Provider: - Institution: Dr. Fr.R. Kreutzwaldi Memoriaalmuuseum - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative ...Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: Saaremaa Muuseum SA - Data provided by Europeana Collections- sündmuse kommentaar: Saaremaa 5. Merenädal 31.07-08.08.2015- All metadata published by Europeana are available ...free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Wydawnictwo towarzyszące wystawie plakatów Marka Osmana "Niezmienne stany świadomości" w Galerii Biblioteki Uniwersyteckiej w ...Kielcach w dniach 13 grudnia 2021 - 4 lutego 2022- 43, 1 s. : il.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
An examination of visual and discursive connections between Expressionist art and commercial posters to show the equal importance of the aesthetic, utilitarian, and commercial in German modernism.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: Eesti Kunstimuuseum SA - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 ...Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: Saaremaa Muuseum SA - Data provided by Europeana Collections- sündmuse kommentaar: Saaremaa Merenädal 1.-9.08.2014- All metadata published by Europeana are available free of ...restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
The First World War was waged through the participation not just of soldiers but of men, women, and children on the home front. Mass-produced, full-color, large-format war posters were both a sign ...and an instrument of this historic shift in warfare. War posters celebrated, in both their form and content, the modernity of the conflict. They also reached an enormous international audience through their prominent display and continual reproduction in pamphlets and magazines in every combatant nation, uniting diverse populations as viewers of the same image and bringing them closer, in an imaginary and powerful way, to the war.
Most war posters were aimed particularly at civilian populations. Posters nationalized, mobilized, and modernized those populations, thereby influencing how they viewed themselves and their activities. The home-front life-factory work, agricultural work, domestic work, the consumption and conservation of goods, as well as various forms of leisure-became, through the viewing of posters, emblematic of national identity and of each citizen's place within the collective effort to win the war.
Essays by Jay Winter, Jeffrey T. Schnapp, Jennifer D. Keene, and others reveal the centrality of visual media, particularly the poster, within the specific national contexts of Britain, France, Germany, Russia, and the United States during World War I. Ultimately, posters were not merely representations of popular understanding of the war, but instruments influencing the reach, meaning, and memory of the war in subtle and pervasive ways.
