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propaganda

In the Galleries: Dogs played major role in the First World War

March 25, 2014 - Gabrielle Inhofe

Propaganda poster from World War I.
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During the First World War, dogs attached to the Medical Corps and the Red Cross lived up to the title “Man’s Best Friend” by helping to rescue soldiers.

Medical Corps dogs were trained to enter No Man’s Land (an unoccupied zone between the trench systems of the Allied and Central Powers) at night and locate fallen soldiers.  These dogs could recognize the scent of blood, check for a man’s breath, and–if the soldier were alive–deliver his hat to a Medical Corps officer.  (The hat’s insignia was an important identification method for the officer.)  Stretcher-bearers were then dispatched to rescue the soldier at daybreak.

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Filed Under: Art, Exhibitions + Events Tagged With: Exhibitions, posters, propaganda, The World at War 1914-1918, World War I, WWI

World War I-era Russian propaganda posters portray food as evil

March 4, 2014 - Alyse Camus

Wilhelm's Menu. A four-panel cartoon depicting the Kaiser being defeated at breakfast, lunch, and dinner before being forced to sit in defeat.

Food was in high demand during the First World War, especially in Russia. The food shortages were so constant that they were ultimately one of the factors that helped to incite the revolutions of 1917. Although seemingly minor compared to the famine Eastern Europe would later experience under Stalin, food shortages were instrumental in harvesting a deep resentment toward the tsar and general war weariness.

For everyday citizens, getting food in cities was a full-time job. It required spending long hours in line only to be rewarded with slim rations—and sometimes nothing at all. It would make sense to assume that all the food was going to soldiers at the front. However, by 1915, only a year into the war, the Russian Army was also suffering from the food shortage.

The Russian economy simply wasn’t equipped both to fight a war and feed its citizens. Young men left the countryside in droves after being conscripted into the army, severely cutting the available labor force and slowing agricultural production. Inflation as a result of the war then made it impossible for the remaining farmers to make a profit on their goods. No one could afford to grow food, and few could afford to buy enough of it. Food then became a prominent subject in Russian propaganda.

The Harry Ransom Center is home to the diverse collection of Kuharet’s Russian World War I posters. A surprising number of these prints pertain to food: specifically food that has been personified as evil. Even the act of eating food is portrayed as unpleasant—something that would likely have been incomprehensible to the starving nation.

Staples such as onions and potatoes morph into crude caricatures of Franz Josef, Wilhelm, and his sons, insisting that the evil of the Germans could only have grown in the garden of the devil himself. Another poster titled “Wilhelm’s Menu” replaces the expected food on the menu with violent actions against Wilhelm: showing him drowning, beaten, and left broken and alone. Posters such as these served to create negative connotations between food and eating.

Food was also strangely tied to nationalism, specifically in a series of posters titled “European Cuisine.” In this set, countries involved in the war are all personified as food: Germany and Austro-Hungary are both portrayed as conniving sausages, while Russia is equated to a hearty bowl of kasha (the Russian equivalent of porridge). While the sausages try in vain to consume the other “countries,” the kasha spills forth to overtake them. This poster is on view in the Ransom Center’s current exhibition The World at War, 1914–1918. The Russian kasha is made up of figures of soldiers—the only human characters on the poster. Even in posters real Russian food was lacking.

Food and the experience of eating were both portrayed as dangerous, violent, and unpleasant in a futile effort to make the starving Russian population forget the normalcy associated with these actions.

The Ransom Center’s collection of World War I-era propaganda posters have been digitized as part of the digital collections.

Please click the thumbnails below to view full-size images.

European Cuisine is the first poster in the series that details the start of the war between the German and Austrian sausages and the Russian porridge and the concerns of the other foods (countries).
European Cuisine is the first poster in the series that details the start of the war between the German and Austrian sausages and the Russian porridge and the concerns of the other foods (countries).
European Cuisine (Second Course). The second poster in the series illustrates the definitive victory of the Russian porridge over the Austrian sausages with the support of the English beefsteak and an American eagle.
European Cuisine (Second Course). The second poster in the series illustrates the definitive victory of the Russian porridge over the Austrian sausages with the support of the English beefsteak and an American eagle.
How the Devil grew his garden. A poster showing the Kaiser and his sons growing out of various vegetables.
How the Devil grew his garden. A poster showing the Kaiser and his sons growing out of various vegetables.
Wilhelm's Menu. A four-panel cartoon depicting the Kaiser being defeated at breakfast, lunch, and dinner before being forced to sit in defeat.
Wilhelm’s Menu. A four-panel cartoon depicting the Kaiser being defeated at breakfast, lunch, and dinner before being forced to sit in defeat.

Filed Under: Art, Exhibitions + Events Tagged With: First World War, food propaganda posters, Kuharet, propaganda, Russian propaganda posters, World War I, WWI

In the Galleries: Gordon Conway “Vanity Fair” cover illustration highlights shifting gender roles in World War I

February 16, 2014 - Gabrielle Inhofe

Gordon Conway "Red Cross Girl" illustration for "Vanity Fair," 1918

World War I played a crucial part in the transformation of gender roles.  As men left for the battlefields, women took on traditionally male occupations at home.  Buoyed by this experience and a new sense of confidence, these women started demanding more rights and independence.

These shifting roles were mirrored by new fashions, such as the flapper attire, which was ushered in by the rebellion of the post-war Jazz Age.  Style magazines like Vanity Fair captured these trends on its covers.

Gordon Conway, a Texas-born fashion designer and illustrator, was famous for her drawings of these sophisticated and independent “New Women.”  Conway launched her career at Vogue and Vanity Fair, and she was so talented that she was soon working for other publications, as well as a host of different advertising clients.  Throughout her career, she did costume design, magazine art, and poster art for film, cabaret, and theater, working in New York, London, and Paris.  She was remarkable not only for her artistic talent, but also for her ability to influence women’s desires for more cultural, sexual, and legal freedoms.

A Conway cover illustration for Vanity Fair is currently on display in the Ransom Center’s exhibition The World at War, 1914-1918.  The illustration features a stylish, svelte nurse with an Afghan hound.  Although the illustration was rejected for publication, it was later used by the Red Cross as a recruitment poster.

The Ransom Center’s Conway collection includes original art; photographs of family, friends and productions; and diaries, costumes, personal effects, datebooks, and numerous scrapbooks.

The World at War, 1914-1918 runs through August 3, 2014.

Image: Gordon Conway “Red Cross Girl” illustration for Vanity Fair, 1918.

Filed Under: Art, Exhibitions + Events Tagged With: exhibition, Gordon Conway, posters, propaganda, The World at War 1914-1918, World War I, WWI

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