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Salon des Armées, réservé aux artistes du front. Au profit des oeuvres de guerre. Jardin des Tuileries

Salon des Armées, réservé aux artistes du front. Au profit des oeuvres de guerre. Jardin des Tuileries



A soldier holding a small wooden statue of winged victory that he has been carving. In 1916, the Ministry of Beaux-Arts and the Ministry of War promised artists serving in the war, that their work would be shown in official war exhibitions on the homefront. The government sponsored the Salon des Armées to show the work of the mobilized artist and this exhibition realized 60,000 francs. These proceeds supported not only needy artists at home but also the disabled. The striking contrast between the continuing French culture, even from within the trench, and the barbarianism of the Germans, was brought home by these exhibitions. This poster won first prize.
Translation of title: A special exhibition of paintings by battle-front artists. To benefit the workers of the war. Jardin des Tuileries.
Signed: Henri Dangon.
Promotional goal: Fr. K92.J7. 1916.
Item is no. 237 in a printed checklist available in the Library of Congress Prints and Photographs Reading Room.

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.





Dangon, Henri, artist




Library of Congress

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