A la Guerre Comme a la Guerre. Une Razzia.. A moi, Champavert, v’la un bedouin de taureal qui va me faire prisonnier.

Title

A la Guerre Comme a la Guerre. Une Razzia.. A moi, Champavert, v’la un bedouin de taureal qui va me faire prisonnier.

By good luck in war. The caricature shows a soldier who is threatened by a bull. The caricature bears the title "Une Razzia... A moi, Champavert, v’la un bedouin de taureal qui va me faire prisonnier.". "A motif with a military-colonial context — many French satires of the 19th century mocked the French expeditions in North Africa (Algeria, Tunisia)."

ca. 1846

Artist

Aubert (1829-1853)

Aubert & Cie (also known as "Chez Aubert", "Maison Aubert", etc.) was a publisher, printer, and distributor of lithographs and satirical caricatures active in 19th-century Paris. The company collaborated with satirical journals such as La Caricature and Le Charivari.They published lithographs by artists like Honoré Daumier, one of the most renowned caricaturists of the time. The publisher also worked with editors such as Charles Philipon, beginning around 1830. The French publisher Aubert & Cie was active from 1829 to 1853. It was founded in 1829 by Gabriel Aubert and his brother-in-law Charles Philipon. Initially located as the “Magasin des Caricatures” in the Passage Véro-Dodat in Paris, the publisher moved in 1841 to the Place de la Bourse and opened a second branch in 1835 at the Galerie Colbert. After Gabriel Aubert’s death in 1847, his widow continued to run the business under the name “Veuve Aubert”. The printing house and publisher were ultimately closed in 1853.

Historical Description

Even in Greco-Roman antiquity, exaggerated and humorous depictions of people were drawn on vases or walls—often for entertainment. However, these were not yet “caricatures” in the modern sense, but rather grotesques or satirical images. The term “caricature” comes from the Italian word caricare, meaning “to exaggerate” or “to overload.” The first true caricatures emerged in the circles of artists like Leonardo da Vinci, who exaggerated facial features to express character. In England and France, caricature became a political weapon. Artists like James Gillray, William Hogarth, and Honoré Daumier mocked politicians, kings, and social injustices. Caricature evolved into a mass medium through newspapers and pamphlets. Freedom of the press in the 19th century enabled a golden age of political caricature. In Germany, caricaturists such as Wilhelm Busch (also a forerunner of the comic) and the magazine “Simplicissimus” were prominent. Caricature became a tool of criticism, satire, and enlightenment. During World War I and II, caricatures were heavily used for propaganda. Afterward, there was a return to social and political satire, for example in magazines like “Titanic” or “Charlie Hebdo.” New forms also emerged, such as the cartoon and the comic strip.