E-mail this pageEditorial Cartooning
Finalists have been announced since 1980. Full texts, photographs and cartoons are available for Journalism winners from 1995–2013 only.
Winners
For his diverse collection of cartoons, using an original style and clever ideas to drive home his unmistakable point of view.
for his consistently fresh, funny cartoons, especially memorable for lampooning the partisan conflict that engulfed Washington.
For his widely ranging cartoons that employ a loose, expressive style to send strong, witty messages.
For his animated cartoons appearing on SFGate.com, the San Francisco Chronicle Web site, where his biting wit, extensive research and ability to distill complex issues set a high standard for an emerging form of commentary.
For his agile use of a classic style to produce wide ranging cartoons that engage readers with power, clarity and humor.
For his provocative cartoons that rely on originality, humor and detailed artistry.
For his stark, sophisticated cartoons and his impressive use of zany animation.
For his powerful cartoons on an array of issues, drawn with a simple but piercing style.
For his unusual graphic style that produced extraordinarily thoughtful and powerful messages.
For his piercing cartoons on an array of topics, drawn with a fresh, original style.
For his perceptive cartoons executed with a distinctive style and sense of humor.
For his trenchant cartoons on contemporary issues.
For his work during the year as exemplified by the cartoon "First Amendment."
For "O beautiful for spacious skies, For amber waves of grain," published on July 22, 1975.
For "They Won't Get Us To The Conference Table...Will They?" Published February 1, 1966.
For a cartoon which showed a world destroyed with one ragged figure calling to another: "I said we sure settled that dispute, didn't we!"
For "What You Need, Man, Is a Revolution Like Mine," published on August 31, 1961.
For "I won the Nobel Prize for Literature. What was your crime?" Published on October 30, 1958.
For "The Thinker," published on August 10, 1957, depicting the dilemma of union membership when confronted by racketeering leaders in some labor unions.
For "Wonder Why My Parents Didn't Give Me Salk Shots?" Published on January 12, 1956.
For his cartoon, "Achilles" showing a bulging figure of American prosperity tapering to a weak heel labeled "Farm Prices."
For a cartoon published on June 8,1954 entitled, "How Would Another Mistake Help?" showing Uncle Sam, bayoneted rifle in hand, pondering whether to wade into a black marsh bearing the legend "French Mistakes in Indo-China." The award is also given for distinguished body of the work of Mr. Fitzpatrick in both 1954 and his entire career.
For a cartoon depicting the robed figure of Death saying to Stalin after he died, "You Were Always A Great Friend of Mine, Joseph."
For "Your Editors Ought to Have More Sense Than to Print What I Say!"
For "All Set for a Super-Secret Session in Washington."
For distinguished service as a cartoonist, as exemplified by the cartoon entitled, "Fresh, spirited American troops, flushed with victory, are bringing in thousands of hungry, ragged, battle-weary prisoners," in the series entitled, "Up Front With Mauldin."
For "What a Place For a Waste Paper Salvage Campaign."
For "Come on in, I'll treat you right. I used to know your Daddy."
Finalists
For polished, witty cartoons that effectively lampoon prominent leaders and groups in a polarized America.
For his fresh portfolio of cartoons that feature deft caricatures and leave no one guessing where he stands on important issues.
For his pungent work outside the traditional style of American cartooning.
For his clever daily cartoons and a distinctive Sunday panel on local issues in which his reporting was as important as his artistic execution.
For cartoons in The Journal News, Westchester County, N.Y., work notably original in concept and execution, offering sharp opinion without shrillness.
For provocative cartoons that often tackle controversial Kentucky issues, marked by a simple style and a passion for humanity.
For his masterful simplicity in expressing consistently fearless positions on national and local issues.
For his broad portfolio that encompasses the nation’s historic political year, using rich artistry, wry humor and sometimes animation to drive home his deft satire.
For his compelling collection of print and animated cartoons that blend the great traditions of the craft with new online possibilities.
For his engaging mix of art and ideas, resulting in cleverly conceived cartoons that persuade rather than rant and that sometimes use animation to widen their impact.
For a sequence in his cartoon strip "Funky Winkerbean" that portrays a woman's poignant battle with breast cancer.
For his distinctive cartoons marked by sharp focus and pungent simplicity.
For his pungent cartoons on an array of issues, and for his bold use of animation.
For his compelling cartoons that rely on rich detail and deft caricature to make their point and for using animation to widen his impact.
For his vivid, wide ranging cartoons that express crisp opinions with uncomplicated artistry.
For diverse cartoons that use wit, irony and artistic flair to sharpen their impact.
For his provocative "Doonesbury" cartoons that used realistic characters to dramatize social and political issues.
For his portfolio of wry but hard hitting cartoons that addressed a wide range of issues with unflinching honesty.
For his vivid, distinctive cartoons that used creative metaphors to achieve high-impact results.
For his inventive "Doonesbury" cartoons that were often ahead of the headlines and used deft writing to enhance impact.
For his arresting cartoons on a broad range of subjects, drawn with simple eye-catching imagery.
For his provocative portfolio of cartoons marked by clarity and simplicity.
For a sequence in her comic strip "For Better or For Worse" that sensitively depicted a youth's disclosure of his homosexuality and its effect on his family and friends.
