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The women of Chéret's posters, joyous, elegant and lively—'Cherettes', as they were popularly called—were neither. It was freeing for the women of Paris, and heralded a noticeably more open atmosphere in Paris where women were able to engage in formerly taboo activities, such as wearing low-cut bodices and smoking in public.
The rival of Scriber's was the Chapbook, which hired Will H. Bradley to design a poster in 1894 to celebrate Thanksgiving. This poster, called The Twins, with its two-dimensional format, similar to Japanese prints, and bold sinuous lines, is considered the first American Art Nouveau poster. [10]
Another focus was feminist design history. In 1986, she co-edited Women Working in Design, A Resource Book with Tag Gronberg. In 1989, she wrote the chapter "FORM/female FOLLOWS FUNCTION/male: Feminist Critiques of Design", which Lees-Maffei describes as "an extremely influential follow-up" to a 1986 article by Cheryl Buckley.
For most Americans, Rosie the Riveter, the arm-flexing female factory worker in a World War II wartime poster, is a symbol of American strength and resiliency during one of history's darkest periods.
The poster was an art to advocate for the inclusion of women workers in factories and showed them as skilled workers vital for the Soviet Union's industrial development. In addition, it was a propaganda art in favour of the regime of Joseph Stalin, the first secretary general of the communist party of the Soviet Union. [5]
The subjects of posters were almost always women, whose long, curling hair became a central element of the design, often combined with flowers and vegetal designs. [ 17 ] Paris in the 1890s was covered with colorful Art Nouveau posters selling bicycles, beverages, medicines, voyages to the South of France, all with the same spirit of movement ...
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