Le Rire Collection (#27)

Front cover of Le Rire, or Laughter, 29th May 1909. Artist: Petitjean
Front cover of Le Rire, or Laughter, 29th May 1909

Jeanne prends sans qu te voie Le Rire No 129
Artokoloro

Skating Le Rire No 62 11 January 1896 1896 Lithograph
Artokoloro

Ambroise Thomas assistant a repetition de Francoise Rimini
Artokoloro

Entree de Cha-u-Kao Le Rire No 67 15 February 1896
Artokoloro

Poster for le Concert des Ambassadeurs, Eugenie Buffet. Lucien Marie Francois Metivet, 1863 - 1930 1932, French poster artist, cartoonist, illustrator, famour during the Belle Epoque

German foreign policy 1899, supporting the Boers in the South African (Boer) War. William II telling Kruger, the Boer leader, not to worry as he was going to Great Britain to embrace his grandmother

Illustration with Stephanus Johannes Paulus Kruger
(Stephanus Johannes) Paulus Kruger (1825 - 1904) known as Oom Paul. South African politician shown as Job. At his feet are Russia and France embracing, left, and, right, Germany, Austria and Italy

Caricature of Franz - Joseph I
Franz - Joseph I (1830 - 1916), Emperor of Austria from 1848. Cartoon from " Le Rire", Paris, 9 October 1897

Illustration with Wilhelm II, Emperor of Germany
Wilhelm II, Emperor of Germany depicted as a one - man orchestra conducting the affairs of Europe. Cartoon from " Le Rire", Paris

Cartoon from Le Rire
Cartoon from " Le Rire", Paris, 19 March 1898 dedicated to Otto von Bismarck (1815 - 1898) German statesman, known as the Iron Chancellor, on his forthcoming birthday on 1 April

Nicholas II (1868 - 1919) Tsar of Russia from 1894. embracing Pallas - Athene (Minerva) the ancient goddess of Wisdom. Cartoon from " Le Rire", Paris, 20 May 1899

Nicholas II (1868 - 1919) Tsar of Russia from 1894, reviewing his Cossack troops at Loubet. Cartoon by Caran d Ache from " Le Rire", 2 June 1902

Russian foreign police
Russian foreign policy. France, in the guise of her mascots Chanticleer, the cockerel, and Madeleine, making advances to " Nicholas II (1868 - 1919) Tsar of Russia from 1894

Anti - Stalin cartoon from Le Rire, Paris, 1935
The man with a knife between his teeth. Anti - Stalin cartoon from " Le Rire", Paris, 27 July 1935

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"Le Rire: A Kaleidoscope of Laughter and Satire" Step into the world of Le Rire, a vibrant publication that captivated readers with its colorful illustrations and witty commentary. From political scandals to cultural events, this French magazine fearlessly tackled it all, using humor as its weapon. One such illustration portrays Andrew Carnegie, known as "The King of Trusts, " a powerful figure in the business world. With a mischievous grin on his face, he represents the trust placed in him by society while subtly hinting at the potential consequences of such power. In another artwork titled "The Fall of an Angel, " we witness a poignant scene where innocence meets corruption. This thought-provoking piece reminds us that even celestial beings can succumb to earthly temptations. Satirizing France's relations with Japan during times of tension is yet another example of Le Rire's boldness. Through clever imagery and biting sarcasm, this illustration sheds light on diplomatic complexities while entertaining its audience. Amidst these politically charged pieces are lighthearted moments captured by Le Rire's talented artists. Whether it be showcasing Japanese kites soaring through the sky or envisioning citizen Jaures becoming president and transforming ordinary individuals into princesses, these illustrations bring joy and laughter to their viewers. It also celebrated significant global events like the coronation of King Edward VII in London. The jubilant atmosphere depicted in this artwork reflects not only the grandeur but also captures the spirit of unity felt during such occasions. However, Le Rire didn't shy away from exploring historical tragedies either. In one striking image set amidst Pompeii's ruins, we see a festival taking place—a haunting reminder that life goes on despite past devastation. Through its vivid illustrations and sharp wit, Le Rire became more than just a magazine—it was an embodiment of laughter itself. It pushed boundaries and challenged societal norms while providing a much-needed escape from the seriousness of everyday life.