CHARLES
MAT LACK.
PRJCE.
'"
|fUi))U'"
'
^^*
-;Wia\:*:uaac.^;i g6iffiiE-*i4SKa*5^::-";'!:?:v;'J<i.iaamtt,-.
BDSTERS
IS HARD ENOUGH FOR POOR MORTALS, WITHOUT HAVING IT INDEFINITELY EMBITTERED FOR THEM BY BAD ART."
"LIFE
.^.^/jdyCi^
pc//L de'^Zm^^^n^
^z^^<^
POSTERS
A CRITICAL STUDY OF THE DEVELOPMENT
Monotone
p^^
1,.ft^i*!
GEORGE W. BRICKA
New
York, 1913
|\i
Copyrighted, 19 13
By George W. Bricka
W.
S.
P. and K. F. D. P.
lA-W^SONlZf^
JUL
9 2002
1/BRARlE.S^
Foreword
IX
FOREWORD.
In the preparation of this book the author was prompted by various
considerations,
and
in its presentation
is
it
and basic
The
illustrations,
care,
and
poster-design
with the greatest clearness, and only by examples which are the best from
the greatest
number of
and the
like.
These no
less
important practiin
of the subject
may
be better presented
books devoted
A
book has
form,
many
Many
ficulty,
dif-
Is
my
pleasure,
owing
to
some hitherto
unpublished drawings.
Foreword
In the matter of the actual size of the reproductions, as they appear,
it
may
is
successful or
poor
regardless of
its
actual size.
The
this
form
most
superficial part,
and for
reason
less
uniform
The
makes the
an
poster,
and
as considerations of design
form the
may
be disregarded.
in italics,
The
titles
of
all
book
will
be printed
my
assistS.
ance rendered
me by Mr.
Mr. E.
H. Chapin of
"Scribner's
Maga-
Mr. E.
S.
J.
Mr. Edward
Penfield,
in
Mr. H.
Calkins,
of Stewart and
Company,
Publishers.
my
F.
&
&
Cie.,
Metropolitan Print-
Company and
the
In conclusion,
would say
that
it
has been
my
sincere
endeavor to
in a field
where no work of
now
available.
C.
Matlack
Price.
NEVi7
Contents
XI
Foreword
........
CONTENTS
Points regarding poster design.
Scale.
ix
Chapter
I.
Posters:
subject in general.
The
The
use
of color.
illustrated
Psychological impressions.
Some
general rules
Robert
J.
Wildhack,
Tom
Horter.
Pages 3-17
Chapter
II.
The Work
of Jules Cheret
as exemplified by the
work of
Jules Cheret
his
examples of
work.
Pages 21-43
Chapter
III.
to national characteristics
andre Steinlen, Alphonse Mucha, Eugene Grasset, Henri de Toulouse-Lautrec, Pierre Bonnard, George Meunier, Lucien Metivet,
A.
Cossard,
Jean
Paleologue,
and others.
England; the
de-
Bell, the
W.
Hassall,
the
Belgium;
examples.
H.
Cassiers.
Italy; typical
Spain;
modern work of
"Marco" and
Hungary; note on
the
work
of four de-
XII
signers.
in
Contents
Yoshio Markino.
Pages
47-145
Chapter
IV.
American Posters:
of poster design in America.
artistic.
The growth
ward
The dominance
of the
The work
of Will
H. Bradley, EdJ. J. J.
Frank Hazenplug,
W.
Carqueville,
Gould,
Wild-
The Leyendecker
Adolph Treidler, M. C.
and others.
Walter Fawcett,
Pages 149-227
Chapter
V.
The Work
of Edv^^ard Penfield
critical analysis
of the
work of Mr.
many
rare examples.
Pages 231-271
:
Chapter
VI.
The
way
Some of
of
Representative examples by
Henry Mayer,
F. G. Cooper,
Chapter
VII.
critical
recent
The Leyendecker
of the Poster:
Brothers,
Robert
J.
Pages 311-365
Chapter
VIII.
The Capacity
Some concluding
in the
Index
.........
conception and analysis of poster design.
Pages 369-379
Page 383
List of Illustrations
XIII
LIST OF ILLUSTRATIONS
Lait Pur de la Vingeanne, By Theophile-Alexandre
. . .
Steinlen.
Frontispiece
YvETTE GuiLBERT. By Jules Cheret Scribner's Magazine Poster. By Robert J. Wildhack McClure's Magazine Poster. By Tom Hall and Earl Horter
.
.
.11
.
15
Coulisses de l'opera.
By Jules Cheret
By
Jules Cheret
Theatre de
La Danse
l'opera, Carnaval.
Jules Cheret
.
..... ...
. .
17
23
27
29, 31
Palais de Glace.
By
Du
Feu, Folies-Bergere.
By
Jules Cheret
Job Papier a Cigarettes. By Jules Cheret DiAPHANE Rice Powder. By Jules Cheret
Saxoleine Petrole. By
Jules Cheret
YvETTE GuiLBERT. By Theophile-Alexandre Steinlen Exposition a la Bodiniere. By Theophile-Alexandre Steinlen Medee. By Alphonse Mucha Gismonda. By Alphonse Mucha La Samaritaine. By Alphonse Mucha Salon Des Cent. By Alphonse Mucha Job. By Alphonse Mucha Divan Japonais. By Henri de Toulouse-Lautrec Yvette GuiLBERT, A Sketch. By Henri de Toulouse-Lautrec Jeanne d'arc. By Eugene Grasset La Revue Blanche. By Pierre Bonnard Job Papier a Cigarettes. By George Meunier . A La Place Clichy. By A. Cossard Ballet. By Jean Paleologue The Woman in White. By Frederick Walker . Bodley Head. By Aubrey Beardsley The Yellow Book. By Aubrey Beardsley Don Quixote. By the "Beggarstaff Brothers" Hau and Company Champagne. By Walter Crane
. . .
....-41
. .
35
39
43
49
51
55
57
.....
.
.
St,
65
66
69
71
.......-78
.
.
...
.
73
75
77
.81
83
84
87
XIV
Liverpool Art School. By R. Anning Bell Becket. By the "Beggarstaff Brothers"
.
List of Illustrations
89
91
93 95 97 99
lOI
The Follies. By J. Hassall Lux Soap. By Will Owen Pall Mall Budget. By Maurice
.... ....
Grelffenhagen
.
103 107
Bosch Magneto. By "P. K. S." St. Benno Bier. By Otto Obermeier Hermann Scherrer, Tailor. By Ludwig Hohlwein Boll's Kindergarderobe. By Ludwig Hohlwein Johann LuDVi'iG Ranniger & SoHNE Handschuhe
Hohlwein
Snovi'
109
1
I,
113
115
By Ludwig
117
119
121 123
Some Sketches. By Hans Flato Lost. By Hans Flato American Line. By H. Cassiers Red Star Line. By H. Cassiers BiANCHi Automobile. Anonymous Monaco. Anonymous Berner Oberland Wintersport. Anonymous En Flandes se ha Puesto El Sol. By Marco Programme Officiel des Ballets Russes. By Leon Bakst Japanese Theatrical Poster. By Toyokuni Autumn. By Yoshio Markino The Chicago Sunday Tribune. By Will Bradley The Chap Book. By Will Bradley The Echo. By Will Bradley Victor Bicycles. By Will Bradley The Poster Calendar. By Edward Penfield The Chap Book. By Frank Hazenplug Lippincott's Magazine Poster. By Will Carqueville
.
.
127
131
133 135
137 139
141
143
145
151
153 155
157
159
1S3
167
169
List of Illustrations
XV
Century Magazine Poster. By Louis Rhead Lippincott's Magazine Posters. By J. J. Gould Century Midsummer Holiday Poster. By Maxfield Scribner's Magazine Poster. By Maxfield Parrish
.
....
173,
171
175
177
181
Parrish
183 185
Ivory Soap. By
J. C. Leyendecker
J. C. Leyendecker
187 189
191
Arrow Collars. By J. C. Leyendecker The Pierce Arrow. By J. C. Leyendecker The Pierce Arrow. By Robert J. Wildhack
Scribner's
195
197 199
The Circular
By Robert
.
J.
Wildhack
201
Sketches. By Robert
Scribner's
Wildhack
203
205
Louis Fancher
A Corner of the Studio. By Adolph Treldler Exhibition Poster. By Adolph Treidler Alice. By Adolph Treidler The Pierce Arrow. By Adolph Treidler Ali Ebn Becar. By Adolph Treidler The Pierce Arrow. By Gil Spear Cigarette Fanchez. By M. C. Perley Vanderbilt Cup Race. Anonymous Edward Penfield, His Book. By Edward Penfield Harper's Magazine Posters. By Edward Penfield
.
. .
217
219
221
223 225
227
230
233, 237, 241, 253,
245, 247,
249,
251,
255, 257,
.
259
261
Cover Design of "Holland Sketches." By Edward Holland Sketches. By Edward Penfield Silhouettes. By Edward Penfield A Spanish Impression. By Edward Penfield A Stenciled Calendar. By Edward Penfield Bessie McCoy. By Clarence Tilt
. .
Penfield
263, 265
267 269
271
277
XVI
Follies of 1910.
List of Illustrations
The Soul
Kiss.
Hy Mayer Hy Mayer By
By
281
Bright Eyes. By Edgar Kellar The Pink Lady. By Hamilton King Monte Carlo Girl. By Hamilton King
.
291 295
297
.
Ernest Haskell
299
301 Miniature Minstrel Mimics. By F. G. Cooper By F. G. Cooper 303 Theatrical Posters. By F. G. Cooper 305 307 Valeska Suratt. By Jean Paleologue Collier's Weekly Covers. By Edward Penfield, 313, 315, 319, 321, 323 -317 Saturday Evening Post Cover. By Edward Penfield Metropolitan Magazine Covers. By Edward Penfield 325, 327 Saturday Evening Post Cover. By J. J. Gould and G. Moore 331 Fountain" "Peter Post Covers. By 333 Saturday Evening 335, 337 Collier's Weekly Covers. By Guernesy Moore 339 Saturday Evening Post Covers. By Guernesy Moore
. .
.
McClure's Magazine Cover. By F. X. Leyendecker Magazine Covers. By J. C. Leyendecker Collier's Weekly Cover. By J. C. Leyendecker Judge Bohemian Number. By J. C. Leyendecker
.
....
.
. . .
.
343
345
347
349
361
J.
Wildhack
By Adolph Treidler
.
3^3
3^5 371
Dramatic Mirror. By John Cecil Clay The Great Arrow. By Edward Penfield Eugenie Buffet. By Lucien Metivet Dans La Rue. By Theophile-Alexandre
.... .....
.
Steinlen
375 377
CHAPTER ONE
THE SUBJECT
IN
GENERAL
Chap. I
POSTERS
CHAPTER
The Subject
in
I.
General
all
who
run
may
read,
it,
and
al-
few ever
stop to formulate a reason for doing the one or the other, or to establish
a critical
working standpoint
in the matter.
Most people
random
criticism of
etchings or Japanese prints for obvious reasons, but consider, perhaps not
entirely without cause, that since the poster
faces, they
is
literally
thrown
in
their
have
it
viewpoints.
Nor
the design of a
purely abstract tenets of Art, than are the principles underlying the design
The
to
be supposed that until a few years ago the artist or designer considered
himself above his task
these "advertisements,"
and
failed to
problem, or
In
was
left to the
and
it
earned
Its
may
yet be
THE SUBJECT
And
this elusive, subtle entity
baffle analysis.
it
IN
GENERAL
Chap.l
to defy
the poster
seems almost
at
definition
and to
It is
in disjointed
paragraphs can
be suggested.
the
in
head of poster
expressing
his
has
epitomized some
essentials
and appreciative
studies in France.
He
moment
exploit a situa-
The
poster
a
is
not a
it
is
an impression
flash of line,
sweep of
color
It
is
...
Often
it
all
is
saliently sincere."
it is
exaggerated, and
it
is
in
conception or treatment,
though
degree of subtlety.
The
poster must
first
it,
hold the
The
advertisement which
It
must be well designed, well colored, well printed and well drawn
and
the
Above
all,
design
chic, bizarre,
In a
an Inspiration
Its
flaring
up
should be
rushing flight of
its
momentary, surprise
of
its
explosion.
it
to take
it
too seriously.
great
many
Chap. I
and so
POSTER DESIGN
is
of analysis
By an understanding of
elimination of these; the
in
and an
more
essential,
though often
elusive,
must remain
more
definite
form of
analysis.
or too
many
and
letters of
intricate detail,
ill-studied values
Although
successful
many
may appear
good and
in the
appear usually
work of men
more than
mere matter of
in
discretion.
The
safer course
effective,
lies
simplicity,
since
this
is
though obvious as
of ten.
it
is
in
mind
that
a failure if
it is
from
this
is
from the
effect is plainly
dan-
In the
first
distance, or picture-
and
in
many
background.
The
action
though thrown on
and
as a
is
very likely
more
or less
to
read.
6
Distances,
THE SUBJECT
if
IN
GENERAL
Chap. 1
definitely
introduced at
in
all
more
ground appears
said that these
none of the
as
and
it
may
be
were selected
ters are not only useless, being illegible except at close range, but tend to
confuse the composition, and detract from the importance of the principal
figures,
The same,
in part,
may
One must
a poster
it
Incidentally,
vertically
should be
remembered
is
that
lettering
arranged
one
letter
under another,
quite inexcusable,
in
though many
felt to
be lacking
main design of
to be
the poster.
read
lines,
in
columns,
Roman
letters
in
horizontal
them
legibility alone
should strike
one Immediately.
With regard
important point
tion
to unity of principal
Is
most
It
rather
difficult to
make
may
not be taken.
Is
one
in
which
the
work of
M.
Cheret, and
It
Mr.
Penfield.
this
Chap. I
THEUSEOFCOLOR
are
common.
which
and
tends to
make
Sometimes the noise of the lettering drowns the action of the principal
figure,
though
this
is
far
more
first.
members
in the
prehminary
In this connection
it
seems important
The
first
this
book
There
is
no
any
it
pic-
whatever kind,
may have
(or as
readily taken
away)
and which
attracts,
or
by reason of the
intrinsic interest
intricate detail,
it
is
its
value
wasted on
a poster,
when seen
across a street,
monotone
is
mass
a fatal defect
where
of
it.
unbalanced composition
so
essential.
it
Good
posters
not because of
Color
design,
in posters, relatively
speaking,
is
and
it
may
mar
good
design,
good coloring
poor design.
One has
seen
in "six colors
and
gold."
in
The
and
its
THE SUBJECT
Nor
should
it
IN
GENERAL
it
Chap. I
number of
In the
a flash of color."
be forgotten that
is
not the
colors used, but rather their selection and disposition that count.
M.
nor can
his
mony.
If
was that
at the risk
a sensation of surprise, a
of violent chromatic
dis-
His favorite
trio
red, yellow
and
blue, in their
most vivid
inten-
and make
good
poster.
all initial
paradoxes of design,
the conception of a
in
With regard
a
to this element.
It
It
may
make
good or
placard.
v/ere
it
Mere
mere
weak
poster,
may
fulfil
point by point, as a
good
piece of poster-work.
paper-bound variety,
in
occupying a space ten feet by twenty has not caused any sensation of
est,
in
many
small
illustration
good
poster,
is
This figure
less,
in height,
and
is
usually
much
yet the
Chap. I
PSYCHOLOGICAL IMPRESSIONS
by
is its
subtle proportions
is
that of a
colossus.
The analogy
in a
poster
In
fine, it is
a sense of
make
figure
This idea
is
as absolutely essential
and equally
most
vital points
As
a concluding generality
it
is
two
distinct kinds
There are
of the mind, and an equally large group which are arrived at by processes of the senses.
The
first
we
human mind.
The
it
second
is
is
may
become
play.
much
mind
It is
obvious that
it is
story
in
felt instinctively
by the senses.
a play
It
is
exactly the
from
book
ing primarily through the senses, the other through the mind.
and capitu-
10
THE SUBJECT
IN
GENERAL
Chap. I
In
M.
Vingeanne"
what
And
yet
it
for
charm of conception,
difficult to find a
were
clear,
more thoroughly
successful poster.
in line
The
action
is
and
color,
undeniably
M.
distances or
His story
with a compelling charm that holds this has gone from sight.
it
With
the exception
tiles
"
demure
little girl,
son frock, drinking milk from a bowl, impatiently beset by three envious,
aspiring, hopeful cats
"
. . .
may
see
no
M.
Stein-
len,
different lines.
of vivacious
superficiality
the
other of demure
his
reserve.
work more
shall be said
later;
analysis of this
sparkling
*The illustrations in this chapter on initial essentials are not selected with a view to any classification by period or nationality, the basis being simply an aim to present certain fundamental theories in the clearest and most direct wav.
CONCERf^PARlSIEN
TotiMesSoirsalOtleures
YVETTE GUILBERT
Jules Cheret
Chap. I
SPECIFIC INSTANCES
it
First,
is
simple.
Second,
eye
is
its
story
is
of three impressions.
elation,
The
however momentary,
same
she
is
instant,
effort,
it
may
be
who
may
The whole
nothing
The whole
made manifest
its
existence
in a flash
but
in the
matter
is
more
lasting.
good
And
let
It
there
is
no backlettering,
ground, no elaborate
line
entirety in the
first
In
Scribner's"
in
magazine
poster,
it
This poster
flares
from
carries with
irresistible.
it
One
knows
that
it is
summer, that
is
it
is
on a sea-beach.
feels
The
is
of colored
paper for
tion the
its
vacation suggestions.
to feed
And
yet
how
little
of actual delinea-
mind has
upon
in this poster.
The
of the thing.
The
essentials
14
THE SUBJECT
No
in.
IN
GENERAL
flat
is
Chap. I
sea,
One knows
that a
monotone of
a beach.
is
fine-textured
a girl in
That
is
in a desert,
an idea which
grasped
and dismissed
The
conception, indeed,
effort.
no mental
The
much
as an
As
to the actual
the
many
Is
more
conIf
It
vincing,
and
strikes nearer
home.
If
Is
Even
It
may
gainsay
its
right to
do
so, since
comes
into
tries to please us
by
Its
simplicity
and
naivete.
When
human
one asks for bread, he does not want a stone, and desiring a fellow
being, does not
want a
statue.
To
name of
month and
the
name of
the
Is
eminently
sufficient
unto
itself,
borrowing
no unexplained motive
to breed conjecture
in its delineation,
its
beyond
Doundarles.
Perhaps
values,
is
no
less striking
magazine for
this
month was
This poster
to be an Installis
the result of
It,
Tom
Hall,
who designed
and of
is
It,
WILDHACK-
^*-r
'^''(^
SCRIBNER'S Ef^BER
Id
It
THE SUBJECT
IN
its
GENERAL
Chap.
and triumphantly captured the laurels which seem to be so perby the stage.
sistently neglected
For
it
and general
selfit
were
it
to
would
strike a
mark an
epoch, as
theatrical "paper."
And with
ter,
all
the points which one has tried to bring up in this chapanalysis can be brought to bear
more
critical
,t<
iiii.'V;';
iilil^i#:fittr;
M^ CLURE
Courtesy of McClure's Magazine.
.5
CHAPTER TWO
THE WORK OF
JULES CHERET
Chap. II
JULESCHERET
21
CHAPTER
The Work of
In electing to submit the
II.
Jules Cheret.
work of
in
work
is
it
illustrative of so
many
all
so excellent in so
many
particulars
they are
all
so
in a poster, that
an
no
details of their
composition.
Cheret
is
and sometimes
al-
most exasperating
all
and launches
lightly clad
ephemeral
as so
many
soap-bubbles,
sparkling,
iridescent,
and
explosive.
They seem
evoked from airy nothingness, born of daring and fantastic gaiety, and seem
joyously to beckon the beholder on with them in a madcap, .elusive chase
after pleasure.
Nor do
and
come
tures
to earth,
mere
pictures.
summer
light-
ning
is
women and
seem to
live in
an
we must
lemon yellow.
22
a geranium red
JULES CHERET
and a midnight
artist so to
Chap. II
blue,
cunning of the
Obviously, his
work appears
monotone reproduction,
and
own
story and present values which are painfully lacking in the most
own
bill-boards.
girl for his central
makes her
in the
Loie Fuller
is
joyously balanced in an aerial fire-dance at the "Folies Bercigarette paper sketch seems lingering
some
bit
The motion
in the
the music to which the care-free skaters disport themselves, gracefully bal-
anced
like birds
enticing the beholder to join them, while the ballet in the "Coulisses de
I'Opera"
is
instinct
with
life
and grace
in
every
line.
And
with Cheret,
it
in his sub-
more
filled
This
is
Cheret
this capacity,
almost an
instinct,
in
an unmistak-
able way, with the fewest possible strokes of his unerring pencil.
Nor
realizes
is
line.
He
how
reds, yellows
startling.
and blues
In
a story
miasp.'*'
"
"
'^*<i
/"
MX^i
COULISSES DE L'OPERA
Jules Cheret (1891) 23
Chap. II
SALIENT CHARACTERISTICS
and should give
and he has never
sacrificed the clearness
25
as instantaneous an impression as
and
art.
legibility
of the
indeed, he
may
ated) the idea that the poster must be a brilliant tour de force
an end
how
hand
in
which
means of
its
extravagant a manner, a strong but pleasing shock to eye and mind, together
with the clearest and simplest possible expression of the subject
to be advertised.
An
English
critic
is
says
"His
training told
as a
first
funcpart,
tion of advertising
in vivacious rather
to advertise.
His merit
draughtsman
lies, in
is
the chief
Throughout
art of poster-making
ings.
if
we
None understood
had
until
to
work
with, for
he had mastered
studio and left
when he
established his
own
among
lithographers of shading
off
might print
at once the
work
rather
sharp contrasts, with violently opposed masses of intense color, and dein
tached legends
period shows posters with a chromatic palette of red, yellow, and blue, with
26
It
JULES CHERET
was
in
Chap. II
series of affiches
name
at the
very head of
all
the poster, and there are over a thousand examples which have been cata-
many
Of
made
for the Folies Bergeres, the Moulin Rouge and the Alcazar d'Ete, together
series.
With
the
known
little
lady
in yellow,
of the
his
paragraphs
in art
papers
editorials
in
mercial artist" for his lavish gladdening of the streets with merrily dancing
figures
and
riots
of exotic coloring.
Paris in
"Les AfBches
Illustrees"
in
an
The
CARNAVAL 1896
SAMEDI
DE GALA
PALAIS DE GLACE
Jules Cheret (1894) 29
PALAIS DE GLACE
Jules Cheret (1896) 31
Chap. II
SOME ILLUSTRATIONS
and sanguine.
by the
spirit
33
Of
of
passing
gallant
of
M.
when
and Elysian
future.
To
work
M.
Cheret's
as one
no one
less
than
in
The
It is
it,
or
No
details
ill-studied values
mar
translated In a
flat in
In color
muddy
values and
heavy treatment
in general.
There
is
In fore-
shortening certain
members of
the body.
The
every
line.
admirably
and
Is
trast.
No
masses of small
letters
or
Its
coordinate complement
the figure.
From
entirety.
And
34
let
it
JULESCHERET
Chap. II
excellence of Cheret's posters lies in the fact that he has given equal im-
made them
in
co-essential
the
one of no greater or
less legibility
any respect.
That
of the design of the sheet
will be
found to appear
in a singularly logical
manner
in the
suggested setting of the subject carries qualities implying extent or largeness or sufficient interest in themselves, as the Loie Fuller "Fire-Dance,"
the "Palais de Glace" and the "Coulisses de I'Opera" the entire figure
is
it
will be
found that
The
suggestion of an
On
is
instinct-
above examples
lacking, as the
oil,
effected
figure.
The mental
addi-
that
and
demands an enormous
this setting
its
stage,
and a
figure
on skates demands
a large
intelli-
rink
and
gence by
omission."
literal
delineation.
Even
Guilhert"
it
might be
felt
that inasmuch
room
or
on a large
stage.
OLlES -BERGERE
35
Chap. 11
ADVERTISING VALUE
Consequently, that lack of scale
in logical setting
37
or the enjoyhas been
is
ment of
skating.
in
It
poster
not a
good
poster.
because of their
insult
over-subtle
our
intelligences
and
realistic
presentation of something
that
we
all
know.
all
And
and unconscious
of Cheret's posters.
in the "Palais
why
ting at this particular rink offers all the allurements of dancing at the
Mill?
"what
Red
expres-
sion or gesture rather than any other expression or gesture can possibly
One need
her employment of
this oil in
her lamp.
Ergo,
it is
to be
supposed
that these
in their functions,
38
of Cheret's posters
is is
JULES CHERET
in,
Chap. 11
out of place
is
This
criticism,
how-
ever,
of "sour grapes."
art.
It
who
first
Of
the color,
said elsewhere,
one
comment or
analysis.
PAPIER
A CIGARETTES
PARiS
^^
THE DiAPHANE
SARAH BERNHARDT'S Rice Powder
Fetrole de Surete
EXTRA- BLANC- DEODO RISE- INIIMFLAMMABLE
SAXOLEINE PETROLEUM
Jules Cheret (1894) 43
CHAPTER THREE
POSTERS CONTINENTAL
AND ENGLISH
Chap. Ill
FRENCH POSTERS
47
CHAPTER
III.
it
is
Europe
is
home
of posters in
word "foreign"
at all.
first
For
and
it
it is
in
recognized as an
art,
is
is
audacity, chic,
cleverness.
And
of
its
feeling, Jules
Cheret,
who
first electrified
some
exponent.
It is in
in
a con-
tinual state of
madcap
and
impossible
quaint and
condemn.
many
clever sheets,
And crowding
in their
wake came
Viollet-le-Duc,
It is
it
made
Their
what
it
is,
or that will
make
what
it
is
capable of becoming.
The
is
marred by
lack of abandon,
and one
48
FRENCH POSTERS
One does
not fancy
Chap. Ill
above the
work.
Lord Tennyson
little
writing a limerick.
The
however, a close
critical analysis,
general handling.
Preeminently, Cheret leads.
The world
follows.
The
designers
perforce
this
style,
And
has
been done
in
some
instances,
some
new
style,
or school of posters
This
is
peculiarities of the race did not even dare to consider Cheret seriously, or
his
work
One's
work of those
may
it
took
it
up
in their
own
several manners.
said elsewhere.
Of
Cheret,
Technically, the
work of
work of
Steinlen,
however, there
is
pronounced difference
in
funda-
in actual
draughtsmanship.
An
even
his
most
fragmentary sketch.
are
all set
if
it
Where
His delineation
more
conscientious,
its
and
less captivating,
it
own
may
be observed
in the early
work of Edward
len's
Penfield in
America than
in the
work of any of
Stein-
contemporary countrymen.
There
is
Steinlen's
work
is
more
reserved,
and
more
literal
and
YVETTE GUILBERT
Theophile Alexandre
Steinlen
(1894)
49
TH^ATRe O 'APPLICATION
ALABODINJERC
fiRueS'
LAZARr
;
.
exposirioN
PEiNT
oe
//
oe uoeuvRe oessiNE ex
OuvcRTEDulOAwitic Au 15 Mai
lj:A.Stemlen^
EXPOSITION A LA BODINIERE
Theophile-Alexandre Steinlen (1894)
51
Chap. Ill
STEINLEN, MUCHA
No
S3
matter-of-fact.
Steinlen's
humor
is
quiet
and
Steinlen
works
in
if
prove
its
quality as a
good
poster, or to
make
it
more thoroughly
typical
may
The
of
who has
ever devoted
much
serious attention to
in
While
his
her role of
"Gismonda"
(with
"Medee,"
Samaritaine,"
"Lorenzaccio"
and
in
New York
in a build-
a popular music-
Nor
the like.
There
is
a certain
his
work, coupled
54
ship which gives
it
FRENCH POSTERS
a singular character of
its
Chap. Ill
own.
is
The
conscientious
a source of constant
interest,
who
follow his
and
a serious detriment to
much
strength that his posters would otherwise possess. It has the fatal defect of
its
value
is
lost
in the
Bernhardt
series
make up
in
It is a
case in which
make up
in a large
detail.
to that of
Mucha,
conception in
his posters
and
over
all.
While
accost
and astonish
like those
many
qualities of
strength and simplicity, they are undeniably impressive and certainly sincere.
In conception he
is
an
idealist.
is
more
hard to
through
lack
of
contrast
or
ill-chosen
design.
detail,
He
has
introduce
too
much
The work
children,
was characterized by
marked degree
of his later
in a
so
marked
Most
work
sense.
called,
m
(THEATkE^EL^^kENAIS^ANCa
MEDEE
Alphonse Mucha
55
GISMONDA
Alphonse Mucha (1894)
57
(KlfcifflM
LR^BTOITRIJ]E EnTR0l51R5LWUXEPl^ER5
nm EDIDDTID msmt
.
El/MGILE
LA SAMARITAINE
Alphonse Mucha
59
RD5TRnt)
PlERnE
PHRI3
DE T175GR?RIEL
CH
BFi-ipenoiS
,
liM
I a>
wA roe Qor)2\.p'^rtz
..,:'^........
JOB
Alphonse Mucha
63
DIVAN JAPONAIS
Henri DE Toulouse-Lautrec (1892)
(>5
YVETTE GUILBERT
66
Chap.
///LAUTREC,BONNARD,MEUNIER
these were
67
some odd
Paris
fame
in the
"Aristide Bruant," Jane Avril and "Yvette Guilbcrt" being his fav-
orite subjects.
is
thoroughly
typical, depicting in
listen-
who may
"black gloves." Lautrec's black and white portrait-sketch of Mile. Guilbert might be
Steinlen posters.
Among
and technique
Ibels,
in
general
similar.
One
whom
the
he helped
make well-known;
much
same
class,
This completes
moment, of
whom
One should
work
is
known
no doubt
in his
whom
at least
two
one
for
both conceived
a
thoroughly
Distinct
influenced by
clique
him
that of
George Meunier,
Belgian,
who would
One
notices the
much
the
68
His work was
being impaired
chic
in
FRENCH POSTERS
and possessed strong poster values,
Its
Chap.
HI
merit as a whole
One
whose
posters, however,
He was
and
in
her appearance
"Concert de
la
technique.
is
most interesting
in its
and strong
In the simplicity
of
its
bold
work of
MM.
Sinet
Of French
best
designers
known
Roumanian by
birth pursued
all his
studies In Paris.
It
was
in
1893 that
who
soon became a
Cheret."
rival
make drawings of
a nature
more commercial
less artistic.
He
was
who understood
was able
to put his
own
He
visits
came
to the
United
States in 1900,
many
is
Apart from
advertising
work he showed an
and Harlequin.
375.
307.
JEANNE D'ARC
Eugene Grasset
69
LA REVUE BLANCHE
Pierre Bonnard (1894)
71
JOB PAPIER
A CIGARETTES
George Meunier
73
A LA PLACE CLICHY
A. COSSARD (1903)
75
BALLET
Jean Paleologue (1898)
77
THE WOMAN
Frederick
75
IN
WHITE
(1871)
Walker
Chap,
in
ENGLISH POSTER
seem
full
79
dreams are made
Willette's posters
of "the
stuff
that
of"
vague
in this
He
roles,
and
C. Leandre.
The
art,
made
many
extraordinary conceptions.
"In England
the
London
fogs
somehow
lost
much of
its
joy-
and
it
is
it
generality.
In don.
It
87
1,
appeared the
first
was
a curious creation,
drawn by
Woman
in
White."
This
woman
standing with
outside.
It
created no
little
sensation,
and
forerunner as
work
to follow.
off,
This note,
less strength in
all in this
marked passion
mad genius
of "Yellow
Book" fame,
followed by
his
many
less clever
than he and
less
He
tortured the
8o
ENGLISH POSTERS
figure in grotesque parodies,
effect.
Chap. Ill
to gain a
human
lurid
weird contortions
it
anything
and bizarre
He
held that
was
as permissible to convention-
alize the
human
poses,
my
much
the
His
influence
on
his
down
to the depths of
The
into
and
as different
from day.
was not
until that
English conception of a
and
his gracefully
drawn
figures, softly
while.
The
only
unfortunate phase of his work was the blind passion for vivid yellows
which
it
engendered
in
contemporary
art,
at
Grosvenor
Crane's work, however, was never mournful, and was always characterized
by an indescribable grace of
his
line
and charm of
feeling.
His
influence
on
Of
Anning
his
Bell, in
whose work
line
master
is
evident.
One
finds the
same grace of
work
is
always dignified,
Artelse,
The "Liverpool
and
it
as
Courtesy of
BODLEY HEAD
Aubrey Beardsley (1894)
81
83
LYCEUM.
DON
UIXOTfi
DON QUIXOTE
"Beggarstaff Brothers" (1895)
84
Chap. Ill
THE TRANSITION
the haughtily dignified figures of
83
Bell,
From
in the
staff
Anning
English posters
plunged once more into the depths of a greater mournfulness than ever,
Brothers."
utterly lacking in a
reheving note of
levity.
They
and
cheerless.
"The
effect that
in the
world
to be affixed to a 'dead
wall.' "
Of
is
same school
is J.
W.
Plates,"
was reached
on
a
silhouettes, white
much
"Gaiety Girl"
series, struck a
note
the French
in
England.
London.
Of
this
whose nursery
Aldin
executed
an uncommonly
poster
advertising
"Colman's Blue," while Hassall made two others for the same company,
for "Starch" and "Mustard."
Comment
should also be
made upon
style,
the
as a
work of
clique, is
Tom
admirably displayed
Owen's naive
little
poster for
"Lux"
soap.
86
Thus
ENGLISH POSTERS
the high water-mark of poster
in success
Chap. Ill
England
in
drew
refined
and
charming
style is
women
line,
His
admirably suggested
duced
in France.
Among
the staff
o.f
May
being respectively
lively
me-Up."
Prominent among English painters who have entered the poster
field
from time
to time
is
familiar to
it
all collectors,
its
and which
illustrate in this
chapter were
If
it
not that
pictorial qualities
its
poster values.
a picture
its
though
color and great strength of composition go far to off-set these, and to raise
it
Of
England an
country.
its
institution of
in this
This
is
the
Academy
the
first
part of
its
name
designating
field,
and the
field
with a name generally associated with the betterdesigning of posters becomes generally recogconfidently look for an array of pleasing
known Fine
Arts.
When the
we may
and
The
is
"to con-
more
effective
HAU
&
COMPANY CHAMPAGNE
Walter Crane
(1900)
i?ifJil0^*ti
PLIED^ARTI
iCLASSESzINl
LNAMENTAEMf
/rought^iron JAPPr/TOTHr DIRECTOR
,
iXv^ORKlETC etc!
f
LIVERPOOL
ART SCHOOL
R.
UNIVERl
SITY
COL
Anning Bell
89
AJ^iTSSS", ,v*a)ttwsw
wU,i>j
4'aiAfe3.feMft!fe
BECKET
'Beggarstaff Brothers"
91
BCDK
-PLXTES
JV/OTP/ioni?'
PublishedQjj^erly ij^
W. Simpson
(1900)
93
APiemt*
TheMuspm
Lve
Courtesy of
A GAIETY GIRL
Dudley Hardy (1894)
97
60
9DB
POMGO
EMEWCENCY
EXIT
*)
EXtT
THE FOLLIES
J.
Hassall (1905)
99
LUX WON'V
WOOb
SHRINK
LUX SOAP
Will Owen
lOI
Chap. Ill
one"
GERMAN POSTERS
certainly an excellent
105
For
tistic
movement
in the
right direction.
years there has existed in England a "National Society for Checking the
it
this
and
has
in unison.
work was
Hardy,
Tom
Some
"comfail
mercial art" in this country, and holding frequent exhibitions, could not
to bring about not only better individual
work but
more
intelligent general
public recognition.
Long
height,
after the
art
wave of poster-making
settled
in
its
and the
had
down
as an established profession,
Germany
took
it
up with a
produced so
many
interesting
and
about the
German
names
plakat.
like those
No
of Cheret or
at first
it
and
stu-
dent took a
at
it.
of posters, some of
streets
them very
excellent;
at the
to
in the
movement
That
no
originality
in
may
in the
work of Beardsley
some
needed
signers
bit
of leaven
in
German
posters.
came
io6
national reputation.
GERMAN POSTERS
The
more
Chap. Ill
children's apparel.
These
reason
why one
Closely allied,
if
German
designers as Weisgerber,
Hans Rudi
Ludwig BernObermeier.
an exceptionally clever
incorporation not only of picture and legend, but also of the trade-mark, a
most
difficult
in
any design.
original,
and
letters,
normal standard
Numerous
more
The
work of
this
Hohlwein's posters.
The one
is
in
the other
its
and
most
poster
The
Magneto"
excellent in
its
simplicity
and
legibility,
implying as
it
motor
up to
this particular
magneto,
in his
vermilion cloak, forms the note that attracts the attention at the
first
glance.
The
"story"
in
Hohlwein's posters
is
is
indeed,
And draughtsmanship
the
BOSCH MAGNETO
" p. K. S."
107
*'iNk,
totwnl)rauigiuncli(jn
ST.
BENNO BIER
log
Hermann
Sdierren
Breedtesnifaier
Sportitig^Uor
liilnchen
Neuliausei^itc38
'
*># ** -i|-i#
'i-il'
- (a
HERMANN
SCHERRER,
Tailor
LUDWIG HOHLWEIN
///
HERMANN
SCHERRER,
Tailor
LUDWIG HOHLVVEIN
BOLL'S
KINDERGARDEROBE
LUDWIG HOHLWEIN
JOMANM LVDVVIG
ALTE-MBURQ
-8
.i
i.Qx^Mk
FJAMNlGtR 50HHE=>S=A=
LUDWIG HOHLWEIN
FnRBEN
FaBRIKEN HAinBURG
"SNOW FANTASY"
Georg Tippel
iig
Copyrighted by
The American-Examiner
SKETCHES
Hans Flato
(1911) 121
LOST
Hans
Flato
(1911)
Copyrighted by
The AmericanExaminer
123
Chap. Ill
SWISS, ITALIAN
AND BELGIAN
a
125
work of any of
foremost place.
A
effects in
technique
still
as
and necessarily
clear, for
work of
this kind.
And
ity
by Flato
in
Meu-
will
always be H. Cassiers, to
whom may
unusually legible.
The
figures
is
point
it
will
every particular.
less strength,
The "Red
is
an enviable posi-
tion as a poster designer, even without the legions of other excellent to his
work
many
little
as a national art,
and for
in
and
tourist agencies.
Much
excellent
which the posters for the "Bianchi" automobile, and the "Monaco"
in
typical.
126
SPANISH,
Chap. Ill
striking
known. Mention,
should be
made
their
work
is
seriously
lettering.
The
Italy only
many
years in
land,
and though
country
is
affiche
to
Geneva.
it
Its object
is
and
is
composed of a
who have
at-
who
share the
are
work done.
Most prominent
("Ben").
of
its
designing
members
M.
G. Viollier, and
M.
Benderly
For many years Spain presented nothing but the crude and garish
lithographs, or
mere
oddly enough,
the
medium
the keynote of
all
Perhaps
best,
Ramon
many
was the
and
M.
Utrillo
and A. de Riquer
all
capable
poster designers.
the most prolific,
is
by Eduardo
Marquina
typical of
is
at
own
and generally
Holland has
Courtesy of
AMERICAN LINE
H. Cassiers 127
Chap. Ill
RUSSIAN
more
racial characteristics are
i2g
serious
at-
by no means
The
various societies of
work
in the
book and
circular covers.
the poster by no
means
unsuccessfully,
and
among
others,
I.
in the lettering.
Mucha
in the delicacy
and grace of
and
details.
when
the talent of
Leon
Bakst and a clique of fellow designers began to produce some clever work.
Of
movement
is
an expression of the
afoot by Wronbel,
who
died In 1910.
The
painters directly
influenced by
theatrical values,
Moscow and
that
of
St.
Petersburg.
The most
among whom
Born
in
Leon Bakst.
Petersburg
In
city,
after which he
worked
Paris by the
title
of Chevalier
much
attention in 191
Of
Is
gramme
Officiel,"
I30
JAPANESE
and East Indian
painting.
Chap. Ill
ancient,
in
century
in
are submitted only as matters of historical interest, and two illustrations are presented
by one Toyokuni.
The
the
work of
a Japanese student in
ter den-
London
cies
poster-makers.
sky, a
Their
heron
in the reeds,
all
and
delineation,
a matter as subtle
and
inti
cate
1
superficial criticism ca
do
in
and
all
Japanese art
in general.
briefly
American
BIANCHI AUTOMOBILE
Anonymous
133
V
MOBILES
WCfl/loi; flUTonoBIL^
D\^^\RDO MARCJVINA
EN FLANDES
SE
HA PUESTO EL SOL
Marco
139
Programme Officiel
DES
Ballets Russes
Costume de
"NARCISSE"
PROGRAMME
141
AUTUMN
YosHio Marking
H5
CHAPTER FOUR
AMERICAN
POSTERS
Chap.
IF
FIRSTPOSTERS
J4Q
CHAPTER
IV.
American Posters.
Considering
first
American people
in
regard to
in a
moment
have fallen on
The
birthright of the
American
freedom from
accredited
spontaneous and
in
America
way more
The American
devoted
He
and nervous
know what
to
do with
for
many
The
years.
first
and the
wooden
color blocks
was perfected
to the
Of
time circus-poster
is
a fair example,
canIn
when considered
art.
essays in a
new
field.
150
With
from
AMERICAN POSTERS
the advent of lithography
Chap.
IV
and the
possibiUties of reproduction
made
itself felt
was
processes.
all
were presented
in point
in a
manner deaden-
efforts, that
Age" may be
no matter
how much
may
subsequently have benefitted from the patient and capable efforts of those
early engravers.
Some of
first
moving
posters took on a
new
life
People watched
Mr.
London
ment, and blended the two by some curious psychological sleight of hand
into
is
in
America.
His
girls,
though often
mannered.
They drove
raw
links.
They
all
had a
car-
CHAP BOOK
Will H. Bradley
(1895) 153
Wtu. H RRPiDtev;
THE ECHO
Will H. Bradley
^55
THE ECHO
(August, 1895)
Will H. Bradley
^57
Chap.
IV
PENFIELD, BRADLEY
in the
i6i
American public a
is
Mr.
Excellent in composition,
in-
and
simplicity of action,
fluence of Steinlen
in this
It
even
all
charm
a place of
its
posters.
embodies, indeed,
briefly
may
be capitulated
its
claim to
and, indeed.
its
were
difficult to
place.
Its
"action" and "story" are not only simple, but are placed in the
Even
the cat
is
demurely subordiletters
small, confusing
and irrelevant
the
story
essentially a part of the poster, not only in relative scale but in actual incor-
poration
a point as excellent as
in
it is
rare and
difficult
of attainment.
One
Nor
the whole
muddled with
attempts to produce unnecessary imposter did not need any such simulais
The
tions of reality, being in itself saliently sincere, while the entire thing
without the tax of study and decipherment. be hung beside Steinlen's "Lait pur de
la
could
Vingeanne."
And
many
posters
who
liked them,
and
many ways
it
was a period of
artistic
AMERICAN POSTERS 1900 years from 1892 onward almost fadpeople Yellow Book" became
162
those
to a
Chap.
IV
certainly to 1898.
"The
The
grave, together
in
every conceivable
form of decoration.
more
fish in
It.
many
who
of "posterists."
Of
the
much
greater
appeared
in
Beardsley's drawings.
One must
not underestimate the value of the Impetus to originality and art In this
kind of
critical juncture.
The
in
mass and
rela-
was more
than
made up
The
is
at
Riblished
RH.Russell
by
NEW^ YORK:
& Son
Courtesy of
R. H. Russell, Esq.
POSTER CALENDAR
Edward Penfield
(1897) 163
Chap.
and
IV
among
165
into consideration
Is
and
interesting designs
Frank Hazenplug
whose
work
admirably illustrated
in
the
his
"Chap-Book" poster
was
and
it
work
that he
had
tried to
edly characterize Beardsley, with even a greater grace and originality than
Will Bradley.
Carqueville, however, followed the feeling and technique of Penfield's
posters to a
his cleverest
production
is
the
It illustrates to
some
of
It Is
sheet
itself, in
which
those
unlike
many
Among
that time
who had
work
at
America
in 1882.
His work
showed
ative tendencies.
From
pen-drawings.
The work
from
does that of
J. J.
Gould.
less
Edwards adhered
to classic
and allegorical
motives consistently.
Much more
esting
is
work of Maxfield
Treidler.
166
tion
AMERICAN POSTERS
would be both tedious and
unprofitable.
Chap.
IV
Within the
last
few years,
however, some of these posters have been distinctly interesting and instructive,
and of
sufficient individuality to
demand
serious consideration.
While
gigantic strides
commendable
as they
are rare, were slow to follow the movement, and have continued to ignore
M.
inartistic
lithographs of groups
all
from the
that
is
These
fail to attract
weak
term of years.
we seem
ob-
some "job
press,"
of a store window.
It is to
is
the result of
some short-sighted
a policy
to be hoped, will be
entirely to
lived
down before
posters cannot
fail to
awaken
out such
work along
these lines as
capable of producing.
New
York, held an
visited
it
those
who
by
CHAP BOOK
Frank Hazenplug
7(57
^ Will
^t^oeytj|i
Courtesy of
Lippincott's
Magazine
CENTURY MAGAZINE
POSTER
June, 1897
Louis Rhead
Courtesy of and Copyrighted by the Century Company
171
Gould
/J
Courtesy of
Lippincott's
Gould
175
Gould
177
Chap.
IV
PARRISH, LEYENDECKERS
lyg
reason of the great amount of really excellent work which they perceived to
be devoted to advertising.
The
all
is
and
in
in the
matter
Maxfield Parrish,
whom we
Midsummer
of his
i8gy,"
is
One
many
characteristics
a love of detail
efficiency),
He
in the
production
His
lettering,
is
always
legible.
Compared,
in point
his
work
much
finesse,
his posters
comparison
is
useless, for
where Cheret
more
the execution of
some quaint
on a
The
study.
From
most
successful.
attract, delight,
all
the appearance of having been once drawn, and never "touched up" or
it
This gives
it
it
a frank
it
or leave
i8o
AMERICAN POSTERS
it
Chap.
and for
IV
its
there
is."
There
is
style,
purpose of advertising,
motor-car
advertisement
The consummately
and
the
clever
"Pierce-Arrow,"
clean-cut
mediocre posters
of J.
C.
in
America.
first
In the
"Ivory"
poster
one
Leyendecker's
little
is
im-
less surety,
which
his
work of both
the brothers,
evident.
And
happy seizure of the coincidence of the bath-robe and the position of the
letter
"O"
in
the
saint of
cemented
way
It
productive of
is
quaint and
where
it
And might
is
one
next to
God-
In passing, one
is
comments of
contemporary
"collar
critic,
who
J.
C.
Leyendecker's
and
cuff" advertisements
collie,
overshoot
adherence
to
the
collars
and
cuffs
under consideration.
view
in
subjects in
might well allow Mr. Leyendecker not only to suggest the essentials of
dress as well as the accessories, but also to present a general setting of
more or
implying as
it
Maxfield Parrish
181
Maxfield Parrish
J83
IVORY SOAP
C.
Leyendecker (1900)
^S5
Ht i i
C.
Leyendecker
187
jmsmmmimiBmsemm^fsm
C0LLAR
Summer
ARROW COLLARS
J. C.
Leyendecker (1910)
189
PiefoB Arrow
C.
Leyendecker (1909)
191
Chap.
IV
Mr.
Penfield
W
work
is
LD
HACK
in
193
another
we know, and
more
chapter his
carefully considered.
only in contrast to
from
his
work
Most
is
that as
line,
designed by R.
effects.
is
Nor
is
his
way obscure
indeed
keynote
strength.
The
chapter
is
every
principle
He
He
He
in
letters,
and keeps
main legend
in
incorporating
it,
as well.
as well as nearly all his other work, carries also that psychological sense-
It
and
makes
it
sunlight-and-shadow values, no
ner's" poster,
less striking
than
In the
"September Scrib-
and the
details of the
ig4
AMERICAN POSTERS
is
Chap.
IV
stopping
is
and shovel
in the
foreground
And
it
were hard to
find
on an American poster a
legible,
bit
and design
as
this
being
neither
in the
background nor
in the
As Mr. Wildhack
the
'spirit'
himself says:
"A
more than
surely this
"
is
And
belied
by none of
his posters,
and
illustrated with
"The
Circular
much
besides
its
the equestrienne
George
Brehm, of whose
in
work
it
Is
typical,
a clean, pleas-
ant, straightforward
way.
Fortunate
in his
model and
his subject,
he has
plainly
made
the best of both, with a happy result, at once simple and sig-
nificant.
is
It is essentially
American
and, characteristically,
speaks for
itself.
the
work of
certain
European
designers.
He
has, of late,
shown the
There
is
work
that
a distinct
poster, in
is
Is
It
weak
and
the
same
may
The
define, in
much
the
most Japanese
work
Is
totally baffling
And
unconsciously or
Wildhack
19 lo)
195
CRlBmj^
NOW
Courtesy of
Scribner's
READY
PRICE 25 CENT^
SCRIBNER'S MAGAZINE POSTER (March, 1906) Robert J. Wildhack
197
Magazine
1907) Robert
J.
Wildhack
199
WiLDHACK
(1908) 201
CHANTECLER
^v
^
WINDOW
AT THE
HAMPTON'3
WHITE CAT
HAMPTON'5
.^S'
Wildhack
203
ARROW COLLAR
George Brehm (1910)
20s
^^r-
to?
Fancher
Chap.
IV
TREIDLER
Mr. Fancher has worked with an Oriental
2og
subtlety admirably
otherwise,
adapted to practical purposes, and utterly different from the work of any
contemporaries.
Adolph Treidler
interesting.
strikes
note
still
different,
and
distinctively
He
manner of
a sleight-
his effects
upon
strong illusions brought out simply by the skillful handling of broad masses
His delineation by
a kind of negative
One
is
sketches which
a
show
this
treatment
in
Even
make an
more
an underlying
clever-
Of
ter
is
for the
interesting promise,
Its color is
ele-
many
particulars.
and
in flat
masses,
its
design
is
any point
in its
com-
might
fall
lettering.
Among
interesting progress
M.
C. Perley.
For an Informal
illus-
{"Cigarettes Fanchez")
Since the
F. G.
Cooper
appear
in
another chapter.
One
is
and
'
2IO
AMERICAN POSTERS
a similar kind by
Chap.
IV
excellent
work of
Walter
W.
con-
we
are
now becoming
generally accus-
tomed.
appeared
it
was
sufficiently
unique in
itself to
require
no signature.
In a field which entertains so
little
one
is
same category
as theatrical bills.
superficial
As many of our
area,
and
as these
many
it is
neither
nor indiscriminate
to consider
them
function, or effect
is
is
so complex that
all
its
And
of designs for
these types
was
full.
a review of the
work both
in this exhibition
and
in
American designers
have broken away from the 'Aubrey Beardsley" influence so clearly manifested in the early
elected to
work almost
much more
free
in this country.
work of R.
J.
Wildhack:
in spite
of
delicacy
This
Chap.
IV
work
PROGRESS
that can be reproduced easily
211
and printed
easily
is
the sort of
two
work
while
fail,
at the
qualities
we
too delicate.
Of
course
all
in the
United States
it
may
be said that
has only within the last few years begun to occupy a serious and significant
at-
tempts of the early days of lithographing, and secondly, from the grotesque
interpretation given to
it
in
the days
afoot,
when
if
it
was
a "fad."
better
and
is
now
and
we can
and stupid posters that have appeared, and study only the work of those
to the
is
development of advertising
itself into
art,
working
preeminence, to
Hitherto Unpublished
Hitherto Unpublished
EXHIBITION POSTER
Adolph Treidler (1910)
215
ALICE.
Hitherto Unpublished
ALICE
Adolph Treidler (1911)
217
y,!>-i'^^:.:
Mim-'
-.
\' ?-A,^
"
.*'
Hitherto Unpublished
CIGARETTE FANCHEZ
M.
C.
Perley (1911)
22s
JIACC^
Hitherto Unpublished
22J
CHAPTER FIVE
EDWARD PENriELD
Chap.V
EARLY PERIOD
231
CHAPTER
V.
Penfield.
must be kept
in
mind
that the
work of Mr.
Penfield presents a
extra-
distinct
ordinary range
more
in the
These
change of
work
by
in
particularly
his
drawings
in Spain,
is
and generally by
a kind of selective
Magazine beginning
in
1892
the
first
real posters to
appear
in
America
were not
of a
visit to
For
all
of
Mr.
Penfield's training
was
in the
New
posters
came from
a source
from
a precedent of precedents,
his
though
by no means
work could
discover.
And
and
the
this source
was nothing
Museum,
a treatment bold
of mass, with cleverly contrasted colors and heavy black outlines posters in
all
the world.
So with
it Is
ing a large idea on a small sheet of paper, and his massive, cleanly
drawn
232
letters
EDWARDPENFIELD
were
his
Chap.
own.
after the
first
few of
the "Penfield Posters" appeared, but the public adhered to the original,
yiew drawings
became more
in
This was
at the
was
It is
in the throes
not with
lasting excel-
Mr.
which makes
them
just as intrinsically
good now
as they
the years that have elapsed since their production to fade their
charm
in
any way.
Technically,
all
of these
first
in
demand
Under
tial
the
first
head they
will be
found to present
all
of the essen-
poster-values
making for
excellence,
and to show
all
this the
more
clearly
many examples
of
The
analysis of
ticular to all
Mr.
Penfield's
Recapitulating these
points,
flat
one
and
relative scale.
no
at the
front of the stage, and any accessories that appear are so skillfully sub-
iURPERS
Chap.V
HARPER POSTERS
tlie
235
main
figures.
Masses of small
let-
have been sublimely ignored, and every one of these posters breathes of
a largeness
out-
door advertising.
of their
They
are
all
so eminently self-sufficient
with
a poise
own and
fortunes
may
place them.
room and
habitation
Some
personality
They speak
show
The hansom-cab
is
thrust
by
its
will be
this series
presented
one
is
as a whole.
They
are
all
Horse Show,
story and
The
is
a wonder-
kind of informality
In design,
is
combined
In
suggested proportion.
The
coloring
as simple
and
is
characteristic of
this
Mr.
Penfield.
Of
whole
series, the
"May"
two
23d
Angora
EDWARDPENFIELD
cats has, perhaps, the greatest
Chap.
Its quaint
originality
subject
and the
extra-
ordinary simplicity of
for years after
It
treatment
make
it
a poster that
one remembers
It Is plainly
with
Its
Not long
change
in
came the
first
noticeable
Mr.
Penfield's technique.
same
Though
later in
Is
Magazine" cover
example of
this.
Much
for "Collier's
line
and
Is
typified
by
his
own
his
as
Mr.
Penfield de-
(Reprinted
In
endar"
In
1907.
There was
also the
"Country Carts"
series, In
1900
like.
The
and of the
essentials of
skill characteristic
of no one but
Mr.
and
this
same
artistic
of automobiles.
A machine
so utterly
modern
HARPER'S
Chap.V
LATER METHOD
in
it
zjg
means of portraying
was no precedent
still
in a
manner
at
There
in
many
make
and
let that
way
photo-
graphic.
Mr.
him
An
interesting estimate of
Mr.
perhaps ten years ago, brings out rather clearly some significant points
"Edward
own
is
shores,
American poster
Mr.
Penfield
one of
themselves
demand
work
modern
art conditions in
a fine perception
his
to the
man
of the commercial purveyor's needs and his desire to please the multitude.
Whether
little
tome or
with
Mr.
hand when
line
upon
to
symbolize an object
language of
and
He
has
artistic cult
commercial-
much
among
artists to
decry anything
that
Mr.
of a shock.
And
yet,
mystery of mysteries,
inter-
and
The
'Pen-
came
and
it
240
has outlived
all its
EDWARDPENFIELD
competitors.
Chap.
To-day
It is
Mr.
abandoned
his
is
too
much
him
to be set aside
whether
he will or not.
to be recognized.
He
has
drawing of
late; his
hand
is
far-reaching.
Mr.
Penfield
successful Inroads
first
upon the
field
of
in
in a
group of collegians
In the
livingstrictly
room
In
happy
In their effects,
and their
would go far
to prove
for
combined strength and refinement of color should be common to both. Although Mr. Penfield
his
visited
Holland
in
1899,
it
was not
girls,
all
until
second
visit. In
windthings
mills
and
canals,
began to appear.
The
quaint simplicity of
and
Mr.
Upon
his visit to
Spain
five
In line
and color
from any
before.
The "Holland
charming
text
manner
were brought
HARPERS
JULY
^'
Chap.V
WORK
Penfield's
IN
243
Mr.
more
The
in feeling to his
much
earlier work,
finesse of line,
Magazine"
text
and sketches
to the
development of
studied
it
his style,
among
For
in
those
who had
all
in past years.
nearly
this
work
was
abandoned, and the studies were of the value of very charming pictures
rather than posters.
From
possess not even such an Intention on the part of their author, and the typical
is
simply by
way
in this
the illustra-
Mr.
Penfield's versatility.
Retrospectively considered,
Penfield's
it
is
Mr.
work
in the
poster
field,
from
earliest beginnings,
has been of
significance unequalled
There were
in
his
con-
each
winning
one of
in
which had
effect
in the
America
battle.
New New
York,
York,
1907. igii.
HARPER'S
SAWYER
DETECTIVE
TOM
by MARK TWAIN
begins in
this
a new story
number
HAEPER'S
SEPTEMBER
Courtesy of
Harpei-'s Maga::ine
'.i
Courtesy of
Harpe/s Magazine
Courtesy of
Harpe/s Magazine
HOLLAND SKETCHES
Edward Penfield (1907)
261
CHRISTMAS
atCafeSpaander
'-^^^^^^^r.
HOLLAND SKETCHES
Edward Penfield
(1907)
263
A HOLLAND SKETCH
Edward Penfield
(1907)
265
Hitherto Unpublished
SILHOUETTES
Edward Penfield
2(5/
A SPANISH IMPRESSION
Edward Penfield
(1909) 26g
A Stenciled
Calendar foe
iSo'^o^
Ldward\\
"^is^
I9O4
EdWARD PeNFIELD
CHAPTER
SIX
Chap.
VI
275
CHAPTER
VI.
the case," as
this entirely
Nor
is
has
book
good
it
from
is
as
many
In
all
kindness
to be
designated
not that he
and knows
knows
Thanks
to a
sweeping relegation of
is
all
poster-work to commercial
Only
recently,
and
in isolated instances,
it
may
it
deemed
worth while
to
This branch
graphers.
firms
their
production
dead
work of
large firm, the results, however excellent from a technical standpoint, necessarily lack individuality
is
so evident in
One can
us suppose, a
readily conceive a
manager
company purporting
to supply, at so
much
apiece, "artists"
276
Chap.
VI
of Thespian talent to
He
want
artistic
individuality.
In this business
I
we have
to
can't use
Anything
will do.
He
seems to forget,
advantages
in this
in
thing unusual."
the
He
must engage
his
more unique
the better
work
is
inevitable.
It is a
well
known
in
bert, chanteuse,
worked
They piqued
little
whims
poster
a sheet as eccentric as
subject,
and designed
to at-
Many
at the
people
knew
was singing
"tons
les
soirs"
Concert
to see
Parlsien, the
of the pencils
MM.
Now
our
Chap.
VI
THE POWER OF
A POSTER
279
merits,
Miss Eva Tanguay, who has become so famous on her own unique
and
certainly in spite of her posters rather than because of them.
Remem-
bering Miss Tanguay's vivacity, originality, and unconventionality, her explosive entrances and
madcap
let
us
ex-
the
champagne
terms of things of
this earth.
artistes of
fame
still
to
be won, as
in the cases
of
"La Loie
Con-
Which
in
mind,
you can, to visualize, from memory, any one of the numerous sheets
to time during her
appearances
in vaudeville,
or
as adequate,
from
a standpoint of
upon which
she danced.
One
IS
and
intrinsically excellent.
While
actually
drawn by
its
Mr.
Tilt,
is
he represents,
the direct
conception
work
of the
manager and
its
his assistant
management of
the artiste
In
who forms
is
subject.
less eccentric
her
own way
no
than Miss
Tanguay.
She has her own ideas about original dances, original costumes,
and
if
Miss
McCoy
all
hand up
at right-angles with
Now
of
is
this
is
manifest on sight
One can
see at
as to
eccentric,
and
in the
280
Chap.
VI
Dance, costume,
The
subject
less
the one no
in
more or no
The
thing
is
admirably adequate
who
McCoy's
stage
in-
and
to those
who have
From
plicity
a technical standpoint
poster
one remembers, and upon the production of which one unreservedly compliments the
it.
A
itself
single point
and
concerns
the figure, in a bold flying arc of explosive letters, above, below or behind.
Had he
eclipse
little
not done
this,
apparent.
In the poster as
figure
is,
the
escapes serious
it
from the
by reason of being a
is
too small.
This, however,
a fine-point of design,
strength and individuality characterize the whole poster, license in the matter
may
well be extended.
To
in a theatre,
or to introall
others
its
very nature
is
meant
It is transient
an
It
it
and must be
in
appealing.
curiosity,
is
America of the
last
decade
of
may
be considered to have
in
any way
The
relicts
form the
or polite discussion.
Even
of theatrical posters
DrRECT FROM
THE
JARDIM#ARIS
summeranwinter garden
Jr.,
Esq.
281
PRODDCTION
liilsM
^-
"^
\A
BYARRANGEMEMT
KLAW '
ERLANCER
THE MEraoMUTAH
PfiiKT
CO.H
Courtesy of
Floren:: Ziegfield, Jr., Esq.
THE SOUL
Hy Mayer
KISS
283
(1908)
Chap.
VI
MAYER'S POSTERS
tries in vain, at the
285
America, one
end of
a day, to
than any other of the pictures which crowd the bill-boards along the
It is
with
difficulty that
The
wofuUy few
fill
in
proportion to
number of
the theatres
"The
Soul-Kiss" (1908),
"The
Follies"
"Bessie
McCoy"
Falls,
Cooper
in
the
New
drawin the
humor
so necessary in a poster.
from
his
ings for
field
all
of theatrical posters in
"Floradora"
one night.
on
the
shirt-front
manager,
it
at
supper-party
The
sketch
was
so
appealing that
Mabelle Gilman.
feld's "Follies"
long interval elapsed before the designs for Ziegas a truly refresh-
Mr. Mayer
design, the
entertains
some
two most
striking of
immediate surroundings
flat
mass of red
background), and
most
of white as a color.
By
286
Chap.
VI
proper contrast,
be
element
in
made
the strongest
and most
which
is
shown
in
a color
is
most
McCoy"
poster.
clean white
values by
muddy
make
a note of the
enormous
importance of
this contrast
work of
this sort.
is
orate in
ing in
underlying idea,
scale
its
technique
is
is
comparatively broad,
good
and
its
story
graphically told.
this
theatrical
Hamilton
theatrical posters,
some
excellently
clever
and many
same
that
It
should
and a sweep of
whole
production, whether
Mr. King
Is
sufficiently
Independent to
draw them
effects.
entirely
when he
feels that
is
The
cal posters In
America
Is
now devoting
in
remains
^/1y
m^^^m
^TOlJuIoI^
IP
BOOK
aY
LYRICS 6Y
O.A.
MlJSlcaY
CHARLES DICKSON
HAUERBACH
KARL H05CHNA
AUTHORS OP
3 TWINS
BRIGHT EYES
Edgar Kellar (1910)
287
Hitherto Unpublished
9 ii
289
S.
Chap.
VI
PORTRAIT POSTERS
293
analysis.
for Miss Olga Nethersole, besides his design for the "English Daisy," and
one
is
many
"The Monte
Carlo Girl."
In
presented an example of
of
it
what
Is
spirit in all
Mr.
is
King's poster
at once piquing
and satisfying
in
every respect,
It
is
only to be found In the artist's studio. Instead of upon the bill-boards. In the theatrical
field,
What
these
and
In the excellence
of their reproduction by
"posters" places them far above the nondescript attempts generally socalled.
Given
a sketch,
less
in a
retouched)
photograph of an actor or
same
Is
embraced
composition
consideration.
is
In
such
an
Instance
as
the
poster,
Of
this type
of poster scores
Campand
first
work
styles,
The
some of them of
294
a
Chap.
VI
photograph or
this lettering,
in
even
intact, in
mass, tone,
field
is
so painfully scarce.
who
since
1900 has
work
in this country,
the Continental
Most
simplicity
interesting
and unique,
in point
done
inevit-
management going
directly to
paper.
These
the very essence of simplicity in printing, for the most part being executed
only
in black,
with colored
letters.
An
interesting feature
is
wooden
blocks, this
effect.
method imparting
in
them
much
Their design
nearly every
down
Everyone
is
Edison Company, as
work, as
in his
line
and mass
legible lettering
gradual,
if
slow,
upward
trend in the feeling for theatrical posters, and promise even better results
in
work of
the last.
MAUDE ADAMS
Blendon Campbell
295
ai&^
ETHEL BARRYMORE
From a Photograph
297
mmsim^i^^m^mm^.
MABEL TALIAFERRO
Ernest Haskell
299
Cooper
301
y^\m>
SPIRIT
LAND
303
F. G. COOPET?
TbpfefkJr
THEATRICAL POSTERS
F. G.
Cooper
305
PAUI^
M.POTTER'S
MVStCAIl.
TH bene
FTHe
F*sce
DM
OME ACT
BoucevARD
VALESKA SURATT
Jean Paleologue (1910)
307
CHAPTER SEVEN
Chap. VII
"POSTER VALUES"
311
CHAPTER
Some Magazine
With regard
cently appearing
VII.
Covers.
made
many
these are
view of attracting
consistently
It
come under
a pos-
ter
It Is
part of the editors, that the cover be a good poster and present as
poster values as possible.
It
many
design
is Its
is
known
no
This
Is
chapter
may
how much
a design
may
partake of
let
It
all
For again
the
most
field,
so
much
excellent
and unfortunately
312
transient
Chap. VII
many
moods of our
more
suc-
its
own.
The
limitations of this
no
In
Mr.
all
poster essentials are evident in an extremely striking array. design of simplicity and strength in idea, composition,
lettering of supremely adequate scale
line,
presents a
color, with
and
and as
original, characteristic
is
and
informal as
it
is
legible.
among Mr.
It is to
Penfield's
be remarked
The
hound hardly
values.
comment regarding
its
It is interesting to
illustrates
Mr. Pen-
field's first
change of technique
of which the
an example as
red-coated equestrienne of
well, the
is
motor cover
sug-
much
earlier
work.
Nor
One
of
Mr.
Penfield's poster-people.
us, to
drives her
own
motor-car, and
briskly keeps pace with her dog, for both are thorough-breds, while the
third
would seem
to be her
to
the meet
yet all three are compellingly feminine, and, one likes to fancy,
thoroughly American.
In the Windmill cover {"Collier's")
Is
COUIER^
COLLIER'S
Collier's
WEEKLY COVER,
January
17,
1903
EdWARD PeNFIELD
3/3
Weekly
COLLIER'S
WEEKLY COVER
November lO, 1906 Edward Penfield
315
Weekly
Edward Penfield
317
CDLLIERS
yO^
(ll'/^
'
March
Courtesy of and Copyrighted by
Collier's
Tkaeniy-ihird
^ ^
"Price toen
Cents
COLLIER'S
WEEKLY COVER
March
23, 1901
Weekly
Edward Penfield
319
ier*s
COLLIER'S
WEEKLY COVER
July II, 1908
Weekly
Edward Penfield
321
ers
COLLIER'S
WEEKLY COVER
January
1 1,
Weekly
1908
Edward Penfield
323
METROPOLITAN
1
MAGAZINE
Price 15' cents
June 1509
Edward Penfield
325
METFOPOinAN MAGAZI N
E
^.J.0'J^WLST 29^STREET
CO NEWYOILK
1905
Edward Penfield
Chap. VII
COVERS BY PENFIELD
letters,
it is
32Q
and as clean
in detail as
solid
and convincing
in
in execution.
Nor
does the
the
merry
little
from the
which
element
that
The
Horseman
{Collier's),
no
type
of
work
in Spain.
The
color
and
expanse of
sky-line.
flat
plain
is
first
low
It Is a
long
call
from the
front of the
Holland House.
The "Metropolitan"
cover, nevertheless,
truly typical
at
once
sin-
and accurate.
The
spirit of the
thing as a whole
is
there,
and as
best
that
is
in
America.
It is Interesting
as being
translation
it
been
The
coach
Is
and
if
It
seems to
330
Chap. VII
equally apparent
is
group.
It is a picture in
relative scale,
Of
the
same order
is
makes one
feel instinctiv':ly
from a railroad
summer
skies
group of sense-impressions
result-
salient sincerity of
its
boch
presentation.
It is
graphic,
and beneath
all
apparent
Penfield's
charm
so characteristic of
Mr.
work.
closely
associated
the
styles
of
Guernsey
Moore and
J.
J.
Gould,
latter's
work
first
being a cover
for
hard to
find
it
words adequate
to
do
justice to this
is
drawing.
it
To
is
possesses "poster-value"
is
absurd
it is
to say that
It is
futile.
It
^-
tremendous,
it is
colossal,
sublime.
both
in subject
could succe
fully ignore
coefficients of a poster
could be a strong
This
may seem an
extraordinary
statement, but even a cursory glance at the illustration will cause that sheer
strength, aided by unbalanced composition, bold line, simple coloring
and
is
unique.
Certainly
it
hard to
recall a
to be a poster,
which possesses
to so great
degree such
this
irresistible qualities of
enormous power.
in
While
the matter
THE MILLIONAIRES By
THE ^ATUIipAY
An
Illustrated
EVENING 7>OST
Weekly Magazine
Founded
1902
A D' 1728 i>y
Be nj. Franklin
JULY
26.
1*
^^^^^^^L^^^^^^K
klM^H^^MI
July 26,
J. J.
1 1 1 1
Beverid^e
lers
aX'-^a automobile NUMBER
COLLIER'S
WEEKLY COVER
January
i6,
Weekly
1909
Guernsey Moore
335
Guernsey Aloore
COLLIER'S
WEEKLY COVER
Guernsey Moore
337
Weekly
A, &
p
I X
*v.
A
1
ii-.:
^^
~^^
uh
C^^-
Oslio'u.rxi.e
^^g
^^>^U\
/f=^===^4\
y^ ^
yz^-,^
<2^^^
^^
The Curtis
Ptiblishing
Guernsey Moore
339
Chap. VII
of
G.
MOORE AND
J.
J.
GOULD
341
These
its
two designers, both Philadelphians, worked together for some time under
the
name
who aroused
attention
covers
of
Post,"
and by
his
disappear-
mysterious manner, no
less
sudden or unheralded
jointly
anonymously or with
combined mono-
gram of
"J.J.G.," and
"G.M.," and the four sketches here presented conthe "Peter Fountain" signature.
in the rather cryptic
work over
An
example of
Mr. Moore's
quaint
humor appeared
"signatures" of a
cover-design for
sign
years ago.
The
de-
was
in the
Mr.
Parrish's
its
long feather,
jerkin,
of rock, which broke out here and there with unlikely trees.
into the decorative
initials
And woven
figure,
Howard
Mr. Moore's
shown
lier's,"
admirably
in his
more
Of
posters
it
work
in
is
illustrator.
Be
this as
it
S42
Chap. VII
ness of the underlying ideas, go far to off-set their lack of breadth and the
pictorial qualities of their over-studied detail.
The
cover by F. X. Leyen-
decker
The
cleverness speaks
from every
if
line
of the draughtsmanship.
if
Draw
the
Hermes
task
of Praxiteles,
a
you would
draw
shall be as convinc-
The
unobtrusive
random
brush-strokes
It
is
is
work of
J.
C.
Leyenin
decker as a student
strong poster
ings.
style,
Paris
as far back as
1897.
with
Steinlen,
in these
influence.
to these
work of
J.
C. Leyendecker,
to be
found
in
his
Number"
of "Judge."
It is
There
a care-free element in
it
an abandon suggesting
and
Perhaps
it
Cheret.
eminently
appropriate both
either as to the
in detail
can be no question
"Bohemian"
in this
spirit.
much of
the Continental
European
On
it is
unnecessary
MCCLURE'S'
MAY
FIFTEEN
'
^g^O'
CENTS
;ii-:^
fg
rnwn
Leyendecker
343
TWENTY CENTS
'
CHICAGO,
U. S.
A,
Courtesy of and copyrighted by The Inland Printer, Rogers Wells and The Curtis Publishing Company
&
COVERS IN
1897
AND
1910
J. C.
Leyendecker
3i5
Conifers ^ THE
NATIONAL
MWEEKLY
COLLIER'S
WEEKLY COVER
January
J. C.
Weekly
20,
1906
Leyendecker
347
\J V^
DGE
JUDGE COVER
Company
J.
Leyendecker
349
Chap. VII
comment.
M AX FI ELD
There
Is
ARRIS H
It
is
351
to
not
on canvas.
The
esting
three examples of
characteristic,
Mr.
and
showing
The
The masses
is
are
flat,
figure.
than "Collier's, The National Weekly," one would seriously question the
license to obliterate so
much of
it
figures, but
where the
text
is
so well
known, one
interesting incorporation.
Mr. Parrish
The
subject, sugIs
thor-
own
how
may
The
entirely
and shadows.
The
design
is
more than
actual
In the
gown and
background.
Upon an
It
possible in
two
flat
352
printings.
Chap. VII
a gray half-tone
dis-
obtained by the
tinct values,
work.
This
effects
an impression of three
trast
we
of white as a color.
Wildhack, even
in
more
greater excellence from the standpoint of poster-values than in his "SnowGirl" cover for "Collier's."
The
lettering
is
no
The
coloring
is
unquestionably appropriate.
The
sky
is
snow
is
those
is
designers
this
example
is
admirable.
The
finesse of detail,
subtle but
no
less
and snow.
is
The
girl's face
has the
warmth of
color resulting
from
as appropriately dressed
quite as informally
and
as
much
in style.
Where one
is all
in white,
And
make
it
is
and convincing
to state
is
as
stated
it
drawing
it
that
when snow
of proper consistency to
snow-balls,
is
also
of one's shoes.
The
Adolph
cover
is
design
for
"Collier's"
Spanish
Dancer
by
Treidler,
Courtesy of
Collier's
Weekly
by
COLLIER'S
WEEKLY COVER
3S3
rs NUMBER
...X.
-Jul'y
GIuest
he
Tarried
Sir
Gilbert Parker.
Buddha's
..
Eye
Justus
Miles
FORMAN
Bread on TheWaters
Paul
Armstrong
Courtesy of
and
Copyrighted by
Collier's Weekly
and
COLLIER'S
WEEKLY COVER
June
26,
1909
Maxfield Parrish
355
Colliers THE
NATIONAL WEEKLY
INDEPENDENCE
Courtesy of
NVMBER
WEEKLY COVER
Maxfield Parrish
3S7
and
Copyrighted by
Collier's IVeekly
and
COLLIER'S
Chap. VII
IN
CONCLUSION
test
35Q
upon the most casual
It is
its
work
proportion to
transient
this
dis-
Such a sketch as
it
work
that
must not be
missed after
its
week upon
the news-stands.
No
gestion,
is
less characteristic
of
its
the cleanly
illustrative
drawn "Pierette" of
the
"Dramatic Mirror."
style,
It is
admirably
make
The
flat,
and
The
last, if
more
bold.
Bearing
in
in scale
not in
of lettering and figure, as well as general approqualities, their claims to consideration as posters,
priateness
and suggestive
quite apart
from
manifest.
Colliers
^
COLLIER'S
WEEKLY COVER
December
17,
Weekly
1910
Robert
J.
Wildhack
361
COLLIER'S
WEEKLY COVER
March 25, 191 Adolph Treidler
363
Weekly
365
CHAPTER EIGHT
Chap. Fill
CERTAIN ANALOGIES
3^9
CHAPTER
The Capacity of
VIII.
the Poster.
Up
or
more
less technical,
certain subtler,
though no
regarding
its
capacity
for expression.
It
is
in
is
any way
Intended
good
poster.
This chapter
finer conclusion,
with a view to
be expressed, and in
how
elaborate a
manner
first
made
of
Mr.
was
to be
deduced that
inasmuch as September
in
is
whole.
To
fully
some general
con-
In the
first
place
it
details
shown
and
a stage-setting.
The two
The
It Is as
power of suggestion.
and the
370
Chap. VIII
artificial
a vital
number of people.
audience of the poster
is
is
The
made
cognoscenti than
The
be
true that
some of the
finer points
may
but
it
is
not
it
to stage-craft,
latter
by Mr. Haldane
Mac
Fall
may
"Art
Suggestion.
it
scene
may
may
be utterly lacking
power
to suggest that
the
mood
of the place.
You
of
on the heights
By
the
same token,
it
is
intelligence
may
In
Mr.
"Great-Arrow" motor
car,
is
pre-
The
light
Times Square
Chap.
Fin
suggested
LOCAL COLOR
(not shown), by the one
is
373
traffic is
cabs.
The
expressed by no more than four figures actually shown, and indistinct impressions of a few others.
Yet there
is
mind
in the simplest
would be only
a confused
all
medley
in literal delineation.
it
Now
with
of a motor-car de luxe.
the poster has been the
One
more
itself,
no way detrimental
whole poster.
And
suppose that
on
sterile
ground
fire,
yet one
still
name
it
in
is
bold pro-
and
Its
lines in
bold brush-strokes.
As
a whole,
admirably
of theatrical values.
Eugenie Buf-
was
a collection
the
working
of Paris.
this
main
sheet.
as clear as
374
Chap. VIII
No harm
it
is
mere
figure of a girl,
In her face
written
all
gaiety of
spirit,
Her drawn
face
is
free.
It is
not
And
times as she
much would
She must be
is
not at work.
day, but
The day
she
is
She
has worked
all
now
free,
and
is
singing.
is
and there
a sky-line of houses,
all else,
the stage-settings.
But
is
in the center
the grisette
This quality
be told
this
appears
in Steinlen's
"Dans
in a
Rue."
Here
at once
is
manner
remarkably
realistic
and
There
emphasized the
fact that
the songs and monologues are of the street, essentially and entirely.
figures are plainly those of
The
working people as
in
home
in the dusk.
is
The group
in the fore-
ground
treatment, and
tells its
story
line
Further back,
less distinct,
another
all
home
rises
singing
And
of
still
further,
the quaint,
tumbled
line
buildings;
EUGENIE BUFFET
LUCIEN Metivet
(1893)
375
DANS LA RUE
Theophile-Alexandre Steinlen
277
Chap. VIII
locality to those
IN
who know
CONCLUSION
Paris as Steinlen
379
the sails of the
knew
it,
Red
But
it
way impaired
To
is
a poster design
To
all
it
is
all this,
and
is
besides, Paris
with
a poster
which
at once a poster
An
if
is
good
it
excellent;
if it is
more
utterly
wretched.
One
some inconsidered
a poster fails.
is its
particular
failure
Is
even
utter
If
they
fail
When
Its
and
Irretrievable,
and
Its
inevitable destiny
consignment to the
who
ANNOUNCEMENT
The
author joins the publisher herewith in acknowledging the co-operation of the three engraving firms whose
careful reproductions of posters in this
Pa.
City
63^ 71. 75. 87. 89, 91. 99. 103. 107. 109. III.
117.
121, 181,
127, 131,
183,
135,
189,
137, 191,
143.
195,
145.
159.
169,
171,
185,
N. Y.
17. 35. 41. 51, 57. 59. 61, 65, 66, 69, 73, 77, 78, 81,
83. 84, 93. 95. 97. loi. 113. 115. 119. 123. 133. 139.
141,
151,
153,
155,
157,
163,
167,
197,
201, 203,
267, 271, 277, 281, 283, 287, 295, 299, 301, 303,
305.313.353,363-
INDEX
Index
383
INDEX.
The names
of artists are given in large and small capitals; poster titles in italics.
Cafe d'Ambassadeur, 48, 49, 53 Campbell, Blendon, 293, 295 Carquevtlle, W., 162 165, 169 Casas, Ramon, 126 Cassiers, H. 125, 127, 131 Cayals, 67 Century Magazine Posters, 165,
199 Century Prize Poster, 187
193, 194, 181, 187,
Alcazar d'Ete, 26 Aldin, Cecil, 85, 105 Ali Ebii Becar, 221
Alice, 217
American Line
125,
127
171,
179,
Arrow
Autumn,
Chap Book Covers, 153, 161, 165, Charles Kenna, The Fakir, 305
Ch:eret, Jules,
41, 43, 47, 48, 67, 68, 80, 86,
167
Bakst, Leon,
Ballet, 77 Basch, A.,
129, 141
105,
166,
129
79, 81, 83, 105, 162, 165,
Chicago Tribune, 151 Christmas at Cafe Spander, 240, 263 Cigarette Franchez, 209, 225
Circular Staircase, 194, 201 Clay, John Cecil, 359, 365
Collier's
Beggarstaff Brothers,
Belgian Posters,
84, 85, 91
Weekly
Bell, R. Anning, 80, 89 Belle of the Boulevard, 294, 307 Ben (see Benderley) Benderley, M., 126 Benois, Alexandre, 129 Bergmuller, 106 Berner Oberland Wintersport, 13; Bernhard, Ludwig, 106 Bessie McCoy, 277, 279, 280, 285, 286
321, 323, 335, 3Z7, 341, 347. 3Si, 352, 353, 355, 357. 361. 363
Comedy
Theatre, 87
Bianchi Automobile,
Bird, E. B., 162, 165 Bodley Head, 81
125, 133
Bonnard, Pierre,
la Cigale, 68, 373, 374, 375 Cooper, F. G., 209, 285, 294, 301, 303, 305 Corner of the Studio, 213 CossARD, A., 47, 68, 75 Coulisses de I'Opera, 22, 23, 26, 34 Country Carts Series, 236 Craig, Gordon, 85
Concert de
93
Crane, Walter,
80,
87
Dans
153,
I55.
la
Will
161,
H.,
150, isi,
IS7,
209 Bragdon, Claude Fayette, 162 Brangwyn, Frank, 86 Brehm. George, 165, 194, 205 Bright Eyes, 285, 286, 287
162, 165,
Danse du Feu, 22, 26, 34, 35 Diaphane Face Powder, 22, 34. Divan Japonais, 65, 67
Browne, Tom,
Bubbles, 79
Buttes,
Quixote, 84. Dore, Gustave, 47 Dramatic Mirror Cover, 359, 365 DiJRER, Albrecht, 341
Don
85, 105
Chaumont, 26
157
384
Edelfelt, AlbeeTj 129
Index
Hohenstein, a., 126 Hohlwein, Ludwig, 105,
117, 194
Edison " Company Advertisements, 294 Edwards, George Wharton, 162, 165
Ellen Terry,
14, 17
115,
Flandes se ha Puesto el Sol, Enfant Prodigue, 79 English Daisy, 293 English Posters, 79-105 Erdt, Hans Rudi, 106 Ethel Barrymore, 293, 297 Eugenie Buffet, 68, 373. 374, 375
En
126, 139
125,
13s
Jane Avril, 67 Japanese Posters, 130, 143, 145 Jeanne D'Arc, 47, 54, 69 Job Papier a Cigarettes, 22, 34,
63. 67, 7Z
39,
53,
54,
Falls, C.
285
301, 303,
Fawcett, Walter W., 208, 209 Fifth. Ave. Theatre Posters, 294,
Soline Handschuhe, 105, 106, 117 Judge Cover, Bohemian Number, 342, 349
&
305 Flato, Hans, 121, 123, 125 Floradora, 285 Folies Bergere, 22, 26, 34, 35 Follies, 85, 89 Follies of igio, 281, 28s, 286 "Fountain, Peter," ('See "Peter Fountain",)
Keith
&
Keller, Edgar, 285, 286, 287 King, Hamilton, 4, 209, 286, 289, 291, 293 Klinger, Julius, 106
Lait pur de
la
Vingcanne, (Frontispiece),
11.,
47-79
Leyendeckee,
343
173, 175, 177, 330, 331,
F.
X.,
Leyendecker,
J.
C.,
165, 179,
180,
185,
187,
349
162, 165, 169,
Liverpool Art School, 80, 89 Loie Fuller, 22, 26, 34, 35, 279
Lorenzaccio, 53 Lost, 123, 125
Hall, Tom, 14, 17 Hardy, Dudley, 85, 97, 105 Harper's Magazine Posters,
241,
24s, 247,
Lux
233, 253, 235, 237, 255,
257,
249,
251,
259
Haskell, Ernest, 162, 165, 293, 299 Hassall, J., 85, 99, 105 Hazenplug, Frank, 162, 165, 167, 209 Helking, F., 129
Hermann
m,
Index
Marking, Yoshio, 130, us Masque of Love, 95 Mattoloni, C, 126 Maude Adams, 293, 295 May, Phil, 86
385
Pink Lady,
286, 289, 293 "P. K. S.," 106, 107 Place Clichy, A la, 68, 75 Portrait Posters, 293, 295, 297, 299 Poster Calendar, 161, 163, 193, 233, 236
Privat-Livemont, I2S
Programme
S3. 55
Officiel,
129,
141
Medee,
Metivet, Lucien, 47, 68, 373, 375 Metropolitan Magazine Covers, 32s,
329, 330.
327,
Pryde, James (See Beggarstaff Brothers) Puvis de Chavannes, 47 Pyle, Howard, 341
Meunier, George, 47, 67, 68, 73, 125 MiLLAis, 79 Miniature Minstrel Mimics, 301 Monaco, Exposition et Concourse, 12s, 135 Monte Carlo Girl, 291, 293
Moore, Guernsey,
339, 341 330, 331,
131
71
171
333, 335,
337,
St.
Benno
Musee
Nicholson,
William
(See
Beggerstaff
Brothers)
Salon des Actualities, 243, 269 Salon des Cent, 53, 54, 61, 67 Sainaritaine, La, 53, 59 Sarah Bernhardt, 41, 53, 55, S7. 59, 69 Satu,rday Evening Post Covers, 312,
330, 331. 333, 339. 341, 345
317,
Obermeier, Otto, 106, 109 Olga Nethersole, 293 Orient Pacific Steamship Co., 86 Ostend-Dover, 125 Owen, Will, 85, loi
Saxoleine Petroleum,
369
Silhouettes, 267
68, 77, 285, 294,
J. W., 85, 93 SiNET, 68 Sketches, 121, 12s, 203 Snow Fantasy, 119
Simpson.
Parrish, Maxfield,
165,
179,
Partridge, Bernard, 86 Paventi, M. S., 126 Pears, Charles, 85 Penfield, Edward, 6, 48, 150, i6r, 162, 163,
i6s, 180, 193, 230-271, 312, 313, 31S, 317,
(Fron80,
319. 321, 323. 32s, 327, 329, 330, 370, 371 Perley, M, C. 209, 22s
47,
53, 67,
379
"Peter Fountain,"
Sumurun, 285
Sii'iss
Petridesz, J., 129 Pierce Arrow, 191, 193, 194, 195, 209, 219, 223, 370, 371, 373 Pierrot, 85, 95
57. 59
386
Theatrical Posters,
li, 23, 27, 35, 49, 55, 57, 59> 6s, 69, 77, 91, 97, 99, Hi, I43, 277, 281, 283, 287, 289, 295, 297, 299, 301, 303,
Index
Viollet-le-Duc, 47
Viollier,
305, 307
M.
G., 126
Advertising
Art, 208, 209 Tilt, Clarence, 277, 279, 280, 285, 286 TippEL, Geokge, 119
Walker, Freditjck,
Weisgerber, 106 WiLDHACK, Robert
361, 369 Willette, 47, 79 WiTZEL, R., 106 Woman in White,
78,
79
13, 15,
J.,
Tosca, 126
Toulouse-Lautrec, Henei
66,
de,
47,
54,
65,
67
209, 213, 215, 217,
78,
79
Wronbel, 126
Xandaro,
J.,
126
Valeska Suratt, 68, 285, 294, 307 Vanderbilt Cup Race, 166, 227
53,
Vaszary,
I.
DE, 129
66,67