What factors lead to the rise of the pictorial poster

1973 Words Jan 9th, 2014 8 Pages
What factors lead to the rise of the pictorial poster?

When looking at what factors lead to the rise of the pictorial poster, it is clear to see that the majority of them occurred in late nineteenth century Paris and that perhaps one man, Jules Chéret, can be thanked for exploiting and mastering the techniques which made these posters reach the levels of respect previously reserved for the fine arts. As well as Jules Chéret and his mastery of lithography I will be exploring the influence of Japan and their printing techniques upon Toulouse Lautrec as well as Baron Georges-Eugene Haussmann’s renovation of Paris during its Second empire, the impacts of the rising middle class, and the effects that tax had upon the walls of Paris.
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However, this image is missing the simplicity of the previous poster and the skill in which Chéret prints La Loi fuller’s dress in movement cannot be overlooked, it is what carries the whole poster with ease. As stated by Jane Abdy in ‘The French Poster’ what makes a great Chéret is “the personification of gaiety in his posters …. the laughing, twirling, sparkling girl whom he uses as a model; the Parisians adored her , and called her ‘La Cherette’ (abdy, 1969, p.31)

In ‘Les affiches illustr’ees’ Maindron – a section from “The French Poster” by Jane Abdy, Ernest Maindron talks about that when posters were very successful, it was often reproduced in a small version so that collectors could have them. A daily newspaper ‘Le courriere francias’ made special printings of Chéret posters in a convenient size (22”x14”) as presents to their subscribers” (Abdy, 1969, p.171)
However, the size of posters not only affected legibility and who could own them, it also affected the amount of tax placed upon them. All posters which were to be placed in the streets would be subjected to a government tax. “This was varied according to size; the rate was 6 centimes for the ¼ colombier, 12 centimes for the ½ colombier, 18 for the jesus and the colombier and 24 centimes for all large posters.” (Abdy, 1969, p.171) when this levy was paid, the poster was stamped and approved to be hung in the streets.

Figure 3
Hiroshige
Plum estate, Kamedio.