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I find it ironic how advertising can be considered art, but when one takes the time to analyze the messages being conveyed, it is much easier to see deeper meaning and symbolism. Advertising with posters is meant to make consumers associate products with visual images, therefore reminding them of the product anytime that image comes into conversation or in one’s thoughts. Pretty sneaky if you ask me – but it works. How many people can associate a cartoon tiger with sugary corn flake cereal, o a white marshmallow looking man with reliable tires? Those are just a couple examples of the many images throw into our faces in today’s advertising world. And don’t think that was any different at the turn of the 20th century. In fact, that is when utilization of posters with images became the new method of advertising.

Mark Henshaw and his intern, Simeran Maxwell, published Birth of the Modern Poster discussing the techniques and artwork used to advertising. Jules Chéret mastered techniques and figurative forms in his art and earned the title, “the ‘father’ of the modern poster.” He made his first black and white designs during the mid-1850s and four years later he used lithography to add colors. These techniques have given us the types of posters we see around the globe today.

Chéret painted advertisements for many publishers, hat makers, entertainers, and other advertisers. But the most noticeable aspect of his works is that he uses very few figures throughout his portfolio. The most common figure used is “a pretty, blond, rosebud-lipped young woman whose association with the product she advertises is…tenuous at beset,” (28). Because he used such common figures in his works, it was easy for consumers to identify Chéret as the artist, but perhaps it made the products sort of run together because the same figures were used. This is why each poster he made had bold and flamboyant print as well, to distinguish the advertisements. Chéret uses a lot of yellow therefore catching the consumers and viewers’ eyes. Also, his use of women furthers the idea that sex sells, which we find so often in our society today. Obviously, not much has changed in the last 150 years…

Chéret had a long and successful career, Henshaw and Maxwell note that he made over 1000 posters, some painted for the opening of the famous Moulin Rouge and for the Folies Bergère. If you don’t know much about these venues, imagine them as today’s Las Vegas shows or Broadway musicals with maximized glitz and glamour, but only in mid-nineteenth century Paris. The advertisements for these shows and facilities were huge to accomplish because those accounts in advertising were on the rise at the time. The posters had to represent the performances while making potential audience members want to pay to attend. Some of Chéret’s most coveted works are of such performances by dancer Loïe Fuller. Fuller had Chéret match each poster’s colors for each performance’s lighting and costumes – talk about really connecting the advertising to the venue. Using the colors and figures in his posters only furthered his contributions to advertising. These techniques revolutionized the idea of the association principle; it also triggers previous audience members and consumers to tell potential viewers of those connections when the posters are seen in public.

Chéret’s works changed the world of advertising with the use of color and the association principle of certain figures to translate into a good time. His efforts can still be seen in today’s advertising, and one doesn’t even have to look very hard for influences. His painted posters also revolutionized the performing arts industry because they were used as advertisements. Without Chéret’s art, advertising might not be as bright or forward and appealing as it is today. It had to start somewhere.