Thomas Nast was a German-born American caricaturist and editorial cartoonist considered to be the "Father of the American Cartoon". He was the scourge of Democratic Representative "Boss" Tweed and the Tammany Hall Democratic party political machine. Among his notable works were the creation of the modern version of Santa Claus (based on the traditional German figures of Sankt Nikolaus and Weihnachtsmann) and the political symbol of the elephant for the Republican Party (GOP). Contrary to popular belief, Nast did not create Uncle Sam (the male personification of the United States Federal Government), Columbia (the female personification of American values), or the Democratic donkey, though he did popularize these symbols through his artwork. Nast was associated with the magazine Harper's Weekly from 1859 to 1860 and from 1862 until 1886.
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Nast was born in military barracks in Landau, Germany (now in Rhineland-Palatinate), as his father was a trombonist in the Bavarian 9th regiment band. Nast was the last child of Appolonia (Abriss) and Joseph Thomas Nast. He had an older sister Andie; two other siblings had died before he was born. His father held political convictions that put him at odds with the Bavarian government, so in 1846, Joseph Nast left Landau, enlisting first on a French man-of-war and subsequently on an American ship. He sent his wife and children to New York City, and at the end of his enlistment in 1850, he joined them there.
Nast attended school in New York City from the age of six to 14. He did poorly at his lessons, but his passion for drawing was apparent from an early age. In 1854, at the age of 14, he was enrolled for about a year of study with Alfred Fredericks and Theodore Kaufmann, and then at the school of the National Academy of Design. In 1856, he started working as a draftsman for Frank Leslie's Illustrated Newspaper. His drawings appeared for the first time in Harper's Weekly on March 19, 1859, when he illustrated a report exposing police corruption; Nast was 18 years old at that point.
In February 1860, he went to England for the New York Illustrated News to depict one of the major sporting events of the era, the prize fight between the American John C. Heenan and the English Thomas Sayers sponsored by George Wilkes, publisher of Wilkes' Spirit of the Times. A few months later, as artist for The Illustrated London News, he joined Garibaldi in Italy. Nast's cartoons and articles about the Garibaldi military campaign to unify Italy captured the popular imagination in the U.S. In February 1861, he arrived back in New York. In September of that year, he married Sarah Edwards, whom he had met two years earlier.
He left the New York Illustrated News to work again, briefly, for Frank Leslie's Illustrated News. In 1862, he became a staff illustrator for Harper's Weekly. In his first years with Harper's, Nast became known especially for compositions that appealed to the sentiment of the viewer. An example is "Christmas Eve" (1862), in which a wreath frames a scene of a soldier's praying wife and sleeping children at home; a second wreath frames the soldier seated by a campfire, gazing longingly at small pictures of his loved ones. One of his most celebrated cartoons was "Compromise with the South" (1864), directed against those in the North who opposed the prosecution of the American Civil War. He was known for drawing battlefields in border and southern states. These attracted great attention, and Nast was referred to by President Abraham Lincoln as "our best recruiting sergeant".
After the war, Nast strongly opposed the Reconstruction policy of President Andrew Johnson, whom he depicted in a series of trenchant cartoons that marked "Nast's great beginning in the field of caricature".
Nast's cartoons frequently had numerous sidebars and panels with intricate subplots to the main cartoon. A Sunday feature could provide hours of entertainment and highlight social causes. After 1870, Nast favored simpler compositions featuring a strong central image. He based his likenesses on photographs.
In the early part of his career, Nast used a brush and ink wash technique to draw tonal renderings onto the wood blocks that would be carved into printing blocks by staff engravers. The bold cross-hatching that characterized Nast's mature style resulted from a change in his method that began with a cartoon of June 26, 1869, which Nast drew onto the wood block using a pencil, so that the engraver was guided by Nast's linework. This change of style was influenced by the work of the English illustrator John Tenniel.
A recurring theme in Nast's cartoons is racism and anti-Catholicism. Nast was baptized a Catholic at the Sankt Maria Catholic Church in Landau, and for a time received Catholic education in New York City. When Nast converted to Protestantism remains unclear, but his conversion was likely formalized upon his marriage in 1861. (The family were practicing Episcopalians at St. Peter's in Morristown). Nast considered the Catholic Church to be a threat to American values. According to his biographer, Fiona Deans Halloran, Nast was "intensely opposed to the encroachment of Catholic ideas into public education". When Tammany Hall proposed a new tax to support parochial Catholic schools, he was outraged. His savage 1871 cartoon "The American River Ganges", depicts Catholic bishops, guided by Rome, as crocodiles moving in to attack American school children as Irish politicians prevent their escape. He portrayed public support for religious education as a threat to democratic government. The authoritarian papacy in Rome, ignorant Irish Americans, and corrupt politicians at Tammany Hall figured prominently in his work. Nast favored nonsectarian public education that mitigated differences of religion and ethnicity. However, in 1871 Nast and Harper's Weekly supported the Republican-dominated board of education in Long Island in requiring students to hear passages from the King James Bible, and his educational cartoons sought to raise anti-Catholic and anti-Irish fervor among Republicans and independents.

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