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The nostalgic world of yesteryear comes to life in this authentic example of 19th-century American advertising art. The graceful figure of a high-wire artist, suspended high above a theater audience, is the focus of this poster printed on high-quality, sturdy stock.
The Poster: Art, Advertising, Design, and Collecting, 1860sÐ1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century ÒiconophileÓÑa new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, IskinÕs insightful study proposes that the poster played a constitutive role in the modern culture of spectacle. This stunningly illustrated book will appeal to art historians and students of visual culture, as well as social and cultural history, media, design, and advertising.
In the closing decade of the nineteenth century, the modern age invaded the city streets of Italy in the form of advertising posters. Bouquets of monkeys, elephants, masks, automobiles and elegantly--and sometimes scantily--clad ladies suddenly blossomed upon walls everywhere, indoors and out, visually grabbing the attention of an Italian public interested in the new commercial products that promised a new way of living. These advertisements were executed by some of the greatest illustrators of the day--Leonetto Cappiello, Achille Lucien Mauzan, Marcello Dudovich, Plinio Codognato, Leopoldo Metlicovitz and Gino Boccasile--who together produced a medley of playful, allusive, ironic and experimental imagery unmatched by any other European or American posters of that era. The current scarcity of Italian posters on the market today makes this lush publication all the more valuable for its depiction of a legacy in poster design.
Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.
From band posters stapled to telephone poles to the advertisements hanging at bus shelters to the inspirational prints that adorn office walls, posters surround us everywhere—but do we know how they began? Telling the story of this ephemeral art form, Elizabeth E. Guffey reexamines the poster’s roots in the nineteenth century and explores the relevance they still possess in the age of digital media. Even in our world of social media and electronic devices, she argues, few forms of graphic design can rival posters for sheer spatial presence, and they provide new opportunities to communicate across public spaces in cities around the globe. Guffey charts the rise of the poster from the revolutionary lithographs that papered nineteenth-century London and Paris to twentieth-century works of propaganda, advertising, pop culture, and protest. Examining contemporary examples, she discusses Palestinian martyr posters and West African posters that describe voodoo activities or Internet con men, stopping along the way to uncover a rich variety of posters from the Soviet Union, China, the United States, and more. Featuring 150 stunning images, this illuminating book delivers a fresh look at the poster and offers revealing insights into the designs and practices of our twenty-first-century world.
This volume assembles a wide range of studies that together provide—through their interdisciplinary range, international scope, and historical emphases—an original scholarly exploration of one of the most important topics in recent nineteenth-century studies: the emergence in the nineteenth century of forms of global experience that have developed more recently into rapidly expanding processes of globalization and their attendant collisions of race, religion, ethnicity, population groups, natural environments, national will and power. Emphasizing such links between global networks past and present, the essays in this volume engage with the latest work in postcolonial, cosmopolitan, and globalization theory while speaking directly to the most pressing concerns of contemporary geopolitics. Each essay examines specific cultural and historical circumstances in the formation of nineteenth-century worlds from a range of disciplinary perspectives, including economics, political history, natural history, philosophy, the history of medicine and disease, religious studies, literary criticism, art history, and colonial studies. Detailed in their particular modes of analysis yet integrated into a collective conversation about the nineteenth century’s profound impact on our present worlds, these inquiries also explore the economic, political, and cultural determinants on nineteenth-century types of transnational experience as interweaving forces creating new material frameworks and conceptual models for comprehending major human categories—such as race, gender, subjectivity, and national identity—in global terms. As nineteenth-century global intersections differ in important ways from the shapes of globalization today, however, the essays in this volume generate new ways of understanding emergent patterns of worldwide experience in the age of imperialism and thereby stimulate fresh insights into the dynamics of global formations and conflicts today.
192 drawings by 25 artists: Phiz, Leech, Tenniel, du Maurier, Sambourne.
Virtually every "utopia" in existence as of 1875 is described, with material on social customs, guiding philosophy, food, clothing, attitudes toward sex and more. Primary source for communes, social and sexual odd groups. Basic work in field. 39 illustrations.