What Is The Message Of The Declined With Thanks Cartoon?

What Is The Message Of The Declined With Thanks Cartoon
The cartoon’s title is “Declined With Thanks,” and it is a political cartoon. The Antis: “Here, take a dosage of this anti-fat, and let’s get this thing back on track!” AKA: “Uncle Sam” “No. Sorry! I never did do any of that stuff, and now I’m well past the point where I can start.” The late 19th century and the early 20th century saw a surge in American imperialism.

  • This trend continued throughout the 20th century.
  • Anti-imperialists and pro-imperialists engaged in one of the most contentious arguments in the annals of United States history on the concept of American imperialism.
  • The creator of this comic strip, which is titled “Declined With Thanks,” is elaborating on the historical period of US imperialism and revealing the true discussion that lies behind it.

Three individuals on the left have come to be known as “the Antis,” and they unequivocally reject the imperialist policies of the United States. The United States of America is shown on the right as Uncle Sam, while President McKinley may be seen making adjustments to his attire.

  1. The cartoon’s creator isn’t necessarily taking a position on either side of the argument; rather, he or she is just comparing the two perspectives.
  2. This cartoon is aimed for an audience consisting of politicians as well as other individuals who have an interest in this particular era.
  3. The attempt to contrast and disclose the opposing sides of this significant discussion on imperialism makes heavy use of symbolism and parallelism, both of which are extremely obvious to see.

The names that are inscribed on Uncle Sam’s pants serve as a visual representation of the meaning. The names are considered to represent the additional areas that the United States either desires or has already gained. In this cartoon, Uncle Sam unequivocally stands in for the United States of America.

  1. But because the United States is expanding into more and more territory, Uncle Sam takes up a lot of room in this image.
  2. The attire of Uncle Sam is being revised by a tailor, who happens to be President McKinley in this scenario.
  3. In light of the fact that additional territories are being added, Uncle Sam will need to make another trip to the tailor in order to have his clothes adjusted to accommodate his growing size.

As the United States acquires additional territory, it will be forced to cope with an increasing number of challenges and shifts, many of which will fall squarely on the shoulders of the President. The similarity can be noticed in the two lines that are located at the bottom of the page.

  • In the first quotation, the antis are heard stating, “Here, take a dosage of this anti-fat and get thing again!” Then Uncle Sam will respond by saying, “No.
  • Sorry! I never did do any of that stuff, and now I’m well past the point where I can start.” When Uncle Sam speaks, there are echoes of days gone by in America that may be found in his words.

By having Uncle Sam state that he is too elderly to begin to start taking a “anti-fat dosage,” the message is conveyed that the United States of America has been extending its territory ever since the nation was first established. There are a few similarities between the historical period of Manifest Destiny and this comment made by Uncle Sam.

  • The use of this rhetorical method serves to demonstrate that the United States has always been expanding, and that this trend is not going to cease in the near future.
  • I am of the view that the artist was able to properly illustrate the genuine discussion that exists between those who support imperialism and those who oppose it.

Despite the fact that I take the position of anti-imperialists, I am still able to grasp and comprehend the perspectives of both imperialists and anti-imperialists.

What is the message of the cartoon declined with thanks?

The cartoon character Puck gives his stamp of approval to President William McKinley’s expansionist foreign policy by calling it “enlightened” and “logical.” The annexation of Hawaii and Puerto Rico (respectively, during and after the Spanish-American War of 1898) are portrayed as natural rises in the size of the United States, a trend that started with the conquest and annexation of Texas in 1846.

What is the artist’s message in school begins?

The concept of white supremacy in the United States over the indigenous people of the lands it conquered is shown in a generic way in the cartoon “School Begins.” The indigenous people of the United States and black people are not included in the “schooling process,” which is a central theme in this cartoon. Black people are also excluded.

What do the labels on Uncle Sam’s pants represent what other labels might the cartoonist have included?

This cartoon depicts a group of anti-imperialists clutching bottles of medication with the words “Anti-Expansion Policy” written on the labels. Texas, Louisiana Purchase, Alaska, and Hawaii are written in stripes on Uncle Sam’s slacks. Other stripes indicate “Alaska.” A tailor who works for President McKinley is now measuring him up for a new suit.

What is the anti expansion policy?

People who self-identify as anti-imperialists frequently declare that they are opposed to colonialism, colonial empires, hegemony, imperialism, as well as the territorial expansion of a country beyond the limits that it has already established.

What does this cartoon show about the US after the Spanish American War?

How does this cartoon depict the United States in the years following the Spanish-American War? It demonstrates that the United States is becoming an international power.

What is the purpose of School begins?

The documentary titled “School Begins” has the goal of demonstrating how the United States administration decided to deliver “civilization” to the new territories after ostensibly accepting “The White Man’s Burden.” We observe that there is a kid of African-American descent who is working in the classroom, a pupil of Native American descent who is reading a book with the pages facing the wrong way, and a child of Chinese descent who is seeking to enter the school but appears to be excluded.

  • Even while the American ideal is, in some cases, being extended to more people, in other others, it is either being denied to them or perverted.
  • The people who lived in the lands that the United States won from Mexico in the Mexican-American War (1846-1848) are shown, not as Spaniards or Mestizos, but as reserved and studious Anglo-Saxons.

At the very least, the people of Anglo-European and European origin in the United States were expected to live up to the expectations placed on them as “truly civilized” people by extending the benefits of civilization to those who were less fortunate.

  1. In addition, the representation of the regions obtained during the Mexican Cession of 1848 as white is suggestive of an assimilationist mindset that persists in today’s society.
  2. Those individuals who are unable to conform, either physically or culturally, to the dominant group (White, Anglo-Saxon Protestants), are seen as failures or undesirables, and they are unequivocally distinguished from the other people.

How is it that a representation of what it means to be an American that is so wildly wrong can garner widespread acceptance? Is this a widely held belief, or is it only an image that has been propagated by the media?

How did Uncle Sam become a symbol?

What Is The Message Of The Declined With Thanks Cartoon Uncle Sam is not the only symbol that painters and illustrators in the United States have chosen to represent political themes of the day; examples are the works “Columbia” and “Brother Jonathan.” The female figure “Columbia,” who was typically shown wearing a toga, is considered to have been one of the first representations of the United States as a whole.

In one of the most well-known depictions of her, she is shown weeping at the death of President Abraham Lincoln, and she is joined in her grief by Britannia, another female character who personifies England, and a previously enslaved person whose predicament is unknown. In this artwork from 1865, created by John Tenniel, Britannia is shown offering comfort to Columbia while a previously enslaved person sobs in the background.

The Cartoon Collector and Print Collector’s Collection, Courtesy of Getty Images The question is, therefore, whence did Uncle Sam get his name? Samuel Wilson, a meat supplier based in Troy, New York, is credited with having established the practice, as stated in a resolution that was passed by Congress in 1961.

During the War of 1812, he branded all of the items he intended for use by the military with the letters “U.S.” During that time period, workers would crack jokes along the lines that “Uncle Sam” Wilson was providing food for the military. Two African-American Marvel superheroes both go by the name Sam Wilson: “The Falcon,” who eventually becomes Captain America after Steve Rogers retires, and Samantha Wilson, who recently took over the role of Captain America in the Spider-Gwen series.

It is possible that the naming of these two characters is not a coincidence. It’s possible that “Brother Jonathan,” an early emblem of the United States, evolved into “Uncle Sam” through time. Images courtesy of Kean Collection/Getty Images But earlier on, a character known as Brother Jonathan appeared who resembled Uncle Sam.

  • This individual was also present.
  • It’s possible that the personification of the United States was based on John Trumbull, who was the governor of Connecticut in colonial times and fought against British control during the War of Independence.
  • Before disappearing entirely, it’s possible that Brother Jonathan took on the persona of Uncle Sam during the period of the Civil War.
See also:  Where To Watch The Grinch Stole Christmas Cartoon?

This young and slim guy who represented the nation wore apparel that alluded to the colors of the American flag in an advertisement that was published in 1876. He reminded me a lot of Uncle Sam, but if he had a more recent haircut and was younger. It’s probable that subsequent representations of Brother Jonathan paid homage to Abraham Lincoln by giving Uncle Sam a lanky build and prominent facial characteristics similar to those of the 16th president of the United States.

  1. Hello, inquisitive young people! Do you require the assistance of an expert to address a query that you have? Your inquiry should be emailed to [email protected] by an adult on your behalf.
  2. Kindly provide us with your name, age, and the city in which you now reside.
  3. And because there is no upper age limit for wondering things, adults, please share your thoughts with us as well.

Although we won’t be able to provide a response to each and every query, we will try our very best to do so. What Is The Message Of The Declined With Thanks Cartoon

What seems to be Uncle Sam’s attitude toward the offerings on the menu?

In this cartoon, the waiter represents former President [insert name of president here]. What does it appear that Uncle Sam thinks about the items that are available to choose from on the menu? Indecisive.

What is the message of a lesson for anti Expansionists cartoon?

Every Archive and Every Collection Photos and images taken from the Hawai’i Congressional Papers Collection available at the Hawaii War Records Depository Social Movements Asia Collection of Historical Postcards from Bell Photos taken during the occupation of Japan by the Allies, from the Emery D.

Middleton Collection Gandhi Photographs Japan’s Great Kanto Earthquake, which occurred in September of 1923 Ilocandia: A Visual Experience of Ilocos Sur Images of Okinawa during World War II Japanese Commercial Graphic Designs from the 1920s Ilocandia: A Visual Experience of Ilocos Sur Ilocandia: A Visual Experience of Iloc Postcards from the Kumaichi Hiraoka Collection Picture Storybook Magic Lantern Slides Collection from the Nippon Rikkokai Lianhuanhua – Lantern Slides of the Nippon Rikkokai Lianhuanhua Shackford Collection of Photographs of China and South Asia: 19th Century and Earlier Imprints North Korea Collection Photographs from India Post-Independence North Korea Collection Photographs from China Posters Relating to Southeast Asia Collection titled after Stanley Kaizawa Charlot Collection of Photographers from the Jean Charlot Drawings by Jean Charlot commissioned by Paul Claudel Jean Charlot Collection: José Guadalupe Posada Prints Catalogue of the Papers Carried by Juliette May Fraser Award Display Panels from the Raisonné Ossipoff & Snyder Architects Collection Renderings from the Collection of Ossipoff and Snyder Architects Hawaiian My first journey to Hawaii was in 1929-30, and it was documented in the Aloha Hawaii Scrapbook as well as the Anatomy of the Pineapple and Fitzharris Hawaii Photo Album.

Hawaiian Kalo Hawaii Lantern Slides Albums Comprising Hawaiian Music Henry Warner’s Hawaii Photographic Album, 1932–1943 Hawaiian Photographic Album Leslie Sheraton’s Slides of Hawaii’s Flora and Fauna Used in Hawaiian Leis Please Help Save Our Surf Maps/Aerials Aerial photographs taken by the United States Army Air Corps were used to create the Dakin Fire Insurance Maps of Hawaii in the 1920s and 1930s.

What were the main arguments of the anti-imperialists?

Anti-imperialists opposed imperialism because they believed it broke a basic concept that a legitimate republican government must arise from the “consent of the governed.” Anti-imperialists opposed imperialism because they believed it violated this ideal.

What does the white man’s burden cartoon mean?

->

Rudyard Kipling’s famous poem “The White Man’s Burden” was published in 1899, during a high tide of British and American rhetoric about bringing the blessings of “civilization and progress” to barbaric non-Western, non-Christian, non-white peoples. In Kipling’s often-quoted phrase, this noble mission required willingness to engage in “savage wars of peace. ” Three savage turn-of-the-century conflicts defined the milieu in which such rhetoric flourished: the Anglo-Boer War of 1899–1902 in South Africa; the U.S. conquest and occupation of the Philippines initiated in 1899; and the anti-foreign Boxer Uprising in China that provoked intervention by eight foreign nations in 1900. The imperialist rhetoric of “civilization” versus “barbarism” that took root during these years was reinforced in both the United States and England by a small flood of political cartoons—commonly executed in full color and with meticulous attention to detail. Most viewers will probably agree that there is nothing really comparable in the contemporary world of political cartooning to the drafting skill and flamboyance of these single-panel graphics, which appeared in such popular periodicals as Puck and Judge. This early outburst of what we refer to today as clash-of-civilizations thinking did not go unchallenged, however. The turn of the century also witnessed emergence of articulate anti-imperialist voices worldwide—and this movement had its own powerful wing of incisive graphic artists. In often searing graphics, they challenged the complacent propagandists for Western expansion by addressing (and illustrating) a devastating question about the savage wars of peace. Who, they asked, was the real barbarian?
Unless otherwise noted, all images in this unit are from the Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution.

INTRODUCTION The march of “civilization” against “barbarism” is a late-19th-century construct that cast imperialist wars as moral crusades. Driven by competition with each other and economic pressures at home, the world’s major powers ventured to ever-distant lands to spread their religion, culture, power, and sources of profits. This unit examines cartoons from the turn-of-the-century visual record that reference civilization and its nemesis—barbarism. In the United States Puck, Judge, and the first version of a pictorial magazine titled Life; in France L’Assiette au Beurre; and in Germany the acerbic Simplicissimus published masterful illustrations that ranged in opinion and style from partisan to thoughtful to gruesome. In the civilization narrative, barbarians were commonly identified as the non-Western, non-white, non-Christian natives of the less-developed nations of the world. Three overlapping turn-of-the-century conflicts in particular stirred the righteous rhetoric of the white imperialists. One was the second Boer War of 1899–1902 that pitted British forces against Dutch-speaking settlers in South Africa and their black supporters. The second was the U.S. conquest and occupation of the Philippines that began in 1899. And the third was the anti-foreign Boxer Uprising in China in 1899–1901, which led to military intervention by no less than eight foreign nations including not only Tsarist Russia and the Western powers, but also Japan. Civilization and barbarism were vividly portrayed in the visual record. The word “Civilization” (with a capital “C”), alongside “Progress,” was counterposed against the words “barbarism,” “barbarians,” and “barbarity,” with accompanying visual stereotypes. Colossal goddess figures and other national symbols were overwritten with the message on their clothing and the flags they carried. The archetypal dominance of “Civilization” over “Barbarism” is conveyed in a 1902 Puck graphic with the sweeping white figure of Britannia leading British soldiers and colonists in the Boer War. A band of tribal defenders, whose leader rides a white charger and wields the flag of “Barbarism,” fades in the face of Civilization’s advance. The caption, “From the Cape to Cairo. Though the Process Be Costly, The Road of Progress Must Be Cut,” states that progress must be pursued despite suffering on both sides. The message suggests that the indigenous man will be brought out of ignorance through the inescapable march of progress in the form of Western civilization.

table>

“From the Cape to Cairo. Though the Process Be Costly, The Road of Progress Must Be Cut” Puck, December 10, 1902 Artist: Udo Keppler Source: Library of Congress In this 1902 cartoon, Britain’s Boer War and goals on the African continent are identified with the march of civilization and progress against barbarism. Brandishing the flag of “Civilization,” Britannia leads white troops and settlers against native forces under the banner of “Barbarism. ”

table>

Other graphic techniques were used by cartoonists to communicate this message. For example, the light of civilization literally illuminated vicious, helpless, or clueless barbarians. In “The Pigtail Has Got to Go,” a white-robed goddess wears a star that radiates over a Chinese mandarin. A more earthly approach is taken in the graphic “Some One Must Back Up” that heads this essay. Here the “Auto-Truck of Civilization and Trade” shines a headlight upon a raging dragon and sword-wielding Chinese Boxer whose banner reads “400 Million Barbarians. ” In the imagery of the civilizing mission, China is portrayed as both backward and savage. The aggressive quest for new markets—China’s millions being the most coveted—was justified as part of the benevolent and inevitable spread of progress.

table>

table>

Pro-imperialist cartoons often depicted the West as literally shining the light of civilization and progress on barbaric peoples. In these details, the headlight of a modern vehicle (Judge, 1900) and starlight from a goddess of “civilization” (Puck, 1898) illuminate demeaning caricatures of China.

table>

Long-standing personifications and visual symbols for countries were used by cartoonists to dramatize events to suit their message. Anthropomorphizing nations and concepts meant that in an 1899 cartoon captioned “The White Man’s Burden,” the U.S. , as Uncle Sam, could be shown trudging after Britain’s John Bull, his Anglo-Saxon partner, carrying non-white nations—depicted in grotesque racist caricatures—uphill from the depths of barbarism to the heights of civilization.

table>

“The White Man’s Burden (Apologies to Rudyard Kipling)” (detail) Judge, April 1, 1899 Artist: Victor Gillam Source: The Ohio State University Billy Ireland Cartoon Library & Museum Britain’s John Bull leads Uncle Sam uphill as the two imperialists take up the “White Man’s Burden” in this detail from an overtly racist 1899 cartoon referencing Kipling’s poem.

table>

The cartoon takes its title from Rudyard Kipling’s poem “The White Man’s Burden. ” Published in February, 1899 in response to the annexation of the Philippines by the United States, the poem quickly became a famous endorsement of the civilizing mission—a battle cry, full of heroic stoicism and self-sacrifice, offering moral justification for U.S. perseverance in its first major and unexpectedly prolonged overseas war.

table>

Original publication of Rudyard Kipling’s poem, “The White Man’s Burden. ” McClure’s Magazine, February, 1899 (Vol. XII, No.4)

table>

Newly conquered populations, described in the opening stanza as “your new-caught, sullen peoples, half-devil and half-child” would need sustained commitments “to serve your captives‘ needs. ” Take up the White Man’s burden— Send forth the best ye breed— Go bind your sons to exile To serve your captives’ need; To wait in heavy harness, On fluttered folk and wild— Your new-caught, sullen peoples, Half-devil and half-child. Expansionism promulgated under the banner of civilization could not escape being carried out in global military campaigns, referred to as the “savage wars of peace” in the third stanza: Take up the White Man’s burden— The savage wars of peace— Fill full the mouth of Famine And bid the sickness cease; And when your goal is nearest The end for others sought, Watch sloth and heathen Folly Bring all your hopes to nought. Such avowed paternalism towards other cultures recast the invasion of their lands as altruistic service to humankind. The aggressors brought progress in the form of modern technology, communications, and Western dress and culture. Christian missionaries often led the way, followed by politicians, troops, and—bringing up the rear—businessmen. Education in the ways of the West completed the political and commercial occupation. Cartoons endorsing imperialist expansion depicted a beneficent West as father, teacher, even Santa Claus—bearing the gifts of progress to benefit poor, backward, and childlike nations destined to become profitable new markets. -> In the United States, the Boer War, conquest of the Philippines, and Boxer Uprising prompted large, detailed, sophisticated, full-color cartoons in Puck and Judge. Although these magazines were affiliated with different political parties—the Democratic Party and Republican Party respectively—both generally supported pro-expansionist policies. Opposing viewpoints usually found expression in simpler but no less powerful black-and-white graphics in other publications. Periodicals like Life in the U.S. (predecessor to the later famous weekly of the same title), as well as French and German publications, printed both poignant and outraged visual arguments against the imperialist tide, often with acute sensitivity to its racist underpinnings. These more critical graphics did not exist in a vacuum. On the contrary, they reflected intense debates about “civilization,” “progress,” and “the white man’s burden” that took place on both sides of the Atlantic. It was the anti-imperialist cartoonists, however, who most starkly posed the question: who is the real barbarian?

table>

What happened to President William Mckinley?

After leading the country to victory in the Spanish-American War and raising protective tariffs to promote American industry, William McKinley became the 25th President of the United States on March 4, 1897 and served in that capacity until his assassination on September 14, 1901.

  1. During his time in office, he oversaw the raising of tariffs.
  2. Marcus Alonzo Hanna, a rich businessman in Cleveland, Ohio, assured the selection of his friend William McKinley as “the advance agent of prosperity” at the 1896 Republican Convention.
  3. This took place at a time of economic distress.
  4. William Jennings Bryan was the Democratic nominee for president.

He supported the “free and unrestricted coinage of both silver and gold,” which would have led to a little rise in the value of the currency. During the time when McKinley was meeting delegations on his front porch in Canton, Ohio, Hanna was using big contributions from eastern Republicans who were afraid of Bryan’s views on silver.

  • He won with the most votes from the general population of any winner since 1872.
  • McKinley was born in Niles, Ohio in 1843, and he attended Allegheny College for a short period of time before going on to teach at a rural school before the outbreak of the Civil War.
  • After signing up to serve in the Union Army as a private, he eventually rose through the ranks to become a brevet major of volunteers and was honorably discharged.

He went to law school, then began a practice in Canton, Ohio, and married Ida Saxton, who was the daughter of a banker in the community. McKinley secured a seat in Congress at the age of 34. Because of his likable demeanor, upstanding moral fiber, and lightning-fast brain, he rose up the ranks very quickly.

He now serves on the influential Ways and Means Committee in the government. Robert M. La Follette, Sr., who served with him, recalled that he generally “represented the newer view” and “on the great new questions. was generally on the side of the public and against private interests.” During his 14 years in the House, he became the leading Republican tariff expert, giving his name to the measure that was enacted in 1890.

Robert M. La Follette, Sr. served with him. Robert M. La Follette, Jr. served with him. The next year, he won the election to become Governor of Ohio, a position he would go on to hold for two terms. When McKinley became president in 1893, the downturn that began in 1893 was nearing its end, and with it, the great anxiety that had been surrounding silver.

  1. He postponed taking action on the money situation and instead summoned a special session of Congress to pass the highest tariff in the history of the country.
  2. Industrial combinations evolved at a rate that had never been seen before in the cordial environment that prevailed throughout the McKinley Administration.

Newspapers portrayed McKinley in a cartoonish manner, as if he were a young kid who was being escorted by “Nursie” Hanna, the agent of the trusts. McKinley, on the other hand, was not swayed by Hanna’s influence, and he denounced the trusts as “dangerous conspiracies against the public interest.” Not economic growth, but international relations was the primary focus of the McKinley administration.

  • Newspapers in Cuba yelled that one fourth of the populace had been killed and the other three quarters were in severe pain as they reported on the standoff between Spanish soldiers and revolutionaries in Cuba.
  • The President was under intense pressure from the public to start a war as a result.
  • In April of 1898, McKinley delivered his message of neutral involvement because he was unable to prevent Congress or the American people from taking action.

Following these events, Congress voted on three resolutions that effectively declared war on Cuba in order to bring about its emancipation and independence. During the battle that lasted for one hundred days, the United States was able to capture Manila in the Philippines, occupy Puerto Rico, and destroy the Spanish navy that was stationed outside of Santiago port in Cuba.

It was often remarked by “Uncle Joe” Cannon, who subsequently became Speaker of the House, that William McKinley kept his ear to the ground so often that it was full with grasshoppers. McKinley went on a tour of the nation when he was still unsure about what to do with Spanish territories other than Cuba.

During this period, he saw an imperialist spirit. As a result, the United States gained sovereignty over Puerto Rico, Guam, and the Philippines. In 1900, McKinley again campaigned against Bryan. While McKinley stood calmly for “the full dinner pail,” Bryan railed against imperialism and called it a “full dinner pail.” His second tenure, which had gotten off to a promising start, was cut short in September 1901 due to a terrible event.

At the Buffalo Pan-American Exposition, he was standing in a reception line when a crazed anarchist opened fire on him, striking him twice. He died eight days later. The biographies of former presidents that may be seen on WhiteHouse.gov were taken from Frank Freidel and Hugh Sidey’s book “The Presidents of the United States of America.” White House Historical Association has the copyright for this document as of 2006.

Ida Saxton McKinley was William McKinley’s wife, and you should learn more about her.

How did the cartoonist depict Uncle Sam?

Home History of the World History of the United States A popular representation of the United States, Uncle Sam is most often shown as a cartoon character wearing a swallow-tailed coat, a vest, a tall hat, and striped pants. He has long white hair and whiskers on his chin, and he wears striped pants.

Yankee Doodle was a British-inspired nickname for American colonials during the American Revolution, and Brother Jonathan was a rural American wit who, by surprising displays of native intelligence, always triumphed over his opponents in plays, stories, cartoons, and verse. His appearance is derived from these two earlier symbolic figures in American folklore.

Samuel Wilson, a merchant from Troy, New York, was fondly called “Uncle Sam” Wilson by his family and friends. Although the origin of the word “Uncle Sam” has been questioned, it is typically connected with Samuel Wilson. During the War of 1812, the barrels of beef that he provided to the army were marked with the letters “U.S.” to denote that they were government property.

  • That identification is supposed to have led to the widespread usage of the moniker “Uncle Sam” for the United States, and a resolution recognizing Wilson as the namesake of the national emblem that was enacted by Congress in 1961.
  • Between the early 1830s until 1861, cartoonists in the United States utilized two characters, Uncle Sam and Brother Jonathan, who came before him, to symbolize the United States interchangeably.

Cartoonists like Sir John Tenniel and John Leech, who worked for the British humor magazine Punch, were essential in the development of the contemporary figure. They did this by depicting characters like Brother Jonathan and Uncle Sam as lanky, whiskered gentlemen who wore top hats and striped pants.

  1. Beginning in the early 1870s, Thomas Nast is generally regarded as having been the first political cartoonist in the United States to crystallize the character of Uncle Sam.
  2. By the year 1900, as a direct result of the work done by Nast, Joseph Keppler, and a number of other people, Uncle Sam had firmly established himself as the emblem for the United States of America.

The phrase “I Want You” was written in the caption of James Montgomery Flagg’s World War I recruitment poster, which was later repeated in the World War II recruiting posters. This was one of the most well-known treatments to be used in the 20th century.

What led to the founding of the American Anti Imperialist League?

The Anti-Imperialist League was established on June 15, 1898, with the purpose of opposing the annexation of the Philippines by the United States of America for a number of reasons, including those that were economic, legal, racial, and moral. Notable figures such as Andrew Carnegie, Mark Twain, William James, David Starr Jordan, and Samuel Gompers were among its members.