The Posters That Sold World War 1 to the American Public
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Pop Art Media Group
Pop Art Media Group Outdoor Advertising, Event Publicity and Print June 2018 Pop Art Media Group Window Graphics Festival Advertising 6-sheet Illuminated Lamppost units 48-sheet, Hyde Park Corner Pop Art is the Leeds specialist for masterminding outdoor and experiential advertising campaigns. We first set up shop in 1991, printing and distributing posters for local gigs amid a burgeoning Leeds 90’s music scene. We have since evolved into a team of experienced professionals collaborating with clients in various market sectors from local businesses to some of the largest global brands. Students A GeneraǗon Y Pop Art Media Group C Youth B GeneraǗon X Street Sites Poster Drums Advertising Trailers 4-sheet Trinity Arcade T-Shirts Our established portfolio of high profile sites across Leeds and other major UK cities, as well as on-site media opportunities at local events and the UK’s most loved national festivals has helped us build a reputation for highly targeted, cost effective campaigns. Our full in-house production enables fast turnaround and keeps costs down. Our portfolio and range of services has grown over the last six months with the addition of new large format outdoor locations in Leeds and increased printing capacity. Pop Art Media Group Stage backdrops Digital Display Promotional Events Internal Poster Sites Portfolio capacity as follows; 8m x 2m full motion digital billboard 96 sheet billboards x 2 48-sheet billboards x 3 16-sheet billboards x 1 6-sheet illuminated panels x 140 4-sheet poster drum and framed sites x 600+ • Combined Opportunity-to-see (OTS) figures in excess of 2 million per week • Discounts available for multiple bookings across our media network. -
Master Artist of Art Nouveau
Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography ............................................................................................. -
Pictorial Modernism PICTORIAL MONDERNISM
ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 14 Pictorial Modernism PICTORIAL MONDERNISM The Beggarstaffs • Brothers-on-law, James Pryde and William Nicholson opened an advertising design studio in 1894 and to protect their reputations as fine artists, they named it The Beggarstaff Brothers. They developed a new technique that was later called collage. By cutting pieces of paper, moving them around and pasting in position on a board, they created flat plans of color where the edges of the shapes were “drawn” with scissors. • Unlike Art Nouveau, the Beggarstaffs forged a new beginning of design focused on powerful colored shapes and silhouettes rather than organic and decorative form. PICTORIAL MODERNISM 2 PICTORIAL MONDERNISM Poster Design in Europe • The European poster in the first half of the 20th century was greatly influenced by the modern-art movements surrealism, cubism, and dadaism. Designers were aware of the need to use pictorial references in their posters as a way to visually enhance and ultimately communicate more persuasively their views. Influenced mostly by cubism and constructivism, poster artists combined expressive and symbolic images as well as total visual organization on the picture plane. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 3 POSTER DESIGN The Beggarstaffs • poster for Harper’s Magazine, 1895 PICTORIAL MODERNISM 4 POSTER DESIGN The Beggarstaffs • poster for Don Quixote, 1896 • never printed because the director/producer of the play felt the image was a bad likeness of Quixote. PICTORIAL MODERNISM 5 POSTER DESIGN Dudley Hardy • British painter who joined The Beggarstaffs in creating posters and advertising design • Theatrical poster for The Gaiety Girl, 1898 • Developed a formula for theatre poster design where letters and images appeared on a flat plane of color PICTORIAL MODERNISM 6 PICTORIAL MONDERNISM Plakastijl • A design school originating in Germany— the name means “poster style.” • The traits of Plakastijl are usually bold, straight lettering with a very simple design. -
New Exhibition the American Muse Debuts at the Nmai
FOR IMMEDIATE RELEASE May 2, 2013 Contact: Eric Brocklehurst Tel: (401) 851-8949 ext. 18 Email: [email protected] Website: www.americanillustration.org NEW EXHIBITION ‘THE AMERICAN MUSE’ DEBUTS AT THE NMAI NEWPORT, RI- Friday, May 24, the NMAI officially debuts its new exhibition, The American Muse. The exhibition is in homage to American women of the late 19th and early 20th centuries, and the illustrators who accurately portrayed the quintessential yet distinctly American feminine beauty that these women embodied. The American illustrators highlighted include Charles Dana Gibson, Harrison Fisher, and others of the greatest illustrators of the period, such as: Philip Boileau, MacClelland Barclay, Howard Chandler Christy, James Montgomery Flagg, Henry Hutt, Walter Granville Smith, Paul Stahr, and Albert Beck Wenzell. Each of these illustrators created their own prototypical image of ‘The American Woman.’ The public gave these illustrators’ artworks generic names as part of their respective oeuvre; The Gibson Girl and The Fisher Girl stand out as the most popular of all. These renditions of the illustrators’ ideal woman captured the increasingly independent spirit of American women. The illustrations both shaped and reflected American society and its notions of female beauty. Compared to women of previous eras, these women relished more freedoms, enjoyed greater opportunities in sports and education, and were at the vanguard of a time when women effected change through social and political movements on an unprecedented scale in Western culture. Also showing at the NMAI are Maxfield Parrish: The Retrospective, which has been extended due to popular demand through Fall 2013, and Howard Pyle & His Brandywine Students, showcasing the works of Howard Pyle, N.C. -
The Art of Reading: American Publishing Posters of the 1890S
6. Artist unknown 15. Joseph J. Gould Jr. 19. Joseph Christian Leyendecker 35. Edward Penfield 39. Edward Penfield CHECKLIST The Delineator October, 1897 (American, ca. 1876–after 1932) (American, 1875–1951) (American, 1866–1925) (American, 1866–1925) All dimensions listed are for the sheet size; Color lithograph Lippincott’s November, 1896 Inland Printer January, 1897 Harper’s July, 1897 Harper’s March, 1899 9 9 height precedes width. Titles reflect the text 11 /16 × 16 /16 inches Color lithograph Color lithograph Color lithograph Color lithograph 9 1 1 1 3 3 as it appears on each poster. The majority Promised Gift of Daniel Bergsvik and 16 /16 × 13 /8 inches 22 /4 × 16 /4 inches 14 × 19 inches 15 /8 × 10 /4 inches of posters were printed using lithography, Donald Hastler Promised Gift of Daniel Bergsvik and Promised Gift of Daniel Bergsvik and Museum Purchase: Funds Provided by Promised Gift of Daniel Bergsvik and but many new printing processes debuted Donald Hastler Donald Hastler the Graphic Arts Council Donald Hastler 7. William H. Bradley during this decade. Because it is difficult or 2019.48.2 (American, 1868–1962) 16. Walter Conant Greenough 20. A. W. B. Lincoln 40. Edward Henry Potthast THE ART OF READING impossible to determine the precise method Harper’s Bazar Thanksgiving Number (American, active 1890s) (American, active 1890s) 36. Edward Penfield (American, 1857–1927) of production in the absence of contemporary 1895, 1895 A Knight of the Nets, 1896 Dead Man’s Court, 1895 (American, 1866–1925) The Century, July, 1896 documentation, -
World War I Posters from the Newark Public Library
World War I Posters from the Newark Public Library 1 For Home and Country: World War I Posters from the Newark Public Library September 11 – December 13, 2017 University Galleries William Paterson University Inside front cover Clockwise from top left Exhibition checklist 1, 2, 3, 6, 9, 10 2 polished publication. He was patient and diligent while Introduction offering fresh perspectives on these historical prints. Special thanks go to William Paterson University Kristen Evangelista Director, University Galleries President Dr. Kathleen Waldron, Provost and Senior Vice President of Academic Affairs Dr. Warren Sandmann, Associate Provost for Academic Affairs Dr. Sandra Hill, former Associate Provost for Academic Affairs Dr. Stephen Hahn, Dean of the College of the Arts and Communication Daryl J. Moore, Associate Dean of the College of the Arts ome of our nation’s most iconic First and foremost, I would like to thank WP Professor of and Communication Loretta McLaughlin Vignier, and Chair images were created as propaganda History George Robb for his unwavering cooperation, vision, of the Art Department Professor Lauren Razzore. during World War I. From 1917-1918, and dedication to realizing this exhibition and publication. I would like to especially thank the entire gallery staff S several hundred artists worked This significant undertaking reflects his astute judgment, for their hard work and commitment to all that we do. diligently in concert with government focused scholarship, and curatorial expertise. Emily Johnsen adeptly coordinated numerous aspects agencies to design posters that supported the nation, We received indispensable guidance from Professor of the exhibition and publication with a constant eye for upheld values of liberty, and promoted participation in Alejandro Anreus and Professor Thomas Uhlein in the re- detail. -
Nicholas Fanizzi Visual Essay
Nicholas Fanizzi Japanese-American Internment Several times in history a country has turned on its own people. During World War II, Japan was introduced into the war, when they conducted a surprise attack on the United States’ home soil. Japan commenced an air raid on Pearl Harbor claiming the lives of over 2,300 Americans troops. With only one vote against the decision, Congress sent America to war against Japan. The rest of America supported Congress’ decision. The United States was in a full out war with Japan, which included homeland discrimination against the Japanese. Mayor Laguardia of New York took out all of the Japanese from the city and kept them in custody on Ellis Island. This started a nationwide purge of the Japanese race causing Executive Order 9066 by President Franklin D. Roosevelt. The proclamation authorized the military to exclude people from certain areas and force relocation (“Roosevelt”). This was for people of all foreign races but specifically targeted the Japanese. Although the immediate effects of the attack on Pearl Harbor were traumatic, the homeland reaction included racial segmentation, unjust relocation with internment camps, and stereotyping the Japanese race in America. Source: Theodore Geisel, “Waiting for the Signal From Home,” PM Magazine, February 13, 1942 Children's author Dr. Seuss was a prominent anti-Japanese political cartoonist during World War II. One of his most prominent and popular cartoons was “Waiting for a Signal From Home” published on February 13th, 1942. The attack on Pearl Harbor left people worrying if the Japanese would strike again and left America feeling vulnerable. -
Created By: Sabrina Kilbourne
Created by: Kathy Feltz, Keifer Alternative High School Grade level: 9-12 Special Education Primary Source Citation: (2) “How Some Apprehensive People Picture Uncle Sam After the War,” Detroit News, 1898. (3) “John Bull” by Fred Morgan, Philadelphia Inquirer, 1898. Reprinted in “The Birth of the American Empire as Seen Through Political Cartoons (1896-1905)” by Luis Martinez-Fernandez, OAH Magazine of History, Vol.12, No. 3 Spring, 1998: http://www.jstor.org/stable/25163220. Allow students, in groups or individually, to examine the cartoons while answering the questions below in order. The questions are designed to guide students into a deeper analysis of the source and sharpen associated cognitive skills. Level I: Description 1. What characters do you see in both cartoons? 2. Who is represented by the tall man in both cartoons? How do you know? Give details. 3. Who are represented by the smaller figures in both cartoons? How do you know? Give details. Level II: Interpretation 1. Why is the United States/Uncle Sam pictured as the largest character? 2. Why are the Philippines, Cuba, Hawaii, and Puerto Rico pictured as smaller characters? 3. What concept that we have studied is illustrated in these cartoons? Level III: Analysis 1. What does the first cartoon tell us about the U.S. control over its territories? 2. How does this change in the second cartoon? 3. What do these cartoons tell you about the American feelings towards the people in these territories? “How some apprehensive people picture Uncle Sam after the war.” A standard anti-imperialist argument: acquiring new territories meant acquiring new problems—in this case, the problem of “pacifying” and protecting the allegedly helpless inhabitants. -
Gra2151c: Fall 2013 Syllabus
Syllabus GRA2151c: Illustration Tuesday & Thursday, 2:30 pm – 5:15 pm, VAB 213B Instructor: Matthew Dunn | Office: CAH 190N | E-mail: [email protected] Office Hours: W, 4:00 pm - 5:30 pm. Contact me for appointment. Course Overview: This course is an introduction to various traditional mediums and techniques of illustration. Each assignment will focus on understanding the medium as well as tackling basic illustration concerns such as composition, staging, layout, fundamentals of drawing, anatomy, perspective, color, and conceptual thinking. Required Book: 5.5” x 8.5” spiral sketchbook, 100 pages (such as Strathmore or Canson) Grade Breakdown: Grades will be based on mastery of the medium, composition, drawing fundamentals, and overall structure of the illustrations. Projects 1-6 600 Grade Scale (6 @ 100 points each) 900-933: A- 934-1000: A Final Project 200 800-833: B- 837-866: B 867-899: B+ Sketchbook 100 700-733: C- 737-766: C 767-799: C+ Pop Assignments 100 600-633: D- 637-666: D 667-699: D+ Below 600 points: F Maximum 1000 Points Sketchbook: Your sketchbook will be used throughout the semester to develop concepts (thumbnails, drafts, etc.) for your projects as well as for in-class assignments. It will be turned in during the final exam period. You may paste related drawings into sketchbook, but it should be done in a neat manner. Loose drawings, folders, and portfolios or other oversized pieces will not be accepted. In-Class Assignments: You will be given a series of in-class “pop”-assignments throughout the semester. The goal of these assignments is to help you hone your conceptual skills and come up with quick ideas and solutions to problems. -
World War I Posters and the Female Form
WORLD WAR I POSTERS AND THE FEMALE FORM: ASSERTING OWNERSHIP OF THE AMERICAN WOMAN LAURA M. ROTHER Bachelor of Arts in English John Carroll University January, 2003 submitted in partial fulfillment of requirements for the degree MASTERS OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY May, 2008 This thesis has been approved for the Department of ART HISTORY and the College of Graduate Studies by ___________________________________________ Thesis Chairperson, Dr. Samantha Baskind _________________________ Department & Date ____________________________________________ Dr. Marian Bleeke ________________________ Department & Date _____________________________________________ Dr. Elizabeth Lehfeldt ___________________________ Department & Date WORLD WAR I POSTERS AND THE FEMALE FORM: ASSERTING OWNERSHIP OF THE AMERICAN WOMAN LAURA M. ROTHER ABSTRACT Like Britain and continental Europe, the United States would utilize the poster to garner both funding and public support during World War I. While war has historically been considered a masculine endeavor, a relatively large number of these posters depict the female form. Although the use of women in American World War I visual propaganda may not initially seem problematic, upon further inspection it becomes clear that her presence often served to promote racial and national pretentiousness. Based on the works of popular pre-war illustrators like Howard Chandler Christy and Charles Dana Gibson, the American woman was the most attractive woman in the in the world. Her outstanding wit, beauty and intelligence made her the only suitable mate for the supposed racially superior American man. With the onset of war, however, the once entertaining romantic scenarios in popular monthlies and weeklies now represented what America stood to lose, and the “American Girl” would make the transition from magazine illustrations to war poster with minimal alterations. -
The No Past, J.C
T-he The e Nonnan " Rockwell Museum at Stockbridge to WINTER 1997/98 The No Past, J.C. Leye 2 Far right, Marge Ceder, museum employee for 22 years, shares a laugh with director Laurie Norton Moffatt and board president David Klausmeyer. Right, former board member Stockbridge Police Chi ef Richard Wilcox and his wife Dr. Joyce Butler chat witll trustee emeritus Norma Ogden. The Norman Rockwell Museum Celebrations! Board of Trustees David L. KJausmeyer President In September, the Norman Rockwell Museum held a wonderful party to Bobbie Crosby First Vice-President celebrate the accreditation by the American Association of Museums and at Steven Spielberg Second Vice-President Perri Petricca Treasurer the same time honored fifteen staff members who have been with the mu Rosell e Kline Chartock Clerk seum from 10 to 22 years. William M. Bulger Timothy R. McLevish James A. CUlUlingham Thomas Patti Daniel DuBois LincoLl Russell Joan SerVaas Durham Joseph M. Sa lvadore Michell e Gillett Mark Selkowitz Neil and Jane Golub Brian J. Quinn Elaine S. Gunn Aso Tavitian James W. Ireland Laughran S.vaber Harvey C het Krentzman Lee W ill iams ( Robert F. McDermott Jamie Williamson Trustees Emeriti Lila Wilde Berl e Jane P. Fitzpatrick John M. Deely, J r. Norm a G. Ogden H enry 1-1. Wilhams, Jr. Former board member Jack Batty enjoyed llie evening along willi his Laurie Norton Moffatt, Director momer Margaret, who was one of me museum's early directors. The Norman Rockwe ll Museum is funded in part by the M assachusetts Cultural Cowlcil, a state Below, new trustee Will iam Bulger agency that supports public programs in the arts, willi his wife Mary attended tlle humanities, and sciences. -
Pop Impressions : [Brochure] Europe/USA
Pop impressions : [brochure] Europe/USA Author Museum of Modern Art (New York, N.Y.). Department of Prints and Illustrated Books Date 1999 Publisher The Museum of Modern Art, Department of Prints and Illustrated Books Exhibition URL www.moma.org/calendar/exhibitions/183 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SomPI o o 4v cb ^ Jhe Museum of Modorn Art Library Moh* /"yJLIa POPIMPRESSIONS EUROPE/USA the medium. At Hamilton's urging, in 1964 London's Printsand Multiples from The Museum ofModern Art Institute of Contemporary Arts published a ground Pop art pervaded the culture of the 1960s and became breaking portfolio of twenty-four screenprints by as intertwined with the lifestyle of its time more than any many artists. The project launched the medium as a vital other aesthetic movement of the twentieth century. It tool for creative expression among contemporary flourished out of an era of unprecedented economic British artists, many of whom made their first screen- prosperity, whose manifestations became the fodder for print for this project. Several other adventurous and far- Pop's artistic upheaval.The broad appeal of its accessi sighted British publishers, including Editions Alecto and ble imagery and vivid, bright designs permanently Petersburg Press,who understood printmaking's poten expanded the audience for art. tial as the ideal vehicle to meld Pop's audacious imagery Printed images permeated the Pop vision, and fun with its democratic ideals, undertook ambitious projects damental principles of printmaking —including concepts with artists ranging from Peter Blake and David Hock- of transference and repetition —underlay the artistic ney to Allen Jones and Jim Dine.