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Clothing Advertisment Posters

Vintage Advertising Posters

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.

After the Paris exposition of 1889, France gloried in her triumph. The time between the expositions of 1889 and 1900 was an era of economic prosperity. When Germans announced they want to hold the next world expo, French politicians, industrialists, and intellectuals realized that the country which hosted the exposition at the threshold of the new century "will define the philosophy and express the synthesis of the 19th century." Participating nations architects were given complete freedom to construct their national pavilions in any style, and display whatever they wished therein. The sole limit was the space assigned to each. The buildings of the 1900 exposition fall into two distinct categories, each representing an essential element of the spirit of 1900: Traditionalist 19th century-styled and Art Nouveau - the new style appropriate to the twentieth century. The pavilion to symbolize the new era was the Palace of Electricity. Many expositions gave visitors an illusory trip to remote lands. The Trans-Siberian was a simulated Peking to Moscow railway and "Tour of the World," located at the base of the Eiffel Tower featured moving canvas of the sights and people throughout the world. More than 83,000 exhibitors and attendance of 51 million visitors made it the largest of any exposition. The 127 congresses had attracted over 80,000 participants. The Gare d'Orsay railroad station (now the Musée d'Orsay), and two of original entrances of Paris Métro stations by Hector Guimard., and the Pont d’Alexandre, the Grand Palais and the Petit Palais opened with the exposition. The exposition Universelle of 1900 was the last of its kind held in France.

Alois Senefelder, the inventor of lithography, introduced the subject of colored lithography in 1818. Printers in other countries, such as France and England, were also started producing color prints. The first American chromolithograph—a portrait of Reverend F. W. P. Greenwood—was created by William Sharp in 1840. Chromolithographs became so popular in American culture that the era has been labeled as "chromo civilization". During the Victorian times, chromolithographs populated children's and fine arts publications, as well as advertising art, in trade cards, labels, and posters. They were also used for advertisements, popular prints, and medical or scientific books.