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麻煩各位大大 謝謝謝謝謝謝 To further the promotion of the poster a number of magazines were also launched around this time, including Les Maitres de L’Affiche in France (1895), The poster in Britain (1898) and Das Plakat in Germany (1910). The spread of posters was also fuelled by private collectors and societies,... 顯示更多 麻煩各位大大 謝謝謝謝謝謝



To further the promotion of the poster a number of magazines were also launched around this time, including Les Maitres de L’Affiche in France (1895), The poster in Britain (1898) and Das Plakat in Germany (1910). The spread of posters was also fuelled by private collectors and societies, and examples began to be acquired by the print collections of major museums of the decorative arts.

The poster boom led the acerbic Austrian writer Karl Krauss to comment in 1909: “Is there life beyond the poster?” – a comment strangely prescient of postmodern debates about whether there is life beyond the media.

The date of appearance of publications dedicated to the poster reflected the respective degree of commitment of countries to innovation and development of the form. First came Japan and France in the 1870s, while Britain, Belgium and the United States followed in the 1890s. Germany, by contrast, did not gain recognition for contributing to the history of the poster until the early twentieth century, with Jugendstil designs and the Berlin poster school. The latter, a loose affiliation of poster designers who tended to work for the same art printers, Hollerbaum and Schmidt, came to be defined by a shared approach. They produced the Sachplakat – literally, “object poster” – in which a single, highly lit object was depicted in a manner that emphasized the product’s brand name. Such an approach could be used internationally, as it crossed linguistic boundaries.
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