Art Essay Research Paper ART AND ADVERTISINGThere — страница 2

  • Просмотров 344
  • Скачиваний 9
  • Размер файла 19
    Кб

and (3) the testimonial. The parameters used to evaluate the commercial are based on the following: (1) what king of persons see the commercial?; (2) do they understand it?; (3) do they remember it?; (4) does it alter their opinion of the product?; (5) will they buy the product?. These are parameters that the commercial artist must adhere to when he designs a commercial. Any type of advertisement, whether of the printed medium or the electronic medium, requires artists with good abilities to design intelligent material so that an intended audience can be induced to act in some manner. Posters conveying a visual message, have been used for several thousand years. Hence, posters are really another advertising media. The Hammurabi law code is one of the earliest posters known in

history. It was inscribed on a diorite stele, eight feet in length (a granite rock), and contained twenty-one horizontal columns above which appeared a bas-relief of King Hammurabi and the Sun God who delivered to him the laws of the Kingdom. This earliest poster is dated somewhere between 2067 and 2025 BC. In early nineteenth century England, almost all pictorial posters were of the letterpress-only kind. which led to difficulties with some of the illiterate London bill-stickers who tended to stick the posters upside down. A breakaway from the non-pictorial poster was led by the Royal Academicians, members of the Pre-Raphrelite coterie, the St. John?s Wood Clique. ?In 1871, Frederick Walker designed a powerful poster for Wilkie Collin?s Woman in White, a stage adaptation at the

Olympic Theater. Engraved on wood by W. H. Hooper, it showed a heavily draped woman with her finger at her lips opening a door on to a starry night?a good device for drawing the eye into the poster and for holding it there by mystery and suspense.? Walker is quoted as saying ?I am impressed on doing all I can with a first attempt at what I consider might develop into a most important branch of art.? Walker?s friend Henry Stack Marks, best known for his paintings of bedraggled storks, designed ?Monks Shaving? as a poster for Pears Soap. It was most unfortunate that advertisers gave it the rather inappropriate caption: ?I have found (it) matchless for the hands and complexion.? Although the picture is dominant, the poster shows no conception of the product and the message is lost.

An effective poster needs clarity of both the picture and printed message to be successful. ?The jovial diner-out, the man of knowing palate, may pass by the more pedantic poster, but may gather where he shall find Bordeaux without stint, or Champagne or rare liqueurs.? ?But it is not for nothing that we live in the age of advertising, and under the reign of the ad captandum. Crafty publishers said a book could be its own advertiser. It sported the most brilliant colors like a mountebank on parade; it made its bid from the window of the bookshop and threw dust in the eyes of the credulous passerby. But heaven forbid that I should say anything derogatory of advertising, which is a necessity of our day and the very soul of business, especially in bookselling.? It is established

that a desire for advertising overrides artistic intention in reference to the illustration of book-covers. In fact, the more insignificant and commonplace the book, the louder was the cover. The vogue of the illustrated cover was started about 1885 by a true artist, noted as one of the most original and subtle of his time, Jules Chret. Chret was already known for his superb posters, which were eagerly sought after by collectors, and adorned almost every painter?s and sculptor?s studio. Jules Levy, who know Chret well, was the first to appeal to the great artist to design an ornamental design for the cover of books he published. The poster mania during the latter part of the nineteenth century furnished material for some rich and curious collections, which generated a

whole branch of commerce and industry. Previously, only a few posters by E. Delacroix, Nanteuil, Daumier, Gavarni, Henri Mannier, and Manet, made up the entire branch of this art. Chret?s arrival on the art scene generated an entirely new industry. He produced hundreds of posters that were in high demand, and every painter was ambitious to become a Chret?but non licet amnibus. From 1880 to 1900, the poster was transformed from a vulgar disfigurement of the streets into an art form and even a collector?s prey: at dead of night, the real fanatics would steal out with damp sponges to take the coveted Ch?ret or Lautrec off the walls. The poster also acted as a carriers of ?that strange decorative disease?, Art Nouveau. Before the 1880s, posters had been modeled on, or only