Jules Chéret biography

Born in Paris to a poor but creative family of artisans, a lack of finances meant Jules Chéret had a very limited education. At age thirteen, he began a three-year apprenticeship with a lithographer and then his interest in painting led him to take an art course at the École Nationale de Dessin. Like most other fledgling artists, Chéret studied the techniques of various artists, past and present, by visiting Paris museums.

He was trained in lithography in London, England, from 1859 and 1866, where he was strongly influenced by the British approach to poster design and printing. On returning to France, influenced by the scenes of frivolity depicted in the works of Jean-Honoré Fragonard and other Rococo artists such as Antoine Watteau, Chéret created vivid poster ads for the cabarets, music halls, and theaters such as the Eldorado, the Olympia, the Folies Bergères, Theatre de l'Opera, the Alcazar d'Été and the Moulin Rouge. So much in demand was he, that he expanded his business to providing advertisements for the plays of touring troupes, municipal festivals, and then for beverages and liquors, perfumes, soaps, cosmetics and pharmaceutical products. Eventually he became a major advertising force, adding the railroad companies and a number of manufacturing businesses to his client list.

As his work became more popular and his large posters displaying modestly free-spirited females found a larger audience, pundits began calling him the "father of the women's liberation." Females had previously been depicted in art as prostitutes or puritans. 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 lead to 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. These 'Cherettes' were widely seen and recognised, and a writer of the time said "It is difficult to conceive of Paris without its 'Cheréts'."

In 1895, Chéret created the Maîtres de l'Affiche collection, a significant art publication of smaller sized reproductions featuring the best works of ninety-seven Parisian artists. His success inspired an industry that saw the emergence of a new generation of poster designers and painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his students was Georges de Feure.

In his old age Jules Chéret retired to the pleasant climate of the French Riviera at Nice. He died in 1932 at the age of ninety-six and was interred in the Cimetière Saint-Vincent in the Montmartre Quarter of Paris.

He was awarded the Légion d'honneur by the French Government in 1890 for his outstanding contributions to the graphic arts. Although his paintings earned him a certain respect, it was his work creating advertising posters, taken on just to pay his bills but eventually his dedication, for which he is remembered today.

In 1933 he was honored with a posthumous exhibition of his work at the prestigious Salon d'Automne in Paris. Over the years, Chéret's posters became much sought after by collectors from around the world.

Israeli graphic designer

David Tartakover (דוד טרטקובר) (born 1944) is an Israeli graphic designer, political activist, artist and design educator.

He studied at the Bezalel Academy of Art and Design, Jerusalem, and is a graduate of the London College of Printing. Since 1975, he has operated his own studio in Tel Aviv, specializing in various aspects of visual communications, with particular emphasis on culture and politics.

From 1976, Tatakover has been a senior lecturer in the Visual Communication Department of the Bezalel Academy, is a member of Alliance Graphique Internationale (AGI), has been a president of the Graphic Designers Association of Israel (GDAI), and is a laureate of the Israel Prize (2002). His work has won numerous awards and prizes and is included in the collections of museums in Europe, U.S. and Japan.

He has established a reputation for a series of politically provocative self-produced posters, some at the time of Rosh Hashanah (the Jewish new year). His compositions are driven more by content or themes than by high aesthetics.

He describes himself as "a local designer," meaning that the subjects he tackles concern Israel. He follows the mantra of Hebrew expressionist poet Avigdor Hameiri (b. Andor Feuerstein): "Freedom of opinion is not a right but a duty". Influences on Tartakover's work stem from Gustav Klutsis, John Heartfield, Alexander Rodchenko, Ben Shahn, and Andy Warhol. He claims that his mentor has been comic-book artist Bob Gill and that best work is the Hebrew-lettered "Peace Now" logo. Tatakover is one of the most prominent Israeli graphic designers; others include Franz Kraus (1905–1998), Gabriel and Maxim Shamir (1909–1992, 1910–1990), and Dan Reisinger

Vintage Poster Restoration

Poster restoration and conservation. The backing of posters with fabric dates back to 19th century France, where posters were occasionally glued to linen for reinforcement. This provided some protection, but with the passage of time the paper continued to become brittle and was frequently torn by stress. Modern backing techniques have eliminated this problem by using an acid free paper between the poster and the fabric. The adhesive used is wheat paste treated to inhibit mold growth.

Why fabric-back a poster? The principal reason is to provide support for the paper. It also enables the conservator to flatten the folds and to more easily make repairs. Fabric backing also eliminates the waviness that can occur when the poster is framed.

Reversibility is a concept that is important in all conservation work, because today's curators and collectors are only temporary custodians of a cultural object (the poster) that will have continuing and timeless interest for future collectors. We strive to make certain that materials and techniques that are applied to the poster are not harmful over time and are reversible to bring it back to the state in which we found it.

Restoration can dramatically improve the appearance of a poster. Damage caused by clear adhesive tape, residual stains, water marks and dirt can be easily repaired; combining this with the replacement of lost paper can bring the poster back to virtually its original state.

Propaganda and political posters

During the First and Second World Wars, recruiting posters became extremely common, and many of them have persisted in the national consciousness, such as the "Lord Kitchener Wants You" posters from the United Kingdom, the "Uncle Sam wants you" posters from the United States, or the "Loose Lips Sink Ships" posters that warned of foreign spies. Posters during wartime were also used for propaganda purposes, persuasion, and motivation, such as the famous Rosie the Riveter posters which exhorted women workers during World War II that "We can do it!". The Soviet Union also produced a plethora of propaganda posters, some of which became iconic representations of the Great Patriotic War. During the democratic revolutions of 1989 in Central and Eastern Europe the poster was very important weapon in the hand of the opposition. Brave printed and hand-made political posters appeared on the Berlin Wall, on the statue of St. Wenseslas in Prague and around the unmarked grave of Imre Nagy in Budapest and the role of them was indispensable for the democratic change. A recent example of an influential political poster is Shepard Fairey's Barack Obama "HOPE" poster.