American posters of the Great War

    During the Great War, the United States published more than 20 million posters, more than all those produced by the allies.

    From the sinking of Lusitania in May 1915, a propaganda appealed to the volunteers to stop the German danger while the government tried to train executives (officers?) for the Army.

    From the declaration of war of the United States to Germany (April 6, 1917), the edition of posters in the way of the mobilization develops (Selective Service Act for the men of 20 to 31 years). The more famous is that of James Montgomery Flagg, showing Uncle Sam pointing his finger and saying “I Want You”, initiates a realistic and incisive style.

    The many American artists and illustrators, through the most varied themes, have rivaled by the colors and the simplification of the message in favor of an unprecedented patriotic mobilization: economic effort, military engagement, aid to the allies, war loans.

    On November 11, 1918, 2 million doughboys (nickname given to the American soldiers) were in Europe.

    The United States military assistance provided allies with comfort and real help. At the end of the conflict, they are one of the great powers of the world, recognized both economically and financially, as well as military and in international affairs.

    Anonymous (1917). One of the first war posters to be published in the USA. The Spirit of 1917 evokes the declaration of war on Germany of 6th April 1917, the participation of the Americans in the Battle of Cambrai (21 November 1917) and the standing of the Marine corps within the US armed forces. Côte 4 AFF9_5
    Anonymous (1917). One of the first war posters to be published in the USA. The Spirit of 1917 evokes the declaration of war on Germany of 6th April 1917, the participation of the Americans in the Battle of Cambrai (21 November 1917) and the standing of the Marine corps within the US armed forces. Côte 4 AFF9_5
    FLAGG James Montgomery (1918). The front page of the newspaper which has been flung to the ground reads “Huns kill women and children,” referencing the atrocities committed by the Germans in Belgium. A poem published in the New York Herald used this as a rallying cry for Americans to sign up to the Marines and liberate the occupied territories. Côte 4 AFF13_5
    FLAGG James Montgomery (1918). The front page of the newspaper which has been flung to the ground reads “Huns kill women and children,” referencing the atrocities committed by the Germans in Belgium. A poem published in the New York Herald used this as a rallying cry for Americans to sign up to the Marines and liberate the occupied territories. Côte 4 AFF13_5
    BULL Charles Livingston (1918). War Savings poster 1918. The American Eagle is shown protecting and urging on a squadron of American aeroplanes, which by this time were not only engaging in aerial combat, but were also being used to bomb enemy territory. Côte 4 AFF70_5
    BULL Charles Livingston (1918). War Savings poster 1918. The American Eagle is shown protecting and urging on a squadron of American aeroplanes, which by this time were not only engaging in aerial combat, but were also being used to bomb enemy territory. Côte 4 AFF70_5
    PORTEOUS R. H. (1917). Behind the American flag, scenes of fighting on land and at sea remind us of the violence of the conflict. In 1917, the American government launched its second issue of war bonds with the reassuring, emotive figure of a “grandma” urging citizens to buy them in the name of liberty. The “home front” (i.e. the civilian population) was immediately called into action in the economic war. Côte 4 AFF10_5
    PORTEOUS R. H. (1917). Behind the American flag, scenes of fighting on land and at sea remind us of the violence of the conflict. In 1917, the American government launched its second issue of war bonds with the reassuring, emotive figure of a “grandma” urging citizens to buy them in the name of liberty. The “home front” (i.e. the civilian population) was immediately called into action in the economic war. Côte 4 AFF10_5
    MACAULEY G. R. (1917). The Statue of Liberty featured on numerous posters advertising liberty bonds. Here lady liberty is shown brandishing her torch while pointing directly at the reader and urging them to buy government bonds “lest I perish.” This technique of directly appealing to the viewer had already been used by a number of poster artists from several of the warring parties. Côte 4 AFF14_5
    MACAULEY G. R. (1917). The Statue of Liberty featured on numerous posters advertising liberty bonds. Here lady liberty is shown brandishing her torch while pointing directly at the reader and urging them to buy government bonds “lest I perish.” This technique of directly appealing to the viewer had already been used by a number of poster artists from several of the warring parties. Côte 4 AFF14_5
    HERTER Albert (1918). The Young Men’s Christian Association (Y.M.C.A.), a Protestant charitable association founded in 1884, provided moral support to American soldiers stationed in France. Some 2000 YMCA centres were established in France, providing spaces for soldiers to rest, eat and enjoy themselves. Côte 4 AFF45_5
    HERTER Albert (1918). The Young Men’s Christian Association (Y.M.C.A.), a Protestant charitable association founded in 1884, provided moral support to American soldiers stationed in France. Some 2000 YMCA centres were established in France, providing spaces for soldiers to rest, eat and enjoy themselves. Côte 4 AFF45_5
    NORTON John (1918). The imagery employed in this poster is as blunt as its slogan: “Keep these off the USA.” Boots bearing the German imperial eagle motif are shown steeped in blood, a reference to the atrocities of 1914 and the stereotype of the barbarian Hun, much used by the Allies to denigrate the enemy. Buying war bonds was thus presented as a means of staving off a potential German invasion of the USA. Côte 4 AFF11_5
    NORTON John (1918). The imagery employed in this poster is as blunt as its slogan: “Keep these off the USA.” Boots bearing the German imperial eagle motif are shown steeped in blood, a reference to the atrocities of 1914 and the stereotype of the barbarian Hun, much used by the Allies to denigrate the enemy. Buying war bonds was thus presented as a means of staving off a potential German invasion of the USA. Côte 4 AFF11_5
    GROESBECK Dan Sayre (1917). Uncle Sam, a symbol of the United States since 1812, was used in conjunction with the slogan “We Want You” as part of recruitment drives during both world wars. Here he urges Americans to invest in the second issue of liberty bonds: America’s freedom, as well as the lives of its soldiers, depends on the financial support of its civilian population. Côte 4 AFF12_5
    GROESBECK Dan Sayre (1917). Uncle Sam, a symbol of the United States since 1812, was used in conjunction with the slogan “We Want You” as part of recruitment drives during both world wars. Here he urges Americans to invest in the second issue of liberty bonds: America’s freedom, as well as the lives of its soldiers, depends on the financial support of its civilian population. Côte 4 AFF12_5
    COFFIN William Haskall (1918). The symbolic figure of Joan of Arc was frequently used in posters: this feminine emblem of heroic devotion is here employed to appeal to American women to contribute to the war effort. The maid’s sword, once raised in defence of France, is here brandished to save America and its armies. Côte 4 AFF16_5
    COFFIN William Haskall (1918). The symbolic figure of Joan of Arc was frequently used in posters: this feminine emblem of heroic devotion is here employed to appeal to American women to contribute to the war effort. The maid’s sword, once raised in defence of France, is here brandished to save America and its armies. Côte 4 AFF16_5
    TREIDLER Adolph (1918). An American soldier uses his penknife to carve another notch into the butt of his rifle, immortalising his involvement in a recent battle, the Battle of Château-Thierry (Aisne; 18-21 July 1918), one of the first major victories achieved by American Expeditionary Force (A.E.F.), commanded by General Pershing. Côte 4 AFF44_5
    TREIDLER Adolph (1918). An American soldier uses his penknife to carve another notch into the butt of his rifle, immortalising his involvement in a recent battle, the Battle of Château-Thierry (Aisne; 18-21 July 1918), one of the first major victories achieved by American Expeditionary Force (A.E.F.), commanded by General Pershing. Côte 4 AFF44_5
    PENNEL Joseph (1918). This apocalyptic image shows New York in flames, as if under enemy attack. It is the first iconographic evocation of the destructive power of aerial bombardments. Côte 4 AFF65_5
    PENNEL Joseph (1918). This apocalyptic image shows New York in flames, as if under enemy attack. It is the first iconographic evocation of the destructive power of aerial bombardments. Côte 4 AFF65_5
    CHRISTY Howard Chandler (1918). The US navy was kept very busy during the war, as an indispensable link in the supply chain delivering men and arms to the front line in France. An allegorical figure representing America here urges the reader to buy war bonds, in order to “clear the way” to the Allies. Côte 4 AFF75_5
    CHRISTY Howard Chandler (1918). The US navy was kept very busy during the war, as an indispensable link in the supply chain delivering men and arms to the front line in France. An allegorical figure representing America here urges the reader to buy war bonds, in order to “clear the way” to the Allies. Côte 4 AFF75_5
    ORR Alfred-Everitt (1919 ?). Making a financial contribution by buying war bonds is here celebrated as a means of hastening a victorious end to the war. A soldier returns to his family – triumphant and bedecked with medals, of course. An enemy helmet kept as a trophy makes clear the superiority of the American soldier over his German foes. Côte 4 AFF79_5
    ORR Alfred-Everitt (1919 ?). Making a financial contribution by buying war bonds is here celebrated as a means of hastening a victorious end to the war. A soldier returns to his family – triumphant and bedecked with medals, of course. An enemy helmet kept as a trophy makes clear the superiority of the American soldier over his German foes. Côte 4 AFF79_5
    CHRISTY Howard Chandler (1919). Published in 1919, this allegorical representation of the United States pays homage to the American servicemen who sacrificed their lives. The names listed are of various origins, honouring the immigrants who fought in the war. The aim is to inspire unity through shared patriotism (and a shared financial investment) among people whose countries of birth may have been on the other side fighting against America. Côte 4 AFF87_5
    CHRISTY Howard Chandler (1919). Published in 1919, this allegorical representation of the United States pays homage to the American servicemen who sacrificed their lives. The names listed are of various origins, honouring the immigrants who fought in the war. The aim is to inspire unity through shared patriotism (and a shared financial investment) among people whose countries of birth may have been on the other side fighting against America. Côte 4 AFF87_5
    STOOPS (1925). The American branch of the Interallied Federation of War Veterans Organisations here borrows an existing poster to encourage donations to help those wounded during the war. It includes a quotation from the famous poem ‘In Flanders Fields’ by John Mc Crae, a Canadian military medic. The poppy was designated the official flower of remembrance by the British government in 1921. Côte 4 AFF82_5
    STOOPS (1925). The American branch of the Interallied Federation of War Veterans Organisations here borrows an existing poster to encourage donations to help those wounded during the war. It includes a quotation from the famous poem ‘In Flanders Fields’ by John Mc Crae, a Canadian military medic. The poppy was designated the official flower of remembrance by the British government in 1921. Côte 4 AFF82_5