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POSTER , a See also:placard in the See also:form either of letterpress or See also:illustration, for posting up or otherwise exhibiting in public to attract See also:attention to its contents. According to See also:Brewer's See also:Dictionary of Phrase and See also:Fable, before the See also:Fire of See also:London the rails and posts which protected See also:foot-passengers in the streets were used for affixing theatrical and other announcements, whence the name of posting-bills or posters; and in later times the name has come more generally into use for any fairly large See also:separate See also:sheet, illustrated or not, used to attract publicity, even though not actually posted up. In the See also:article ADVERTISEMENTS the use of posters is discussed, and newspaper posters (or contents bills) under See also:NEWSPAPERS. But the illustrated poster has come to represent a See also:special form of See also:artistic See also:design.
The earliest examples of pictorial posters were adorned with rough woodcuts. When See also:lithography became a See also:common commercial See also:process, See also:wood-blocks ceased to be employed. The See also:modern artistic poster made a definite beginning in See also:France about 1836, with a design by Lalance to advertise a See also:book entitled Comment meurent See also:les femmes. His example was followed by C. See also:Nanteuil, D. A. M. See also:Raffet, See also:Gavarni, See also:Bertrand, Grandville, Tony Johannot, E. de See also:Beaumont, T. H. See also:Frere, Edouard See also:Manet and other artists of high repute. Most of these See also:early designs were printed in See also:black on See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white or tinted See also:paper. Between 186o and 1866 crude attempts at See also:printing posters in See also:colours were made in both France and See also:England. In 1866 Jules Cheret began what was destined to be the most noticeable See also:series of pictorial placards in existence, a series containing over a thousand items. Cheret was originally employed in a litho-graphic See also:establishment in England before he began to See also:work for him-self, and he used his knowledge there acquired to adapt all three See also:primary colours, economically used, to astonishingly brilliant ends. For a considerable See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time he remained without a See also:rival, though he had hosts of imitators. See also:Eugene Grasset, a decorative designer of See also:great versatility, produced the first of a small number of placards which, though inferior as advertisements to those of Cheret, were learned and beautiful decorations. Somewhat later a sensation was caused in See also:Paris by the mordantly See also:grotesque posters of See also:Henri de See also:Toulouse-See also:Lautrec, in which the artist reduced detail to a mini-mum and obtained bold effects by the employment of large masses of See also:flat See also:colour. Important work, similar in See also:character to Lautrec,'s, was produced by Ibels, Bonnard, T. A. Steinlen and others. A new and contrary direction was given to poster design by Mucha, a Hungarian See also:resident in Paris, whose placards are marked by delicate colour and richness of detail. The ;following are amongst See also:French artists who have designed posters of conspicuous merit: J. L. See also:Forain, See also:Willette, Paleologue, Sinet, Jossot, Roedel, Mayet, Cazals, Biais, De Feure, A. See also:Guillaume, Ranft, Realier-See also:Dumas, F. Valloton and Metivet. Occasionally eminent French painters, such as See also:Carriere, Boutet de See also:Monvel, Aman-See also:Jean, See also:Schwabe, have made essays in poster-designing.
In England the first artists of repute to See also:attempt the pictorial placard were Godfroy See also:Durand and See also:Walter See also:Crane; but the first See also:bill to attract widespread attention was one by Fred See also:- WALKER, FRANCIS AMASA (1840-1897)
- WALKER, FREDERICK (184o--1875)
- WALKER, GEORGE (c. 1618-169o)
- WALKER, HENRY OLIVER (1843— )
- WALKER, HORATIO (1858– )
- WALKER, JOHN (1732—1807)
- WALKER, OBADIAH (1616-1699)
- WALKER, ROBERT (d. c. 1658)
- WALKER, ROBERT JAMES (1801-1869)
- WALKER, SEARS COOK (1805—1853)
- WALKER, THOMAS (1784—1836)
- WALKER, WILLIAM (1824-1860)
Walker to advertise a dramatized version of The Woman in White (1871). This was engraved on wood by W. H. See also:Hooper. Shortly after this time pictures by Royal Academicians and others began to be re-produced as advertisements (the best-known See also:case being that of See also:Sir See also:John See also:Millais's " Bubbles "), but these have nothing directly to do with poster-designing.
Stacy Marks, See also:Hubert von Herkomer (the great poster for the See also:Magazine of See also:Art), Sir See also:Edward See also:Poynter and Sir See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
James See also:Linton are among popular painters who have made special drawings for See also:reproduction as posters.
About 1894 the See also:English poster began to improve. Designs by See also:Aubrey See also:Beardsley for the See also:Avenue See also:Theatre, by See also:Dudley See also:Hardy for various plays, and by See also:Maurice Greiffenhagen for The See also:Pall Mall See also:Budget, were widely' noticed by See also:reason of their originality, simplicity and effectiveness. Simplicity was carried even farther by " the Beggarstaff See also:Brothers " (James Pryde and See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William See also:Nicholson), whose posters are perhaps the most See also:original yet produced by Englishmen. Among other See also:British designers the following have executed artistic and interesting placards: See also:Frank See also:Brangwyn, R. See also:Anning See also:- BELL
- BELL, ALEXANDER MELVILLE (1819—1905)
- BELL, ANDREW (1753—1832)
- BELL, GEORGE JOSEPH (1770-1843)
- BELL, HENRY (1767-1830)
- BELL, HENRY GLASSFORD (1803-1874)
- BELL, JACOB (1810-1859)
- BELL, JOHN (1691-178o)
- BELL, JOHN (1763-1820)
- BELL, JOHN (1797-1869)
- BELL, ROBERT (1800-1867)
- BELL, SIR CHARLES (1774—1842)
Bell, John Hassall, See also:Cecil Aldin, Phil May, Leonard See also:Raven-See also:- HILL
- HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
- HILL, A
- HILL, AARON (1685-175o)
- HILL, AMBROSE POWELL
- HILL, DANIEL HARVEY (1821-1889)
- HILL, DAVID BENNETT (1843–1910)
- HILL, GEORGE BIRKBECK NORMAN (1835-1903)
- HILL, JAMES J
- HILL, JOHN (c. 1716-1775)
- HILL, MATTHEW DAVENPORT (1792-1872)
- HILL, OCTAVIA (1838– )
- HILL, ROWLAND (1744–1833)
- HILL, SIR ROWLAND (1795-1879)
Hill, See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry See also:Harland, See also:Robert See also:Fowler, See also:- WILSON, ALEXANDER (1766-1813)
- WILSON, HENRY (1812–1875)
- WILSON, HORACE HAYMAN (1786–1860)
- WILSON, JAMES (1742—1798)
- WILSON, JAMES (1835— )
- WILSON, JAMES HARRISON (1837– )
- WILSON, JOHN (1627-1696)
- WILSON, JOHN (178 1854)
- WILSON, ROBERT (d. 1600)
- WILSON, SIR DANIEL (1816–1892)
- WILSON, SIR ROBERT THOMAS (1777—1849)
- WILSON, SIR WILLIAM JAMES ERASMUS
- WILSON, THOMAS (1663-1755)
- WILSON, THOMAS (c. 1525-1581)
- WILSON, WOODROW (1856— )
Wilson See also:Steer, See also:Charles R. See also:Mackintosh, MacNair and See also:MacDonald, See also:Edgar Wilson, Charles I. Foulkes, Mabel Dearmer, See also:Albert Morrow and C. Wilhelm.
Poster design on the See also:continent of See also:Europe has been largely influenced by French work, but designs of much originality have been made in See also:Germany, See also:Belgium, See also:Italy and See also:Spain. In Germany, among the most typical posters are those of Sattler, See also:Otto See also:Fischer, Gysis, T. T. See also:Heine, Speyer, Max See also:Klinger, Dasio, See also:Hofmann and L. Zumbrusch. The See also:principal Belgian designers include Privat Livemont, Rassenfosse, Berchmans, See also:Meunier, Duyck and Crespin, V. See also:Mignot, See also:Donnay, Evenepoel, Cassiers and See also:Toussaint. Of See also:Italian designers those whose work is most characteristic are Mataloni and See also:Hohenstein; while the best See also:Spanish posters—those to advertise See also:bull-fights and fairs—are mostly See also:anonymous. The Spanish artists Utrillo and Casas have signed posters of more than
It has been suggested that this use is due to the See also:custom of the symbolic use of See also:flowers. See also:Skeat quotes the See also:title of a See also:tract (See also:Heber's See also:MSS. No. 1442), " A new yeare's guifte, or a posie made upon certen flowers," &c. " See also:Posy rings," See also:plain or engraved See also:gold rings with a " posy " inscribed on the inside of the hoops, were very frequently in use as See also:betrothal rings from the 16th to the 18th centuries. Common " posies " were such lines as " In thee my choice I do rejoice," " As See also:God decreed so we agreed," and the like. There are several rings of this See also:kind in the British Museum.
End of Article: POSTER
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