A short (ish) history of Mexican political cartoons

Political cartoon has left the immortal identity in Mexico’s political satire. Beginning in the 1820s, it became a powerful tool for political criticism and social commentary. By 1877, the political cartoons had become an important part of Mexican politics and culture, which was deeply rooted in Mexico’s freedom of expression. The caricatists used elegant Hon Ravi weapons – their drawing tools and their skill – to trigger ridicule and to stimulate laughter.

The roots of the political cartoon in Mexico

After a long time of the Independence War Colonial Audit, the magazine was blooming in Mexico, and in the first years of the freedom struggle, dozens of independence newspapers appeared. During the early independence, publications took advantage of the independence of the newly issued newspapers and continued their operation, taking the pages between the centralists and the federalists.

The stage was set. But the political cartoon is not possible without a particular technology: Lithography, the printing technique was discovered in 1796.

The newspaper founded by Linati in Mexico, L Iris, released the first political cartoon printed in the country. The “La Trania” (tyranny), published in the issue of El Iris, is published in the April 15, 1826 issue, a priest and a demon shows a tyrant in a throne that shakes a bloody ax and burns the liberal newspapers of the time. As a symbol of the upcoming things to political cartoonists, L Iris ran for 40 problems, and Linati was forced to leave Mexico for her political rebellion.

Golden age of political cartoon

The political cartoon erupted as lithography became so widespread, and the cartoonists weighs on all sides of every major event of every major event of Mexico’s turbulent decades, from the Mexican-American war to the second emphasis, from liberal reform. However, this is one of the most productive times in the history of the Mexican cartooning – Burpriado – President’s Porpirio Thiaz.

When the weekly La Mosa appeared in 1877, it made it clear that its purpose was: “The contradictory newspaper with a sharp sting and his people.” Thiaz immediately closed them. After this growth, some cartoonists stopped signing their caricatures. In 1879, the popular weekly El Transit began a sharp criticism of the rule, which thus suspended the newspaper.

Established in 1885, the weekly El Hijo Del Ahuisot was a leader in the political satire. In 1902, the study was acquired by Enrik and Ricardo Floreus Magan, which led to a key role in the formation of opposition to the Theiaz government. The ability to reach the people of the country with easy, simple and direct language is the weekly strength. As a result of their success, they expanded their readers, reached the masses and strengthened the Mexican Revolution. In the end, the workers of the paper were harassed and jailed for crimes against public authorities. At the Bad Belan Prison in Mexico, the Diaz government has decided to imprison all their cooperatives, including printers and lithographs.

Jessas Martinez Carrian, one of the most important and war -torn cartoonists against Theas regime, cooperated with it for ten years and weekly. He was one of the many cartoonists imprisoned in Belan, where he died in Types and died in 1906. Floreus Makan Brothers, unable to publish their writings, will be deported in the United States, and eventually staged a number of upheavals that have played a role in provoking the Mexican Revolution in 1910.

Jose Quadelub Posada Changing Cartooning

In 1908, the working class -based paper El Diabilido Rojo Lijo El Hijo Tel Ahuisot appeared to be in place, which featured anti -tosses of cartoonist Jose Quadalub Posada’s toss. Posada, the forerunner of the print maker and the Artist who created La Kalavera CartinaHe was an excellent Illustrator and print maker. La Ketrina became a symbol of Mexican culture and the day of the dead. His satire and politically accused examples were highly identified due to the vague signature bodies used by Posada to criticize and criticize politicians and public people of the time.

A female bone image on the original axis of La Kalavera Cartina is decorated with a comprehensive French cap, but is decorated with ostrich feathers, but not dressing. For Mexican women, he says, “You have nothing to do with you, but you are still wearing a luxurious hat.” He criticizes Porpirio Thiaz, who is known for his French impacts – wears his face white and European clothing. Boseada often used skulls and corpses to mock politicians and the upper classes, sending the equality message: because all of you are in advance and around, we are all equal when we die.

The 20th -century political cartoon is considered the golden age of the Cartoon, and satire cartoons are important for the success of the Mexican Revolution. Despite the censorship and setbacks, the cartoonists continued to challenge power and spoke the truth to those who hold that power. Political cartooning is structured in the history of Mexico and continues its commitment to change by developing social consciousness.

Following the decision of the Mexican Revolution, political cartooning continued. Porpirio Theiaz was deported and Francisco Matho became president, but the satire came here to stay. The caricatists swipes the famous new president, and the mockery of Madoro’s confidence in spirituality and his insistence Spoke with the spirits of the deceased, including Penito Jurez. Every president who followed the political satire had fun.

Political cartoons in the 21st century

Political cartooning continued to flourish in print and digital forms in the last half of the 20th century and on the 21st. Well -known life in cartoonists – often called Monoros – Jose Hernandez, Rafael “Rapdo” Pinta, and Rafael “El Fiskan” Parajas.

Political cartoon has taken a special place in the hearts of Mexican people as a powerful tool for social commentary and freedom of expression. This cultural heritage continues its work today to challenge power and promote conversation and public discourse.