Men are rarely aware of the real reasons which motivate their actions. -Edward Bernays
The 1920s in the United States was a decade of rapidly evolving mores and gender roles. This was reflected in a selfconsciously upward mobility in social status, made possible in part by an unprecedented economic boom that lasted until the stock market collapse in 1929. These changing attitudes and economic conditions made possible and contributed to the development of a new type of modern consumerism, with advertising devoted to the manufacture of desire, or "engineered consent," as it was called, informed by contemporaneous psychological theory, and embodied in commercial illustration from the period.
At the time of the entry of the United States into the First World War in 1917, a brilliant young Austrian-American publicist, Edward Bernays, was hired by the United States Committee on Public Information as a consultant on how to promote the idea of American participation in the war to a skeptical nation. Bernays was the nephew of the controversial Viennese psychologist, Sigmund Freud, and he would become one of the first marketers to utilize modern psychological techniques in business. As an Austrian-born, German-speaking American fluent in English, Bernays had unique insights into both the cultures of the Allies and of the Central Powers and he used this to his advantage. So important was Bernays' perceived contribution to the process that he was invited by President Wilson to accompany the American delegation at the peace conference in Versailles, France, following the war.
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Denne historien er fra Illustration No. 77-utgaven av Illustration.
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THE ART OF PAUL BRANSOM
Paul Bransom (1885-1979) was widely known as the Dean of American Animal Artists. His work appeared on the covers of magazines like The Saturday Evening Post and served as illustrations of short stories in periodicals and in books. He provided the illustrations for some 45 books, most notably the 1912 edition of Jack London’s Call of the Wild and the 1913 edition of Kenneth Grahame’s The Wind in the Willows.
THE ART OF FRANK MCCARTHY
Witnessing a Wild West show as a young boy was a crucial early influence that led Frank McCarthy to become a distinguished painter of Western historical themes. The excitement and emotion he felt that day stayed with him, and can be seen in the vivid action, color, and splendor that emanate from his paintings.
THE ART OF WARD BRACKETT
Ward Brackett (April 2, 1914–December 14, 2006) was a gifted American illustrator, known for his work in paperback books and periodicals such as Reader’s Digest and Cosmopolitan.
THE ART OF N.C. WYETH
For over 25 years, N.C. Wyeth was regarded as the foremost illustrator of books and magazines in the United States. His artwork for iconic tales of romance and adventure has become synonymous with the stories themselves, familiar to multiple generations of readers. Some of the best-known characters in literature have become nearly indistinguishable from the images he produced.
THE ART OF CHARLES LASALLE
\"We have some artists in the family.\" I didn't know it at the time, but my future father-in-law Aiden E. LaSalle was a master of understatement.
THE ART OF PRUETT CARTER
Pruett Carter was once recognized as one of America's top illustrators, during a time when illustrations were viewed primarily as easel paintings
THE ART OF RAYMOND JOHNSON
Raymond Sven (Ray) Johnson was a commercial illustrator who created iconic paperback book covers spanning all genres of fiction for Avon, Popular Library, Monarch and other publishers from the late 1940s through the early 1960s.
"Blow some my way"
THE DELINEATION OF DESIRE IN 1920s COMMERCIAL ILLUSTRATION
THE ART OF FRITZ WILLIS
Fritz Willis was born in Oklahoma in 1907, and raised in Boston.
THE ART OF WILLIAM OBERHARDT
Illustrator William Oberhardt (1882-1958) was born in Guttenberg, New Jersey, 1882.