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Crédit Commercial de France. 4ème Emprunt de la Défense Nationale - 1918. Souscrivez pour la victoire et pour le triomphe de la liberté

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Crédit Commercial de France. 4ème Emprunt de la Défense Nationale - 1918. Souscrivez pour la victoire et pour le triomphe de la liberté

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Summary

French soldiers in a trench. Behind them are faint outlines of American soldiers. In the far background Victory is holding a crown of laurel and a sword.
Translation of title: Crédit Commercial de France. 4th National Defense Loan - 1918. Subscribe for the victory and for the triumph of liberty.
Signed: L. Jonas.
Promotional goal: Fr. J8. 1918.
Item is no. 40 in a printed checklist available in the Library of Congress Prints and Photographs Reading Room.
AAR

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

01/01/1918
person

Contributors

Jonas, Lucien, 1880-1947, artist
place

Location

create

Source

Library of Congress
copyright

Copyright info

Public Domain

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