.... after World War I, the poster represented the mail format for patrons, artists and their audience in the commercial field. The establishment of poster sites, with standardised frames for each picture poster encouraged acceptance of the new public art.
The poster format encouraged a total integration of image with letters ...... the pictorial was some extent superseded by the functional graphic style derived from Constructivism and Bauhaus. This involved a conceptual rather than an illustrative approach ..............
Mass production and indispensability, the key characteristic of commercial art ....
JULES CHÉRET is considered one of the founders of picture poster, his work inspiring, among others, Henri de Toulose-Lautrec, Ludwig Hohlwein (1874-1919)
1922 individual posters designed by more progressive artist such as E. Mcknight Kauffer ....
The elements of biography and artistic creativity dominated, and the perspectives of the audience and the mass-produced image were less articulated.
Despite the growing impact of photography in the imagery and in printing, the individual art work remained in focus.This profile was encouraged not only by the illustrative styles of such poster artist as Frank Newbound
but also by the organisation of exhibitions of work by such other leading figures as Ashley Havinden (1903-73):
and McKnight Kauffer above.
20s 30s Art Deco - Style moderne
The two-dimensional style was decorative rather than rationalist, however, and although it was derived in part from Bauhaus ideas, its universality was based on its universality was based on its application across national boundaries to reach new markets, rather than on any concept of a new social order. Cassandre's work was antithesis of the functional graphic art that was developing contemporaneously.
Functional graphic and other developments
Lissitzky's photomtage
Photomontage was the process that encapsulated the anti-figurative manifesto here, its adoption by commercial artists, especially by the partnerships of artists and photographers, as the rhetorical device by which consumer's imagination could be seized, produced a kind of commercial propaganda in 1930.
The new style was cautiously welcomed in Britain, and such graphic artists and photographers as Herbert Bayer, who studied and taught at the Bauhaus .....
The conceptual approach to communication gradually supplanted the literal or narrative genre, and this is evident to some extent in work by such graphic artist as Tom Eckersley (1914-97).
Like constructivism, decorative Surrealism proved an effective means of promoting products and ideas.
American Surrealist MAN RAY
Bauhaus and Constructivist influences, including the combination of typography and photography, continued to appear after World War II, in particular in Switzerland. The development of Swiss graphic design included typographic innovations ("Swiss graphics") and commercial posters by such as JOSEF MÜLLER-BROCKMAN.
Inventive use of typography continued into the 1960s, including negative transformations using dot-matrix patterns as well as such typographic collages as BRUNO MUNARI
During this period commercial art inspired POP ART, which in turn influenced such posters as ROBERT ABELs 7 UP.
Highly sophisticated photography also played a vital role internationally in commercial posters in the later 20th century e.g. Masatoschi Toda's Parco: A woman's Skin Absorbs Dreams, 1983).
The photography often employed such techniques as photo-montage for commercial ends far removed from those for which they were originally intended.
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