Reklam Arts – Wikipedia
Advertising art is based on the effective connection of advertising, art and typography with the aim of fulfilling artistically/aesthetic requirements and at the same time moving the customer to buy a product. Recplame art is a demanding form of the use of use. The quality of the pressure plays an important role in implementation (see and technology). Today, advertising art is an important collection area in the form of posters, enamel signs, advertising and packaging, for which some museums also have extensive collections.
The beginnings of advertising art extends into the Middle Ages, soon after the invention of the art of book pressure. Examples are often given the labels or handouts for the “miracle cure” of the flying dealers, charlatans and spa botter. The high costs for the manufacture and the guild twend of the Middle Ages prevented further distribution. With the invention of modern printing processes such as the lithograph at the end of the 18th century, there were new possibilities in the field of advertising graphics. However, the promotion of goods in merchant circles was also considered an impact at this time.
Until the mid -1890s, there was no independent profession “advertising graphic artist” in Germany. The advertisements were mainly created by drawers and lithographs under reuse of existing images. At the end of the 19th century, the first tendencies to integrate artistic work into the profane advertising machine. The Vienna Secession, founded in 1897, called for an association of visual artists: “We know no distinction between high art and cabaret, between art for the rich and art for the poor. Art is common. ”The complaint was highlighted around 1910, the age of advancing industrialization, where both distribution and quality in the field of complaints achieved an unmatched (artistic) level.
Henri de Toulouse-Lautrec was one of the first and best-known artists who dealt intensively with the design of advertising posters. Toulouse-Lautrec helped the complaint to be high, although until his early death in 1901 he left only about 30 advertising posters, some of which are among his most important works and still have a very large level of awareness today.
In Germany, the works of advertising art are often based on the style of Art Deco, Art Nouveau and new objectivity and, too, became sought -after collecting objects for this reason. The patron in the economy promoted and used the creativity of the advertising artists – at that time to be pleased with customers and today to the delight of the collectors.
With the professional specialization of some artists on the advertising, studios working exclusively for advertising. In France, Jules Chéret’s studio was one of the most important, in Germany the Hollerbaum & Schmidt Kunstanstalt are [first] And to name the studio Rudolf Mosse. The Kunstanstalt Hollerbaum & Schmidt, which was located in Berlin, who dealt with advertising artists such as Lucian Bernhard, Hans Rudi Erdt and Julius Klinger, was one of the first studios to manufacture advertising posters and advertising with the clients directly. While previously predominantly so -called “blankoplacates” were used, which were manufactured in stock and whose image motif had no relation to the product, Hollerbaum & Schmidt gained great popularity through the development of the so -called factual poster, which is based on the goal of an artistic claim, taking into account commercial issues optimally took into account.
The advertisements and posters designed by the artists usually have the signature of the artist or an express reference to the artist in the undertext.
Significant magazines for the spread of advertising art [ Edit | Edit the source text ]
The youth, a weekly magazine founded by Georg Hirth in 1896, used the artist poster on the title page for advertising purposes and contained a number of artistically designed advertisements. The youth in Germany had contributed significantly to the spread of Art Nouveau in art.
The first edition of the satirical weekly magazine Simplicissimus, also appeared in 1896. Since the foundation was founded, the advertising artist Thomas Theodor Heine has been one of the best known and often represented employees of this magazine. Other magazines in this context are Pan, the Island and Ver Sacrum.
- J. Schmiedchen (ed.): New manual of the advertising. 1st edition. Reinhold Wiechert, publishing house “should and should”, Berlin 1929.
- P. Friesenhahn, A. Schwering: Handbook of the advertising. 3. Edition. Violet Verlag, Stuttgart 1911.
- J. Meißner (ed.): Strategies of advertising art 1850–1933. German Historical Museum, Berlin 2004, ISBN 3-86102-130-7.
- Michael Weisser (ed.): German advertising. Doful publisher, bassdium 2002, ISBN 3-88808-273-0.
- ↑ The work of art of the month – October 2011. ( Memento from March 9, 2014 in Internet Archive ) on: lwl.org
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