Kara Sears
Can the Law Reach Him? is an 1872 engraving by Thomas Nast, published in Harper's Weekly. It is currently held in the collections of the Macculloch Hall Historical Museum, the New York Public Library, and the Art Institute of Chicago. The work depicts a dwarf and a giant thief, and its title poses a thought-provoking question about the reach and limitations of the law. This article will explore the context, interpretation, and ongoing relevance of Nast's work, considering whether the law can, indeed, reach him.
| Characteristics | Values |
|---|---|
| Name | Can the Law Reach Him? |
| Artist | Thomas Nast |
| Date | 6 January 1872 |
| Origin | United States |
| Type | Wood engraving on newsprint |
| Current Location | The Art Institute of Chicago |
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What You'll Learn
The Dwarf and the Giant Thief
Thomas Nast's "Can the Law Reach Him? — The Dwarf and the Giant Thief" is a political cartoon published in Harper's Weekly on January 6, 1872. It addresses the question of whether William Magear Tweed, also known as Boss Tweed, could be convicted of criminal charges after his resignation as Commissioner of Public Works in December 1871. Tweed was a notorious figure in New York City politics, known for his corruption and abuse of power.
The cartoon, created using wood engraving on newsprint, depicts a dwarf standing on a small island, representing Tweed, who has retreated to a safe distance from the law. The giant thief, on the other hand, symbolizes Tweed's political career and the immense power he wielded in New York City. The dwarf is shown gesturing towards the giant, indicating that he is trying to distance himself from his past actions and the consequences that might reach him.
Nast's work captures the public sentiment at the time, as people questioned whether justice would prevail in the case of Boss Tweed. The dwarf's isolation on the island suggests that Tweed may believe he has escaped the reach of the law, but the title of the cartoon poses a critical question, suggesting that the law's reach may indeed be extended to hold him accountable.
The use of a dwarf and a giant thief as visual metaphors adds a layer of intrigue and impact to the cartoon. Nast effectively communicates the complexity of Tweed's situation, as well as the public's curiosity about the outcome of his case. The cartoon serves as a historical artifact, providing insight into the political climate of the time and the desire for accountability and justice.
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Thomas Nast
Nast's work often contained political and social commentary, and this particular piece is no exception. Published just after the end of the American Civil War, "Can the Law Reach Him?" can be interpreted as a commentary on the state of the nation and the reach of the law in a post-war context. The dwarf and giant in the title may represent the disparities in power and the struggle for justice during this tumultuous time.
Nast's work has been featured in exhibitions at the Art Institute of Chicago, including "Inside the Exhibition: 10 Things to Know About David Hockney's The Arrival of Spring, Normandy, 2020". His other works include "Their Coat of Arms" (1889), "We Know Nothing About the Stolen Vouchers" (1871), "The Cat's-Paw, Anything to Get Chestnuts" (1892), "Drop 'Em" (1872), and more, showcasing his prolific career as a political satirist and commentator.
Nast's legacy lies in his ability to capture the social and political climate of his time through his art, offering a unique perspective on history and continuing to provide insight and inspiration for generations to come.
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Harper's Weekly
In the mid-19th century, Harper's Weekly, A Journal of Civilization, was the most widely read journal in the United States. Published by Harper & Brothers from 1857 to 1916, it was an American political magazine based in New York City. It featured foreign and domestic news, fiction, essays on a variety of subjects, and humour, alongside illustrations.
The journal carried extensive coverage of the American Civil War, including many illustrations of events from the war. Before the Civil War broke out in 1861, Harper's took a moderate editorial position on the issue of slavery, which earned it the label "Harper's Weakly" from critics. However, once the war began, the magazine fully supported Lincoln and the Union. An influential example of this support was a July 1863 article on an escaped slave named Gordon, which included an illustration of his back, severely scarred from whippings. This image provided many readers in the North with their first visual evidence of slavery's brutality and inspired many free blacks to enlist in the Union Army.
Among the recurring features in Harper's Weekly were the political cartoons of Thomas Nast, who was recruited in 1862 and worked with the journal for over 20 years. Nast is often called the father of American political cartooning. He was the first to use an elephant as the symbol of the Republican Party and he also drew the legendary character of Santa Claus, whose image he strongly influenced. Nast used his position at the journal to campaign against the corrupt New York political leader William "Boss" Tweed, even turning down a $500,000 bribe from Tweed to end his attack. Nast also played an important part in securing Rutherford B. Hayes' 1876 presidential election victory.
Nast's final contribution to Harper's Weekly was a Christmas illustration in December 1886. Despite the journal's continued influence, Nast's biographer, Fiona Deans Halloran, has argued that "Nast lost his forum" after leaving Harper's Weekly.
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Lithograph on newsprint
The process of creating a lithograph on newsprint involves printing and reproducing original works of art, often using flat stones or metal plates. The artist draws an image directly onto the printing element using materials like litho crayons or specialised greasy pencils. Once the artist is satisfied with the drawing, the surface is treated with a chemical etch, bonding the greasy materials to the surface. This process ensures that the blank areas attract moisture and repel ink, while the drawn areas hold the ink. After inking the image, paper is placed over the stone, followed by a tympan – a layer of packing that equalises pressure.
Lithography, invented in 1789 by German playwright Alois Senefelder, was the first new printmaking technique since the Renaissance. It is based on the immiscibility of oil and water, or the polarity of oil and water, as oil-based or greasy materials are used to render the image. The process is cheaper, faster, and more scalable than copper plate engraving, making it popular in commercial and artistic spheres. Artists also appreciate the expressivity and line variation achievable through lithography.
To identify a lithograph, look for a signature on the back, which typically indicates a hand-pulled lithograph. Offset lithography prints, on the other hand, usually lack signatures. Another distinguishing feature is the presence of rows of dots, characteristic of offset lithography. Random ink dotting or discoloration may also suggest a hand-pulled lithograph. Additionally, the thickness of the ink can be a clue; in stone lithography, the ink is slightly raised, while offset lithographs have flatter ink.
When creating a lithograph on newsprint, the stone's thickness is crucial as the litho press exerts enormous pressure. After the stone passes through the press and the tympan is removed, the paper is pulled off, revealing a mirror image of the drawing. This process can be repeated as needed to create multiple replicas. In the commercial sector, lithography is widely used to reproduce items such as product labels, packaging, maps, newspapers, and advertisements.
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Thomas Nast Graphics
Thomas Nast was a German-born American cartoonist, known as "The President Maker" and considered to be the "Father of the American Cartoon". Nast's cartoons were scathing and persuasive, influencing the nation's vote and affecting the outcomes of six presidential elections between 1864 and 1884.
Nast's cartoon "Can the Law Reach Him?" published in 1872, depicted a police officer trying to arrest William M. Tweed, the leader of the Tammany Hall political machine in New York City. Nast's caricature of Tweed as a dwarf and a giant thief led to his identification and arrest in Vigo, Spain, in 1876. This work is considered one of Nast's most effective cartoons and played a crucial role in bringing down Boss Tweed and his ring of thieves.
Nast's illustrations supported the causes and candidates he believed in. He was a staunch Republican and supported the Grant administration, attributing his victory in the 1868 presidential election to Nast's cartoons. Ulysses S. Grant himself acknowledged Nast's influence, saying: "the sword of Sheridan and the pencil of Thomas Nast." Nast's cartoons also portrayed President Andrew Johnson as a repressive autocrat and characterized Southerners as vicious exploiters of black people, revealing his disappointment in postwar politics.
Nast is also known for associating the elephant as a symbol of the Republican Party and popularizing the donkey as the symbol of the Democratic Party. His work was so influential that Theodore Roosevelt, a fan, appointed him as Consul General to Guayaquil, Ecuador, in 1902. Unfortunately, Nast contracted yellow fever and died five months after arriving in Ecuador.
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