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Don't Let that Shadow Touch Them is a U.S. War Bond poster created by Lawrence Beall Smith in 1942, [1] created in support of the U.S. war effort upon America's entry into World War II. [2] It features three young children, apprehensive and fearful, as they are enveloped by the large, dark arm of a swastika shadow. [ 3 ]
Rockwell's emblematic Rosie the Riveter painting was loaned by the Post to the U.S. Treasury Department for use in posters and campaigns promoting war bonds. Following the war, the Rockwell painting gradually sank from public memory because it was copyrighted; all of Rockwell's paintings were vigorously defended by his estate after his death.
An American propaganda poster promoting war bonds, depicting Uncle Sam leading the United States Armed Forces into battle. During American involvement in World War II (1941–45), propaganda was used to increase support for the war and commitment to an Allied victory.
"Women of Britain Say 'Go!' " is a British World War I recruitment propaganda poster created in 1915. It depicts two women and a young boy looking out of an open window at soldiers marching past. Across the top of the poster is the text: "Women of Britain Say 'Go! '". The poster was designed by artist E. J. Kealey and published by the ...
Nominating this pair of posters as a set. High resolution Canadian war bond lithographs in French and English that depict three French women pulling a plow that had been built for horses and men. Restored versions of File:Canada WWI l'Emprunt de la Victoire.jpg and File:Canada WWI Victory Bonds.jpg. Articles this image appears in
In addition to appearing in the posters, Stewart toured the U.S. as one of the four members of a group called the Bondbardiers, accompanied by various Hollywood stars, to sell war bonds. In 1945, she toured Europe and was one of the first civilians to enter Germany after the end of the war. Her appearance in London's Hyde Park "caused gridlock ...
One of the most photographed women of the 20th century, Bond girl Britt Ekland first became a famous face after 1971's 'Get Carter.'
It represented victory in the war, and victory over Jim Crow laws, and racial oppression. [17] This rhetoric was not without its critics. It represented a disruption of the status quo. Black propaganda was a means to ensure black rights. [18] The propaganda helped black people feel that they were a valued part of the United States.