
Art Young was an influential American cartoonist and writer, celebrated for his incisive political commentary through art. Born in 1866, he became a prominent figure in the early 20th-century socialist movement, particularly known for his work with the left-wing magazine The Masses from 1911 to 1917. Young's cartoons often tackled social injustices and the struggles of the working class, employing humor and satire to convey serious messages about inequality and political corruption. His artistic style and bold themes made a significant impact on American political discourse, and he was one of the first cartoonists to use his platform for overtly political purposes. Young's legacy extends beyond his cartoons; he was also a writer and an advocate for social change, contributing to various publications and engaging in activism throughout his life. His work not only entertained but also inspired a generation to think critically about societal issues, solidifying his place in the history of American political art.
“Most of us who were cooperatively bringing out the Masses were agreed upon that. Some channel of protest must be safeguarded for those who had not been stampeded into dumb obeisance to the world's war-makers.”
“Rough going had been encountered by the Masses in its efforts to remain a medium for free interpretation in a time of hysteria. Because of its pitiless reporting in trying to reveal true causes, its lack of respect for commercialized religion, and its attacks on sex taboos in art and literature, the magazine had earlier been barred from the reading rooms of many libraries, ousted from the subway and elevated news stands in New York, and refused by distributing companies of Boston and Philadelphia; and our right to use the mails in Canada had been revoked by the Dominion government”
“Where was I headed? I didn't quite know. I had talent, facility, and a desire to produce-but steadily my market was diminishing. I fell back on illustrated jokes, and even here struck a snag. Tramps were no longer so funny to me as they had been. And my attitude toward the farmer had changed-I no longer wanted to depict him as a mere comic character. His life was all too often bound up with tragedy. The Populists had been right in many of the things they had said about the farmer's plight.”
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