About the Artwork:

Herbert Bayer (1900-1985) was an Austrian-born American graphic designer, painter, and photographer. A pioneer of the Bauhaus movement, Bayer was known for his clean, geometric style and focus on functionality. During World War II, he lent his talents to the U.S. Department of Agriculture (USDA), creating impactful posters like "Our Allies Need Eggs" to mobilize American farmers.

In the foreground of the poster, a giant, white egg is featured. The egg contrasts sharply with the background scene of a burning cityscape. Flames lick at the buildings, casting a glow on the smoke-filled sky. The text "Our Allies Need Eggs. Your Farm Can Help" appears in bold lettering.

The poster encourages increased egg production by demonstrating the devastation faced by America's allies during World War II. It serves to highlight the essential role played by American agriculture in supporting the war effort and to call on farmers to be unwavering in their patriotism and contribute to those fighting for freedom overseas.

Image courtesy of the U.S. Library of Congress.

About the Artwork:

Winslow Homer, born in 1836 in Boston, Massachusetts, stands as one of the titans of 19th-century American art, known for his vivid and detailed portrayals of American life and landscapes. He began his artistic career as a commercial illustrator, and his experience as a wartime correspondent during the Civil War profoundly influenced his later works. Homer is celebrated for his powerful depictions of nature and human endurance, often highlighting the interplay of human figures within expansive landscapes, using both oil and watercolor to stunning effect.

In 1864, Winslow Homer created lithographed collector's cards called "Life in Camp." In these works, Homer employed a humorous tone to engage in small reflections on military life. This image captures a Union soldier's grimace in reaction to hard tack, a widely disliked basic ration that was a necessary source of nutrition during the war.

Image courtesy of the Met's Open Access Initiative.

About the Artwork:

This advertisement card printed in the United States in 1887 is a chromolithograph that features one man and two women with the bodies of red radishes. The image is meant to be humorous and eye-catching, and served as a calling card for Rice's Seeds to promote a variety of globe radishes.

Image courtesy of Boston Public Library via the Digital Commonwealth Collection.

About the Artwork:

The artwork pictured isn't attributed to a specific artist, but rather to the print shop Clay & Richmond, operating in Buffalo, New York during the mid to late 19th century. This company was known for producing quirky and often humorous chromolithographs, a type of colorful lithograph print.

The chromolithograph itself depicts a curious sight: a woman with an elegant posture leans confidently towards the viewer. Her unique gown, however, is the real showstopper. Instead of luxurious fabrics, she is adorned in a dress entirely fashioned from a single, vibrant green cabbage. The artist renders the ruffled leaves, creating an elegant ensemble.

Image courtesy of Boston Public Library via the Digital Commonwealth Collection.

About the Artwork:

The Buffords Sons Lith. Co. was a prominent American lithography firm based in Boston, operating with influence throughout the 19th century. Founded by John Henry Bufford, a key figure in the development of American lithography, the company was known for its high-quality prints, illustrations, and posters. Their work often included vibrant and detailed images that catered to a wide range of commercial and artistic needs, capturing the cultural and social nuances of American life during that era. Their contribution to the lithographic arts is notable for both technical innovation and the popularization of artistic prints.

"Miss Shell and Mr. Lemon" features anthropomorphic representations of an oyster shell and a lemon in a playful, possibly romantic interaction. Miss Shell is elegantly and delicately detailed while Mr. Lemon is depicted with a zestful and bright appearance, enhancing his citrus character.

Public domain image courtesy of Cornell University Library Digital Collections, modified.

About the Artwork:

Honoré Daumier, born in 1808 in Marseille, France, was a prolific and influential French artist known for his caricatures, paintings, and sculptures that keenly critiqued the social and political atmosphere of 19th-century France. Daumier's work, often published in periodicals such as La Caricature and Le Charivari, employed humor and satire to expose the follies and injustices of his time. His sharp wit and insightful portrayals have made him one of the most respected figures in the realm of political and social commentary through art.

This artwork is a lithograph that showcases Daumier’s unique blend of satire and visual narrative. "The king of pumpkins receiving the homage of his subjects" presents a scene where a large, round man and his partner survey various autumnal produce, including pumpkins. Daumier references pumpkins and the depiction of the large bodied people to create a scenario of a regal couple presiding over their subjects.

Image courtesy of the Met's Open Access Initiative.

About the Artwork:

This satirical print, titled "Wonderful Effects of Morrisons Vegetable Pills" and published by O'Hodgson in London, offers a humorous critique of 19th-century patent medicines. This was a period when unregulated "cure-alls," often with dubious ingredients, were widely advertised and consumed with promises of extraordinary results.

The image presents a chaotic scene. A figure, overwhelmed after consuming an excessive quantity of "Morrisons Vegetable Pills," gazes into a mirror. To their horror, their body has sprouted a bizarre profusion of vegetables: carrots, turnips, radishes, and various greens.

"Wonderful Effects of Morrisons Vegetable Pills" exaggerates the outlandish claims often made by patent medicine manufacturers. The sprouting vegetables mock the idea that a simple pill could bring about drastic physical transformation. The print cleverly exploits the connection between food and medicine to highlight the potential dangers of unregulated substances and the gullibility of the public.

Image courtesy of the National Library of Medicine Digital Collections.

About the Artwork:

While the specific artist behind the artwork on this advertisement card remains unknown, the print was produced by Clay & Richmond, a Buffalo, New York-based printing and publishing company that flourished in the mid-19th century. They were known for their quirky and often humorous chromolithographs, a type of colored print popular during that era.

This particular chromolithograph features a man's head, sporting a neatly trimmed beard and a serious expression, attached to the body of a plump carrot. The carrot figure is further adorned with a top hat and a monocle, the accessories of a sophisticated gentleman. The overall effect is comical while succeeding in capturing an air of elegance to the carrot gentleman.

Image courtesy of Boston Public Library via the Digital Commonwealth Collection.

About the Artwork:

Grégoire Caboche, an intriguing French artist of the 19th century, produced this artwork that illustrates a caricature of a performer from the Académie Royale de Musique, portrayed humorously as an asparagus in a vegetable-themed ballet. The painting captures her on stage, elegantly costumed in the likeness of the vegetable, complete with a slender, elongated bodice and a flared green skirt mimicking asparagus tips. The background suggests a theatrical setting with exaggerated and colorful props representing other vegetables, creating a lively and enchanting atmosphere.

Image courtesy of the New York Public Library's Digital Collections.

About the Artwork:

Thomas Rowlandson was an English artist and caricaturist noted for his colorful and satirical depictions of Georgian society and manners. Born in 1756 in London, Rowlandson's works were distinguished by their robust humor, lively characters, and often bawdy themes. He had a keen eye for the absurdities of human behavior and his drawings frequently featured the social and political scenarios of his time.

"The Last Drop" is an example of Rowlandson’s approach to caricature and social commentary. The artwork portrays a London tradesman overindulging on whiskey punch while having a skeletal representation of death looming over him as he imbibes. The character is depicted in an exaggerated, grotesque manner, emphasizing his inebriation and lack of decorum.

Image courtesy of the Met's Open Access Initiative.

About the Artwork:

While the exact artist is unknown, "Man's head on a watermelon body" was produced by the print shop of Clay & Richmond, a Buffalo, New York-based company known for their playful chromolithographs in the mid-19th century. These vibrant prints were popular for their humorous and often bizarre imagery.

This particular chromolithograph features a curious sight: a man's head sitting atop a plump watermelon body. The man retains his clothing, with a shirt collar and dress slacks above and below the smooth green rind.

Image courtesy of Boston Public Library via Digital Commonwealth Collection.

About the Artwork:

Amédéé Varin (active mid-19th century) was a French caricaturist known for his witty and often bizarre illustrations. While details about his life remain scarce, his surviving works offer a glimpse into the playful and satirical artistic circles of 19th-century France. Varin's "Carotte conjugale" ("Married Carrot") is a prime example, using a common vegetable to deliver a humorous and thought-provoking commentary on marital relations.

The artwork features a woman's face and torso forming into a carrot. She is garbed in the greens of the vegetable and embraces, presumably, her husband who is also depicted in vegetable form. The couple appears to be situated in a shared home on a sofa, with artwork of another vegetable persona hung on the wall behind them.

Image courtesy of the Minneapolis Institute of Art (Mia) under a CC-PDM license.