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                <text>[Two-Faced Woodrow Wilson]</text>
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                <text>Ink drawing published in Good Morning (New York). Today, President Woodrow Wilson is largely remembered as an advocate for peace. In this cartoon, however, Young shows another side of Wilson. While the left side depicts the peace-loving, progressive Wilson, the right side shows him as a tyrannical ruler. Young refers to several pieces of unpopular legislation passed under Wilson, including the Selective Service Act of 1917, the Espionage Act of 1917, and the Sedition Act of 1918. Young also comments on Wilson’s foreign policy in Latin America.</text>
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                <text>From the collection of Anthony J. Mourek</text>
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                <text>[Lincoln and Wilson]</text>
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                <text>Ink drawing with linen covering Yiddish text published in Der Groyser Kundes. This cartoon contrasts Wilson’s imprisonment of Socialist leader Eugene Debs for anti-war activity with Lincoln’s freeing of the slaves. Woodrow Wilson had a series of strokes that left him incapacitated in late 1919 and his wife, Edith, controlled which issues came to his attention.  Attorney General Palmer recommended to Wilson that Debs be pardoned on Lincoln’s Birthday. The answer passed on by Edith Wilson was “Never.”  Whether this was his answer or Edith’s we may never know.  Although she denied making decisions herself, many have called her the first female president. Soon after taking office, Republican president Warren Harding pardoned Debs.</text>
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                <text>From the collection of Anthony J. Mourek</text>
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                <text>Look Out for the Proletarian ‘Steam Roller’</text>
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                <text>Crayon Drawing published in Good Morning (New York). World War I destroyed four empires, changed borders, created new nation states, and led to multiple revolutions between 1917 and 1923.  Many on the left believed the Russian Bolshevik Revolution would lead to the victory of Bolshevik revolutions throughout the world. In the end, only in the former Russian Empire did their dreams of proletarian revolutions succeed.</text>
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                <text>From the collection of Anthony J. Mourek</text>
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                <text>c. 1919-1921</text>
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                <text>Russia: ‘Hey Bill—Try a Little of This!'</text>
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                <text>Crayon Drawing. A Russian worker offers “workers’ control” as a remedy to American workers oppressed by “strike breaker[s]”, “landlord[s]” and "politician[s].” The dream of the American left soon turned into state controlled unions, no strikes, and state control of housing and industry in the Soviet Union.</text>
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                <text>Killing an Idea—A Great Drama</text>
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                <text>Socialism--United States</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Ink drawing published in Der Groyser Kundes (New York). Two actors preform for two ladies in a box marked “Capitalism.”  The lady on the left controls the “Presidential Nomination” while the lady on the right controls the “Gubernatorial Nomination.” The actor on the left, Attorney General Mitchell Palmer, is stabbing “Radicalism” while the actor on the right, Assistant Secretary of Commerce Edwin Sweet, is stamping on “Socialism.” It was a time of fear of foreigners, anarchists, and Bolsheviks. The fear was exaggerated but not totally unfounded, as Palmer discovered when a bomb went off on his front porch in 1919.</text>
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                <text>Loyola University Chicago Archives &amp; Special Collections</text>
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          <name>Original Format</name>
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              <text>Political cartoon</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Sacred Bench</text>
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                <text>Political corruption--United States</text>
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                <text>United States. Supreme Court</text>
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          <element elementId="41">
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                <text>Ink drawing. While William Howard Taft is primarily remembered as the twenty-seventh president of the United States (1909–1913), he actually served longer as chief justice of the United States Supreme Court (1921–1930). Young’s cartoon refers to this later period of Taft’s career. Specifically, this cartoon is a reference to the $10,000 in interest Taft received annually for bonds he held in the United States Steel Corporation.</text>
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                <text>From the collection of Anthony J. Mourek</text>
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                <text>Loyola University Chicago Archives &amp; Special Collections</text>
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                <text>Political cartoon</text>
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              <elementText elementTextId="34433">
                <text>2010.01260</text>
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              <name>Title</name>
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                  <text>Mourek Exhibit</text>
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      <name>Still Image</name>
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          <name>Original Format</name>
          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <elementText elementTextId="34448">
              <text>Political cartoon</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image.</description>
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            <elementText elementTextId="34449">
              <text>6.5 x 11.5 in</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Republican Party Down to Date—</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Presidents--United States</text>
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                <text>Republican Party (U.S. : 1854- )</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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                <text>Ink drawing published in Art Young and Heywood Broun’s The Best of Art Young (New York: Vanguard Press, 1936). In this cartoon, Young criticizes Republican president Calvin Coolidge by comparing him to Lincoln. Lincoln is depicted as a tall, classical bust, while Coolidge is comically small and dressed in a business suit. This suggests that the leaders of the Republican Party have deteriorated from heroes like Lincoln to unremarkable men like Coolidge.</text>
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                <text>Young, Art, 1866-1943</text>
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            <name>Source</name>
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                <text>From the collection of Anthony J. Mourek</text>
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            <name>Publisher</name>
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              <elementText elementTextId="34442">
                <text>Loyola University Chicago Archives &amp; Special Collections</text>
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            <name>Date</name>
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            <name>Format</name>
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                <text>jpg</text>
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            <name>Language</name>
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              <elementText elementTextId="34445">
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              <elementText elementTextId="34447">
                <text>2010.01631</text>
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              <name>Title</name>
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                  <text>Mourek Exhibit</text>
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          <name>Original Format</name>
          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <elementText elementTextId="34462">
              <text>Political cartoon</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Cabinet of Doctor Cali-Coolidge</text>
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                <text>Cabinet officers--United States</text>
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                <text>Ink drawing published in New Masses (New York). This cartoon refers to the 1920 German film Das Kabinett des Dr. Caligari (The Cabinet of Dr. Caligari). Young has dressed President Coolidge as the sinister Dr. Caligari, echoed the cubist aesthetics of the film, and covered the cabinet with references to aspects of Coolidge’s presidency that Young found problematic. These include Coolidge’s dealings with organized labor, the Sacco and Vanzetti case, and his foreign policy towards Latin America.</text>
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                <text>From the collection of Anthony J. Mourek</text>
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                <text>Loyola University Chicago Archives &amp; Special Collections</text>
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            <name>Language</name>
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                <text>2010.00229</text>
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              <name>Title</name>
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                  <text>Mourek Exhibit</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
      <elementContainer>
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          <name>Original Format</name>
          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <elementText elementTextId="34475">
              <text>Political cartoon</text>
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                <text>Ink &amp; Crayon Drawing. Young again shows his socialist perspective in this cartoon about the 1929 New York mayoral election. Incumbent Democratic mayor James J. Walker and his Republican challenger, Fiorello H. La Guardia, are shown as “slap stick comedians,” performing for the amusement of their audience, especially the “Big Grafter.” Their costumes are those of the vaudeville comics of the day, who frequently caricatured immigrant groups and other minorities, including the Irish, like Walker, and Italians, like La Guardia.  Their socialist challenger, Norman Thomas, carries papers labeled “sensible policy” and is dressed as a respectable, middle class American, but he is relegated to watching from the wings. Walker won the election by a landslide, receiving 865,549 votes to La Guardia’s 368,384, but both far surpassed Norman Thomas, who received only 174,931 votes.</text>
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                <text>From the collection of Anthony J. Mourek</text>
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                <text>Ink &amp; Crayon Drawing. In the 1928 presidential election, incumbent Herbert Hoover was the Republican candidate, while Al Smith was the Democratic nominee. Despite significant differences between them, Young dismisses both of them as servants of big business by drawing them as dogs fawning over a shepherdess representing business. Young has drawn himself in the lower left corner of the cartoon, and he says of the voters, “By golly, they like to be sheep.”</text>
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