Cham (1818-1879): The Art and Legacy of a 19th-Century French Caricaturist

Cham (1818-1879): The 19th century was a time of significant artistic and cultural evolution in France. It was an era of political and social change, and artists played a significant role in capturing the spirit of the times. Charles Amédée de Noé, better known as Cham, was a prolific and influential figure among these artists. Cham was not only a gifted caricaturist, lithographer, illustrator but also a pioneer in the world of comics. His satirical works spanned a wide range of subjects, from politics and society to travel and literature, making him one of the most celebrated French cartoonists of his time.

In this article, we will delve into the life and works of Cham, exploring his early years, his association with the iconic publication Le Charivari, and the evolution of his artistic style. We will also examine the controversial aspects of his legacy, mainly his racial caricatures, and his lasting impact on the world of comics.

Early Life and Artistic Beginnings

Cham was born on January 26, 1818, in Paris, into a family with an aristocratic background. His father, Louis-Pantaléon-Jude-Amédée de Noé, was a count and a founder of the French Society of the Friends of the Arts. Despite this noble lineage, Cham’s artistic inclinations set him on a different path. He loved drawing and art from a young age, but his parents did not initially support his artistic ambitions.

As a young man, Cham studied at the general secretariat of the Ministry of Finance, but he abandoned this career to pursue his artistic passions. He became a pupil of notable painters like Nicholas Toussaint Charlet and Paul Delaroche. These early artistic influences and his exposure to artists like Honoré Daumier and Rodolphe Töpffer contributed to his development as a caricaturist and illustrator.

Cham did not sever all ties with his aristocratic roots despite his artistic aspirations. He maintained connections to his family’s castle in the French countryside and his mother’s relatives in England. Moreover, he continued to use stationery featuring the family crest throughout his life.

Cham adopted the pseudonym “Cham,” derived from the first two letters of his first name, Charles Amédée, and a wordplay on his last name, Noé, the French name of the biblical character Noah. It is unclear whether this choice held more profound significance, but Cham was known for his love of wordplay and humor.

Cham was also known for his playful and mischievous nature. He engaged in pranks, such as sending someone else’s picture in response to a fan’s request for a photograph and even jokingly congratulating a minister at a friend’s wedding by saying, “My friend is very pleased: he will return.”

Despite initial reservations, Cham’s father collected his son’s cartoons with pride and visited the office of Le Charivari to purchase advance proofs of his drawings. This familial support likely gave Cham the confidence to pursue his artistic career.

Cham’s Association with Le Charivari

Cham’s breakthrough in caricature and illustration came through his association with Le Charivari, a prominent French satirical magazine. Charles Philipon, the chief editor of Le Charivari, offered Cham the opportunity to showcase his talents in the magazine.

Le Charivari was known for its pro-Republican stance, while Cham held royalist beliefs. Nevertheless, this association allowed Cham the creative freedom to contribute extensively to the magazine. One of his regular features in Le Charivari was the “Revue Comique de la Semaine,” where he produced satirical commentary on current events, politics, and society. His contributions to the magazine were pivotal in shaping his reputation as a caricaturist.

Cham’s prolific output extended to humorous text comics, which found a receptive audience and were published in book form. Notable among these were ‘Histoire de Mr. Jabot’ (1839), ‘Mr. Lajaunisse’ (1839), and ‘Monsieur de Lamélasse’ (1839). These works demonstrated Cham’s early penchant for humor and satire.

One of Cham’s remarkable innovations during this period was the introduction of various comic techniques. He utilized close-ups, wide shots, jump cuts, visual effects, different camera viewpoints, and contrasts in lighting. His graphic storytelling pushed the boundaries of the medium, setting the stage for future comic artists.

In 1840, Cham created ‘Deux Vieilles Filles Vaccinées à Marier,’ a comic that humorously explored the lives of two elderly, unmarried sisters. The comic featured clever visual gags, such as a caption that read, “The fog was so thick they could see the end of the nose,” accompanied by an image of a floating nose in white space.

Another comic, ‘Un Génie Incompris (M. Barnabé Gogo)’ (1841), followed the journey of a young boy who aspired to become an artist but faced rejection from the Académie des Beaux-Arts. Ultimately, the protagonist embraces caricature as a suitable artistic pursuit. This comic marked an early instance of an adult adopting a child’s drawing style, a concept that would influence future comics.

During this period, Cham also contributed to Philipon’s bi-monthly magazine, Le Magasin Comique de Philipon, where he parodied famous stage plays and novels. His parodies included works like Daniel Defoe’s ‘Robinson Crusoe,’ Victor Hugo’s ‘Les Misérables,’ and Eugène Sue’s ‘Mystères de Paris’ and ‘Le Juif Errant.’ These parodies were later published in book format, further cementing Cham’s reputation as a satirical illustrator.

Pioneering the Comic Medium

Cham’s most notable contribution to the world of comics came with ‘Impressions de Voyage de Monsieur Boniface’ (1844). This comic tells the story of Mr. Boniface, who embarks on a civic guard duty with comically disastrous results. What set ‘Mr. Boniface’ apart were Cham’s experimental techniques, now standard in the comic medium.

Cham used standard typeface for captions rather than handwriting them and incorporated various visual techniques. He employed close-ups, wide shots, jump cuts, and different camera perspectives, creating a dynamic visual narrative. Cham even used contrasting lighting to evoke darkness by making an entire panel black. These innovations marked ‘Mr. Boniface’ is a landmark in comic history, influencing future artists and contributing to the visual language of comics.

Cham’s talent was not limited to comics. He contributed to various aspects of the publishing industry. He designed advertisements and posters to promote annual almanacs and other publications. He even wrote and illustrated children’s books, such as ‘La Lanterne Magique’ and ‘Nouvelle Lanterne Magique,’ showcasing his versatility as an artist.

His artistic output continued to diversify as he ventured into writing. Cham penned three musical plays: ‘Une Martingale’ (1862), ‘Le Serpent à Plumes’ (1864, with music by Léo Delibes), and ‘Le Mysotis’ (1866). He also illustrated songbooks for music hall singers Gustave Nadaud and Edmond Lhuillier.

Political-Satirical Works and Social Commentary

Cham’s satirical commentary extended to political and social subjects. He created a series of two-panel cartoons titled ‘Les Toques du Jour’ (1847), which humorously depicted archetypal figures of the 19th century. This series provided a satirical look at the various societal characters of the time, highlighting the absurd and exaggerated aspects of their personas.

In ‘Proudhoniana où Les Socialistes Modernes’ (1848), a book released during the wave of Communist revolutions that swept across Europe, Cham targeted socialist politicians and activists. His satirical text comics lampooned prominent figures like Pierre-Joseph Proudhon, Victor Considerant, Pierre Leroux, Étienne Cabet, Alexandre Auguste Ledru-Rollin, and Louis Napoléon Bonaparte. These figures were portrayed comically and exaggeratedly in the comics, with political ideologies taken to absurd extremes. This work provided a humorous but critical perspective on the political events of the time.

As Cham’s career progressed, he continued to find inspiration in current events and societal trends. He maintained a weekly series in Le Charivari that parodied the paintings, artists, and art critics of the Salon, a prestigious art exhibition in Paris. These satirical pieces added to Cham’s reputation as a sharp social commentator.

The Franco-Prussian War and Cham’s ‘Album du Siège’

The outbreak of the Franco-Prussian War in 1870 marked a significant moment in Cham’s career. As the Prussian army besieged Paris, a famine engulfed the city. Cham and fellow artist Honoré Daumier collaborated on cartoons that ridiculed the dire situation during the siege. These cartoons were eventually compiled into ‘Album du Siège’ (1870).

The Commune, a radical socialist government that briefly ruled Paris during the war, sought to take advantage of the crisis to create a left-wing revolt. However, their actions were met with brutal suppression by the French government. Cham’s response to these events was ‘Les Folies de la Commune’ (1871), a cartoon book that made light of the Commune’s activities.

Recognition and Influence

Cham’s artistic career was characterized by prolific output and diverse works, from comics and caricatures to political satire and social commentary. 1877, Cham received the Légion d’Honneur, a testament to his significant contributions to art and satire.

Cham’s legacy extends far beyond his lifetime. He left behind a vast body of work, with over 4,000 drawings, many of which have become valuable historical and artistic artifacts. His artistic innovations, particularly in comics, influenced subsequent generations of comic artists.

Controversial Aspects of Cham’s Legacy

While Cham’s contributions to the world of caricature and satire are widely acknowledged, it is essential to address the controversial aspects of his legacy. One of the most troubling aspects of his work was his racist portrayal of French people of color, specifically black women. Cham’s caricatures often depicted black women as animal-like and relied on stereotypical caricatures. One example was his caricature of Alexander Dumas cross-dressed as a wet nurse, a profession commonly held by black women in post-slavery era 19th-century France. In another caricature, he referred to the milk of a black wet nurse as “black shoe polish.” These caricatures are rightfully criticized for their racist and offensive nature.

Cham’s Enduring Impact

Cham’s legacy endures in the world of art and comics. His innovations in the comic medium laid the foundation for many artistic techniques and storytelling methods still in use today. His ability to combine humor and social commentary resonates with modern cartoonists and satirists. Cham’s extensive body of work continues to be a subject of study and admiration, with efforts in recent years to reevaluate and celebrate his contributions.

In conclusion, Charles Amédée de Noé, known as Cham, was a remarkable figure in the 19th-century artistic and satirical landscape. His artistic talent, innovation in the comic medium, and ability to capture the spirit of his time left an indelible mark on the world of art and humor. Despite certain controversial aspects of his work, Cham’s contributions to the world of satire and comics remain a testament to the power of art to comment on and reflect on society.

Charles Amédée de Noé, Cham Gallery

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Frequently asked questions (FAQs) about Charles Amédée de Noé, known as Cham

1. Who was Charles Amédée de Noé, and what was his pseudonym?

Charles Amédée de Noé, known as Cham, was a French caricaturist, lithographer, and cartoonist. He was born on January 26, 1818, and is known for his extensive career in visual satire. He used the pseudonym “Cham.”

2. What was Cham’s early life and education like?

Cham was born in Paris and initially intended to attend a polytechnic school as per his family’s wishes. However, he decided to pursue his interest in art by attending painting workshops hosted by notable artists Nicolas Charlet and Paul Delaroche.

3. When did Cham start his career as a cartoonist, and what was his first publication?

Cham began his career as a cartoonist in 1839. His first book, “Monsieur Lajaunisse,” was published that year, marking the start of a prolific career that spanned over 40,000 drawings.

4. What notable publications featured Cham’s illustrations?

Cham’s illustrations were published in various newspapers, with a significant association with “Le Charivari,” where he worked for thirty years. He also created works like “Proudhon en voyage” and “Histoire comique de l’Assemblée Nationale.”

5. What is the significance of Cham’s work in the history of comics and caricature?

Cham played a pioneering role in the development of comic art. He introduced several techniques still used in comics today, including close-ups, wide shots, jump cuts, visual effects, different camera viewpoints, and contrasts in lighting.

6. What were some notable themes and subjects in Cham’s caricatures?

Cham’s caricatures satirized various subjects, including politics, traveling, the Salon (an art exhibition), and popular novels and plays. He was known for his humorous takes on contemporary events and trends.

7. What pseudonym did Cham use, and what might be the significance of this pseudonym?

Cham used the pseudonym “Cham,” derived from the first two letters of his first name, Charles Amédée, and the French name for the biblical character Noah (Noé). Some speculate that this choice might reflect a rebellious attitude toward his aristocratic family.

8. Did Cham completely sever his aristocratic ties, and how did he use his English connections in his career?

Cham maintained some connections to his aristocratic background, as evidenced by his continued use of family crest stationery and visits to his family’s castle in the French countryside. He also leveraged his English connections to promote his work in popular English magazines.

9. What were some of Cham’s notable works and contributions to comics and illustration?

Cham’s notable works include “Impressions de Voyage de Monsieur Boniface” (1844), where he introduced groundbreaking comic techniques. He also created a vast body of work that exceeded 4,000 drawings.

10. How was Cham recognized for his contributions, and what was the impact of his work on the world of caricatures and comics?

In 1877, Cham received the Légion d’Honneur for his contributions to caricature and illustration. While his work was prevalent during his lifetime, it was somewhat overshadowed by other artists in the years following his death. However, more recent efforts have aimed to bring his talent and contributions back into the spotlight.