Know a lot about the artistic and political dimensions of the poster. Poster art. In the 20th century, the Natalia Lauricella is lecturer in the department of art in art history at stanford, one of her areas of expertise is poster design, the late 19th and early 20th ceuries nav . [talia received her ph. D. In art history from university of southern california. She has worked as a curatorial assistant of collections exhibitionat the Guggenheim Museum in new york. Our second speaker is jean cannon, whos a Research Fellow and curator for north american collections at the Hoover InstitutionLibrary Archives before to hoover, jean was literary Collections Research associate at the harry ransom, where she cocurated the 2014 exhibition the world at war 1914 to 1918. She was also the curator of hoovers 2017 exhibit, weapon on the wall american political posters ofld one. There will be a brief q a the end. Please use the chat any time during the presentation to submit your questions. Prior, you submit your questions. With that, were going to begin with the Natalia Lauricella. Welcome. Thank you. Thank you so much for the kind introduction, dr. Wakin and thank you to burt sameera hana and their colleagues at the hoover for organizing this event. Im going to share my screen with my slides from their modern period printed materials have circulated political, social and cultural messages. Im showing you here a 16th century woodcut by albrecht durer, an 18th century engraving by william hogarth, and a 19th century etching by francisco goya. The one drawback of these print media, however, is that they were typically labor intensive and did not yield a large images circulate in books and as broadsides and pamphlets and as are prints, but large format ma colorful that we have come to know did not exist as such until the 19th century. This change began with the emergence lithography invented by a centerfielder in germany around 1796. Meaning that the image is printed from a flat surface or matrix as lithography did not necessitate the laborious work of carving wood or in sizing metal that were part of the early modern print method of woodcut engraving. Lithogph water and oil resist one another. It involves a thick limestone block onto whichcrayon. And here im showing you a couple of examples of lithographic stones, images still on their surfaces from 19th century. These are rare because oftentimes a lithographic stone would be reused by grinding down the s you can see how dense these stones were. You can imagine how heavy they would have been. Keep in mind that in printmaking in the will be the reverse, the image that would be printed. So you can see the text here is backwards, but when the paper was pulled from it would have been the right way. So the printer would use these stones, would use an ink roller to apply a greasy ink to the stone surface. Image was there,e image with the printer would then lay the stone. A press bed like this paper carefully atop it, and then pull thene was transferred onto paper through the pressure of the press as long as it was reading one lithographic stone can produce thousands of impressions and this is really why it a mass medium lithography immediately attracted■ printers because it offered an easy and efficient method for reproducing images, early lithographs or monochrome or black and white. Be these easier and more affordable to print and monochrome lithograph served as illustrations and books journals in the form of caricature like one by honore or as reproductions are original works of art such as this print by the painter. Today in these early years, when people did turn to color printers hand to hand to color or tint lithographs for lger edition sis, printers might have used stencils to expedite the process though this technique sometimes the quality noticeably poorer in general hand coloring typically inconsistent and such application became less practical the larger the additional sized in the second half of the 19th century, printing lithographs with color became much more common because of technological rendered. Thecess cheaper, easier and much more efficient a large scale. So how exactly where these lithographs which were called chroma lithographs■ didactic ime from the 1890 as it was published in a trade journal, and it was intended to the services of a commercial lithographic firm, but to print in color first a printer needed to copy various parts of an imagento different stars, although by this period. Sometimes printers were using plates rather than limestone because they were much lighter. The printer condensing each stone in a different color and layered color on paper by pulling one stone after another through the press the process of printing in color lithography was particularly exciting because of the effects of layering color on paper via separate8 image is built through color. So this is over the top in the right. This is the here. And you can see how color was built through this layering of these different color blocks. First you have the the yellow of her dress, the additional color red is supplied, which creates the the outline of the bottle. And you have a peach color, the green, which is her overcoat, but also the label of the red that the red bottle. And this continues as that image and more detailed with the additions of these colors that juxtapose other but also layer course, advancements in the design and production of steam presses in the second half of the 19th century enabled the rapid and large scale printing of cromwell lithographs. Chroma lithography could produce incredibly vibrant images. Im showing you here a few examples of chroma lithographs circulated in this period. One is a Christmas Card on the left, the famous american publisher louis prang, and the other depicts a scene from a cinderella production. This post, maybe the cover of, a music book. This was printed in london, the 19th century chromeos and. These were known or printed often on cheap, ephemeral paper via these large steam presses in industrial settings they became widespread advertising, consumer goods and entertainment. Culture illustrated in journals and magazines and the wal centef posters. As you can see, this painting from 1882 early poster artists crafted their designs to address the changing urban culture one defined by commerce and interpreting, intended to catch the attention oaiehurriedly pass intrigued and informed they attracted the attention of viewers through scale, through bold colors, composition, conveying information clearly about a product, venue or performance. One of the most influential poster artists of the late 19th century was jewel. And we can see at once here the visual of these iconic posters, swirling and alluring central figure, expressive and energetic movement, clearly legible words, vibrant and harmonious colors. From the 1870s onwards, his posters popularized as chroma lithography in the public sphere as well as the fine art world. Im showing you here two examples. Both feature his iconic depictions of female figures. These were known ashashows. They often depicted idealized figures in unidentifiable, making it difficult to the exact location of the evoking a sense of escape as a respite from the bustle and stresses of urban life. These posters captured the lively visual of the period and its posters, which could be found everywhere in paris. It inspired many artists to work in the medium. Chucother poster designer of ths period. His posters stand out because of their surprising flatness. Multicolored palettes and mosaic backgrounds, which were clearly influenced by a byzantine artwork my romantim depicted in colorful poses wearing ornate garments and precious gems. Herere two examples id left as an advertisement for a printers service. The woman holds a book of prints on her lap as she was surrounded by organic motifs typical macaus art nouveau style. The visual language of the poster is striking framing in the background are the same color the soft, beige shade of her dress and the pink floral accents in her hair echo the pre album books. She also reminding the viewer that she is also a printed■ im of the many vertical posters that luca made for the actress sarah bernhardt. This one made a pale and full blues rays and greens. Bernardo much of her face echoes numerous large prints, in part because of ruba bernard, the allure of bella cochrans two decades on either side of 1900, a period that ended once and for all, with the outbreak of world war 1914, elements of color and treatment, the figure that we saw in these posters proved influential in the early 20th century. Even as the medium came into increasing use by government and civilian entities looking to make public statements and draw attention to the war on the left as a colonial enlistment poster by french artist maurice romberg from 1918. On the right is a womens suffrage poster by an american female artist. Evelyn rumsey, carried from 1917. We can see the the posters of schaeffer and luca, the figure in rosenbergs poster is certain aspects of his depiction remind us of his shirts. The figure is in the midst of, in this case, riding a horse and it is unclear where except becae clouds you see as his feet, which to suggest that he is world, perhaps in a dream, perhaps in the clouds that somehow shorten the distance between algeria and france. The pastel palette of yellow, pink and beige soothing to the viewers eye, but nevertheless draws us in because of how the scheme isht raise the sunlight behind him, an appealing image full energy and dynamism, while one that side of the French Colonial project, the aim to inspire the viewer in this case the intended audience would be men considering enlisting the Colonial Army of algeria to help fight for france. Indeed the french words resemble arabic writing. The poster includes words in arabic as a clue to us that the designer hoped to interpret a wide audience and many recruits carry themselvesore subdued, essential female is cast in cool tones of gray and pale and deep. Nevertheless, the poster is a grenade featuring gold framing and gold accents in the main image, it says womens suffrage either side in those gold columns and in the middle her of the fruit of her hands and let her own works praise her in the gaze, the earthlyif we see here her dress grows from the tree roots and her hands and fingers. Elongate into branches and fruits that remind us of the visualc art nouveau style posters also have the same vertical style of markers posters, the format reminding us as contemporary reviewers of how large this poster would have been, carries poster in support of womens suffrage appeals to the viewer with a softer more inviting and contemplation, and of their most years, draw on similar artistic tools. Central figures of sphere space, harmonious colors to engage audiences through visual clarity and emotion. This is a poster by artist fred speer from 1915. The posters two tone composition is striking and sphere uses color contrast to create a dynamic0n scene. The Woman Holding her infant inr arms with a peaceful, almost serene expression. She is cast in beige, floating e that is bursting to identify her weightless quality in the way her hair and her dress float above her along. With the more obvious clues of bubbles emerging from her mouth, reveal she is under water. A murky green atmosphere, her with a bag markings, a lithographic, stone surface that materials fill fish and kelp r. So right up here and right down here, you can see that there is these markings shes at the bottom of the sea. You viewers passing or stopping for a closer look with a her immediately imagined the scene may be it would have been impossible to see her the water like this she was passenger from the lusitania a british ship carrying some american in may 1915 by a german submarine relying on the viewers prior knowledge of and outrage of. This event, speer, includes only the word list in a muted red tone, a complementary color. The green of the scene in another american poster with more we have a reference not to a contemporary event, but to a famous historical uprising. Iface poster from around 1917. This is what we call a more academic esthetic that resembles painting a young woman simply dressed in clothes of a historical era carrying a drum strapped around neck takes up most of the image to her right and left her other women focused and stern. And then theres a crowd behind these three central women. We can see a against the bright orange sky at the horizon. These women are marching. We cant see where theyre going, but we know that theyre united and theyre determined. This is the socalled spirit of women power that one of the references in the clear text, the scene nora uses this anachronistic depiction of french women peasants uprising. The french revolution of 1789 as a way to generate enthusim and rican in organizations in the us, to promote the us for a and i want to bring in here any example of a famous revolutionary painting by a french artist saint lucia dellacqua, whose painting is of july of the july. Of 1830. So on todays image hearkens back to 1789, the esthetic of this poster is reminiscent of french painting of 1830. We have the similar central figure grouping her action scene, similar in energy form bl posters from the period relied on vibrant color to intrigue viewers. Here we had to feel Alexander Stein lenins monochrome poster russian prisoners of war from 1917. The scene features two figures huddled■ . Together, staring out with vacant eyes. They fill up most of the poster by the two posts on either side. Are these posters part of the to the prison . The caption for the image translates to an enemy country. Russian prisoners die of hunger, it appears carved the wooden plaque above of them. Could this be mens to resemble a message of bleak harvest by the prisoners. For the viewer to see figures in the background, give us a sense of how many people live in this prison and how far back the prison space goes. Stylin cleverlus which is knownn printmaking as the reserve to represent the snow of this cold and inhospitable setting in which prisoners find themselves behind a barbed wire. The emotion of that scene is captured in part, by the way, that figures are rendered the crayon are evident in the wayh hes filled in with the clothing of the two central figures. Indeed, this poster hearkens back the early days of pornography when the used to reproduce drawings. Here it looks as if we have styled the sketch of a scene as though he is there witnessing the suffering firsthand strategy. He might have been used to create a sense of immediacy for the posters viewer. I first drawing them in for a closer look and then inspiring action style. Allen was a wellknown french poster artists of late 19th century, and here i of his mostn posters one for the nightclub, the shaniya and the other for a milk product red and black inks. These posters, which feature strong silhouettes against plain backgrounds. The 1890s posters are showing you by style illustrate the dynamic breadth of lithography capacity to use simple design in monochrome or polychromatic to convey a message and both expressive a a ways artist jewel abduls paper also for a simple design and his 16 french poster with the caption only zohar will get them both must figure is of a young, young soldier and is dynamic, his arm is outstretched as he looks over his shoulder behind, perhaps encouraging hisllow soldiers, and in turn us viewers to follow him, then quickly uses the rectangular surface of the lithographic figure seems to com the left and at any moment will pass through to the right. Faivre captures this energetic movement in clear diagonal line from left to top right. The strongly paralleled by the soldiers rifle the turns of thi beggars dress as they are stand out because america has chosen not to include anything behind the romance. The cream of contrast to the fie really pops out at us. And this is similar to steinems strategy. Cabaret posters, the 1890s include in a text here is not incorporated into the scene as a wassersteins poster. Rather, it stands out against the white background only though written out as if directly on the paper by hand, handwriting that is echoed beneath the typed are in enlist with a simple design, a muted palette. Several created one of the most famous posters of world war one, but most artists of the period took advantage of a simple palette using black and white, in stark contrast to brighter here. For cartoonist and poster designer bert thomas that play on civilian guilt to garner support for the war. Preferred. On the left, we have a colored that features two soldiers identifiable by their headgear who stare out at us as they seem to emerge from the depths of a black background. This is another instance of the absence of ink on paper. The white of the reserve is b particularly effective, especially when highlighted by the soft grays. Give the mens face their contours above and belowfrom an orange background. You buy war bonds. We did our bit in the text. You. We are bolder and larger than the of the bond creating a direct connection and contrast the viewer and the figures printed in the poster. The poster is in its Design Elements of and text carefully and effectively in the posters. Simple straight forward legibility well Color Palette d have undoubtedly made one that passers by lingered over their way to or from work. Thomass other at right uses a similar palette of orange, black and gray, though this time in a more complex composition against an orange sky, we see the silhouette of a cannon, its barrel and an upright upward diagonal pointing toward the battlefield a at theight the cannon and soldiers printed in gray are outlined and highlighted in black, and even the reserve of white. You can see here right at the of the central figure beneath this group is the text feed the guns with war bonds and help end the war. Unlike in other thomas poster, these words are composed white. The reserve scraped out the black backgroundutlined the same onge used for the sky again we have a cohesiveness or unity of the poster achieved through form color. The words■jtish citizens at home echo the colors of sky above the soldiers in battle drawing a connection between the actions of the soldier and the potential help or action of the civilians. The message here is clear. So weve been discussing how convey their messages in clear appealing ways, but how we know how people felt or what they thought. They saw these postersts of studying poster because we are often left unable to track reception history. Sometimes a poster publisher reprint a poster. So we have sense of how many, how popular particular poster image might have been and how effective it was. Sometimes posters were carefully, as was the case with the ones we looked at today because of an appealing design or perhaps they were the work of a famous artist. But what we can think about is format, although it m