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This Tub Has No Bottom to Stand On, 1875 (wood engraving)
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This Tub Has No Bottom to Stand On, 1875 (wood engraving)
1078628 This Tub Has No Bottom to Stand On, 1875 (wood engraving) by Nast, Thomas (1840-1902); Collection of the New-York Historical Society, USA; (add.info.: This Tub Has No Bottom to Stand On. Justice (chief washer-woman).- " The bottom fell out, and the rest came tumbling after." Published in Harpers Weekly, June 5, 1875.
); eNew York Historical Society; American, out of copyright
Media ID 22212500
© New York Historical Society / Bridgeman Images
Corrupt Corruption Dirty Laundry Fraud Fraudulent Harpers Weekly Laundress Laundry Washerwoman Bottomless Justice Tammany
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This Tub Has No Bottom to Stand On
EDITORS COMMENTS
is a thought-provoking wood engraving created by Thomas Nast in 1875. The print, now housed in the Collection of the New-York Historical Society, captures a powerful message through its satirical depiction of justice as a chief washer-woman. With her hands full of dirty laundry representing corruption and fraud, this image serves as a scathing commentary on the social and political climate of America during that time. The title itself suggests an unsettling truth – that justice has no solid foundation to stand upon. As the bottom falls out from under the tub, all other forms of misconduct come tumbling after it. This visual metaphor emphasizes how deeply rooted corruption had become within American society. Nast's cartoon-like style adds an element of humor to his critique, making it more accessible to viewers. Through clever symbolism and biting satire, he exposes the fraudulent practices plaguing politics at that time. Published in Harper's Weekly on June 5th, 1875, this wood engraving remains relevant today as we continue to grapple with issues surrounding power abuse and dishonesty in our own society. It serves as a reminder that vigilance against corruption is essential for maintaining a just and fair system for all citizens. This iconic piece exemplifies Nast's talent for using art as a tool for social commentary and highlights his significant contribution to American political cartoons during this era.
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