Art Young Quotes (1866-1943)

“Mother Bloor is at her best at eighty years of age...and in spite of everything, with the same staunch devotion to a cause that won her mind and heart at an early age...This devotion we all recognize as the courage to lose her own life, if need be, that it may be gained for others...the people.”

“If I had no other pleasant memories to recall than those of the beautiful women I have met who were active in progressive or radical affairs, life would still be worth while. I fell in love with Elizabeth Gurley Flynn when as a young girl she aroused uncounted thousands with her clear, ringing voice to the cause of social revolt.”

“Only last year we lost the gay, faithful friend and comrade, Art Young, who "kept up with the procession," till the last moment of his life. The very night he died, last New Year's Eve, he mailed me a post card on which he wrote, "Dear Ella-It has been a long road but now I think we are getting somewhere." And then in a corner he put the word "Teheran", which means so much to us.”

“Cartooning capitalism is far more inspiring than capitalistic cartooning. Compare some of the weak, insipid, vulgar pictorial attacks upon Socialism in capitalist papers with the virile, gripping, masterful specimens of the art produced by such revolutionary artists as Ryan Walker, Art Young, Balfour Ker, Ward Savage and Walter Crane, in their terrific onslaughts upon the capitalist system and its regime of riches and squalor, money and misery, crime and corruption. These are the young artists of the social revolution. Their every perception and touch has the divine quality of inspiration, and they are rising grandly to supremacy and exaltation.”

“Art Young drew a picture of a complacent cherub carrying a tiny pail of water dipped from the "Ocean of Truth." The pail was marked "Dogma," and my editorial read: "I publish this little picture in answer to numberless correspondents who want to know just what this magazine is trying to do.' It is trying not to try to empty the ocean, for one thing. And in a propaganda paper that alone is a task."”

“Art Young's drawings are published in the principal Army paper, Red Star, the satirical magazine Crocodile, Ogonyok magazine and others. He belonged to those artists to whom working means fighting for justice, and in our time one cannot fight for justice without being an active anti-fascist. Art Young was our friend and comrade-in-arms because his efforts were directed against Nazism. His biting cartoons appeal to the masses. His hard-hitting style is effective not only in his country but far beyond it. His works, impressive for their clear-cut statement of political themes and simplicity of form, can be achieved only by an experienced master. I have on my table one Art Young drawing dealing with the heroic struggle of the Red Army against Hitler's Germany. Hitler is shown in it. This is one of those social caricatures depicting the loathsome character of the Nazi regime with great impressiveness. Drawings such as this expose the rottenness of Hitler's "New Order" and the monstrosity of Nazi crimes. Thus, a fervent anti-Nazi takes part in the great battle waged by freedom-loving nations against evil forces. The artistic intelligentsia has lost one of its outstanding members. But Art Young's work will live on and call upon his young colleagues to take an active part in the struggle against Hitler's Germany for the happiness of mankind.”

“"Sometimes I'm lonely, but I am never discouraged," Art said to my sister Katherine, her daughter Frances, and me, when we were together at what was to be his last supper. He died a few hours later. In retrospect, it seemed as if he unconsciously spoke his own epitaph, not in a somber or foreboding spirit but in his naturally philosophical and calm manner. "I figure I should be able to live another twenty years," he continued, "and I know that in that time I will see socialism spread through the world." Our conversation was desultory-now serious, now gay, but with an undercurrent of the great changes taking place in the world, of which he was so keenly aware...He spoke considerably on longevity that night, of George Bernard Shaw and Mother Bloor and of our mother...He was a consistent and courageous admirer of the Soviet Union and the Red Army and described himself to me more than once as "A non-party Bolshevik." He had an extraordinary capacity to remain friends with people far removed from his social ideas-if they were honest in their views. But he would never sell his talents for what he disbelieved in, no matter how great his personal sacrifices. His friendship with Brisbane was on this basis...Art Young was gentle in manner, kindly and reassuring. But he was a great fighter against injustice, poverty, inequalities, and against fascism in all its forms. He was never downhearted about the progress of the world. He spoke to us rather regretfully that night about having to sell his little place in Connecticut where he had always planned to have a museum for his pictures and which he had started to build, I believe, or at least had designed. "I got a little money to live a little longer," he said. He said once to his friend Marguerite Tucker: "If I was in the Soviet Union I would be a people's artist and would not need to worry about money."”

“Since Mark Twain, have there been many clearer notes expressed of the basic American folk-mind than may be found in the drawings of Art Young? All the virtues and faults of the American people are contained in these shrewd scratchings of a master-pen: the credulity, the good-natured humor, the scorn for windbags, political and ecclesiastical, a sort of generous gambling spirit, an instinctive hatred of injustice, a simplicity and homely barnyard greatness...Art Young carries over into the modern social revolution this native tradition of a cornfed socialism that extends from Father Abraham Lincoln down through Mark Twain, and Bob Ingersoll, Walt Whitman, Thomas Nast, Edward Bellamy, Brann the Iconoclast, Ryan Walker, Carl Sandburg, the old Appeal to Reason and Eugene V. Debs...Going through the capitalist Hell with him, I am shaken with horror and indignation. Only a great imaginative artist could illuminate so plainly the truth we are prone to forget: that we are living in Hell. War is hell. Peace is hell. Everyday life under capitalism is hell. There is no compromising with such a system-it is Hell, and must be destroyed. Art Young can rouse these feelings in any American mind, and I wish more of us could learn to be as effective.”

“He was a great artist with a generous heart full of feeling and understanding. He suffered with the struggles of the downtrodden, and sided with them in their plights. When an injustice had been committed, he flashed his sharp pen and brush against the tyrants and fascists. His art, like himself, had a keen wit that penetrated deeply. Wherever and whenever Art Young's name is mentioned, people, without exception, express a love for the man and his work. He was truly a people's artist...I once asked him if he ever felt lousy about any cartoon he had done, and he told us of one he had been asked to draw for the old Life, when it was a humorous weekly. The editor had asked for a double-page spread, on which he was to draw a comic figure of a Jewish Broadway producer controlling the gay White Way. Art finished the drawing and received a hundred-dollar check which he needed very badly. But he was somehow not very happy about the idea. At that time, Art recalled, we had no political awareness, no organizations that fought anti-Semitism. So he went to the editor, returned the check and asked for his cartoon back. He walked down the street tearing it up, and with every rip he said he felt happy, although hungry. To most of us artists, Art Young was more than a friend; more than a fellow-artist who for so many years had worked with us, with whom we had exchanged confidences. We all had a special respect for Art Young. He carried with dignity our convictions, and in trying times, when some writers of the old Masses and Liberator went sour one way or another, Art Young stood fast, and the artists were with him. The works of Art Young will live, and the principles and spirit that Art Young stood for will remain an outstanding inspiration, an everlasting monument to a great man and a great artist.”

“Art Young was one of the most picturesque and highly regarded cartoonists of his generation, one of the early masters of the medium. Usually forgotten these days, he was, in his day, the subject of a certain amount of sensational news coverage. And he can be credited with a couple of historic firsts, too. But mostly, he was an artist of principle at a time, the turn of the 19th into the 20th century and immediately thereafter, when cartoonists weren't yet particularly noted for doing much more than making funny faces.”

“For a brief time, roughly between 1912 and 1918, The Masses became the rallying center-as sometimes also a combination of circus, nursery, and boxing ring-for almost everything that was then alive and irreverent in American culture. In its pages you could find brilliant artists and cartoonists, like John Sloan, Stuart Davis, and Art Young; one of the best journalists in our history, John Reed (journalist), a writer full of an indignation against American injustice that was itself utterly American; a shrewd and caustic propagandist like Max Eastman; some gifted writers of fiction, like Sherwood Anderson; and one of the few serious theoretical minds American socialism has produced, William English Walling. All joined in a rumpus of revolt, tearing to shreds the genteel tradition that had been dominant in American culture, poking fun at moral prudishness and literary timidity, mocking the deceits of bourgeois individualism, and preaching a peculiarly uncomplicated version of the class struggle. There has never been, and probably never will again be, another radical magazine in the U. S. quite like The Masses, with its slapdash gathering of energy, youth, hope...As one looks back across the shambles of the intervening decades, it is hard not to envy them: the fierce young John Reed (journalist) making his prose into a lyric of revolt, the handsome young Max Eastman mediating among a raucus of opinions, the cherubic Art Young drawing his revolutionary cartoons with the other worldly aplomb of a Bronson Alcott. History cannot be recalled, but in this instance at least, nostalgia seems a part of realism. For who among us, if enabled by some feat of imagination, would not change places with the men of The Masses in their days of glory?”