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294 Marsha Morton nographic illustrations as well as genre paintings reminiscent of Biedermeier art. Ei- telberger admired Müller as a political cartoonist for Figaro, owned by Rudolf von Waldheim, where he was employed from 1862 until 1870. Modeled on the German publication Kladderadatsch, it was considered to be the foremost satirical paper in late nineteenth-century Vienna.10 Müller’s illustrations targeted regional character types in the Crown Lands and prominent political figures during the tumultuous decade leading to the 1867 Ausgleich.11 His many cartoons of ethnic diversity, such as the cautionary “Illustrirte Karte von Oesterreich” (9  May 1863) (fig.  2), which exposed Austria as a relatively small piece of the vast Habsburg Empire, addressed issues of concern to Ei- telberger who argued for inclusiveness and against rising nationalism. Müller was part of a circle of progressive writers, artists, and politicians who congregated at the Café Griensteidl, earning his credentials by receiving a short jail sentence in October 1863 for a blasphemous cartoon related to the Austro-Hungarian constitutional crisis.12 As Eitelberger wrote appreciatively in his 1881 feuilleton, Müller and his colleague Lauf- berger “waren scharfe Beobachter des Lebens und der Vorgänge ihrer Zeit […]. Bei allem Humor und Sarkasmus, zu dem die Zeitverhältnisse herausforderten, waren ihre Leistungen liebenswürdig, gutmüthig und ohne Frivolität.”13 According to Eitelberger, the caricatures remained vividly in everyone’s memory. Significantly, Müller’s cartoons in Figaro and drawings in Waldheim’s Illustrirte Zei- tung (where he worked in 1862/63), provided Eitelberger with an accurate prototype of the later Egyptian genre scenes : imagery consistent with a liberal worldview oriented around trade, universal everyday activities, and opposition to colonialism. In Müller’s illustrations of markets in Hungary and Vienna, together with many international shop- ping scenes in Waldheim’s Illustrirte Zeitung, commerce and labor are presented as unify- ing forces across networks of heterogeneous ethnicities and social classes.14 Eitelberger, who urged artists and designers to think globally, would not have disagreed with the concept : “Der Künstler gehört heute der Welt ebensogut an, wie seiner Nation, und der 10 K. Vocelka, K.  u.  K. Karikaturen und Karikaturen zum Zeitalter Kaiser Franz Josephs, Vienna 1986, p.  20. 11 Müller was known for his caricatures of Johann Nepomuk von Berger, Rudolf Brestel, Franz Martin Schindler, Ignaz Kuranda and Friedrich von Beust. 12 For letters and drawings about this event see A.  F. Seligmann, Carl Leopold Müller, Vienna 1922, pp.  31–34 and pp.  37–39. 13 Eitelberger, Leopold  K. Müller (cit. n.  4), p.  405. Laufberger created caricatures for Figaro in the years before Müller began working for the paper. 14 Scenes of shopping and markets in Waldheim’s in 1862 include Müller’s Ungarische Marktszene (18  Jan., p.  62) and illustrations for Vienna’s Tandelmarkt (26  April, p.  196), H. Reinhardt’s Der Fis- chmarkt in Venedig (8  March, p.  115), and L’Allemand’s Mexikanische Strassenbilder (8  March, p.  117). Open Access © 2019 by BÖHLAU VERLAG GMBH & CO.KG, WIEN