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Exposition des peintres de la mer . . . á la Ligue Navale française . . . au profit des Comités de Secours aux Marins Mobilisés

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Exposition des peintres de la mer . . . á la Ligue Navale française . . . au profit des Comités de Secours aux Marins Mobilisés

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Summary

A large seagull flying over the water.
Translation of title: Exhibition of painters of the sea . . . at the Ligue Navale fradçnais . . . to profit the Comités de Secours aux Marins Mobilisés.
Signed: André Verdilhan, 17.
Promotional goal: Fr. K92.J7. 1917.
Item is no. 254 in a printed checklist available in the Library of Congress Prints and Photographs Reading Room.
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French World War I Posters. Recruiting and Enlistment. War Bonds and Loans.

Prior to the introduction of lithography, primary poster printing techniques included the Wood Block technique and the Intaglio technique. Lithography was invented by Alois Senefelder in Germany in 1796, but not utilized until the mid-to-late 1800s until the introduction of “Cheret’s three stone lithographic process.” Three stones were used to create vibrant posters with intense color and texture. The stones used were typically red, yellow or blue, which enabled the artist to produce a poster featuring both graphics and text using any color of the rainbow. The main challenge was to keep the images aligned. This method lent itself to images consisting of large areas of flat color and resulted in the characteristic poster designs of this period. The first “Art Nouveau” poster was made by Chezch artist Alphonse Mucha who worked in Paris. Art Nouveau and Belle Epoque dominated Paris until about 1901. In 1898, a new artist took Paris by storm, who would later be donned the father of modern advertising – Leonetto Cappiello.

date_range

Date

01/01/1917
person

Contributors

Verdilhan, André, artist
place

Location

create

Source

Library of Congress
copyright

Copyright info

Public Domain

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