..." Don Wright of the Miami News: "Don Wright's work is devas-
tating. His cartoon on growing old was judged by the jurors to be one of the
most powerful of the more than 1,000 entered. In his entry this year, Don
Wright shows that he has not lost any of the wit, perception or artistic skill...
The cartoon jury judged Don Wright's entry second best of this year's excel-
lent submissions."143 The Advisory Board decided in favor of neither Paul
Conrad nor Don Wright - both already having received two Pulitzer Prizes
in the past - but rather for the first-place on the jury's list: Ben Sargent.144
When the prize was awarded in 1983, the jurors (Jenk Jones Jr., James
Lawrence, Jonathan Marshall, Jean A. Small and Seymour Topping) were
similarly detailed about their three finalists as in the previous year. In alpha-
betical order, the following names and merits were listed: Tony Auth of the
Philadelphia Inquirer: "Tony Auth presents his points with strength and
clarity. His art is expressive and tells a story. And the issues he attacks have
cogency. The judges found him a close third." Richard Locher of the
Chicago Tribune: "Dick Locher draws in strong pictorial style making effec-
tive editorial points, yet often injecting humor that yields compassionate
insights into American life. The judges found him a close second..." Dick
Wright of the Providence Journal-Bulletin: "The work of Dick Wright was
voted the best by the jury. His art work was exceptionally good, and we
applauded his independence. He scolded all those he thought deserving of it:
conservatives and liberals, Republicans and Democrats, the PLO and Begin.
He appeared beholden to no party or ideology."145 For the Advisory Board,
however, the extremely positive and well-founded substantiation about the
latter did not seem to be convincing, for the prize was bestowed on the
runner-up, Richard Locher.146
In the year 1984, there were again five jurors (Lionel C. Bascom, Gregory
E. Favre, David E. Halvorsen, Tom Kelly and James D. Squires), who also
went to a great deal of effort selecting. They decided - as instructed - in
favor of a list of three, which were given in alphabetical order: Steve Benson
of the Arizona Republic, Paul Conrad of the Los Angeles Times and Don
Wright of the Miami News. "While these entries are submitted in alphabeti-
cal order," the jury's report states, "the five jurors were unanimous in the
opinion that Don Wright's work clearly represented the most consistent and
strongest of the three finalists. In point system balloting with three points
going to first place, Mr. Wright got all 15 first place points. Mr. Benson was
second with eight points and Mr. Conrad received seven. The jurors agreed
that the strength of Mr. Wright's entry was the broad range of his comment,
all delivered with unusual clarity and incisiveness and an important element
found lacking in many entries of this year - humor... The jurors place Mr.
Benson second," the report continues, "on the strength of three exceptional
cartoons... The jurors agreed that Mr. Conrad's cartoon depicting a U.S.
Marine in Beirut trying to reason with a distant commander as the best
single cartoon on the Middle East of the competition."147 In the end the
argument mentioned last seems to have been the motive on the part of the
Advisory Board not to give the prize to the highly praised first place of the
145 Jenk Jones JrVJames Lawrence/Jonathan Marshall/Jean A. Small/Seymour Topping, Report of the
Pulitzer Prize Cartoon Jury, New York, March 8, 1983, p. 1.
146 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
147 Lionel C. Bascom/Gregory E. Favre/David E. Halvorsen/Tom Kelly/James D. Squires, Report of
the Pulitzer Prize Cartoon Jury, New York, March 6,1984, p. 1.
LV
A Tradition of Creativity
jury's list, Don Wright, but rather to Paul Conrad, who thereby received his
third Pulitzer Prize.148
Since the year 1985 the jurors (Linda G. Cunningham, Robert H. Giles,
Richard L. Gorrell, Skeeter Hagler and Howard Simons) have been explicit-
ly requested to take into account on their nominations form paper the follow-
ing principles: "Please list your three nominations for the prize in your cat-
egory in alphabetical order by newspaper. In the space provided beneath
each identification line, please supply a brief statement as to why the jury
believes that this particular entry deserves to receive the Pulitzer Prize in this
category. It is not a part of the jury's charge to offer its preferences among
its three nominees."149 According to these instructions the jury's decision
was then brief like this: Buffalo News - Tom Toles: "Clearly the freshest,
most original political cartoon voice in the United States today. Consistently
different, challenging and compelling." The next one mentioned was:
Chicago Tribune - Jeff MacNelly: "Is in a class by himself. Never draws a
cliche. His art work is distinguished. He almost always makes his point
subtly, using humor to deliver a telling comment about our government, our
politics or our society." Finally the third was named: Cincinatti Enquirer -
Jim Borgman: "Fresh approach to characters and scene-setting. Certainly
(he) is different. He's a craftsman as an artist. On social issues, he is as origi-
nal and as interesting as any commentator."150 Among these three sugges-
tions, the Advisory Board chose Jeff MacNelly as the winner receiving his
third Pulitzer Prize.151
In 1986, when the jury (Skeeter Hagler, Pam M. Johnson, David Lipman,
Arnold Ropeik and Howard Simons) presented the list of their three finalists
according to the instructions for nominations of the year before, it read as
follows: Jack Higgins of the Chicago Sun-Times: "His work represents a
strong voice and an original and vibrant visual approach. His message is
clear and has instant impact, whether he is treating local, national or interna-
tional events. Higgins produced cartoons of high artistic quality. He is an ex-
cellent illustrator and commentator." On Michael Edward Luckovich of the
New Orleans Times-Picayune it was reported: "He is a fresh, bright new voice
in editorial cartooning. Every stroke has a bite that makes the viewer aware
of the human dilemma. Luckovich is extremely perceptive and extremely
148 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
149 Pulitzer Prize Nominating Sample, New York, March 1985, p. 1.
150 Linda G. Cunningham/Robert H. Giles/Richard L. Gonell/Skeeter Hagler/Howard Simons, Report
of the Pulitzer Prize Cartoon Jury, New York, March 5,1985, p. 1.
151 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
LVII
contemporary." The judgment about the third mentioned, Mike Peters of the
Dayton Daily News, was: "Peters is great and funny and tough. He is a rare
ability to send a powerful message about both social and political issues. It
was the unanimous view of the jury that two of his cartoons were the best of
the more than one thousand considered."152 The Advisory Board was not
that convinced by any of the three finalists to give him the prize. Instead,
Jules Feiffer of the Village Voice was chosen as winner for the Pulitzer Prize
in the cartoon category.153
The jurors of 1987 (J. D. Alexander, John K. Murphy, Mel Opotowsky,
Edwin A. Roberts Jr. and Wayne Sargent) apologized at the begin of their
report that "this jury finds it necessary to submit four nominations. After
many hours of discussion," they continued, "we were unable to reduce the
number to three."154 Without mentioning the names of the newspapers of the
caricaturists, the report dealt in detail with the merits of the ones selected:
VOICE
Expect the unexpected
Source: Editor & Publisher (New York), Vol. 119/No. 17, April 26, 1986, p. 24.
155 Ibid.
156 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
157 Dale Allen/Edwin Guthman/George Neavoll/Eugene C. Patterson/David Zeeck, Report of the
Pulitzer Prize Cartoon Jury, New York, March 1, 1988, p. 1.
158 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
LIX
ing reasons for, the following finalists: Steve Benson of the Arizona Repuplic:
"Benson's commentary is hilarious, pointed and piercing, and shows imagina-
tion and depth in jabbing directly at the core of issues." Jack Higgins of the
Chicago Sun-Times: "... draws blood. He combines powerful images and
ironic comment. We draw attention to three cartoons..." Joel Pett of the
Lexington Herald-Leader: For courageous, imaginative, sustained and un-
flinching work on a regional issue - a Governor - demonstrating that cartoons
can affect public perceptions and policy as powerfully as any other form of
journalism."159 Jack Higgins was the Pulitzer Prize-winner in the cartoon
category.160 The comments of the jury of 1990 (Dave Barry, Stephen Hess,
David Kraslow, Richard H. Leonard and Rena Pederson) were kept short as
well: "Chan Lowe of the Fort Lauderdale News... makes a compelling, cou-
rageous effort to address controversial major issues with effective artwork
that suggests even greater promise. Jim Morin of the Miami Herald... has ad-
dressed the major news issues... with compelling force. His images are origi-
nal and arresting. He avoids cliches. The point of his cartoons emerges with
dramatic clarity." Garry Trudeau of the Universal Press Syndicate touched the
theme of AIDS as "one of the most significant health issues facing the nation,
few cartoonists have dealt with it directly."161 But the Advisory Board did
not choose anybody of this group of three, but rather named Tom Toles of
the Buffalo News as the Pulitzer Prize-winner "for his work during the year
as exemplified by the cartoon 'First Amendment.1"162
The jury members of 1991 (Jodie T. Allen, Howard H. Hays, Molly Ivins,
C. Ray Jenkins and James M. Klurfeld) gave more detailed reasons for the
selection of the favorites again presenting them, as instructed, in alphabetical
order. The first was Jim Borgman of the Cincinnati Enquirer. "Jim Borgman
is a cartoonist," the report states literally, "who is both biting and funny. He
combines a wonderful and whimsical drawing style with incisive commen-
tary, and he is consistently outstanding." About Ralph Dunagin of the
Orlando Sentinel it was said: "With an economy of brush and spareness of
detail evocative of the work of the great James Thurber, Ralph Dunagin
represents the best of the art of editorial cartooning. His work is subtle, yet
immediately comprehensible, simple yet trenchant, and above all enormously
Congratulations
to the
1990 Pulitzer Prize-winner
Tom Toles
in recognition for distinctive editorial cartooning.
Unfailing in directness, insight and humor,
Tom Toles' cartoons reveal his acute
political awareness and unique artistic skills.
Universal Press Syndicate takes great pride in celebrating
this deserved honor and tribute.
Source: Editor & Publisher (New York), Vol. 123/No. 16, April 21, 1990, p. 49.
LXI
entertaining." The last finalist in this report is Signe Wilkinson of the Phila-
delphia Daily News: "When one goes through 125 entries, one runs across
many variations on the same theme. Signe Wilkinson's work is strikingly
original both in its subjects and its treatments. Her style is unique, as are her
insights and her ability to distill them into a single, arresting image."163 The
Advisory Board took Jim Bergman's side, whose complete works seemed to
be the most convincing. Thus he received the Pulitzer Prize.164
The jurors of 1992 (Jodie T. Allen, Edward A. Higgins, Max Jennings,
Saundra Keyes and Clarence Page) obviously found it useful to present the
three finalists as briefly as possible: Steve Benson of the Arizona Repuplic
was characterized by his "artistic skill, range of topics and mastery of both
the serious and humorous." Ralph Dunagin of the Orlando Sentinel, as it
was characterized, "packs a powerful punch with a simple line... Dunagin
makes you laugh out loud." About Signe Wilkinson of the Philadelphia
Daily News was stated that her "approach is fresh, insightful and unexpected.
Her topics are often unusual and her range is broad. She can be moving even
while humorous, but she can bite when she wants to."165 In view of this con-
vincing vote for the latter, the Advisory Board bestowed the Pulitzer Prize
on Signe Wilkinson.166 In 1993, the jury (Richard Aregood, Margaret
Downing, Ted Natt, Thomas Winship and William L. Winter) presented its
three finalists similarly brief. According to the report, Stephen Benson of the
Arizona Repuplic had "a firm and distinctive style, with a wide range of
subjects. His humor is rich..." Jeff Danziger of the Christian Science
Monitor had "a subtle but intense passion in his work... His art is quiet, dif-
ferent and attentive to details." Don Wright of the Palm Beach Post was
honored as "a cartoonist whose message explodes... His message is never in
doubt."167 The Advisory Board classified the achievements of Stephen
Benson as the highest and therefore the Pulitzer Prize went to him.168
When the prize was awarded in 1994, there were again five jurors (Caesar
Andrews, Gary Burns, Eric Newton, C. Michael Pride and Stanley R. Tiner)
who did the painstaking job of selecting three finalists. As usual, the list was
presented in alphabetical order: First named was Stephen Benson of the
163 Jodie T. Allen/Howard H. Hays/Molly Ivins/C. Ray Jenkins/James M. Klurfeld, Report of the
Pulitzer Prize Cartoon Jury, New York, March 5,1991, p. 1.
164 Columbia University (Ed.), The Pulitzer Prizes, op. cit., p. 43.
165 Jodie T. Allen/Edward A. Higgins/Max Jennings/Saundra Keyes/Clarence Page, Report of the
Pulitzer Prize Cartoon Jury, New York, March 3,1992, p. 1.
166 Columbia University (Ed.), The 76th annual Pulitzer Prizes..., New York, April 7, 1992, p. 4.
167 Richard Aregood/Margaret Downing/Ted Natt/Thomas Winship/William L. Winter, Report of the
Pulitzer Prize Cartoon Jury, New York, March 2, 1993, p. 1.
168 Columbia University (Ed.), The 77th annual Pulitzer Prizes..., New York, April 13, 1993, p. 5.
LXII
AFTER YEARS OF
ATMUNG
GOVERNMENT POUCX
LAMBASTING
PUBTJC FIGURES,
AND CHAUENGING
OUR PERCEPTIONS
OF TRUIHUSTICE
SIGNE WEJONSON
HASDRWTHE
KIND OFÄTTENTDN
SHE DESERVES.
NEWS
Congratulations Signe. The Philadelphia Daily News' latest Pulitzer Prize winner.
Your editorial cartoons not only oosemed the news, but made it as well.
Source: Editor & Publisher (New York), Vol. 125/No. 15, April 18, 1992, p. 54.
LXIII
Arizona Republic, who had already made the short-list several times in the
past and was the winner the year before. "Benson provides thoughtful, easily
understood treatment of a range of topics," the report characterized him.
"His images get right to the point in unique fashion. Among the standouts
was his submission of the issue of gays in the military, the best in a crowded
field on that single topic." Lynn Johnston of the Universal Press Syndicate
"tackled one of society's most difficult issues in a series of panels on a teen-
ager struggling to reveal his homosexuality to friends and family..." Michael
P. Ramirez of the Commercial Appeal "consistently evokes feelings," the
jury's opinion on his work reads, "provokes thoughts and delivers a precise
message. In addition, he's a strong artist with a fresh, distinctive perspective.
He's both profound and funny."169 In view of these outstanding merits of the
latter, the Advisory Board chose Michael P. Ramirez as Pulitzer Prize win-
ner "for his trenchant cartoons on contemporary issues."170
At the beginning of their list of three finalists, the members of the jury of
1995 (Marty Claus, Dwight Lewis, Wickliffe R. Powell, Don W. Robinson
and Jean G. Wilson) named Robert L. Ariail of the State from Columbia,
S.C., whom the jurors certified that, among other things, his "editorial car-
toons stand firm on the place of touch local issues that arouse defense
feelings..." About the next one, Jim Borgman of the Cincinnati Enquirer, it
was stated that he "is beyond labels. He takes on complex issues and
visually delines immediate understanding. He has a sophisticated way of
getting past the talk of the day to the root of issues and has an... ability to use
humor to make strong political statements." The third was Mike Luckovich
of the Atlanta Constitution, who had already been among the finalists
several times, and who was characterized as follows: "Mike Luckovich is,
quite simply, brilliant... Mike is hard to ignore. Cover to cover, this entry is
worthy of the Pulitzer Prize. Treating the mega-themes in today's society,
Luckovich always has a different take, using a specific news event to make a
point in broad perspective. He catches us in our prejudices. We believe Mike
Luckovich speaks to readers in a way that compels them to listen - and to
appreciate his point of view."171 The Advisory Board had nothing to object
these praises, so that Mike Luckovich was awarded the Pulitzer Prize.172
169 Caesar Andrews/Gary Bums/Eric Newton/C. Michael Pride/Stanley R. Tiner, Report of the
Pulitzer Prize Cartoon Jury, New York, March 1, 1994, p. 1.
170 Columbia University (Ed.), The 78th annual Pulitzer Prizes..., New York, April 12, 1994, p. 4.
171 Marty Claus/Dwight Lewis/Wickliffe R. Powell/Don W. Robinson/Jean G. Wilson, Report of the
Pulitzer Prize Cartoon Jury, New York, March 7,1995, pp. 1 ff.
172 Columbia University (Ed.), The 79th annual Pulitzer Prizes..., New York, April 18, 1995, p. 6.
LXIV
In 1996, the members of the jury (Bill Felber, Neville Green, Barbara
Ireland, Gil Thelen and Noel D. Wycliff) filtered out three finalists of high
calibre with Jim Borgman of the Cincinnati Enquirer as the first in alpha-
betical order. The report said that he "thought deeply and passionately about
America's enduring dilemma, race. His cartoons brilliantly challenged con-
ventional wisdom and led readers to find connection and understanding amid
conflicting versions of the truth. He is unafraid of stepping on toes, witness
his powerful statement on black-on-black violence and his puncturing of the
myth about taking a whole village to raise a child. His non-race cartoons
offer fresh and thoughtful images and ideas on the unsettled Middle East,
precarious workplace, endangered environment and other issues." Ted Rail
of the Chronicle Features, named afterwards, had in the eyes of the jurors "a
refreshingly different take on the America of the 90s. In his hands, the
developments of the day are pushed to absurd levels that reveal more starkly
some of the underlying truths... And Rail addresses some themes overlooked
by many of his peers: consumerism, liberals' handwringing over homeless-
ness, the selling of naming rights to corporations." Tom Toles of the Buffalo
News finally was honored "for cartooning that is clever, humorous and well-
executed, while at the same time challenging each reader's assumptions...
Tom Toles sees quickly to the heart of each issue he approaches."173 In spite
of these praises, the Advisory Board did not bestow the prize on anyone of
the three mentioned, but rather selected Jim Morin of the Miami Herald as
Pulitzer Prize winner.174
The jurors of the year 1997 (Lou Heldman, Michael E. Keefe, Harry M.
Rosenfeld, Sue Ryon and Josette Shiner), did not find it easy to filter out
three finalists from all the applications for the cartoon prize. On top of their
list of names was Walt Handelsman of the New Orleans Times-Picayune,
about whom the jury report said that the caricaturist "moves from the sublime
to the ridiculous with powerful insight and fine technical skill. His sharp wit
and emphatic heart result in a remarkably consistent portfolio of high-impact
cartoons. Handelsman brings an everyday sensibility to the news. He skill-
fully captures the essence of the famous and infamous, ruthlessly hoisting
them on their own hypocrisies and self-importance... Handelsman is gifted
in his ability to evoke a belly-laugh or a tear, and to hit the bull's eye day in
and day out." About Chip Bok of the Akron Beacon Journal the jurors re-
marked that he "is funny. Very funny. In his personal, vivid style, he drama-
173 BUI Felber/Neville Green/Barbara Ireland/Gil Thelen/Noel D. Wycliff, Report of the Pulitzer Prize
Cartoon Jury, New York, March 5,1996, pp. 1 ff.
174 Columbia University (Ed.), The 80th annual Pulitzer Prizes..., New York, April 9, 1996, p. 6.
LXV
Source: Publisher (New York), Vol. 129/No. 17, April 27, 1996, p. 12.
LXVI
tically drives home the ironies that mark public life." And about Jeffrey
MacNelly of the Chicago Tribune it was just said that he "is a master. He is
smart, he is funny and he is, even after all these years, always original. His
inventiveness is breathtaking and graphically he is at the top of the heap."175
The members of the Advisory Board were especially impressed by the draw-
ings of the caricaturist Walt Handelsman, so that he received the Pulitzer
Prize in the cartoon category for outstanding achievements.176
As a bit late descendant of the "editorial writing" award the "editorial car-
tooning" prize, as established in the early twenties, experienced a chequered
but exciting development of about seventy-five years: In the beginning the
annual submissions were either too poor or did not fulfill the high quality
criteria which belong to a Pulitzer Prize. Every year, the jurors had to do the
painstaking job of filtering out the best products of hundreds of works - as
the number was in later years - and to present them to the Advisory Board
as prizeworthy or rejectable. It is a sign of courage of both committees
primarily in charge of awarding the prize, that no fewer than five times in all
these years they decided on "no award." In summary, John Hohenberg once
stated that "it was the work of the editorial cartoonists, rather than the edito-
rial writers, that the mood of the country was more sharply recorded."177 For
the leading caricaturists of the country, partly awarded the Pulitzer Prize,
accompanied the important phases of Inner and Foreign policy of the United
States in an especially striking and not seldom extremely unmasking way.
This intention was always the ambition for the great caricaturists, and the
three time prize-winner Paul Conrad once confessed that "winning the
Pulitzers gave me a justification to keep doing what I've been doing but to
work my damnedest to do it even better."178 To sum it up: Since the estab-
lishment of the cartoon category, "there have been many changes in the
world since that time, but editorial cartooning remains much the same... The
cartoonist... stays put-most"179 of all types of journalistic undertakings!
Since "the cartoon prize was created in 1922," as Seymour Topping put it
in short,180 the educational function of the cartoonists as well as their draw-
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181 S. L. Harrison, Cartoons as a Teaching Tool In Journalism History, in: Journalism & Mass Com-
munication Educator (Columbia, S.C.), Vol. 53/No. 1, Spring 1998, pp. 96 ff.
182 Ibid., pp. 99 ff.
PRESENTATION PRACTICES OF
AWARD-WINNING CARTOONS
REMARKS ABOUT THE DOCUMENTATION
CRITERIA
[Source: Rollin Kirby: Well - You May 'Keep Part Of Your Food,' Ivan, in: The World (New York,
N.Y.), Vol. LXI/No. 21,769, March 28, 1921, p. 10, cols. 4-7.]
[Source: Rollin Kirby: Assisting The Sick Man, in: The World (New York, N.Y.), Vol. LXII/No. 21,889,
July 26, 1921, p. 8, cols. 4-7.]
Interpretation: Cartoon shows Soviet Union as an ill man whose weak con-
stitution is furthered as he is lead by Bolshevism and the famine. The whip
in Bolshevism's hand indicates the brutality of the new regime. Thus criticiz-
ing the political system that reigns the country, the drawing reflects on the
way many people from foreign countries may have thought about the people
of the Soviet Union: with compassion.
"ON THE ROAD TO MOSCOW"
I
[Source: Rollin Kirby: On The Road To Moscow, in: The World (New York, N.Y.), Vol. LXII/No.
21,899, August 5, 1921, p. 6, cols. 4-7.]
Interpretation: Cartoon shows the Grim Reaper, leading Soviet people suf-
fering under the famine to Moscow. More over, they are slaves and tied to
each other. The vast nothingness around them makes clear how desolate
their situation is. The sarcasm lies in the fact that these people who are
marching to protest already look too weak to even reach their destination,
yet alone state their demands.
1923 AWARD
ABOUT THE DECISION TO WITHHOLD THE PRIZE
FOR WORK DONE IN 1922
BY
THE ADVISORY BOARD
Columbia University
Although the members of the 1923 Pulitzer Prize Cartoon Jury in their re-
port made the suggestion that the prize be awarded to Jay Norwood Darling
of the New York Tribune, the Advisory Board rejected the proposal of the
jurors and gave "no award" in this category.
8
Jay Norwood Darling (born on October 21, 1876, in Norwood, Mi.) attend-
ed Yankton College in South Dakota between 1894 and 1895. In 1899 he
worked as a reporter for the Sioux City Tribune in Iowa. The following year,
in which Beloit College in Wisconsin granted Darling his Bachelor of Phi-
losophy, he started to work for the Sioux City Journal, first as a reporter and
then as a cartoonist. In 1906 he switched to the Des Moines Register, where
he stayed until 1911. In that year he was offered a position in New York
with the syndicate connected with the New York Globe, and he accepted. But
after only two years he returned to Des Moines to work for the Register
again. In 1917 he was hired as editorial cartoonist for the New York Tribune
and its syndicate, but Darling remained in Des Moines and continued to
work for the Register, too. For his cartoon "In Good Old U.S.A." Jay N.
Darling was granted the Pulitzer Cartoon award in 1924.
10
"IN GOOD OLD U. S. A."
Α
ϊ,,°ΐϊβΑΝ AT
*B NOW ONIC
°" ™ WORtO'S CJUUmr MIMNC BMCUSKEftS AND ECON.
OMLS rs, WHOSE ΛΜΒΓΠΟΝ is TO ELIMINATE THE cvcte OF DEPRESSSION AND UNEMPLOYMENT
THE SON OF * PFIASTEBER IS NOW THK WORt.P'S flREATEhT N'EUROLOCIST AND HIS HOBBV
IS GOOD HE.ALTH FOK KK>« CHILORB-N
BUT THEY UIDNT GET THERE BY HANGING AROUND THE CORNER DRUG STORE
[Source: Jay N. Darling: In Good Old U.S.A., in: Des Meines Sunday Register (Des Meines, la.), Vol.
74/No. 319, May 6, 1923, p. 1, cols. 4-6.]
[Source: Jay N. Darling: Riddle: Why Is The Machinery Of Government..., in: Des Moines Sunday
Register (Des Moines, la.), Vol. 75/No. 10, July 1, 1923, p. 1, cols. 4-6.]
f n ·τ·» _/ί
I en-*/
OWfNC TO THI HIGH WAGES OF CITY LABOR AM» THE U)W PRICE OF FARM PRODUCTS THE POPULATION
MOVES TO THE CITY
THEN. OWING TO THE DF-POPVtATION OF THE FARM AND THE OVERMANNING OF THE OTT, GRAIN GOES LT
A.VD WAGES GO DOWN
Α.νη. OWINO το ΤΗΒ »ττβΛητνβ purc or KARM PRODUCE, τι« DISSATISFIED CITY DWELLE» KUSHES ovi
TO TAKK LT FARMING
[Source: Jay N. Darling: And We Talk About Stabilizing The Farm Industry By Legislation!, in: The
Des Moines Register (Des Meines, la.), Vol. 75/No. 21, July 12, 1923, p. 1, cols. 4-6.]
1925 AWARD
ABOUT PEACE HOPES AND
WAR FEARS IN 1924
BY
ROLLIN KlRBY
The World (New York)
[Source: Rollin Kirby: News From The Outside World, in: The World (New York, N.Y.). Vol. LXV/No.
23,056, October 5, 1924, p. 2 E, cols. 4-7.]
Interpretation; Cartoon shows the only three nations who did not join the
League of Nations - the Soviet Union, Mexico and the U.S. - reading about
the peace pact in a hobo camp, thus presenting them as poor outsiders. The
Soviets did not want any contact to non-communist countries. Mexico failed
to join due to massive internal problems. Former President T. Woodrow
Wilson, who died in early February 1924, had sometimes favored entry;
however, several years ago the US. Congress had passed the chance, too.
15
"A COUPLE OF QUESTIONS"
we HAVE A wcu
(FOR INSTANCf?)
/ ί/ι
;
[Source: Rollin Kkby: A Couple Of Questions, in: The World (New York, N.Y.), Vol. LXV/ No.
23,076, October 25,1924, p. 8, cols. 4-7.]
ON»
pa»;-.- ; .τ ΛΑΟΙ·» FO&EI6N
ELATION^
[Source: Rollin Kirby: Bringing A Little Light Into It, in: The World (New York, N.Y.), Vol. LXV/No.
23,117, December 5, 1924, p. 12, cols. 4-7.]
1926 AWARD
ABOUT LAW AND ORDER
VALUES IN 1925
BY
DANIEL R. FITZPATRICK
St. Louis Post-Dispatch
[Source: Daniel R. Fitzpatrick: The Laws Of Moses And The Laws Of Today, in: St. Louis Post-
Dispatch (St. Louis, Mo.), Vol. 77/No. 217, April 12,1925, p. 2 B, cols. 4-6.]
[Source: Daniel R. Fitzpatrick: The Volstead Trail, in: St. Louis Post-Dispatch (St. Louis, Mo.), Vol.
77/No. 224, April 19, 1925, p. 2 B, cols. 4-6.]
[Source: Daniel R. Fitzpatrick: Making Her Ridiculous, in: St. Louis Post-Dispatch (St. Louis, Mo.),
Vol. 77/No. 231, April 26, 1925, p. 2 B, cols. 4-6.]
Interpretation: Cartoon refers to the Scopes "monkey" trial. The teacher John
C. Scopes from Tennessee had a friend of him suit him, as Scopes unlawfully
taught Charles R. Darwin's theory of evolution. Later that year, the judge
had to sentence Scopes who afterwards took it further to Supreme Court.
21
1927 AWARD
NELSON HARDING
Brooklyn Daily Eagle
Nelson Harding (born on October 31, 1879, in New York City) was
educated at Greenwich Academy in Connecticut. For his art training, he
attended the Art Students' League in New York City, the Chase School, and
the New York School of Art. Before he had a chance to get started in his
profession, the Spanish-American War broke out. During that war Harding
did service with the U.S. Volunteers. Between 1898 and 1908 he was a
member of the New York National Guard. In 1908 Harding joined the
Brooklyn Daily Eagle and, during the next two decades that he worked on
the paper, became one of the most reprinted cartoonists in the country. In ad-
dition to his drawing he wrote short numerous paragraphs under the heading
"Here and Now," which were printed on the front page of the Eagle. In 1927
his work was granted great recognition, for in that year Nelson Harding won
the Pulitzer Cartoon award for his drawing "Toppling the Idol."
22
[Source: Nelson Harding: Toppling The Idol, in: Brooklyn Daily Eagle (New York, N.Y.), Vol. 86/No.
260, September 19, 1926, p. 4 B, cols. 5-8.]
[Source: Nelson Harding: Top-heavy Structures Require Bracing, in: Brooklyn Daily Eagle (New York,
N.Y.), Vol. 86/No. 324, November 22,1926, p. 8, cols. 5-8.]
'ii-fj&n
£»;·^)
Χ·&.
U.S.
[Source: Nelson Harding: His Own Dust, in: Brooklyn Daily Eagle (New York, N.Y.), Vol. 86/No. 333,
December 2, 1926, p. 8, cols. 5-8.]
1928 AWARD
BY
NELSON HARDING
Brooklyn Daily Eagle
Nelson Harding (born on October 31, 1879, in New York City) was
educated at Greenwich Academy in Connecticut. For his art training, he
attended the Art Students' League in New York City, the Chase School, and
the New York School of Art. Before he had a chance to get started in his
profession, the Spanish-American War broke out. During that war Harding
did service with the U.S. Volunteers. Between 1898 and 1908 he was a
member of the New York National Guard. In 1908 Harding joined the
Brooklyn Daily Eagle and, during the next two decades that he worked on
the paper, became one of the most reprinted cartoonists in the country. In
addition to his drawing he wrote short humerous paragraphs under the
heading "Here and Now," which were printed on the front page of the Eagle.
In 1927 his work was granted great recognition, for in that year Nelson
Harding won the Pulitzer Cartoon award. Only one year later, in 1928, did
he receive another Pulitzer Prize in that category for the cartoon "May His
Shadow Never Grow Less."
26
"MAY HIS SHADOW NEVER GROW LESS"
Sς
*"""* Γ
[Source: Nelson Harding: May His Shadow Never Grow Less, in: Brooklyn Daily Eagle (New York,
N.Y.), Vol. 87/No. 346, December 15, 1927, p. 8, cols. 4-7.]
Interpretation: Cartoon does not refer to the famous flight across the
Atlantic by Charles A, Lindbergh, as one might think. Rather it refers to his
flight to Mexico which was a gesture of goodwill, in order to improve the
relations between Mexico and the United States of America. The airplane it-
self suggested the pattern of a cross for the shadow on the ground.
27
"A NEW BOUNDARY MARK"
[Source: Nelson Harding: A New Boundary Mark, in: Brooklyn Daily Eagle (New York, N.Y.), Vol.
87/No. 349, December 18, 1927, p. 4 B, cols. 4-7.]
[Source: Nelson Harding: A Bird Of Peace, in: Brooklyn Daily Eagle (New York, N.Y.), Vol. 87/No.
359, December 29, 1927, p. 8, cols. 4-7.]
1929 AWARD
"TAMMANY"
[Source: Rollin Kirby: Tammany, in: The World (New York, N.Y.), Vol. LXIX/No. 24,506 September
24, 1928, p. 12. cols. 2-7.]
Interprefotion; Cartoon shows the figure of the Grand Ole Party raising his
hands at the mention of the Democratic Tammany machine as if to ward off
any contact to the rival party. Several prominent Republicans have joined
him in the background, as some kind of a choir of angels. The drawing
caricatures the hypocrisy and "holier-than-thou"-attitude of many Republi-
cans by that time: All the Congressmen behind GOP were notorious. Some
of them were found guilty of illegal practises, such as bribery and theft as
one can see by the jail garb they are wearing. Everybody in the late twenties
could easily recognize all the persons drawn in this cartoon and it was
common knowledge that these Congressmen, whether convicted or not,
seemed to be corruptible. Nevertheless, the Republicans gained a majority in
the Presidential elections several weeks later.
31
"SEE THE PRETTY BANNER"
;
*·
[Source: Rollin Kirby: See The Pretty Banner, in: The World (New York, N.Y.), Vol. LXK/No. 24,512,
September 30, 1928, p. 2 E, cols. 4-7.]
Interpretation: Cartoon critizes the Grand Ole Party of lying to the voter in
the campaign prior to the Presidential elections. GOP tries to hide a stinking
can of "Republican Garbage" behind a banner of prosperity and thus is also
giving the voter what he wanted to see. The drawing intends to show that the
smell of corruption etc. that sticks to the Republican party cannot be hidden
behind a banner.
32
[Source: Rollin Kirby: We'll Run This Campaign, in: TAe WorW (New York, N.Y.), Vol. LXIX/No.
24,517, October 5, 1928, p. 12, cols. 4-7.]
1930 AWARD
BY
CHARLES R. MACAULEY
Brooklyn Daily Eagle
Charles Raymond Macauley (born on March 29, 1871, in Canton, Oh.) was
educated in public schools in his home town Canton. He adopted the career
as a cartoonist after winning the first prize in a Cleveland Press competition
in 1891. He then worked as a political cartoonist for the Cleveland World,
the Cleveland Plain Dealer, and the Cleveland Leader until 1894. The same
year he moved to New York City, where he contributed to leading metro-
politan papers and periodicals until 1899. For the next two years Macauley
worked with the Philadelphia Inquirer. Between 1901 and 1904 he was
engaged in literary work. Among others he wrote and illustrated "Fantasma-
land." In 1904 he became editorial cartoonist on the New York Morning
World, where he stayed the following ten years. He then switched to the
Brooklyn Daily Eagle. For his drawing "Paying for a Dead Horse" Charles
R. Macauley received the 1930 Pulitzer Prize in the cartoon category.
34
[Source: Charles R. Macauley: Paying For A Dead Horse, in: Brooklyn Daily Eagle (New York, N.Y.),
Vol. 89/No. 53, February 23, 1929, p. 4, cols. 4-7.]
Inierpreiation: Cartoon refers to the huge war debts. Europe and especially
Germany had to the U.S. and to the allies as an aftermath of World War I.
The war, of course, -was already over, here shown as a dead horse for which
no one wants to pay anymore. The issue of reparations was a burden for both
creditor and debtor; the person lugging the huge sack of reparations is rather
a world citizen than of a specific nationality. The problem was not easy to
solve: On one hand, it was clear that Germany because of the economic
crisis of the country could not keep on paying reparations without even
having a fixed sum to pay off. But on the other hand, Italy, France and
Britain threatened to stop their payments to the U.S. if Germany were allow-
ed to cut their reparations. However, the U.S. could not afford to lose more
or less regular payments from European countries since they had their own
big fiscal problems by that time.
35
"WILL THE PEACE DOVE RETURN ?"
[Source: Charles R. Macauley: Will The Peace Dove Return?, in: Brooklyn Daily Eagle (New York,
N.Y.), Vol. 89/No. 110, April 21, 1929, p. 4 B, cols. 4-6.]
[Source: Charles R. Macauley: Lighting The World, in: Brooklyn Daily Eagle (New York, N.Y.), Vol.
89/No. 125, May 6, 1929, p. 8, cols. 4-7.]
1931 AWARD
Edmund Duffy (born on March 1, 1899, in Jersey City, N.J.) skipped high
school entirely and entered the Art Students' League in New York at the age
of fifteen. He broke into the newspaper field with a page of sketches on the
Armistice Day celebration for the Sunday magazine section of the New York
Tribune. Duffy took a number of assignments like this and stored up some
money doing straight news and sports drawings. He then went to Europe and
worked for the London Evening News for a while. After leaving London
Duffy moved to Paris, where he spent a number of years. In 1922 he
returned to the USA and began to work for the Brooklyn Eagle and the New
York Leader. Two years later Duffy switched to the Baltimore Sun, where he
stayed the following years working as a political cartoonist. In 1931
Edmund Duffy was awarded the Pulitzer Prize in the cartoon category for
his drawing "An Old Struggle Still Going On."
38
"AN OLD STRUGGLE STILL GOING ON"
[Source: Edmund Duffy: An Old Struggle Still Going On, in: The Sun (Baltimore, Md.), Vol. 186 - D/no
No. given, February 27, 1930, p. 12, cols. 4-6.]
[Source: Edmund Duffy: Can't Get A Firm Grip, in: The Sun (Baltimore, Md.), Vol. 186 - D/no No.
given, March 4, 1930, p. 14, cols. 4-6.]
[Source: Edmund Duffy: Move Over!, in: The Sun (Baltimore, Md.), Vol. 187 - D/no No. given,
September 30,1930, p. 12, cols. 4-6.]
1932 AWARD
John Tinney McCutcheon (born on May 6, 1870, near South Raub, In.)
received his B.S. degree in 1889, and in the same year he joined the staff of
the Chicago Record. His first political cartoon work appeared in the
campaign of 1896. Two years later the cartoonist started a trip around the
world on a dispatch boat, and he was on that vessel during the war against
Spain and in the battle of Manila Bay in 1898. In 1899 McCutcheon made a
tour on special service in India, Burma, Siam and Cochin-China, and another
tour took him to Northern China, Korea, Japan, and to the Philippines. When
he was sent to Transvaal the following April, he joined the Boers in interest
of his paper, still the Record. He also furnished political cartoons for that
paper during the 1900 campaign. The same year his book "Stories of
Filipino Warfare" was published. It was followed by several collections of
his work, such as "Cartoons by McCutcheon" and "The Mysterious Stranger
and Other Cartoons." McCutcheon worked for the Record and its successor,
the Record Herald, until 1903, when he became cartoonist for the Chicago
Tribune. The following years the cartoonist again went on several trips, so to
Africa, Mexico and Europe, where he stayed between 1914 and 1916. In
addition to his work for several papers McCutcheon was also engaged in
university studies. In 1926 he received his D.H.L. degree, and five years
later Notre Dame University granted him the L.L.D. degree. In 1932 John T.
McCutcheon received again great recognition when his drawing "A Wise
Economist Asks a Question" won him the Pulitzer Cartoon award.
42
[Source: John T. McCutcheon: A Wise Economist Asks A Question, in: Chicago Daily Tribune
(Chicago, II.), Vol. LXXXXJNo. 198, August 19, 1931, p. 1, cols. 4-6.]
[Source: John T. McCutcheon: The Dangerous Short-Cut, in: Chicago Daily Tribune (Chicago, II.), Vol.
LXXXX/No. 212, September 4,1931, p. 1, cols. 4-6.]
[Source: John T. McCutcheon: The Dream Of Labor, in: Chicago Daily Tribune (Chicago, II.), Vol.
LXXXX/No. 214, September?, 1931, p. 1, cols. 4-6.]
1933 AWARD
ABOUT JAPAN'S QUARRELS
AND AGGRESSIONS IN 1932
BY
HAROLD M. TALBURT
The Washington Daily News
Harold M. Talburt (born on February 19, 1895, in Toledo, Oh.) was educated
in public schools. Talburt's newspaper career began in 1916, when he joined
the staff of the Toledo News-Bee as a reporter. He did reportorial work for
that paper for three years. While working as a reporter he also began to draw
cartoons and some of the drawings he submitted were also used. A series of
cartoons Talburt drew for the sports section attracted the editor's attention
and soon Talburt drew a daily cartoon regularly. The cartoonist stayed with
the News-Bee until 1922, and then switched to the Scripps-Howard News-
paper Alliance, where he became editorial cartoonist. For his drawing "The
Light of Asia," published in the Washington Daily News, Harold M. Talburt
was granted the Pulitzer Prize in the cartoon category in 1933.
46
[Source: Harold M. Talburt: The Light Of Asia, in: The Washington Daily News (Washington, D.C.),
11th Year/No. 68, January 27, 1932, p. 12, cols. 2-4.]
"KARA KIRI"
'νί-:·· ϊ&ί'£#£?£&.
[Source: Harold Μ. Talburt: Kara Kiri, in: The Washington Daily News (Washington, D.C.),
Year/No. 74, February 3, 1932, p. 12, cols. 2-4.]
[Source: Harold M. Talburt: Fanning The Flame, in: The Washington Daily News (Washington, D.C.),
11th Year/No. 93, February 25, 1932, p. 12, cols. 2-4.]
1934 AWARD
Edmund Duffy (born on March 1, 1899, in Jersey City, N.J.) skipped high
school entirely and entered the Art Students' League in New York at the age
of fifteen. He broke into the newspaper field with a page of sketches on the
Armistice Day celebration for the Sunday magazine section of the New York
Tribune. Duffy took a number of assignments like this and stored up some
money doing straight news and sports drawings. He then went to Europe and
worked for the London Evening News for a while. After leaving London
Duffy moved to Paris, where he spent a number of years. In 1922 he returned
to the USA and began to work for the Brooklyn Eagle and the New York
Leader. Two years later Duffy switched to the Baltimore Sun, where he
stayed the following years working as a political cartoonist. In 1931 Duffy
was awarded the Pulitzer Prize in the cartoon category. Only three years
later did Edmund Duffy receive another Pulitzer Cartoon award for the
drawing "California Points with Pride-!!"
50
[Source: Edmund Duffy: Over The Dome At Annapolis -, in: The Sun (Baltimore, Md.), Vol. 194 - D/no
No. given, November 24, 1933, p. 14, cols. 4-6.]
[Source: Edmund Duffy: California Points With Pride -!!, in: The Sun (Baltimore, Md.), Vol. 194 - E/no
No. given, November 28, 1933, p. 12, cols. 4-6.]
[Source: Edmund Duffy: A Reminder, in: The Sun (Baltimore, Md.), Vol. 194 - D/no No. given,
December 8, 1933, p. 12, cols. 4-6.]
1935 AWARD
Ross A. LEWIS
The Milwaukee Journal
[Source: Ross A. Lewis: Why Must It Reach This 'Point?', in: The Milwaukee Journal (Milwaukee,
Wi.), 52nd Year/no No. given, May 31, 1934, p. 1, cols. 5-7.]
[Source: Ross A. Lewis: We Cover The Waterfront, in: The Milwaukee Journal (Milwaukee, Wi.), 52nd
Year/no No. given, July 6, 1934, p. 1, cols. 3-5.]
l·.».
LM>5/
1936 AWARD
Although the members of the 1936 Pulitzer Prize Cartoon Jury in their re-
port made a short list of five names and placed Clarence D. Batchelor of the
New York Daily News first, the Advisory Board rejected the proposal of the
jurors and gave "no award" in this category.
58
1937 AWARD
BY
CLARENCE D. BATCHELOR
Daily News (New York)
Clarence Daniel Batchelor (bom on April 1, 1888, in Osage City, Ks.) was
educated at Osage City Public school and at Salina High School in the time
between 1894 and 1907. While still in high school Batchelor got art training
at the Chicago Academy of Fine Arts. After finishing high school he
attended the Chicago Art Institute until 1910. The following year he became
staff artist for the Kansas City Star. After a brief period on the Star,
Batchelor first got a job on the railroad and, on the side, sold a few drawings
to the humour magazines Life, Judge and Puck and then free-lanced for a
while. In 1912 Batchelor was awarded a prize for the six best cartoons on
public health by the American Medical Association. Following a job with
the New York Journal for four years and another time of free-lancing
Batchelor worked as a cartoonist for the Ledger Syndicate and the New York
Post in the years between 1923 and 1931. Then he also became editorial car-
toonist with the New York Daily News. For his drawing "Come on in, I'll
treat you right. I used to know your Daddy" Clarence D. Batchelor was
awarded the 1937 Pulitzer Prize in the cartoon category.
60
"COME ON IN, I'LL TREAT YOU RIGHT- I USED TO
KNOW YOUR DADDY"
[Source: Clarence D. Batchelor: Come On In, I'll Treat You Right - I Used To Know Your Daddy, in:
Daily News (New York, N.Y.), Vol. 17/No. 261, April 25, 1936, p. 17, cols. 3-4.]
Interpretation: Cartoon depicts the European youth being lured into war as
they only see the glamorous side like marching bands and flattering uni-
forms, here symbolized in the beautiftil body of the whore called war. The
youngster does not seem to recognize the awful face which reveals the true
horror of war as a total tragedy.
61
[Source: Clarence D. Batchelor: Europe's Eye View Of Her Future, in: Daily News (New York, N.Y.),
Vol. 17/No. 262, April 27, 1936, p. 23, cols. 3-4.]
EthW
Fiasco
[Source: Clarence D. Batchelor: A Famous Cat Begins To Worry Over Its Remaining Lives, in: Daily
News (New York, N.Y.), Vol. 17/No. 269, May 5, 1936, p. 27, cols. 3-4.]
1938 AWARD
BY
VAUGHN SHOEMAKER
The Chicago Daily News
Vaughn Shoemaker (born on August 11, 1902, in Chicago, II.) was educated
at Myra Bradwell grammar school and at Bowen High School in Chicago,
which he left in 1920. The same year he began attending the Chicago Acad-
emy for Fine Arts, where he stayed until 1921. The following year he started
to work at the art department of the Chicago Daily News. For two years his
stint consisted of doing tiny drawings for a feature known as "The Batch of
Smiles" plus a dozen drawings a week for another feature known as "More
Truth Than Poetry." In 1925 he became the paper's chief cartoonist and only
two years later he got the post of an instructor at the Chicago Academy for
Fine Arts. In 1930 Shoemaker saw, for the first time, his cartoons being tele-
cast by a station in Chicago. The same year his works began to be syndicated
and appeared in a number of other newspapers. In addition to drawing car-
toons Shoemaker also dedicated himself to painting. In 1935 and 1936 one-
man water color exhibitions of his work took place at the Obrien Galleries in
Chicago. Another exhibition was organized by the Marshall Field Galleries
in 1938. That year Vaughn Shoemaker, the multi-functional artist, was
granted the Pulitzer Cartoon award for his drawing "The Road Back?"
64
[Source: Vaughn Shoemaker: When The Last Ethiopian Is Dead, in: The Chicago Daily News (Chicago,
II.). 62nd Year/No. 49, February 27, 1937, p. 8, cols. 5-7.]
Interpretation: Cartoon shows Japan proceeding war with China that began
with invading Manchuria five years earlier. To the bombs attached are ironic
apoligies to some countries who once signed the nine-power-treaty with
Japan.
66
"THE ROAD BACK?"
[Source: Vaughn Shoemaker: The Road Back?, in: The Chicago Daily News (Chicago, II.), 62nd
Year/No. 266, November 11, 1937, p. 14, cols. 5-7.]
1939 AWARD
Charles George Werner (born on March 23, 1909, in Marshfield, Wi.) at-
tended Oklahoma City University and Northwestern, where his special inter-
ests were history, economics and literature. Between 1930 and 1935 Werner
was artist and photographer at the Springfield Leader and Press. For two
years, from 1935 until 1937, he was a member at the art department of the
Daily Oklahoman, and in 1937 he became the paper's editorial cartoonist.
Two years later Charles G. Werner was awarded the Pulitzer Prize in the
cartoon category for his drawing "Nomination for 1938."
68
"THE NEXT BITE"
[Source: Charles G. Werner: The Next Bite, in: The Daily Oklahoman (Oklahoma City, Ok.), Vol.
47/No. 48, February 25, 1938, p. 8, cols. 5-7.]
[Source: Charles G. Werner: The Stakes Are High, in: The Daily Oklahoman (Oklahoma City, Ok.),
Vol. 47/No. 252, September 17, 1938, p. 6, cols. 5-6.]
CZECHOSLOVAKIA
1919 -1938
[Source: Charles G. Werner: Nomination For 1938, in: The Daily Oklahoman (Oklahoma City, Ok.),
Vol. 47/No. 271, October 6, 1938, p. 10, cols. 5-6.]
1940 AWARD
Edmund Duffy (born on March 1, 1899, in Jersey City, N.J.) skipped high
school entirely and entered the Art Students' League in New York at the age
of fifteen. He broke into the newspaper field with a page of sketches on the
Armistice Day celebration for the Sunday magazine section of the New York
Tribune. Duffy took a number of assignments like this and stored up some
money doing straight news and sports drawings. He then went to Europe and
worked for the London Evening News for a while. After leaving London
Duffy moved to Paris, where he spent a number of years. In 1922 he
returned to the USA and began to work for the Brooklyn Eagle and the New
York Leader. Two years later Duffy switched to the Baltimore Sun, where he
stayed the following years working as a political cartoonist. In 1931 Duffy
was awarded the Pulitzer Prize in the cartoon category. Only three years
later did the cartoonist receive another Pulitzer Cartoon award. A third
Pulitzer Prize in the cartoon category was granted to Edmund Duffy in 1940
for his drawing "The Outstretched Hand."
72
[Source: Edmund Duffy: The Outstretched Hand, in: The Sun (Baltimore, Md.), Vol. 205 - E/no No.
given, October 7, 1939, p. 10, cols. 4-6.]
[Source: Edmund Duffy: The Boy At The Dike, in: The Sun (Baltimore, Md.), Vol. 205 - D/no No.
given, November 3, 1939, p. 14, cols. 4-6.]
[Source: Edmund Duffy: The Wild Waves Aren't Saying Nice Things, in: The Sun (Baltimore, Md.),
Vol. 205 - D/no No. given, November 29, 1939, p. 10, cols. 6-8.]
1941 AWARD
Jacob Burck (born on January 10, 1904, in Bialostok, Poland) came to the
United States in 1914. In Cleveland, Ohio, he went to public school and high
school. He also attended the Cleveland School of Art and the Art Students'
League of New York. In 1924 he also began studying portrait painting with
Albert Sterner in New York. The same year an exhibition of his work took
place at the Cleveland Museum of Art. Burck wanted to be a portrait painter,
but also was interested in other forms of art. He liked cartooning, and made
drawings now and then for the New Masses. These cartoons came to the
attention of the veteran managing editor of the St. Louis Post-Dispatch and
Burck was offered a post with that paper. He stayed there until the summer
of 1938, when he left to join the staff of the Chicago Times. In 1941 Jacob
Burck was awarded the Pulitzer Cartoon award for his drawing "If I Should
Die before I Wake..."
76
"IF I SHOULD DIE BEFORE I WAKE ..."
[Source: Jacob Burck: If I Should Die Before I Wake..., in: Sunday Times (Chicago, II), Vol. 11/No.
233, June 2, 1940, p. 17, cols. 2-4.]
Interpretation: Cartoon shows a normal scene - girl getting ready for bed -
•1 W *—' *-J »
with a background that adds the cruel context of war to it. The reader can
only assume her parents dead. In early June, British troops were evacuating
Dunkirk» thus preparing for invasion of the Germans. France was bound for
surrender, and Belgium had already given up. People from all over the world
were still in shock over what was happening in Europe. The drawing tries to
make them aware of reality by showing how close and immediate death had
become in those days, even for a little praying girl, still living in a completely
destroyed building.
77
[Source: Jacob Burck: Weather Forecast: Cloudy - Continued Showers, in: Sunday Times (Chicago, II.),
Vol. 12/No. 11, September 15, 1940, p. 17, cols. 2-4.]
[Source: Jacob Burck: All Is Calm..., in: Sunday Times (Chicago, II.), Vol. 12/No. 94, December 22,
1940, p. 17, cols. 2-4.]
1942 AWARD
Herben Lawrence Block (born on October 13, 1909, in Chicago, II.) entered,
after his graduation from high school in 1927, Lake Forest College in
Chicago, but remained only two years. He applied for a summer job in 1929
with the Chicago Daily News, and the editor engaged Block to fill a staff va-
cancy. For four years Block's two-column-wide humorous cartoons appeared
daily on the editorial page. Almost from the first, the Daily News syndicated
his cartoons. His drawings attracted the attention of the Newspaper Enter-
prise Association and in 1933 Block went to their Cleveland office where he
worked for ten years. He gained wide popularity by lampooning issues and
personalities and won the National Headliners' Club Award in 1940. The
Pulitzer Prize for cartooning went to Herbert L. Block in 1942 for a drawing
entitled "British Plane."
80
"BRITISH PLANE"
[Source: Herbert L. Block: British Plane, in: The Cleveland Press (Cleveland, Oh.), No. 19,910, March
14, 1941, p. 19, cols. 2-3.]
[Source: Herbert L. Block: Losses, in: The Cleveland Press (Cleveland, Oh.), No. 19,946, April 15,
1941, p. 17, cols. 4-5.]
[Source: Herbert L. Block: Labor Day Parade - 1941, in: The Cleveland Press (Cleveland, Oh.), No.
20,056, September 1, 1941, p. 8, cols. 4-6.]
Interpretation: Cartoon points out the cynic fact that even on Labor Day war
on both sides of North America, in Asia as well as in Europe, serves as a
boost to the American economy, especially since the United States entered
the Second World War, too.
83
1943 AWARD
ABOUT WARTIME
COMMUNICATIONS IN 1942
BY
JAY N. DARLING
The Des Moines Register
ω» «JAWING τ«OMCNOCK
»/ea η* M RT τ«»τ OUK
BOYtARS
%κιτ«
[Source: Jay N. Darling: News At Home And Abroad, in: The Des Meines Register (Des Moines, la.),
Vol. 94/No. 82, September 11, 1942, p. 1, cols. 3-5.]
[Source: Jay N. Darling: What A Place For A Waste Paper Salvage Campaign, in: The Des Meines
Register (Des Moines, la.), Vol. 94/No. 85, September 14, 1942, p. 1, cols. 3-5.]
Interpretation: Cartoon refers to the fact that all U.S. governmental reports
were made in triplicates which were in effect impeding the Capitol from
leading constructive discussions and making decisions, especially when the
main issue is saving paper in war times, as the tide of the drawing suggests.
86
"THE MOST EXCITING READING OF ALL TIME"
[Source: Jay N. Darling: The Most Exciting Reading Of All Time, in: Des Moines Sunday Register (Des
Moines, la.), Vol. 94/No. 168, December 6, 1942, p. 4, cols. 1-3.]
Interpretation: Cartoon mockingly points out the fact that, while news
stories about the on-going World War are very compelling and fascinating,
one should not forget the all-time classics of literature.
87
1944 AWARD
ABOUT CONDITIONS OF
FIGHTING NATIONS IN 1943
BY
CLIFFORD K. BERRYMAN
The Evening Star (Washington, D.C.)
WHEN
DO WE EAT?
[Source: Clifford K. Berryman: Post War Food Plans, in: The Evening Star (Washington, D.C.), 91st
Year/No. 36,184, May 26, 1943, p. A 6, cols. 2-4.]
./REMEMBER, MEN
[Source: Clifford K. Berryman: But Where Is The Boat Going?, in: The Evening Star (Washington,
D.C.), 91st Year/No. 36,278, August 28, 1943, p. A 2, cols. 5-7.]
[Source: Clifford K. Berryman: Thanksgiving Feast In Berlin, 1943, in: The Evening Star (Washington,
D.C.), 91st Year/No. 36,365, November 25, 1943, p. 1, cols. 5-7.]
1945 AWARD
WILLIAM H. MAULDIN
United Feature Syndicate (New York)
ve <^Γ£Ν^
u^-TV^g&"
^s&r^ O^ '"
$%**
[Source: William H. Mauldin: Colonel Captured By Germans, in: The Cleveland Press (Cleveland Oh )
No. 21,046, November 6, 1944, p. 21, cols. 1-2.]
Interpretation: Cartoon shows marching American soldiers who are far from
being fresh and victorious as propaganda broadcast might have put it In
fact, they look just as ragged and exhausted as the prisoners they are leading
into camps.
94
"YA DON'T GIT COMBAT PAY..."
[Source: William H. Mauldin: Ya Don't Git Combat Pay..., in: The Cleveland Press (Cleveland, Oh.),
No. 21,052, November 13, 1944, p. 23, cols. 1-2.]
Interpretation: Cartoon criticizes the U.S. army of not handling the medics
correctly. The second half of the drawing's title explains that army
physicians who were working hard to treat wounds instead of inflicting
them, should not get paid, which shows another cynism of war.
95
1946 AWARD
BRUCE A. RUSSELL
Los Angeles Times
"HITLER'S LEGACY"
[Source: Bruce A. Russell: Hitler's Legacy, in: Los Angeles Times (Los Angeles, Ca.), Vol. LXIV/no
No. given, April 10, 1945, p. 4, cols. 3-5.]
Interpretation: Cartoon simplifies the impact the Second World War had on
Germany herself. Alone the typical infrastructure of European cities, is de-
stroyed after being bombed out by the allied forces. The drawing's title is a
hint to compare reality to Adolf Hitler's fantasies of a glorious Third Reich.
97
"TIME FOR ATOMIC STATESMANSHIP"
[Source: Bruce A. Russell: Time For Atomic Statesmanship, in: Los Angeles Times (Los Angeles, Ca.),
Vol. LXIV/no No. given, October 21, 1945, p. 4, cols. 3-5.]
[Source: Bruce A. Russell: Time To Bridge That Gulch, in: Los Angeles Times (Los Angeles, Ca.), Vol.
LXIV/no No. given, November 30, 1945, p. 4, cols. 3-5.]
Interpretation: Cartoon shows a bear and an eagle symbolizing the two super*
powers emerging from World War II, While re-organizing Europe, suspicions
on both sides grew and some unwise remarks did not help cooperation. The
title is a reminder that the two nations have to start working together again.
99
1947 AWARD
Vaughn Shoemaker (born on August 11, 1902, in Chicago, II.) was educated
at Myra Bradwell grammar school and at Bowen High School in Chicago,
which he left in 1920. The same year he began attending the Chicago Acad-
emy for Fine Arts, where he stayed until 1921. The following year he started
to work at the art department of the Chicago Daily News. For two years his
stint consisted of doing tiny drawings for a feature known as "The Batch of
Smiles" and drawings for another feature known as "More Truth Than
Poetry." In 1925 he became the paper's chief cartoonist and only two years
later he got the post of an instructor at the Chicago Academy for Fine Arts.
In 1930 Shoemaker saw, for the first time, his cartoons being telecast by a
station in Chicago. The same year his works began to appear in a number of
other newspapers - the Des Moines Register and Tribune, the National
Newspaper Syndicate, the Chicago Tribune, and the New York News. In
1938 Shoemaker was granted the Pulitzer Cartoon award for his outstanding
work. That prize was followed by the National Headliner's Award from
Atlantic City in 1943 and the Sigma Delta Chi award in 1945. The same
year Shoemaker received his Litt.D. degree from Wheaton College in
Wheaton, II., and in 1946 he won the National Safety Council Grand Award.
The following year Vaughn Shoemaker was granted his second Pulitzer
Prize in cartoon for a drawing entitled "Still Racing His Shadow."
100
[Source: Vaughn Shoemaker: Out Of Sight, Out Of Mind, in: Chicago Daily News (Chicago, II.), 71st
Year/No. 97, April 24, 1946, p. 14, cols. 4-6.]
"MEMORIAL"
[Source: Vaughn Shoemaker: Memorial, in: Chicago Daily News (Chicago, II.), 71st Year/No. 127, May
29, 1946, p. 6, cols. 4-6.]
Interpretation: Cartoon accuses the U.S. for not showing enough respect to
the (dead) soldiers from the Second World War. Even on Memorial Day, in
the artist's eyes, the large majority of Americans is occupied with strikes or
consuming goods and fostering the economy.
102
[Source: Vaughn Shoemaker: Still Racing His Shadow, in: Chicago Daily News (Chicago, II.), 71st
Year/No. 210, September 6, 1946, p. 18, cols. 4-6.]
Interpretation; Cartoon shows a man trying to run from his own shadow,
obviously a useless undertaking. Here it refers to the attempt to update the
wages along rising costs of living. The drawing has a timeless message as
inflation often catches on as some kind of a vicious circle.
103
1948 AWARD
REUBEN L. GOLDBERG
The Sun (New York)
[Source: Reuben L. Goldberg: Peace Today, in: The Sun (New York, N.Y.), Vol. 114/No. 272, July 22,
1947, p. 16, cols. 2-4.]
[Source: Reuben L. Goldberg: Counting Bears, in: The Sun (New York, N.Y.), Vol. 115/No. 54,
November 3, 1947, p. 26, cols. 2-4.]
Interpretation: Cartoon articulates the fears and worries of the people in the
U.S. about possible infiltration from the Soviet Union. The paranoia that
evolved in the cold war was apparently so massive that the "Average Guy"
could not sleep well anymore and was counting Russian bears instead of sheep.
106
"PRAYER FOR TODAY"
[Source: Reuben L. Goldberg: Prayer For Today, in: The Sun (New York, N.Y.), Vol. 115/No. 61,
November 11, 1947, p. 14, cols. 2-4.]
1949 AWARD
Lute Curtis Pease Jr. (born on March 27, 1869, in Winnemucca, Nv.) at-
tended Franklin Academy in Malone, from which he was graduated in 1887.
After he had left the Academy he liked to begin the study of art, but family
finances did not permit this. Instead, going West, he went to work as a
teamster and general ranch hand in California. The next years saw Pease
employed in a wide variety of jobs such as working as a horticultural
salesman or as a miner. In the course of those years Pease also entered the
newspaper field. From 1895 until 1897 he was a political cartoonist and a
reporter on the staff of the Portland Oregonian. In the winter of 1897-1898
Pease joined the Klondike gold rush and in 1901-1902 he was the first resi-
dent United States Commissioner in Nome for the Kotzebue Sound-Point
Hope district of Alaska. While he was there, Pease sent dispatches to the
Seattle Post-Intelligencer as an occasional special correspondent for that jour-
nal in the Yukon-Nome area. In 1902 he returned to the Portland Oregonian.
After about three years there, Pease became editor in chief of the Pacific
Monthly, also located in Portland, where he worked from 1905-1912. About
1913 Pease moved East and after free-lancing for a time, in June 1914 he
was engaged by the Newark Evening News as a political cartoonist, where he
remained during the following decades. For his drawing titled "Who, Me?"
Lute C. Pease Jr. was awarded the 1949 Pulitzer Prize for cartooning.
108
"WHO, ME?"
[Source: Lute Pease: Who, Me?, in: Newark Evening News (Newark, N.J.), No. 19,902, April 6, 1948, p.
18, cols. 3-6.]
[Source: Lute Pease: August In Berlin, in: Newark Evening News (Newark, N.J.), No. 20,000, July 31,
1948, p. 4, cols. 4-7.]
[Source: Lute Pease: Ά Lot Of Faces Will Be Red' - Prophet Truman, in: Newark Evening News
(Newark, N.J.), No. 20,081, November 4, 1948, p. 22, cols. 3-6.]
1950 AWARD
THERE AR£
ENTIRELY TO
MANY HEADLINE
HUNTERS AROUND
THESE PAYS!
[Source: James T. Berryman: There Are Entirely Too Many Headline Hunters..., in: The Evening Star
(Washington, D.C.), 97th Year/No. 166, June 20, 1949, p. 1, cols. 5-7.]
{L HE SHALL
NOT REST
IN PEACE!
[Source: James T. Berryman: Economic Report To The Nation, in: The Evening Star (Washington,
D.C.), 97th Year/No. 191, July 15, 1949, p. 1, cols. 5-7.]
[Source: James T. Berryman: All Set For A Super-Secret Session In Washington, in: The Evening Star
(Washington, D.C.), 97th Year/No. 199, July 23,1949, p. 1, cols. 5-7.]
1951 AWARD
CARRVIN6 VALUABLE
WAR « PPUfc* FRO* U.l,
JAPAN AN* EUROPE, BOuNb
FOR ΗΟΝέΚΟΝέ,Ρο
TRANS-SHIPMENT TO
m BO M»
FOR. KOREA,
U.K. TOKEN Alb
[Source: Reginald W. Manning: Ships That Pass, in: The Arizona Republic (Phoenix, Az.), 61st
Year/No. 209, December 13, 1950, p. 6, cols. 3-5.]
"HATS"
LAKE
SUCCESS
KOREA
[Source: Reginald W. Manning: Hats, in: The Arizona Republic (Phoenix, Az.), 61st Year/No. 210,
December 14, 1950, p. 6, cols. 3-5.]
interpretation: Cartoon criticizes the U.N. of being not quick enough to pass
resolutions. The Soviet diplomat Yacov A. Malik presided over the Lake
Success conference at Long Island, N.Y., held since the fall His intention
was to delay any decision making, a fact that the drawer obviously disap-
proved as American soldiers are continuing to fight and to die in Korea.
118
^?m&%^
•'Z^-^J-.§?*
£-.:.-?c···^
[Source: Reginald W. Manning: We Love The Red Chinese, We Love Them Not..., in: The Arizona
Republic (Phoenix, Az.), 61st Year/No. 214, December 18, 1950, p. 6, cols. 3-5.]
1952 AWARD
Fred Little Packer (born on January 4, 1886, in Los Angeles, Ca.) attended
Los Angeles public schools. After his graduation Packer studied at the Los
Angeles School of Art and Design in 1902-1903. In 1904 and 1905 he was a
student at the Chicago Art Institute, where he was a member of the theatrical
group. When his studies at that school were completed, Packer in 1906
joined the staff of the Los Angeles Examiner as an artist, supplying drawings
for the Sunday supplements. In 1907 Packer left the Examiner to work for
the San Francisco Call. When the Call was succeeded by the Call-Post,
Packer became the art director of that paper, a position he held from 1913 to
1918. The next year Packer left Los Angeles for New York, where he
worked until 1931 as a commercial artist, doing book and magazine illustra-
tion as well as art work for leading advertisers. The artist returned to news-
paper work in 1932 as a cartoonist on the New York Journal and the New
York American. The following year Packer began to draw for the New York
Daily Mirror, with which he stayed associated the following two decades.
From 1942 to 1946 Packer was vice-president of Victory Builders, the
organization that prepared colored posters for war industries, intended to
spur production. From the Treasury Department and the War Production
Board the cartoonist was awarded citations for the cartoons and posters he
supplied for their drives during World War II. For his Daily Mirror cartoon
"Your Editors Ought to Have More Sense Than to Print What I Say!" Fred
L. Packer was awarded the Pulitzer Prize for cartooning in 1952.
120
THE
UNKNOWN
SOLDIER
[Source: Fred L. Packer: Our Glorious Dead!, in: Daily Mirror (New York, N.Y.), Vol. 27/No. 292,
May 30, 1951, p. 15, cols. 2-3.]
t WAS A HEAVYWEIGHT
CHAMP MYSELF ONCE I
[Source: Fred L. Packer: I Was A Heavyweight Champ..., in: Daily Mirror (New York, N.Y.), Vol.
28/No. 23, July 20, 1951, p. 21, cols. 2-3.]
[Source: Fred L. Packer: Classified! Your Editors Ought To Have More Sense..., in: Sunday Mirror
(New York, N.Y.), Vol. 20/No. 43, October 28, 1951, p. 31, col. 2.]
1953 AWARD
BY
EDWARD D. KUEKES
Cleveland Plain Dealer
[Source: Edward D. Kuekes: White Crosses Mount While Peace Talks Dwindle, in: Cleveland Plain
Dealer (Cleveland, Oh.), l l l t h Year/No. 237, August 24, 1952, p. 1, cols. 4-6.]
Interpretation: Cartoon points out how painfully slow peace talks at the
North/South Korean border village of Pan Mun Jom proceed while more and
more soldiers in Korea have to die. The cross-manufacturer's Asian features
indicate whose side is taking more losses in the war.
125
"CROSSES"
[Source: Edward D. Kuekes: Crosses, in: Cleveland Plain Dealer (Cleveland, Oh.), 111th Year/No. 286,
October 12, 1952, p. 1, cols. 2-4.]
"AFTERMATH"
[Source: Edward D. Kuekes: Aftermath, in: Cleveland Plain Dealer (Cleveland, Oh.), Ulth Year/No.
314, November 9, 1952, p. 1 A, cols. 2-4.]
Interpretation: Cartoon depicts a scene after a battle in the Korean War. The
sparse but cynic dialogue contains the criticism the drawer intended to
express: that many soldiers who were sent to fight in Korea had not even
been old enough to vote, thus to influence their fate.
127
1954 AWARD
HERBERT L. BLOCK
The Washington Post
Herbert Lawrence Block (born on October 13, 1909, in Chicago, II.) entered,
after his graduation from high school in 1927, Lake Forest College in
Chicago, but remained only two years. He applied for a summer job in 1929
with the Chicago Daily News. For four years Block's two-column-wide hu-
morous cartoons appeared daily on the editorial page. Almost from the first,
the Daily News syndicated his cartoons. His drawings attracted the attention
of the Newspaper Enterprise Association and in 1933 Block went to their
Cleveland office where he worked for ten years. He gained wide popularity
by lampooning issues and personalities and won the National Headliners'
Club Award in 1940. The Pulitzer Prize for cartooning went to Block in
1942 for outstanding work during 1941. In 1943 Block joined the Army and
after basic training in Arkansas, spent the rest of his Army duty in Florida and
New York drawing cartoons for the Information and Education Division.
While on terminal leave, he applied for a job with the Washington Post. That
job gave Block the opportunity to follow national events at first hand. Ε,ί·>;'
won a Heywood Broun Honorable Mention for outstanding journalistic
achievement in 1947, the Broun Award in 1948, a Sigma Delta Chi A war.!
in 1949, and shared the 1950 Broun Award with a New York Post reporiei
In 1954, Herbert L. Block earned his second Pulitzer Cartoon Pn/e for a
drawing entitled "You Were Always A Great Friend of Mine, Joseph/'
128
[Source: Herbert L. Block: You Were Always A Great Friend Of Mine, Joseph, in: The Washington Post
(Washington, D.C.), No. 28,021, March 5, 1953, p. 14, cols. 3-5.]
[Source: Herbert L. Block: Era Of The Mechanical Man, in: The Washington Post (Washington, D.C.),
No. 28,023, March 7, 1953, p. 8, cols. 3-5.]
[Source: Herbert L. Block: Any Other Important Funerals Coming Up?, in: The Washington Post
(Washington, D.C.), No. 28,026, March 10, 1953, p. 12, cols. 3-5.]
1955 AWARD
[Source: Daniel R. Fitzpatrick: How Would Another Mistake Help?, in: St. Louis Post-Dispatch (St.
Louis, Mo.), Vol. 76/No. 157, June 8, 1954, p. 2 C, cols. 4-6.]
[Source: Daniel R. Fitzpatrick: Slogan Painter's Troubles, in: St. Louis Post-Dispatch (St. Louis, Mo.),
Vol. 76/No. 247, September 8, 1954, p. 2 E, cols. 4-6.]
f
'· ·
[Source: Daniel R. Fitzpatrick: It Stopped The Red Rash In Europe, Doctor, in: St. Louis Post-Dispatch
(St. Louis, Mo.), Vol. 76/No. 334, December 5, 1954, p. 2 F, cols. 4-6.]
1956 AWARD
Robert York (born on August 23, 1909, in Minneapolis, Mn.) first attended
Drake University from 1927-28. He then entered the Cummings School of
Art, where he studied during 1928, and in 1930 he took classes at the
Chicago Academy of Fine Arts. The same year he started to work as an as-
sistant comic strip artist for the Chicago Tribune, with which he stayed until
1935. The following year he took the post of the political cartoonist with the
Nashville Banner and after a year he switched to the Louisville Times, where
he worked until 1943. Between 1943 and 1945 York was sergeant artist with
the United States Army Air Force. After the war he returned to the Louis-
ville Times, where he stayed the following years. In 1956 Robert York was
made the recipient of the Pulitzer cartooning award for his drawing
"Achilles."
136
"ACHILLES"
[Source: Robert York: Achilles, in: The Louisville Times (Louisville, Ky.), Vol. CXLIII/No. 117,
September 16, 1955, p. 8, cols. 4-6.]
"CONSTRUCTION BOOM"
[Source: Robert York: Construction Boom, in: The Louisville Times (Louisville, Ky.), Vol. CXLIII/No.
150, October 25, 1955, p. 8, cols. 4-6.]
[Source: Robert York: Some Are Stranded On The Ledges, in: The Louisville Times (Louisville, Ky.),
Vol. CXLIV/No. 49, December 29, 1955, p. 6, cols. 4-6.]
Interpretation: Cartoon points out the fact that the economic boom of the
fifties has left out some groups in the U.S. society. While most Americans
can climb one prospertity peak after the other some only can sit by a modest
camp fire and wait for help.
139
1957 AWARD
Tom Little (born on September 27, 1898, near Franklin, Tn.) was an art
student at Watkins Institute in Nashville between 1912 and 1915. From 1913
until 1916 Little also did private cartooning under Carey Orr. In 1916 he
started to work as a reporter for the Nashville Tennessean. The following
year he entered Montgomery Bell Academy in Nashville, where he stayed
for one year. After having been on the staff of the Nashville Tennessean for
seven years, Little started to work for the New York Herald-Tribune Syndi-
cate in 1923. But the following year he switched back to the Nashville Ten-
nessean, whose city editor he became in 1931, a post he held until 1937.
That year Little, who had also started to work for King Features Syndicate in
New York City in 1934, became the paper's cartoonist. In 1947 Little became
recipient of the National Headliners' award for outstanding editorial car-
toons. While still on staff of the Nashville Tennessean Little began to draw
cartoon illustrations for the New York Times Magazine in 1951. In addition
to the Christopher Award, which he received in 1953, the cartoonist was
granted the Freedoms Foundation medal twice, in 1955 and 1956. The fol-
lowing year Tom Little was made the recipient of the Pulitzer Cartoon Prize
for his drawing "Wonder Why My Parents Didn't Give Me Salk Shots?"
140
"WONDER WHY MY PARENTS DIDN'T GIVE ME
SALK SHOTS?"
[Source: Tom Little: Wonder Why My Parents Didn't Give Me Salk Shots?, in: TTie Nashville
Tennessean (Nashville, Tn.), Vol. 49/No. 259, January 12, 1956, p. 10, cols. 3-6.]
[Source: Tom Little: Every Time I Start To Doze Off, He Drops 'Em', in: The Nashville Tennessean
(Nashville, Tn.), Vol. 50/No. 93, July 29, 1956, p. 4 B, cols. 3-6.]
[Source: Tom Little: Think You'll Make It?, in: The Nashville Tennessean (Nashville, Tn.), Vol. 50/No.
128, September 2, 1956, p. 4 A, cols. 3-6.]
1958 AWARD
Bruce McKinley Shanks (born on January 29, 1908, in Buffalo, N.Y.) attend-
ed Buffalo State Normal School and Lafayette High School. Having worked
as a copy boy, artist and cartoonist for the Buffalo Express and the Buffalo
Times he became a staff member of the Buffalo Evening News in 1933. He
stayed with that paper for the following more than three decades. In 1951 he
became the paper's editorial cartoonist. Among the numerous recognitions
with which Shanks was honored were several awards from the Freedoms
Foundation, a honorary mention award from the Los Angeles National Edi-
torial Cartoon Competition, a Page One award from the Buffalo Newspaper
Guild, and a Christopher award. For his cartoon "The Thinker" Bruce M.
Shanks received the Pulitzer Cartoon award in 1958.
144
"THE THINKER"
[Source: Bruce M. Shanks: The Thinker, in: Buffalo Evening News (Buffalo, N.Y.), Vol. CLIV/No. I l l ,
August 20,1957, p. 22, cols. 3-5.]
[Source: Bruce M. Shanks: Little Rock, in: Buffalo Evening News (Buffalo, N.Y.), Vol. CLFWNo. 126,
September 7, 1957, Magazine Section, p. 2, cols. 3-5.]
"VOX POP"
- THE PeOPLS
SHOULD KNOW
[Source: Bruce M. Shanks: Vox Pop, in: Buffalo Evening News (Buffalo, N.Y.), Vol. CLV/No. 50,
December 9, 1957, p. 26, cols. 3-5.]
1959 AWARD
[Source: William Η. Mauldin: I Won The Nobel Prize For Literature. What Was Your Crime?, in: St.
Louis Post-Dispatch (St. Louis, Mo.), Vol. 80/No. 299, October 30, 1958, p. 2 F, cols. 4-6.]
[Source: William H. Mauldin: Don't Push Your Luck, Mister, in: St. Louis Post-Dispatch (St. Louis,
Mo.), Vol. 80/No. 325, November 25, 1958, p. 2 B, cols. 4-6.]
[Source: William H. Mauldin: Good Morning, Comrades!, in: St. Louis Post-Dispatch (St. Louis, Mo.),
Vol. 80/No. 358, December 30, 1958, p. 2 B, cols. 4-6.]
1960 AWARD
BY
Although the members of the 1960 Pulitzer Prize Cartoon Jury in their
report made the suggestion that the prize be awarded to Newton Pratt of the
Sacramento Bee, the Advisory Board rejected the proposal of the jurors and
gave "no award" in this category.
152
1961 AWARD
CAREY ORR
Chicago Daily Tribune
Carey Orr (born on January 17, 1890 in Ada, Oh.) graduated from the
Chicago Academy of Fine Arts. During 1912 he worked for the Chicago
Examiner, Orr then became a member on the staff of the Nashville Tennes-
sean and the American. He stayed with these papers until 1917. The cartoon-
ist then began to work for the Chicago Tribune. The following year he was
awarded the U.S. Government gold medal. Other prizes followed. In addi-
tion to three Freedoms Foundation awards, which he received in 1950, 1952
and 1953, Carey Orr was granted the 1961 Pulitzer Prize for cartooning for
his distinguished career as an artist as exemplified by the drawing "The
Kindly Tiger."
154
[Source: Carey Orr: A Warning From The Jungle, in: Chicago Daily Tribune (Chicago, II.), Vol.
CXIX/No. 80, April 2,1960, p. 1, cols. 3-5.]
[Source: Carey Orr: Hit Back! Hit Back! You Can't Win Covering Up!, in: Chicago Daily Tribune
(Chicago, II.), Vol. CXIX/No. 219, September 12, 1960, p. 1, cols. 3-5.]
VV
HAY I GIVE
YOU A RIPE?'
[Source: Carey Orr: The Kindly Tiger, in: Chicago Daily Tribune (Chicago, II.), Vol. CXIX/No. 242,
October 8, 1960, p. 1, cols. 4-6.]
1962 AWARD
ABOUT INTENTIONS OF
SOCIALIST COUNTRIES IN 1961
BY
EDMUND S. VALTMAN
The Hartford Times
[Source: Edmund S. Valtman: By Government Decree Every Member Of The Commune Is Entitled To
A Private Lot, in: The Hartford Times (Hartford, Ct.), Vol. CXXI/No. 58, March 9, 1961, p. 18, cols. 3-
6.]
Interpretation: Cartoon illustrates how Red China, twelve years after its
founding, had to face its severest crisis: 650 million Chinese were starving.
There are some reasons for this catastrophe, which left the government to
provide people with single graves instead of mass graves. Prior, the regime
had focused on building factories, luring people into the urban areas. Only
one tenth of public planning had been invested in agriculture. Monsoon
contributed its share to the crisis: the winds did not push rainclouds to the
inlands but to the Pacific coast. Above all, the Chinese did not get as much
help from the Soviet Union as they had hoped for. Instead, Soviet leader
Nikita S. Khrushchev threatened to cut all deliveries to China, as the latter
failed to meet a $300 million trade debt. So the government of the People's
Republic of China had to resume exporting nutritious foods such as meat,
soya beans and vegetable oil to the USSR.
159
"I WOULD HAVE PREFERRED IT WELL-DONE"
[Source: Edmund S. Valtman: I Would Have Preferred It Well-Done, in: The Hartford Times (Hartford,
Ct.), Vol. CXXI/No. 75, March 29, 1961, p. 18, cols. 3-6.]
Interpretation: Cartoon explains how absurd the situation about and in Laos
had become by that time. Based on the theory that once the Asian country
was 'lost' to communism, South Viet Nam, Cambodia and Thailand would
be, too, the U.S. had invested $ 300 million into in Laos order to prevent
communist take-over by either Red China or the USSR. Conflict flickered in
late 1960 nevertheless. In March of the following year Laos' guerillas,
backed by Russia's proxy North Viet Nam, controlled nearly half the
country. The drawing shows that the U.S. attempted to end the open conflict
in Laos. The Soviets, however, had no intentions of losing in peace talks
what they had won in combat before. Presenting Soviet leader Nikita S.
Khrushchev as maitre with the grinning comment, it is obvious that he does
not care about the Laos people - to him this conflict is only about power. On
the other hand, the drawing expresses deep mistrust in the usefulness of
American policy: one can see the American secretary of state accompanied
by a fireman, both of them not looking too superior or clever.
160
"WHAT YOU NEED, MAN, IS A
REVOLUTION LIKE MINE!"
[Source: Edmund S. Valtman: What You Need, Man, Is A Revolution Like Mine!, in: The Hartford
Times (Hartford, Ct.), Vol. CXXI/No. 207, August 31, 1961, p. 18, cols. 3-5.]
1963 AWARD
Frank Andrea Miller (born on March 28, 1925, in Kansas City, Mo.) spent
three years in Europe during World War II and afterwards he attended the
University of Kansas for one year between 1946 and 1947. During the fol-
lowing year he studied at the Kansas City Art Institute. After working as an
artist for the Kansas City Star from 1948 until 1950 Miller for two years was
in the Army during the Korean War. Afterwards he became artist and car-
toonist for the Des Moines Register in 1953. The numerous prizes the car-
toonist gained in the course of his career include several Freedom Founda-
tion awards, the 1957 National Headliners award and the Pulitzer award for
cartooning in 1963, which Frank A. Miller was granted for his distinguished
work during the previous year, as exemplified by the cartoon "I said - we
sure settled that dispute, didn't we!"
162
[Source: Frank Miller: A Needle In A Haystack Is Easy, in: The Des Moines Register (Des Meines, Ia.),
Vol. 113/No. 300, April 20, 1962, p. 1, cols. 3-5.]
"A WALL!"
[Source: Frank Miller: A Wall!, in: The Des Meines Register (Des Moines, la.), Vol. 114/No. 121,
October 23, 1962, p. 1, cols. 3-5.]
1964 AWARD
PAUL F. CONRAD
The Denver Post
Paul Francis Conrad (born on June 27, 1924, in Cedar Rapids, la.) attended
the University of Iowa, from which he graduated with a B.A. degree in 1950.
The same year he started to work for the Denver Post, where he held the
post of an editorial cartoonist for the following fourteen years. In 1964 the
cartoonist received the Editorial Cartoon award from the Sigma Delta Chi
journalism fraternity. During his years with the Denver Post Conrad - com-
missioned by the Cooke-Daniels Lecture Tours - also taught at the Denver
Art Museum. For his work as a cartoonist throughout the previous year Paul
F. Conrad was made the recipient of the 1964 Pulitzer cartooning award as
exemplified by the drawing "Stand back everybody! He's got a bomb.!!"
166
[Source: Paul Conrad: Stand Back Everybody! He's Got A Bomb.!!, in: The Denver Post (Denver, Co.),
Vol. 71/No. 277, May 6, 1963, p. 22, cols. 3-5.]
[Source: Paul Conrad: No Cheeks Left To Turn, in: The Denver Post (Denver, Co.), Vol. 7I/No. 291,
May 20, 1963, p. 18, cols. 3-5.]
"PROFILE IN COURAGE"
[Source: Paul Conrad: Profile In Courage, in: The Denver Post (Denver, Co.), Vol. 72/No. 114,
November 24, 1963, section AA, p. l AA, cols. 3-5.]
1965 AWARD
BY
Although the members of the 1965 Pulitzer Prize Cartoon Jury in their
report praised the drawings of three cartoonists as finalists, the Advisory
Board did not choose a winner but decided to give "no award" in this
category for work done during the previous year.
170
1966 AWARD
Don Conway Wright (born on January 23, 1934, in Los Angeles, Ca.)
attended Florida public schools. After working as a copy boy for the Miami
News Wright became staff photographer in 1952. From 1956 to 1958 he was
Signal Corps photographer in the Army. Afterwards he returned to the
Miami News and got the post of a graphics editor. Two years later, in 1960,
he started to work as a political cartoonist and soon became editorial car-
toonist of his paper in 1963. Wright was made the recipient of the Outstand-
ing Young Man in Communications Media award of the Young Democrats
of Florida in 1965. The same year he was granted the award of the National
Catholic Press. In 1966 the Pulitzer Prize for cartooning was presented to
Don C. Wright for his outstanding work as exemplified by the drawing "You
Mean You Were Bluffing?"
172
[Source: Don Wright: You Mean You Were Bluffing?, in: The Miami News (Miami, Fl.), 69th Year/No.
337, May 9, 1965, p. 6 A, cols. 3-4.]
Interpretation: Cartoon presents a highly ironic ending of the Cold War: both
sides bluffing each other until total destruction is reached. With the race for
world power between the U.S. and the U.S.S.R* still going on that year,
Vietnam more and more became a prestige war for the two nations.
173
^^^^^^^^^?Ά^·^~^,
[Source: Don Wright: Anybody See A Place To Get Off?, in: The Miami News (Miami, Fl.), 69th
Year/No. 365, June 11, 1965, p. 6 A, cols. 3-4.]
Interpretation: Cartoon illustrates that the U.S. were already too involved in
the Vietnam conflict to draw back easily as the soldier - who is obviously
President Johnson - in his remark indicates. A week earlier, the U.S. gov-
ernment admitted for the first time that U.S. troops were in active combat.
174
[Source: Don Wright: How The War Went Today, in: The Miami News (Miami, Fl.), 70th Year/No 145
November 23, 1965, p. 6 A, cols. 3-4.]
1967 AWARD
PATRICK B. OLIPHANT
The Denver Post
[Source: Patrick B. Oliphant: You Want Us To Sit Down And Discuss Our Problems? / Don't Have Any
Problems!, in: The Denver Post (Denver, Co.), Vol. 74/No. 261, April 19, 1966, p. 20, cols. 3-5.]
"PROPOSALS..."
[Source: Patrick B. Oliphant: Proposals..., in: The Denver Post (Denver, Co.), Vol. 75/No. 53,
September 23, 1966, p. 20, cols. 3-6.]
1968 AWARD
EUGENE G. PAYNE
The Charlotte Observer
Eugene Gray Payne (born on January 29, 1919, in Charlotte, N.C.) was
educated at Public Schools in Charlotte, Fishburne Military Academy and
Syracuse University where he majored in fine arts. During the second World
War he spent four years as a pilot in the Air Force and worked afterwards as
a commercial artist and portraitist in his hometown for several years. Payne
joined Foremost Dairies and was employed in the sales department for ten
years. During this time he continued to teach water color classes and do por-
traits. In 1956 he started his cartooning career at the Charlotte Observer on a
free-lance basis. Payne switched to the Birmingham News, Alabama, in 1959
but returned to the Charlotte Observer one year later and worked as a staff
artist and editorial cartoonist. In 1968 Eugene G. Payne was granted the
Pulitzer Prize for editorial cartoons during the pervious year as exemplified
by the drawing "Dr. King says, would You please move to the Back of the
Bus?"
180
[Source: Eugene G. Payne: Dr. King Says, Would You Please Move To The Back Of The Bus?, in: The
Charlotte Observer (Charlotte, N.C.), 82nd Year/No. 15, April 6, 1967, p. 2 B, cols. 3-5.]
[Source: Eugene G. Payne: The War Is Going Very Well - Pass It On, in: The Charlotte Observer
(Charlotte, N.C.), 82nd Year/No. 129, August 8, 1967, p. 2 B, cols. 3-5.]
[Source: Eugene G. Payne: It's Terrible The Way Tobacco Advertising Is Slanted Towards Young
People, in: The Charlotte Observer (Charlotte, N.C.), 82nd Year/No. 215, November 2, 1967, p. 3 D,
cols. 3-5.]
1969 AWARD
John Fischetti (born on September 27, 1916, in Brooklyn, N.Y.) was a stu-
dent of the Pratt Institute from 1937 to 1940 where he majored in art. He
worked on animated films for the Disney Studios in Los Angeles for nine
months. He then free-lanced for the Chicago Sun where his first editorial car-
toons were published. He also drew illustrations for Coronet, Esquire, Satur-
day Evening Post, Collier's, and the New York Times. Fischetti joined the
Army for three years during World War II and became cartoonist on the Stars
& Stripes. His first postwar employment was with the New York Herald-
Tribune for two years. In 1950 Fischetti became syndicated cartoonist of the
Newspaper Enterprise Association and his work went out to approximately
five hundred newspapers. He returned to the New York Herald-Tribune as a
staff cartoonist in 1962, and then moved to the Chicago Daily News. The
numerous prizes the cartoonist gained in the course of his career include the
Sigma Delta Chi award in 1954 and 1956 and the 1969 Pulitzer Prize for
cartooning presented to John Fischetti for his outstanding work during the
previous year, exemplified by the drawing "Speaking from a position of
strength..."
184
[Source: John Fischetti: Speaking From A Position Of Strength..., in: Chicago Daily News (Chicago,
II.), 93rd Year/No. 87, April 11, 1968, p. 10, cols. 3-5.]
Interpretation: Cartoon depicts both sides on the Vietnam war, which has
been going on now for a number of years, Neither U.S. President Lyndon B.
Johnson nor North Vietnamese leader Ho Chi Minh is in a 'position of
strength' but by now they are actually willing to bring an end to this war.
Nevertheless combat would proceed for another five years. Ten days before
this drawing had been published, President Johnson stunned the nation by
announcing that he had the bombings halted. Despite all the losses on either
side and the combat situation being hopelessly stuck, both nations remained
quite stubborn, as the following background will show: The North
Vietnamese government proposed diplomatic contacts in Cambodia's capital
Phnom Penh. However, the U.S. rejected the offer. North Vietnam then
proposed Warsaw, Poland, but the American government insisted on neutral
grounds. It would take them another four weeks to come to an agreement as
to where they should meet for peace talks, which finally was in May that
year in Paris, France.
185
"AMERICAN STYLE"
[Source: John Fischetti: American Style, in: Chicago Daily News (Chicago, II.), 93rd Year/No. 134,
June 6, 1968, p. 12, cols. 3-6.]
Interpretation: Cartoon bitterly points out how savage-like the United States
seem to be handling people with a different opinion: they should be
assassinated. By having the Grim Reaper wearing the American flag, the
drawing cynically depicts the true meaning of "American Style", as the
drawing's title suggests. The paper the reaper is holding, might either be a
newspaper in which he - like a psychopath - is studying the reports about
his job, but the paper might also be a morbid 'hit list' of his achievements
he's keeping track of. To the artist, it must seem like the constitution of the
U.S. has no value or power any more, freedom of speech is no longer
guaranteed and with the leaders of non-violent integretation movements
dead and gone, the American's dream of a better society have deceased as
well. The artist's impression was confirmed when Senator Robert F.
Kennedy was seriously wounded in Los Angeles by a gunman after winning
the California Primary. He died the next day and with him hope for a
peaceful living together.
186
[Source: John Fischetti: Tramp, Tramp, Tramp, The Boys Are Marching..., in: Chicago Daily News
(Chicago, II.), 93rd Year/No. 288, December 5, 1968, p. 10, cols. 3-6.]
1970 AWARD
THOMAS F. DARCY
Newsday (Garden City, N.Y.)
[Source: Thomas F. Darcy: Good News, We've Turned The Corner In Vietnam!, in: Newsday (Garden
City, N.Y.), Vol. 30/No. 11, September 13, 1969, p. 13, col. 2.]
Interpretation: Cartoon illustrates the ambiguous policy making of the Ameri-
can military. The title of the drawing implies both the literal as weil as the
metaphorical meaning after the fact that the North Vietnamese leader Ho
Chi Minh had died early in September.
189
"PRISONER OF WAR"
[Source: Thomas F. Darcy: Prisoner Of War, in: Newsday (Garden City, N.Y.), Vol. 30/No. 14,
September 17, 1969, p. 1 B, col. 2.]
[Source: Thomas F. Darcy: Sorry Fellas... But That's The Only Way Out, in: Newsday (Garden City,
N.Y.), Vol. 30/No. 31, October 7,1969, p. 1 B, col. 2.]
1971 AWARD
ABOUT WAR CONDITIONS AND
WAR VICTIMS IN 1970
BY
PAUL F. CONRAD
Los Angeles Times
Paul Francis Conrad (born on June 27, 1924, in Cedar Rapids, la.) attended
the University of Iowa, from which he graduated with a B.A. degree in
1950. The same year he started to work for the Denver Post, where he held
the post of an editorial cartoonist for the following fourteen years. During
his first year with that paper Conrad - commissioned by the Cooke-Daniels
Lecture Tours - also taught at the Denver Art Museum. For his work as an
outstanding cartoonist throughout the previous year Conrad was made the
recipient of the 1964 Pulitzer cartooning award. The same year Conrad
moved to the Los Angeles Times. Other awards the cartoonist won in the
course of his career include three Editorial Cartoon awards from the Sigma
Delta Chi journalism fraternity and the Overseas Press Club award. In 1971
Paul F. Conrad was granted his second Pulitzer Prize in the cartoon category
for his work performed during the previous year as exemplified by the
drawing "The Operation Was a Complete Success... As The Autopsy Will
Show!"
192
[Source: Paul Conrad: The Operation Was A Complete Success... As The Autopsy Will Show!, in: Los
Angeles Times (Los Angeles, Ca.), Vol. LXXXIX/No. 211, July 2, 1970, part II, p. 6, cols. 3-4.]
[Source: Paul Conrad: From Here To Eternity, in: Los Angeles Times (Los Angeles, Ca.), Vol.
LXXXIX/No. 338, November 6, 1970, part Π, p. 8, cols. 3-4.]
[Source: Paul Conrad: The U.S. Army..., in: Los Angeles Times (Los Angeles, Ca.), Vol. XC/No. 15,
December 18, 1970, part Π, p. 8, cols. 3-4.]
Interpretation: Cartoon discusses the new task of the U.S. military: at the
end of the Vietnam war, they were not mainly concerned with fighting and
hiring people but with observing American students and hippies demonstra-
ting against the war. Many underground magazines, for example, assumed
that the government was an illegal authority and could therefore be opposed
freely. The drawing's main element, showing Uncle Sam's pointing fore-
finger, became one of the most popular and often adapted cartoons since the
early seventies.
195
1972 AWARD
Jeffrey Kenneth MacNelly (born on September 17, 1947, in New York City)
attended the University of North Carolina after his graduation from Phillips
Academy in Andover, Massachusetts, in 1965. Four years later, in 1969, he
started to work as a staff artist and editorial cartoonist for the Chapel Hill
Weekly. In the same year he won the National Newspaper Association award
for cartooning. He left the Chapel Hill Weekly in December of 1970 to work
as an editorial cartoonist for the Richmond News Leader. Already two years
later, Jeffrey K. MacNelly was granted the 1972 Pulitzer Prize for his edito-
rial cartoons during the previous year as exemplified by the drawing "The
Economy."
196
"GEORGE?..."
[Source: Jeffrey K. MacNelly: George?..., in: The Richmond News Leader (Richmond, Va.), No. 24,913,
August 23, 1971, p. 12, cols. 3-5.]
9985874476
. D. C,
[Source: Jeffrey K. MacNelly: Federal Floating Note, in: The Richmond News Leader (Richmond, Va.),
No. 24,920, August 31, 1971, p. 10, cols. 3-5.]
"THE ECONOMY"
[Source: Jeffrey K. MacNelly: The Economy, in: The Richmond News Leader (Richmond, Va.), No.
24,986, November 17, 1971, p. 14, cols. 3-5.]
1973 AWARD
Since the members of the 1973 Pulitzer Prize Cartoon Jury in their report
could not single out any cartoonist deserving the award, the Advisory Board
accepted the juror's recommendation and gave "no award" in this category
for work done the year before.
200
1974 AWARD
Paul Michael Szep (born on July 29, 1941, in Hamilton, Ontario, Canada)
started to work as a newspaper cartoonist for the Hamilton Spectator while
visiting high school from 1958 to 1961. He was educated at the Ontario Col-
lege of Art in Toronto and graduated in 1964. He then free-lanced as a book
and fashion illustrator in Toronto. In 1965 he was engaged for a job as a
graphics designer for the Financial Post of Toronto. Szep moved to the USA
and got the post of an editorial cartoonist at the Boston Globe in 1966. His
cartoons appeared nationally through the McNaught Syndicate. Szep also
published three cartoon books entitled "In Search of Sacred Cows," 1967;
"Keep Your Left Hand High," 1969, and "At This Point in Time," 1973. For
his outstanding work during the previous year Paul M. Szep was granted the
Pulitzer Prize for cartooning in 1974 as exemplified by the drawing "I've
decided not to tell you about the alleged shipwreck."
202
[Source: Paul Szep: Some Of The Stars Have Just Arrived, in: The Boston Globe (Boston, Ma.), Vol.
203/No. 137, May 17, 1973, p. 18, cols. 3-5.]
[Source: Paul Szep: I've Decided Not To Tell You About The Alleged Shipwreck, in: The Boston Globe
(Boston, Ma.), Vol. 204/No. 11, July 11, 1973, p. 12, cols. 3-5.]
[Source: Paul Szep: You're Surrounded Nixon... Give Up The Tapes!, in: The Boston Globe (Boston,
Ma.), Vol. 204/No. 61, August 30, 1973, p. 18, cols. 3-5.]
1975 AWARD
Garry Trudeau (born on July 21, 1948, in New York City) started to draw a
comic strip for the Yale Daily News in 1968, when he was an undergraduate
at Yale University. It was called "Bull Tales" and soon attracted national
attention. With his comic strip Trudeau invented a new genre of political and
social commentary. In 1970 the Universal Press Syndicate changed the title
into "Doonesbury," the name of the main character in the strip, Michael J.
Doonesbury, and distributed it to more than three hundred newspapers. Also
a number of collections of "Doonesbury" were published. As the editor of
"Sheed and Ward's Cartoons for New Children" series the cartoonist pub-
lished his own book in 1974. Garry Trudeau was made the recipient of the
1975 Pulitzer Cartoon Prize as the first non-editorial-page artist for his
"Doonesbury" strip as exemplified by the drawings "The President Fights
Back," published in the year before.
206
"THE PRESIDENT FIGHTS BACK"
r, M ™v TH&&,
TH£ FIRST PA T OF TH£ W WORK VP TO AN APPEAL
SP££CH I WANT A STKON6 FOR. 6000 AMERICANS TO
:J CDNP&1NATION OF TH£ Pf$- STAND UP FOR. UMTS &ΘΗΤ
TOKTSD VIEW THATA^fR/CA U/m TMB AMERICAN
/ IS SICK., /
--ffl-fl-Hf-Hl
-•J'V-4NiU
[Source: Garry Trudeau: The President Fights Back, in: The Washington Post (Washington, D.C.), 97th
Year/No. 111, March 26, 1974, p. B 12, cols. 5-8.]
Ϊ U/ANTTO
UBLi,tM TALK TO SOME OF MY
OFFNOUI^eN. O3N6RE9SMAN. 'CONST/THEWS, JBNNY- TO
HOLP DOWN SAY, WHY HOW THeYFSZL ABOUT
THE FORT. ARG YOU
\ FLY/N6 HOMB TO KNOW THAT
\ MUt ANYWAY? I'M R£SPON5IV5
TO FOLKS IN
MYPfSTKICT/
U/fTH MY OWN
BLeCTIOHCOM/N6 UP, Z OH, CON6R£SSMAN,
'ALSO HAV£ W SHOW 1HZM THAT WVe ALWAYS HAP
I'M AN HONEST, CAK1H6 PUBLIC
T, THAT T'YB P£YBMP&
6*0ATf>OST-
[Source: Garry Trudeau: Congress Grows Responsive, in: The Washington Post (Washington, D.C.),
97th Year/No. 145, April 29, 1974, p. D 10, cols. 5-8.]
c ^OK
A LOT Of THE 6UYS
S6TTiN6 OUT ON PRO-
?><, APPf&OATS
CALLING, SOB, ew
r
\ 8A7ION NOW, SO D£AN ΤΗΟϋβΗΤ ya/ r.R£ALLY HAV?TO
; n"P0£MC£ TOHQL&A r GULP $TW Η£ζε UNTIL z
flN!SH7H£J08I
- SOW OF A UWeR- U/AS BIBCT£P 70
/ PO!
O'CLOCK I DO
A Meer/N6
[Source: Gany Trudeau: The Watergate Reunions, in: The Washington Post (Washington, D.C.), 97th
Year/No. 201, June 24, 1974, p. D 12, cols. 5-8.]
1976 AWARD
Tony Auth (born on May 7, 1942, in Akron, Oh.) graduated from the Univer-
sity of California at Los Angeles in 1965. He worked as a chief medical
illustrator at Rancho Los Amigos Hospital in Downey, Ca., from 1964 to
1970. Besides his work he started drawing cartoons for the Los Angeles
anti-war underground weekly Open City in 1967. One year later he drew
three cartoons a week for the student newspaper Daily Bruin at the Univer-
sity of California. His drawings were also published in several other college
papers. Auth got the post of an editorial cartoonist at the Philadelphia
Inquirer in 1971. His work also was syndicated by the Washington Post. He
was made the recipient of numerous prizes like the 1975 Overseas Press
Club award for the best cartoon on foreign affairs. Tony Auth was awarded
the 1976 Pulitzer Prize in the cartooning category for his work illustrated by
the drawing "O beautiful for spacious skies, For amber waves of grain..."
210
[Source: Tony Auth: Ο Beautiful For Spacious Skies, For Amber Waves Of Grain..., in: The
Philadelphia Inquirer (Philadelphia, Pa.), Vol. 293/No. 22, July 22, 1975, p. 8 A, cols. 3-6.]
[Source: Tony Auth: Beirut..., in: The Philadelphia Inquirer (Philadelphia, Pa.), Vol. 293/No. 122,
October 30, 1975, p. 12 A, cols. 3-6.]
[Source: Tony Auth: CIA..., in: The Philadelphia Inquirer (Philadelphia, Pa.), Vol. 293/No. 149,
November 26, 1975, p. 6 A, cols. 3-6.]
Interpretation: Cartoon refers to the scandal which broke loose when it was
leaked to the public that the Central Intelligence Agency had attempted to
assassinate Fidel Castro, president of Cuba, by poisoning his cigars or, as the
drawing suggests, by hiding a bomb inside a cigar which was supposed to go
off when lightened. Obviously, the attempt went off the wrong way and the
United States were left being deeply embarrassed. Since John F. Kennedy
had been president, there existed plans to remove Castro from office: In
March 1960 the CIA had assumed Castro would fall for a conducted fake
rebellion of Cubans, but this plot did not work out. The failed invasion of Bay
of Pigs a year later forced CIA agents and consultants to unconventional
ways of reaching their goal - to eliminate Fidel Castro. Putting bombs inside
Castro's beloved cigars was one of them. In 1975, a senate committee con-
cluded that there had been at least eight attempts to assassinate Castro where
the CIA had been involved in.
213
1977 AWARD
ABOUT FACETS OF THE
PRESIDENTIAL CAMPAIGN IN 1976
BY
PAUL M. SZEP
The Boston Globe
Paul Michael Szep (born on July 29, 1941, in Hamilton, Ontario, Canada)
started to work as a newspaper cartoonist for the Hamilton Spectator while
visiting the high school from 1958 to 1961. He was educated at the Ontario
College of Art in Toronto and graduated in 1964. He then free-lanced as a
book and fashion illustrator in Toronto. In 1965 he was engaged for a job as
a graphics designer for the Financial Post of Toronto. Szep moved to the
USA and got the post of an editorial cartoonist for the Boston Globe in 1966.
His cartoons appeared nationally through the McNaught Syndicate. Szep
also published three cartoon books. For his outstanding work during the
previous year Paul M. Szep was granted the Pulitzer Prize in 1974. In 1975
he published his fourth book. Among the numerous recognitions with which
he was honored was the award of the Sigma Delta Chi journalism fraternity
in 1974 and the Toyl award of the Boston Jaycees in 1976. Paul M. Szep
won his second Pulitzer Prize for cartooning in 1977 for his outstanding
work during the previous year as illustrated by the drawing "I'll be Jack
Kennedy ... Who do you want to be?"
214
"THREE VERSIONS OF JIMMY CARTER"
[Source: Paul Szep: News Item..., in: Boston Sunday Globe (Boston, Ma.), Vol. 209/No. 53, February
22, 1976, p. A 6, cols. 3-5.]
[Source: Paul Szep: I'll Be Jack Kennedy... Who Do You Want To Be?, in: The Boston Globe (Boston,
Ma.), Vol. 210/No. 57, August 26, 1976, p. 30, cols. 3-5.]
[Source: Paul Szep: End Of Round One, in: The Boston Globe (Boston, Ma.), Vol. 210/No. 87, Septem-
ber 25,1976, p. 8, cols. 3-5.]
Interpretation: Cartoon points out that the presidential candidates are mere
dolls, which also is the reason why no real interesting discussion could
develop in the television debate. The staff people appear bored but not
disappointed. Only one man, representing the public and therefore the
electorate, is left standing near the stage as if waiting for more to come and
to hear, thus not realizing that the round is already over and the rest of the
show will not offer much more. So the voters are the only ones left believing
television debates would inform them on the candidates' real profiles.
217
1978 AWARD
JEFFREY K. MACNELLY
The Richmond News Leader
Jeffrey Kenneth MacNelly (born on September 17, 1947, in New York City)
was graduated from Phillips Academy in Andover, Massachusetts, in 1965.
He attended the University of North Carolina and worked as a staff artist and
editorial cartoonist for the Chapel Hill Weekly. In 1969 he won the National
Newspaper Association award for cartooning. He left the Chapel Hill Weekly
in December 1970 to work as an editorial cartoonist for the Richmond News
Leader. MacNelly was granted the 1972 Pulitzer Cartoon Prize. His work
was syndicated in approximately three hundred newspapers by the Chicago
Tribune - New York News Syndicate. For his work as an outstanding artist
throughout the previous year Jeffrey K. MacNelly was made the recipient of
his second Pulitzer Prize for cartooning in 1978, as exemplified by the draw-
ing "Individual Income Tax Return."
218
4 f\ Λ A - "- , tnpartn«~<
tW**f&. Jt ·* fr
ϊ» ii-
I-WOl·'···. !M">*}^i <*!fa<u·· ~etffrf_
S i»
[Source: Jeffrey K. MacNelly: Individual Income Tax Return, in: The Richmond News Leader
(Richmond, Va.), No. 27,633, March 11, 1977, p. 14, cols. 3-5.]
Interpretation: Cartoon has the same effect a regular tax form normally has
on people: it scares them off by the uncountable number of questions. The
artist, however, criticizes the tax system by ridiculing the nature of questions
asked. He even pretends it to be his own income tax reform. The fact he
gave up after the first three spaces to fill out, underlines his message. The
tax sheet designed by him reveals more and more funny questions the more
the reader is willing to look at the drawing - the big spot of ink at the right
bottom, however, shows the cartoonist's pretended desperation when reading
the rest of the questions - a feeling many Americans probably experience
when trying to fill out their tax return form. And to the artist, this endeavor
was not facilitated by the tax reform the Carter administration was planning.
219
"IRS..."
[Source: Jeffrey K. MacNelly: IRS..., in: The Richmond News Leader (Richmond, Va.), No. 27,725,
June 27, 1977, p. 14, cols. 4-6.]
"ENERGY PROGRAM"
[Source: Jeffrey K. MacNelly: Energy Program, in: The Richmond News Leader (Richmond, Va.), No.
27,825, October 21, 1977, p. 10, cols. 3-5.]
1979 AWARD
HERBERT L. BLOCK
The Washington Post
Herbert Lawrence Block (born on October 13, 1909, in Chicago, II.) gradu-
ated from Lake Forest College in Chicago in 1927. He applied for a summer
job in 1929 with the Chicago Daily News and succeeded. For four years
Block's two-column-wide humorous cartoons appeared daily on the editorial
page. In 1933 Block joined the Newspaper Enterprise Association and
worked in their Cleveland office the following ten years. In 1942 the Pulitzer
Prize for cartooning went to Block for his outstanding work in the year
before. In 1943 Block joined the Army and spent a great part of his Army
duty in Florida and New York drawing cartoons for the Information and
Education Division. His postwar career began in 1946, when he joined the
Washington Post as a cartoonist. His second Pulitzer Prize for cartooning
was presented to Block in 1954 for outstanding work during the previous
year. Other prizes Block gained in the course of his career include the
National Cartoonists Society "Reuben" Outstanding Cartoonist Award, the
Lauterbach Award for service to Civil Liberties, the National Headliners'
Award and the National Press Club Annual Fourth Estate Award. The car-
toonist also received a number of honorary doctorates from several universi-
ties. In 1979 Herbert L. Block was granted his third Pulitzer Cartoon award
for the body of his work, as exemplified by the drawing "And Bring Me
Their Heads So I Can See What Goes Inside Them."
222
[Source: Herbert L. Block: And Bring Me Their Heads So I Can See What Goes On Inside Them, in:
The Washington Post (Washington, D.C.), 101st Year/No. 269, August 31,1978, p. A 14, cols. 3-4.]
[Source: Herbert L. Block: Pre-election Ballot Box, in: The Washington Post (Washington, D.C.), 101 st
Year/No. 328, October 29, 1978, p. C 6, cols. 3-4.]
Interpretation: Cartoon gives notice to the increasing gap between voter and
politicians by depicting industrials sponsoring candidates. Their funds are
certainly needed for the spots which - though rather expensive - become
more and more important to influence the voter.
224
"ELECTION TRENDS"
[Source: Herbert L. Block: Election Trends, in: The Washington Post (Washington, D.C.), 101st
Year/No. 347, November 17, 1978, p. A 18, cols. 3-4.]
1980 AWARD
Don Conway Wright (bom on January 23, 1934, in Los Angeles, Ca.)
attended Florida public schools. After working as a copy boy for the Miami
News Wright became staff photographer in 1952. From 1956 to 1958 he was
Signal Corps photographer in the Army. Afterwards he returned to the
Miami News and got the post of a graphics editor. Two years later, in 1960,
he started to work as a political cartoonist and soon became editorial car-
toonist of his paper in 1963. The 1966 Pulitzer Prize for cartooning was
presented to Wright for his outstanding work during the previous year. His
work was first distributed by the Washington Star Syndicate in 1970 and
since 1976 by the New York Times Syndication Sales Service. Wright is also
the author of the book titled "Wright On" published in 1971. One-man
exhibitions of his work took place in the Lowe Art Museum of the Univer-
sity of Miami in 1968 and 1979. In 1978 he produced animated cartoons for
the national TV distribution Newsweek Broadcasting Service. In the course
of his career the cartoonist Don C. Wright won a number of awards and was
granted his second Pulitzer Cartoon Prize in 1980, as exemplified by the
drawing "Florida State Prison."
226
"FLORIDA STATE PRISON"
ID MAKE IT
VWYWPUt OEM? WE VALUE
oOVflJNOPSAf HUMAN Lift!
WTRIDOIN&IWS?
[Source: Don Wright: Florida State Prison, in: The Miami News (Miami, FL), May 22, 1979, p. 10 A,
cols. 2-5.]
THE ELECTRIC CHAIR (A detailed diagram for the death penalty advocate)
,
SBMRCUGH TCP CF SKJIL
[Source: Don Wright: The Electric Chair, in: TTze Af/om/ News (Miami, R), May 23, 1979, p. 10 A,
cols. 2-5.]
UOWIUN5POB
M FUM% VALUES
HUMAN UFE?
[Source: Don Wright: ...We're Running Out Of Burial Plots, in: The Miami News (Miami, Fl.), May 29,
1979, p. 12 A, cols. 2-5.]
1981 AWARD
MIKE B. PETERS
Dayton Daily News
Michael Bartley (Mike) Peters (born on October 9, 1943, in St. Louis, Mo.)
attended Christian Brothers College High School until 1961. He attended
Washington University from which he graduated in 1965. In the same year
he started to work as a political cartoonist for the Chicago Daily News.
Peters joined the U.S. Army from 1966 to 1968. Afterwards he returned to
the Chicago Daily News but then switched to the Dayton Daily News a few
months later. His work was distributed by the United Feature Syndicate
since 1971 and appeared in more than two hundred-and fifty newspapers and
on national television. Peters was made the recipient of the Sigma Delta Chi
award for political cartooning in 1975. His cartoons were also assembled in
two books. Michael B. Peters was granted the Pulitzer Prize in the cartoon
category in 1981, as exemplified by the drawing "Can you guess which one's
been banned?"
230
TOO
AJffllCMSIM
YÖAR
[Source: Mike Peters: Can You Guess Which One's Been Banned?, in: Dayton Daily News (Dayton,
Oh.), Vol. 102/No. 331, August 8, 1979, p. 10, cols. 3-5.]
Interpretation; Cartoon takes up a bit of news that usually is not used for
political drawings -- the ban of a certain sugar substitute ·· to draw the
reader's attention to the endless controversy over hand guns. The second
Amendment to the constitution of the United States guarantees every citizen
the right 'to keep and bear arms'. This being written when the possession of
guns were quite normal and necessary for settlers living miles away from
civilization, today this Amendment seems to have no real basis anymore in
many people's opinion. And figures like the one stated in the drawing support
the argument of the Amendment being outmoded. But - as it seems to the
cartoonist - the deep seated mistrust of other many people towards the gov-
ernment, as well as the weapon manufacturers' lobby and the rifle association
want the Amendment to stay as it is. It is the American Constitution itself
which works to their benefit, since changing an Amendment is extremely dif-
ficult, as it requires a three-quarter majority in the U.S. House of Represen-
tatives and a two-third majority of the Senate members in Washington, D.C.
231
"LOOK, LADY - YOU'RE THE ONE WHO ASKED FOR
A FAMOUS MOVIE STAR WITH DARK HAIR,
STRONG NOSE AND DEEP SET EYES..."
[Source: Mike Peters: Look, Lady - You're The One Who Asked For A Famous Movie Star With Dark
Hair, Strong Nose And Deep Set Eyes..., in: Dayton Daily News (Dayton, Oh.), Vol. 103/No. 178,
March 7, 1980, p. 10, cols. 3-5.]
[Source: Mike Peters: He's Grown A Foot Since I Saw Him Last..., in: Dayton Daily News (Dayton,
Oh.), Vol. 103/No. 260, May 28, 1980, p. 10, cols. 3-5.]
1982 AWARD
BEN SARGENT
The Austin American-Statesman
Ben Sargent (born on November 26, 1948, in Amarillo, Tx.) studied journal-
ism at Amarillo College and started his career as a reporter for The Corpus
Christi Caller-Times in 1969. While working as a cartoonist for the Long
News Service from 1969 to 1971 he graduated from the University of Texas
with a bachelor of journalism degree in 1970. In 1971 Sargent switched to
the Austin American-Statesman, where he got the post of a reporter. In 1972
Sargent worked as a reporter for United Press International but soon went
back to the Long News Service in the same year and stayed there till 1974.
He then got the post of an political cartoonist at the Austin American-States-
man. His work was distributed nationally by the United Feature Syndicate.
Sargent also published a book in 1980. He was granted the Women in Com-
munications Inc. Outstanding Communicator award in 1981. The Pulitzer
Prize for editorial cartooning went to Ben Sargent in 1982, as exemplified
by the drawing "Defense System."
234
[Source: Ben Sargent: Welcome Home Hostages, in: The Austin American-Statesman (Austin, Tx.), Vol.
110/No. 186, February 1, 1981, p. C 2, cols. 2-4.]
-BUT MO MOKE
MAER1CAHHUHS
[Source: Ben Sargent: ...But No More American Nuns... Okay?, in: The Austin American-Statesman
(Austin, Tx.), Vol. 110/No. 212, February 27, 1981, p. A 14, cols. 2-4.]
"DEFENSE SYSTEM"
SUN MM*
WVW.HEDHEVERBE ,
A8L£ 10 FIGHT ^WHl
[Source: Ben Sargent: Defense, in: The Austin American-Statesman (Austin, Tx.), Vol. Ill/No. 47,
September 10, 1981, p. A 14, cols. 2-4.]
1983 AWARD
RICHARD E. LOCHER
Chicago Tribune
Richard Earl Locher (born on June 4, 1929, in Dubuque, la.) attended Loras
College and the University of Iowa. He graduated from the Chicago Acad-
emy of Fine Arts in 1951 and from the Los Angeles Art Center three years
later. Locher was a writer for "Buck Rogers" comic strip from 1954 to 1957.
He then worked as an assistant artist and writer for the comic strip "Dick
Tracy" from 1958 to 1962. In the same year he got the post of an art director
in the sales promotion at Hansen Company in Chicago. He left this position
in 1968 and became the owner and the president of the art studio Novamark
Corp. Locher got the post of an editorial cartoonist at the Chicago Tribune in
1972. The numerous prizes he gained in the course of his career include the
award from the Scripps-Howard Institute in 1975 and the Dragonslayer
Award from the National Educational Society in 1976, 1977 and 1978.
Richard E. Locher was made the recipient of the 1983 Pulitzer Prize in the
cartoon category, as exemplified by the drawing "Diplomacy In Action."
238
"DIPLOMACY IN ACTION"
[Source: Richard Locher: Diplomacy In Action, in: Chicago Tribune (Chicago, II.), 136th Year/No. 76,
March 17, 1982, section 1, p. 16, cols. 3-5.]
[Source: Richard Locher: Ronald Reagan's Weather Map, in: Chicago Tribune (Chicago, II.), 136th
Year/No. 84, March 25,1982, section 1, p. 22, cols. 3-5.]
"WATT"
L
[Source: Richard Locher: Watt, in: Chicago Tribune (Chicago, II.), 136th Year/No. 224, August 12,
1982, section 1, p. 14, cols. 3-5.]
1984 AWARD
Paul Francis Conrad (born on June 27, 1924, in Cedar Rapids, la.) attended
the University of Iowa, from which he graduated with a B.A. degree in
1950. The same year he started to work for the Denver Post, where he held
the post of an editorial cartoonist for the following fourteen years. During
his first year with that paper Conrad - commissioned by the Cooke-Daniels
Lecture Tours - also taught at the Denver Art Museum. For his work as a
distinguished cartoonist throughout the previous year Conrad was made the
recipient of the 1964 Pulitzer cartooning award. The same year Conrad
moved to the Los Angeles Times. In 1971 he was granted his second Pulitzer
Prize in the cartoon category for his work done in the year before. Two years
later he began to draw cartoons for the Los Angeles Times Syndicate. Apart
from his work as a cartoonist Conrad dedicated himself to writing. His first
book, titled "The King and Us," appeared in 1974. In the time between 1977
and 1978 the cartoonist as well held the Richard Milhous Nixon chair at
Whittier College. The following year not only saw the publication of his
second book, "Pro and Conrad," but also the opening of an exhibition of his
sculpture and cartoons at the Los Angeles County Museum. In addition to
his two earlier Pulitzer Prizes Conrad was granted a number of other awards,
among these from the Sigma Delta Chi fraternity, the Journalism award from
the University of Southern California and two Overseas Press Club awards.
In 1984 Paul F. Conrad was granted his third Pulitzer Prize in the cartoon
category, as exemplified by the drawing "Well, tell him to turn up his hear-
ing aid!"
242
"PLAY IT AGAIN, RON..."
[Source: Paul Conrad: Play It Again, Ron..., in: Los Angeles Times (Los Angeles, Ca.), Vol. CII/No.
268, August 28, 1983, part IV, p. 5, cols. 4-5.]
[Source: Paul Conrad: Well, Tell Him To Turn Up His Hearing Aid!, in: Los Angeles Times (Los
Angeles, Ca.), Vol. Cn/No. 283, September 12, 1983, part II, p. 5, cols. 1-2.]
Interpretation: Cartoon depicts the U.S. forces being under attack in Beirut
A troop is trying to communicate with a commander, who may be in contact
with President Reagan as Commander-in-Chief, The hearing problem of thd
latter can be read as both actual and figurative.
244
[Source: Paul Conrad: The Day After, in: Los Times (Los Angeles, Ca.), Vol. CII/No. 348,
November 16, 1983, part Π, p. 7, cols. 1-2.]
1985 AWARD
Jeffrey Kenneth MacNelly (born on September 17, 1947, in New York City)
was graduated from Phillips Academy in Andover, Massachusetts, in 1965.
He attended the University of North Carolina and worked as a staff artist and
editorial cartoonist for the Chapel Hill Weekly. In 1969 he won the National
Newspaper Association award for cartooning. He left the Chapel Hill
Weekly in December 1970 to work as an editorial cartoonist for the Rich-
mond News Leader. Jeffrey K. MacNelly was granted the 1972 Pulitzer
Prize for editorial cartoons. His work was syndicated in approximately three
hundred newspapers by the Chicago Tribune - New York News Syndicate.
For his work as a distinguished cartoonist throughout the previous year
MacNelly earned his second Pulitzer Prize for cartooning in 1978. In 1981
he returned to editorial cartooning for the Chicago Tribune after he had
ended his brief and premature retirement. Jeffrey K. MacNelly was granted
his third Pulitzer Prize for editorial cartooning in 1985, based on work done
during the previous year, as exemplified by the drawing "Okay, Senator
Garn..."
246
"ASK YOURSELVES..."
$£ WETTEROFF «üiRE?
NOW THAN W WERE PlDTWi
HAPPEN?
JOWNOK
[Source: Jeffrey K. MacNelly: Ask Yourselves..., in: Chicago Tribune (Chicago, II.), 138th Year/No.
242, August 29, 1984, section 1, p. 18, cols. 3-5.]
"CABINET MEETINGS"
[Source: Jeffrey K. MacNelly: The Reagan Cabinet Meeting..., in: Chicago Tribune (Chicago, II.), 138th
Year/No. 251, September 7, 1984, section 1, p. 26, cols. 3-5.]
[Source: Jeffrey K. MacNelly: Okay, Senator Garn..., in: Chicago Tribune (Chicago, II.), 138th
Year/No. 316, November 11, 1984, section 5, p. 2, cols. 3-5.]
1986 AWARD
JULES FEIFFER
The Village Voice (New York)
Jules Feiffer (born on January 26, 1929, in New York City) attended the Art
Student League in New York City until 1946. In the same year he started his
cartooning career as an assistant of the syndicated cartoonist Will Eisner.
While doing this job Feiffer visited Pratt Institute from 1947 to 1951. After
working in numerous art jobs Feiffer got the post of an contributing car-
toonist at the Village Voice, New York, in 1956. The cartoonist published
various books. His first volume of cartoons, "Sick, Sick, Sick," came out in
1958. Since that time his editorial cartoons were also published weekly in
the London Observer and since 1959 monthly in Playboy magazine. In the
same year the national syndication of Feiffer's cartoons by Hall started. His
work for the theater and the film began in 1961. Feiffer's first novel, "Harry,
the Rat With Women," was published in 1963. In 1979 the author and car-
toonist created his first cartoon novel entitled "Tantrum." He gained numer-
ous prizes in the course of his career including the Academy award for
animated cartoons in 1961 and the Outer Circle Drama Critics award in 1969
and 1970. Jules Feiffer was made the recipient of the 1986 Pulitzer Prize for
editorial cartooning, as exemplified by the drawing "The Media Reports..."
250
"REAGAN CRITICIZES RACISM..."
T^nrfittfStl3k~—,
xcuxer ι\?ξ κ
WRKfxreicfc:
[Source: Jules Feiffer: Reagan Criticizes Racism..., in: The Village Voice (New York, N.Y.), Vol.
XXX/No. 6, February 5, 1985, p. 33, cols. 1-3.]
[Source: Jules Feiffer: The U.S. Is Not Going..., in: The Village Voice (New York, N.Y.), Vol. XXX/No.
32, August 6, 1985, p. 4, cols. 1-3.]
[Source: Jules Feiffer: The Media Reports..., in: The Village Voice (New York, N.Y.), Vol. XXX/No.
37, September 10, 1985, p. 6, cols. 1-3.]
Interpretation: Cartoon iries to illustrate the general feeling of the 80s: this
included a deepening mistrust of what the media claims. Watergate and
Vietnam showed that one cannot (rust the government. So why should
people trust the media? it also shows that the increasing need for news and
stories, due to the expansion of cable TV for example, which enlarged the
viewer's options for news and information and entertainment, forced all
kinds of media to invent stories. It also shows their power: they can make up
things just as well as they can uncover scandals (again, as seen as in the
Watergate affair). The sentiment in the 80s was predominated by cynism. In
the drawing the questions asked define the term yuppie, the most revealing
of til being "Is style without content dead?" This points out the feeling that,
even art was not more than style -· like Andy Warhol's prints or Keith
Haring's simplistic drawings - that people did not do things for a specific
reason or to achieve anything - like in the 60s or the 70s, but only as a
matter of style and image. This way; the cartoon also expresses a certain
kind of nostalgia.
253
1987 AWARD
ABOUT REALISTIC PROBLEMS OF
AN UNREALISTIC WORLD IN 1986
BY
BERKE BREATHED
The Washington Post
Berke Breathed (born on June 21, 1957, in Encino, Ca.) started his career as
a photographer and columnist for the university paper Daily Texan in 1976
while studying at the University of Texas at Austin. In 1979 he graduated
from it. Breathed created the comic strip "Bloom County" which has been
syndicated by the Washington Post Writer's Group since 1980. For this car-
toon he was made the recipient of the Disability Awareness Award from
Paralyzed Vets of America in 1982. The cartoonist published two collections
of his comics in 1983, and 1984. Berke Breathed was granted the 1987
Pulitzer Prize in the cartoon category, as exemplified by his drawing "Good
Morning, Madam."
254
"MILO'S MEADOW"
[Source: Berke Breathed: Milo's Meadow, in: The Washington Post (Washington, D.C.), 109th Year/No.
150, May 4, 1986, section I/The Comics, p. 1, cols. 1-3.]
fl*SCHBAKR7WN *77-^-BOW'
ffo
we/
[Source: Berke Breathed: 69,9 Cent A Gallon!, in: The Washington Post (Washington, D.C.), 109th
Year/No. 192, June 15, 1986, section I/The Comics, p. 1, cols. 1-3.]
[Source: Berke Breathed: Good Morning, Madam, in: The Washington Post (Washington, D.C.), 109th
Year/No. 304, October 5, 1986, section I/The Comics, p. 1, cols. 1-3.]
1988 AWARD
[Source: Doug Marlette: That's Right - Jim and Tammy Were Expelled From Paradise And Left Me In
Charge!, in: The Charlotte Observer (Charlottte, N.C.), March 27, 1987, p. 18 A, cols. 3-5.]
[Source: Doug Marlette: To Err Is Human..., in: The Atlanta Constitution (Atlanta, Ga.), Vol. 119/No.
232, May 13, 1987, p. 8 A, cols. 3-5.]
[Source: Doug Marlette: President?... No, Child, But You Can Grow Up To Be Front-Runner!, in: The
Atlanta Constitution, (Atlanta, Ga.), Vol. 120/No. Ill, November 19, 1987, p. 18 A, cols. 3-5.]
1989 AWARD
BY
JACK HIGGINS
Chicago Sun-Times
Jack Higgins (born on August 19, 1954, in Chicago, II.) attended the Holy
Cross College, a Jesuit institution, from which he graduated with a B.A.
degree in Economics in 1976. The folllowing year Higgins worked for the
Jesuit Volunteer Corps in Washington. In 1978 he started his career as an
editorial cartoonist at the Daily Northwestern of Evanston, II. In 1980 he
switched to the Chicago Sun-Times where he first worked on free-lanced
basis and then got the post of an editorial cartoonist in 1984. He was made
the recipient of the Peter Lisagor award in 1984 and 1987 and won the first
prize at the Salon of Cartoons in Montreal, Canada, in 1988. Jack Higgins
was granted the 1989 Pulitzer Prize for editorial cartooning, as exemplified
by the drawing "...All Congressmen..."
262
Vfellburn
thataossvihen
wcometoit!
[Source: Jack Higgins: How About More Blacks..., in: Chicago Sun-Times (Chicago, II.), Vol. 41/No.
296, January 19, 1988, p. 27, cols. 2-3.]
"...ALL CONGRESSMEN..."
u
Shhhh.,
in { aver oi giving yourselves
a 50% "
[Source: Jack Higgins: ...All Congressmen..., in: Chicago Sun-Times (Chicago, II.), Vol. 42/No. 268,
December 15, 1988, p. 54, cols. 2-3.]
1990 AWARD
Thomas Gregory (Tom) Toles (born on October 22, 1951, in Buffalo, N.Y.)
attended the State University of Buffalo where he started to draw cartoons
for the campus newspaper Spectrum. He was graduated with a B.A. degree
in English in 1973. In the same year he started to work as an artist for the
Buffalo Courier-Express. In 1980 he began working as an editorial cartoonist
under the name Tom Toles. In 1982 Toles was engaged by the Buffalo News.
His cartoons were distributed to more than one hundred newspapers by the
United Press Syndicate. Since 1985 Toles also published collections of his
cartoons in book form. The cartoonist was made the recipient of the John
Fischetti Editorial Cartoon award in 1984. The 1990 Pulitzer Cartoon Prize
went to Thomas G. Toles for his work from the year before, as exemplified
by the drawing "First Amendment."
266
[Source: Tom Toles: We Won't Forget You!, in: The Buffalo News (Buffalo, N.Y.), Vol. CCXVII/No.
94, January 12, 1989, p. B 2, cols. 3-5.]
"FIRST AMENDMENT"
[Source: Tom Toles: First Amendment, in: The Buffalo News (Buffalo, N.Y.), Vol. CCXVUI/No. 83,
July 2, 1989, p. Η 10, cols. 3-5.]
[Source: Tom Toles: The Education President, in: The Buffalo News (Buffalo, N.Y.), Vol. CCXVIII/No.
115, August 3, 1989, p. B 2, cols. 3-5.]
1991 AWARD
ABOUT CONFLICTS AND GERMANY'S
REUNIFICATION IN 1990
BY
JIM M. BORGMAN
The Cincinnati Enquirer
James Mark (Jim) Borgman (born on February 24, 1954, in Cincinnati, Oh.)
attended Kenyon College where he worked for the Kenyan Collegian. He
graduated from college in 1976. The artist started his career for the Cincin-
nati Enquirer as an editorial cartoonist under the name Jim Borgman in
1976. His cartoons reached wide popularity because of their distribution to
more than two hundred newspapers through the King Features Syndicate
since 1980. Bergman's work was exhibited at the International Salon of Car-
toons at Haslem Gallery and at Art Pac Shows. The cartoonist published
several books over the years. The numerous prizes Borgman gained in the
course of his career include the 1978 Sigma Delta Chi award for editorial
cartooning and the award for the Best Editorial Cartoonist from the National
Cartoonists Society in 1987, 1988, and 1989. James M. Borgman was made
the recipient of the Pulitzer Prize in the cartoon category in 1991 for work
from the year before, as exemplified by the drawing "Domino Theory."
270
"DOMINO THEORY"
[Source: Jim Bergman: Domino Theory, in: The Cincinnati Enquirer (Cincinnati, Oh.), 149th Year/No.
296, January 30, 1990, p. A 8, cols. 3-5.]
[Source: Jim Borgman: Now We Wait..., in: The Cincinnati Enquirer (Cincinnati, Oh.), 150th Year/No.
147, September 3, 1990, p. A 12, cols. 3-5.]
ffe'i1 5
ftsT**i" v
'* '?**
[Source: Jim Borgman: Actually, It's So We Always Know Where They Are, in: The Cincinnati
Enquirer (Cincinnati, Oh.), 150th Year/No. 174, September 30, 1990, section I, p. 1, cols. 2-5.]
1992 AWARD
Signe Wilkinson (born on July 25, 1950, in Wichita Falls, Tx.) graduated
from the University of Denver, where she majored in English. She continued
her studies at the Pennsylvania Academy of the Fine Arts in Philadelphia
and the University of Strasbourg in France. Then she worked as a reporter,
art director and peace activist. For nine months, she was in Cyprus, engaged
on a housing project and work camp for young Greek and Turkish Cypriots.
In 1982 Wilkinson started at the San Jose Mercury News in California as an
editorial cartoonist. Three years later, in 1985, she switched to the
Philadelphia Daily News. In the following years she was a vice president of
the Association of American Editorial Cartoonist. Signe Wilkinson was the
first wormen ever awarded a Pulitzer Cartoon Prize when she earned that
honor in 1992 on the basis of her works from the previous year, as exempli-
fied by the drawing "Hello, Washington?"
274
örara *ifctfkJe*J
[Source: Signe Wilkinson: Pull The Plug?!!, in: Philadelphia Daily News (Philadelphia, Pa.), Vol
66/No. 239, January 11, 1991, p. 71, cols. 3-4.]
[Source: Signe Wilkinson: Hello, Washington?, in: Philadelphia Daily News (Philadelphia, Pa.), Vol.
66/No. 260, February 5, 1991, p. 22, cols. 2-4.]
"HOME ALONE"
[Source: Signe Wilkinson: Home Alone, in: Philadelphia Daily News (Philadelphia, Pa.), Vol. 66/No.
274, February 21. 1991, p. 25, cols. 3-4.]
Interpretation: Cartoon is informing about the fact that for the first time
ever, women soldiers were stationed in the Gulf war as well. With the U.N.
resolution 678 from November 29 of the previous year, the operation
"Desert Shield" began and next to the leading nation of the United States 27
countries participated. Ten per cent of the American troops were women.
Two days after this drawing was published Operation "Desert Storm"
commenced and freed Kuwait of its Iraqi garrison. This fact may be
considered a victory for women's liberation but on the other hand it does
have the disadvantage the drawing shows, when both parents are fighting:
their kid(s) stays home alone just as Macauley Culkin did in the then famous
and popular movie of the same title. In that blockbuster the young hero
creatively fought against burglars. The difference being that in reality, the
neglectance of one's child is neither exciting nor funny.
277
1993 AWARD
[Source: Stephen R. Benson: I Hope I Can Get This Turned Around..., in: The Arizona Republic
(Phoenix, Az.), 102nd Year/No. 336, April 18, 1992, p. A 14, cols. 3-5.]
"HANG IN THERE"
[Source: Stephen R. Benson: Hang In There, in: The Arizona Republic (Phoenix, Az.), 103rd Year/No.
65, July 22, 1992, p. A 8, cols. 3-5.]
[Source: Stephen R. Benson: My Election Strategy Is Simple..., in: The Arizona Republic (Phoenix,
Az.), 103rd Year/No. 79, August 5, 1992, p. A 10, cols. 3-5.]
1994 AWARD
Michael Patrick Ramirez (born on May 11, 1961, in Tokyo, Japan) started to
work for the Sutton News Group in 1979 including the Newport Ensign, the
Irvine Today, and the Costa Mesa News. In 1982 he switched to Baker Com-
munications/Λζ/σί Verdes Peninsula News, Ca., and graduated from the
University of California at Irvine, in 1984, with a B.A. degree in Fine Arts/
Studio Painting. Ramirez got the post of an editorial cartoonist at the Daily
Sun/Post in San Clemente, Ca., in 1989. The following year he was engaged
by the Commercial Appeal in Memphis. The 1994 Pulitzer Prize in the car-
toon category went to Michael P. Ramirez for his work published during the
previous year, as exemplified by the drawing "As the smoke cleared..."
282
"NEVER AGAIN..."
BOSNIA- BOSNIA-
HtRZEGOODCAUST ΗΙΚΖΕΟΟΥΙϋΓΝΛΜ
[Source: Michael P. Ramirez: Never Again..., in: The Commercial Appeal (Memphis, Tn.), 154th
Year/No. 113, April 23, 1993, p. A 10, cols. 3-5.]
Interpretation: Cartoon illustrates the motives for the U.N. member states,
Germany and the United States, for getting involved in the Bosnia-Herzego-
vina war: both countries had been traumatized in recent history: Germany by
the Holocaust, the United States by the Vietnam debacle. Their pleads to
never again let this happen, is therefore understandable. However, the draw-
ing implies that these motives let them neglect the current situation. Reality
seems to be overshadowed by the past. The previous months had been filled
with peace conferences on the one hand and frequently erupting fights and
attacks on the other hand. The U.S. urged the United Nations to introduce a
tribunal for wartime criminals. The notion of ethical clearings was a cynic
euphemism for the massakers that the serbs conducted to erase the Muslims.
The day the drawing was published, President Bill Clinton underlined that
the United States should be the leading nation in this operation in Yugos-
lavia. He hesitated to draw a direct comparison to the Holocaust but saw the
similarities.
283
"AS THE SMOKE CLEARED..."
[Source: Michael P. Ramirez: As The Smoke Cleared .... in: The Commercial Appeal (Memphis, Tn.),
154th Year/No. 246, September 3, 1993, p. A 10, cols. 3-5.]
"SOMALIA"
[Source: Michael P. Ramirez: Somalia, in: The Commercial Appeal (Memphis, Tn.), 154th Year/No.
281, October 8, 1993, p. A 10, cols. 3-5.]
1995 AWARD
ABOUT AMERICAN BEHAVIOR
IN KEY SITUATIONS IN 1994
BY
MIKE LUCKOVICH
The Atlanta Constitution
Mike Luckovich (born on January 28, 1960, in Seattle, Wa.) studied political
sciences at the University of Washington from which he graduated in 1982.
He started his career at the Greenville News, S.C., as a cartoonist and
switched to the New Orleans Times-Picayune in 1984 where he took the
post of an editorial cartoonist. In 1989 Luckovich started to work for the
Atlanta Constitution. His cartoons were nationally distributed in more than
one hundred and fifty newspapers around the nation by Creators Syndicate.
In the course of his career Luckovich was granted with numerous prizes
including the 1990 Overseas Press Club Award for the best cartoon on
foreign affairs in the previous year and the National Headliners Award from
the Press Club of Atlantic City in 1991. The 1995 Pulitzer Prize for editorial
cartooning was presented to Mike Luckovich for his work published in the
year before, as exemplified by the drawing "Pie-eating championship..."
286
"PIE-EATING CHAMPIONSHIP..."
theft \rtjnt be 3
Y/ofU Seiles this
year.-
[Source: Mike Luckovich: Pie-Eating Championship..., in: The Atlanta Constitution (Atlanta, Ga.), Vol.
127/No. 32, August 2, 1994, p. A 6, cols. 3-5.]
[Source: Mike Luckovich: Moment Of Silent Prayer At Beginning Of Class, in: The Atlanta
Constitution (Atlanta, Ga.), Vol. 127/No. 49, August 25, 1994, p. A 16, cols. 3-5.]
[Source: Mike Luckovich: When Your Birthday's On Christmas..., in: The Atlanta Constitution (Atlanta,
Ga.), Vol. 127/No. 118, December 6, 1994, p. A 10, cols. 3-5.]
1996 AWARD
JIM MORIN
The Miami Herald
Jim Morin (bora on January 30, 1953, in Washington, D.C.) started to draw
cartoons for the student newspaper Daily Orange while attending college at
Syracuse University. The cartoonist was first engaged by the Beaumont
Enterprise and Journal in Texas and then by the Richmond Times-Dispatch
in Virginia. In 1978 Morin switched to the Miami Herald. His work was
syndicated by King Features. Morin published several books, including a
volume of cartoons. In the course of his career the cartoonist won numerous
prizes, among them the Overseas Press Club awards in 1979 and 1990, the
1992 National Cartoonist Society award and the 1996 Berryman award. Jim
Morin was also made the recipient of the 1996 Pulitzer Cartoon Prize for his
work done during the previous year, as exemplified by the drawing "Who
cares about Bosnia?"
290
"OPINION POLLS"
OJNIONCUT5
CLINTON &*&
ECONOMIC eeONTH
REMWNSSH3DN6
CRIME
CUNTDN
CUNTTON
RESCUES
fiiinmi Hrrnlb
MEXICO
[Source: Jim Morin: Opinion Polls, in: TVie Miami Herald (Miami, Fl.), 85th Year/No. 64, February 2,
1995, p. 18 A, cols. 3-5.]
TMFRE« CONGER
1WEUÄ»
[Source: Jim Morin: Who Cares About Bosnia?, in: The Miami Herald (Miami, Fl.), 85th Year/No. 338,
November 3, 1995, p. 22 A, cols. 3-5.]
Facelifts*^
Cosmetic Surgay FMN4JN«B«N» WWW«
CLINTON OFKlinton Q.INH3M
1997 AWARD
"...WELFARE REFORM..."
[Source: Walt Handelsman: ...Welfare Reform..., in: The Times-Picayune (New Orleans, La.), 160th
Year/No. 192, August 2, 1996, p. B 6, cols. 4-5.]
[Source: Walt Handelsman: ...I Lied, I Cheated..., in: The Times-Picayune (New Orleans, La.), 160th
Year/No. 231, September 10, 1996, p. B 6, cols. 4-5.]
[Source: Walt Handelsman: FBI Seeks New Suspects..., in: The Times-Picayune (New Orleans, La.),
160th Year/No. 281, October 30, 1996, p. B 6, cols. 4-5.]
1998 Winner:
Artist's Name
Cartoon Title ,, / /fg aShsAs; fosne /"^//?x7//3 &. . . ay?
Newspaper AJ-'AUS-JJ
~-„-. -yas-fr
^ rf^rs-
*.~ jtä»o£*jsie
*ri-*,,„^fr,,. fr,/.
1999 Winner:
Artist's Name ^7) cr is/ cf /-/o /-^g u
Cartoon Title <£~>*f;*jr
Newspaper f_S
2000 Winner:
Artist's Name
Cartoon Title
Newspaper
2001 Winner:
Artist's Name
Cartoon Title
Newspaper
2002 Winner:
Artist's Name
Cartoon Title
Newspaper
* The listings of the annual Pulitzer Prize-winners as well as further background information
about the awards will be available in the New York Times, New York, N.Y., during April of
each year; the information also can be found in the Internet.
298
2003 Winner:
Artist's Name
Cartoon Title
Newspaper
2004 Winner:
Artist's Name
Cartoon Title
Newspaper
2005 Winner:
Artist's Name
Cartoon Title
Newspaper
2006 Winner:
Artist's Name
Cartoon Tide
Newspaper
2007 Winner:
Artist's Name
Cartoon Title
Newspaper
2008 Winner:
Artist's Name
Cartoon Title
Newspaper
299
INDEX
Future Volume
Vol.14 CONTEMPORARY MUSIC AWARDS 1943-1998
will be published in 2000
307
Columbia
THE PULITZER PRIZES IN JOURNALISM
Excerpt from the Plan of Award
The following provisions govern the award of the Pulitzer Prizes and Fellowships established in Columbia University by
the will of die first Joseph Pulitzer
1. The prizes and fellowships are awarded by Columbia University on the recommendation of The Pulitzer Prize Board.
The board meets twice annually. The prizes are announced during the Spring.
2. Entri'f muse be submitted in writing and addressed to the Administrator of The Pulitzer Prize Board (See reverse tide
for address). ΡΜ»ΪΜ for journalism awards must be made on or before February 1 to cover work done in the preceding
calendar year.. .Competition for journalism prizes is limited to work done during the calendar year ending December 31.
3. Kntti^ foe journalism awards may be made by any individual from "i«grial appearing in a United States newspaper
published daily, Sunday or at least once a week during the calendar year. Each entry must be accompanied by an exhibit, in
scrapbook form, of news stories, editorials, photographs or cartoons as published, with name and date of paper. Exhibits in
the public service category are limited to twenty items, which may include articles, cartoons, photographs, and a single on-
line presentation. (If an on-line presentation is submitted as part of a public service entry, it must be in me form of a single
CD-ROM whose content pertains to the print items in die exhibit and was produced for and published on the newspaper's
Web site.) Errr·*! in the cartoon and photography categories are limited to twenty cartoons or pictures, and in the
r»»m«imrtg categories to ten articles or editorials, except for feature writing which is limited co three articles of more than
1500 words or five articles of 1500 words or less. Up to three individuals may be named on a team entry; otherwise the
entry must be made in me name of the staff of the newspaper. Any significant challenge to the accuracy or fairness of an
entry, such as published letters, corrections, retractions, as well as responses by the newspaper, should be included in the
submission. In the photography categories, no entry whose content is manipulated or altered, apart from standard
newspaper cropping and editing, win be deemed acceptable, tfrrhih«« must be presented in scrapbooks measuring no more
than 12x17 inches, except in cases where a full newspaper page is required to «"·!"· clear the full scope and impact of the
material entered. In such ««»««·« the notebook or scrapbook may not exceed the dimensions of the actual page plus a
one-inch margin. The Pulitzer Prize Board requires that every entry must conform to the stated limits on article number
and size before k can be given jury consideration. All exhibits should include biographies and pictures of entrants and each
entry must be accompanied by a h«i"fling fees of $50 made payable to Columbia University/Pulitzer Prizes.