While the golden age of English caricature (circa 1760–1820) is well documented, contemporaneous French caricature has been largely ignored, perhaps partly due to the artists’ anonymity. Prominent London caricaturists were recognized as artists and political commentators by their contemporaries. French caricatures, however, were often unsigned and few archival resources provide information about those caricaturists whose names are known. Records of the publishers of French caricature have survived more often than those of the artists. Unlike in London, where publishers competed to work with celebrated caricaturists, publishers in Paris played a more prominent role in caricature production than artists and artisans. The names of publishers rather than artists often appear on the prints, perhaps in part because prints were often the work of several artisans.

Question
Select one answer choice.

The passage suggests that which of the following is true of English caricatures but not of French caricatures?

They were often the product of collaboration between artists and publishers.
They were primarily intended to appeal to an elite audience.
They were designed to convey commentary on political issues of the day.
They were intended primarily for a domestic rather than a foreign audience.
They were likely regarded by contemporaries as expressing an individual artist’s views.

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