What factors lead to the rise of the pictorial poster

Posters were mainly used to sway public opinion. They were aimed at brainwashing society to think and act a

One of the main sources used in this essay was a general historical overview from the end of the 15th century up until the French revolution. The source is subdivided into essays and gave detailed descriptions apropos to France’s political, economical, and social circumstances during the time period of 1715-1789. Apropos to artwork, Vigée Le Brun’s, ‘La reine en gaulle’, was looked at in order to have a better understanding as to what the chemise à la reine was like and since this painting was done during the time period by the artist, it seemed appropriate to incorporate this painting as source to the essay. With regards to museums

Posters are splashy, large-format images, which are accompanied by a short text. Usually, the purposes of the posters are to agitate, advertise, inform, or teach people. Posters from World War I and World War II often used metaphors, different figures, events, and places. During the First World War propaganda posters were enormously widespread. Artists used them to agitate people to conscription, subscriptions to war loans, and aid to the wounded soldiers. One of the most important posters from World War I and World War II is “I Want You for U.S. Army” by James Mantgomery Flagg. This poster is very influential because of its figure, the message, and the effect on the people.

Imagery uses color as well that is eye catching to anybody. For instance, in a poster with a large British solider, this shows that they are powerful and should be looked up to. Below the solider are hardworking citizens which do work and this helps aid to the solider to grow. Additionally, there is another poster that states "Woman of Britain" and has a picture of a factory worker standing right under war planes. It is stating that they have the power to aid with the war by working. Overall, imagery is a necessary part of posters and propaganda to persuade an audience.

“Modes of Expression” that give way to cost-effective “mass production” systems such as “Poster Art,” so that copies of AfriCobra pieces can be available to everyone and,

(Just as a side note, I had pictures of the posters in the original paper but couldn 't transfer them to here. The first link in the bibliography has tons of WW1 propaganda posters you can use.)

The Editors of Encyclopædia Britannica. "Baroque Architecture." Encyclopædia Britannica. Encyclopædia Britannica, Inc., 23 Nov. 2015. Web. 25 Apr.

The Second Empire architecture that inspired this building reflects the popularity of the French designs during the reign of Napoleon III. As one beholds the exterior of the courthouse from top to bottom, it displays the distinctly cut angles of native limestone along with the craftsmanship of ornamental features. The building soars upward three stories, where it is topped with a clock and bell tower,

Influenced by his readings of ancient and modern architectural writings, Jefferson gleaned the best from both his readings and from his observations in Europe, creating his own personal style of architecture, a mix of Neoclassicism’s Roman temples, and Palladian villa. Partly, because of Jefferson’s influence, our federal buildings set an American precedent for the neoclassical style. Jefferson’s admiration for neoclassical style went so far as to design

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.

Leon Krier was criticised for publishing a costly monograph on Albert Speer’s architecture (1985)in which, while acknowledging the crimes of the Nazis and the man, Krier nonetheless claimed the book’s only subject and sole justification was “Classical architecture and the passion of building” (cited by Jaskot, ‘Architecture of Oppression’, 2000). Discuss this claim, the controversy and the issues (historical, philosophical and ethical and possibly others) they raise. Can architecture, Classical, Modern or otherwise, be autonomous from politics and valued independently of the circumstances of politics and history that adhere to it?

In Charles Rearick’s book, Paris Dreams, Paris Memories, he describes the various ways in which Paris is “represented” through various images he identifies as the City of Light, Old Paris, the Capital of Pleasures, and Paname. Rearick further writes how and why these images of Paris came of importance and how they shaped the geographical layout of the city we know today. All of these images together have likewise produced the city of Paris while also providing the framework of Parisian events and experiences.

The two maps that I will compare for my final project are Bernard Ratzer’s Plan of the City of New York (fl.1756-77) and Louis Bretez’s Plan de Paris started in 1734.I will focus on the stylistic differences between both maps with one being a grid map of lower Manhattan and the other 2-d bird’s eye map of Paris. I picked these two maps to examine empire and what that means in a different form of propaganda. The focus of my comparison will also be the importance of water access is to a growing city. I will also highlight the difference between the maps ideology of growth and its place in propaganda or lack thereof.

Paris today is known as a center of arts and rich culture both acclaimed and original. Famous moments pop up through the history of France’s art, such as the impressionistic artworks by Monet, the École des Beaux-Arts teachings of classicism, and the iconic Eiffel Tower by Stephen Sauvestre. Paris augments itself with numerous museums to catalog countless masterpieces and sculptures throughout France’s enduring, yet sometimes gritty, history. As a whole, Paris comprises of a mixture between historic architectural themes like rusticated brick clad, mansard roofs, striated columns, and a modern day architectural themes like engineered metalwork, and external program support machinery. The notion of classic French architecture, juxtaposed