Glass Frame > Granger Art on Demand > American Presidents
Glass Frame : Mckinley Cartoon, 1900
Mounted Prints from Granger
Mckinley Cartoon, 1900
McKINLEY CARTOON, 1900.
From the cartoon series Willie and His Papa, by Frederick Burr Opper, which appeared in William Randolph Hearsts New York Journal, 1900-01, depicting President William McKinley as the captive of the trusts and Senator Mark Hanna
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Media ID 7775837
1900 1901 Alonzo Anti Trust Antitrust Burr Commerce Frederick Hanna Hearst Hobby Horse Marcus Mark Mckinley New York Journal Opper Political Acts Randolph Republican Senator Trust William Willy And His Papa Will I Am
8"x6" Glass Mount
Wall mounted or free-standing, these black edged glass frames feature a smooth chamfered edge and a stylish black border (on back face of the glass). Manufactured from 4mm thick glass, Glass Mounts are a durable, professional way of displaying and protecting your prints. Your 8x6 print is slotted into the back of the frame so can easily be changed if needed.
Tempered Glass Mounts are ideal for wall display, plus the smaller sizes can also be used free-standing via an integral stand
Estimated Image Size (if not cropped) is 15.2cm x 20.3cm (6" x 8")
Estimated Product Size is 17.7cm x 22.8cm (7" x 9")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
EDITORS COMMENTS
The print titled "McKinley Cartoon, 1900" captures a powerful political satire from the turn of the century. Created by Frederick Burr Opper as part of his cartoon series "Willie and His Papa" this particular piece was published in William Randolph Hearst's New York Journal in 1900-01. In this thought-provoking artwork, President William McKinley is depicted as a captive of the trusts, symbolizing the influence that big business had on politics during that era. Senator Mark Hanna, an influential figure in Republican politics at the time, also features prominently in the cartoon. The image portrays him alongside McKinley, suggesting their close relationship and highlighting their alignment with corporate interests. The artist cleverly uses humor to convey a serious message about political corruption and its impact on American society. By portraying McKinley as a prisoner and Hanna as his captor, Opper criticizes the perceived control that corporations held over government officials. This historical artifact offers valuable insight into early 20th-century American politics and serves as a reminder of ongoing debates surrounding trust regulation and anti-trust laws. It showcases how art can be used to comment on important social issues while entertaining audiences through witty visual storytelling.
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