Saturday, August 3, 2013

The Circus Poster & P.T. Barnum's Genius



My father was a clown. No, I’m not saying he was just funny –– he really was a clown. A member of the Clowns of America, there are pictures tucked away in my basement of him clowning with Washington dignitaries: George Bush senior, George McGovern, and Walter Cronkite just to name a few (see end). Circus posters were a big part of his studio that included props and puppets of all kinds. No wonder my love for Barnum and Bailey Circus paraphernalia continues to this day.



Behind all of those beautiful lithographic posters he collected was the genius of P.T. Barnum. If one can view American literature starting with Mark Twain (and Huckleberry Finn) then it could also be argued that American advertising starts with P.T. Barnum’s extravagant promotions.


Looking at some of these outrageous Victorian circus posters, I think we can all agree that Barnum was the Shakespeare of early advertising. His slogans and imagery are still capturing the attention of modern consumers in our current media. Whether on the Internet, junk mail, radio or magazines –– the spirit of P.T. Barnum still exists.



Barnum understood that to publicize an event a little story was needed to get the public convincingly under the big top. And that story was all Barnum. He well understood it was what you said about an event that made it valuable. The "word's most terrifying living creature!" (below) or "The strongest woman that ever lived!" (above). These are all part of the masterful deceptions brought forward for the first time in American advertising by Barnum.



Out of the circus came the sideshow and this sideshow was where Barnum blossomed.
In 1841 he purchased a five-story factory on Broadway just north of the battery in New York. Here he crafted his stories for the selling of oddities from the strange to questionable. The sophisticated Victorian consumer of New York bought into it big. Barnum’s rhinoceros was advertised as a "unicorn" and the “Beaumouth of the Scriptures” was the first hippopotamus seen in the States. The public ate it up.



The posters here demonstrate how Barnum & Bailey left us with a legacy of colorful phrases that still are major part of commercial advertising. If you use the word "jumbo" to describe size, you can thank Barnum’s genius behind his "Jumbo" the elephant. 


If you’ve seen enough late-night television commercials you've heard the catch phrases the he created:

We are closing our doors forever!

Don’t miss this once-in-a-lifetime opportunity!

All items must go!


These are the masterful deceptions of P.T. Barnum which eventually branched out overseas with his Greatest Show on Earth (below).



How did it all start? As a young man Barnum clerked in the local merchandise store in the small town of Bethel Connecticut. It was here that he discovered his best success –– lottery tickets. As Barnum stated, “you don’t sell the ticket, you sell the dream.” His lottery business became the largest supplier of lottery sales in New England. 


The traveling circus at the turn of the 20th century was an anticipated event across all of America, and the Barnum & Bailey circus parade was big. So big that towns closed their schools and businesses declaring a local holiday to celebrate their arrival. More to come on these fantastic shows, and how posters announcing these enormous events played a big part in their success.

Dad (left) with Walter Cronkite at the Circus Saints & Sinners Club

Tuesday, April 16, 2013

Toulouse-Lautrec and Jules Cheret. Who's the true master of the early poster?




It's the late 19 Century and poster art was in early stages of development through the art Nouveau or "new art" movement in Paris. With the help of Jules Cheret and Henri de Toulouse-Lautrec the poster became the most popular form of mass advertising. Cheret began drawing his pictures directly on to the lithographic stone right after the mechanical presses were invented. It was the first time in history that these images could be produced so abundantly and cheaply that their posters populated streets corners of Paris on every available surface.

 
Lautrec dresses up as an alter boy for friends wedding.


For Henri de Toulouse-Lautrec the timing of this lithographic mecca couldn’t have been more perfect. Often known for dressing up in outrageous outfits, Henry’s reasons for preferring to use the medium was obvious. What better to attract the attention of the public’s eye? The poster was that perfect–in your face medium–that accomplished these goals.



History books have often overlooked Jules Cheret's contribution to the development of the early lithographic poster. Oddly enough, he had been given the first commission for the Moulin Rouge when it opened in 1889, but his pretty approach with circus riders on donkeys was not a successful brand for the nightclub–somewhat invested in the acceptable debauchery at the time. While Henry has gone on record as an admirer of Cheret’s efforts, only a few months later it was Cheret who would proclaim, “Lautrec is a master!”



Graphic design art historian Phillip Meggs raised an important question on how we might have overlooked Lautec’s contemporaries and their contributions in his article Toulouse Latrec: Superb but Not Alone. He asks the question- ”Was Henri Toulouse-Lautrec the guru of the modern poster as some art history books would have us believe? Or was he the quick sketch artist storming into the print shop with a hangover and using his brilliant gifts as a draftsman to bang out posters?” - AIGA Journal of Graphic Design Vol.4, No. 2, 1986.

So who really is the master of the first advertising poster? More to come. We're not done yet!