A tradition of contemptThis article will discuss Ralph Steadman as an illustrator, but more specifically as a political cartoonist in post-World War II Britain. His deep animosity towards some political figures and their caricaturization is a purely geographical characteristic. Steadman's involvement in major English satirical publications increased his credibility locally enough to secure him better-paid illustration jobs in the United States. These jobs not only brought better pay, but a new cast of politicians and elite society members that Steadman could joke about, thus further cementing his reputation as the next great satirist in a long line of English caricaturers. In particular I will talk about other British cartoonists who share Steadman's feelings towards social "elites". This will help highlight the similarities between the artists and their shared disdain for high society, as well as demonstrate that where Steadman grew up shaped his satire-based career. Among these further British illustrators are Gerald Scarfe and John Tenniel; both had also illustrated the pages of the satirical weekly Punch (Fig.1)(Fig. 2). Scarfe's style was extremely similar to Steadman's and both Steadman and Tenniel are well known for their illustrations of Alice in Wonderland (Fig. 3) (Fig. 4). Thomas Nast is another illustrator who focused on political cartoons in the British satirical publications Punch and Private Eye (Fig. 5). Nast's ingenuity was not only responsible for the iconography that has become known as the modern idea of ​​Santa Claus, but one of his most famous illustrations helped facilitate the capture of Boss Tweed (Fig. 5). Punch and the satirical hour that surrounds… the medium of paper… has his upbringing to thank. Growing up in post-World War II England had certainly taken its toll on the Steadman family. The sense of patriotism and comfort that all of Europe once felt was immediately destroyed by the Second World War. This extreme tragedy clearly had an impact on Europe, and it was evident in the art. The British illustrators of the time, Steadman and Scarfe, were both dealing with satirical subjects that had been covered previously, however with the new sense of disillusionment they were creating work that was more visually expressive and satirical than ever before. It seemed that they were sloppy and that the creation of deconstructed brands symbolized the ruins that Europe was left in after the war. This only strengthened the already important path traced by British satirical illustrators who felt contempt for the world they lived in..