Anonymous
Anonymous asked in 社會與文化語言 · 1 decade ago

[英文] 求 英翻中

3QQ

From the 1870s a proliferation of illustrated posters could be seen in the streets of major towns and cities in Europe and North America, announcing theatrical performances and musicals, branded foodstuffs, new forms of travel, domestic goods and clothing. In response to the welter of styles on display, designers associated with the fine arts or in association with the Arts and Crafts reform movement developed new styles of “artistic” poster, in the hope that these would stand out from the rest. In France there was a close association between painters and poster art, whereas in the Netherlands, Germany and Belgium it was more often designers and architects who turned to poster design, seeking to instill values of good taste and appropriateness of form and typography.

As early as 1881 the Magazine of Art suggested that visitors to the cities could witness “the street as art galleries”. By implication, posters became a means to disseminate visual ideas to those unfamiliar with the art gallery. This idea would remain for decades a leitmotif in commentaries on graphic art and design, and often provided and incentive to improve the quality of designs.

However, not everyone was so enthusiastic about the spread of printed images across the town and countryside. In London in the 1890s, for example, the Society for Checking the Abuse of Public Advertising met to monitor issues of artistic style and the location of posters. They held the view that these modes of persuasion were too forceful, and that outdoor advertisements presented a form of visual pollution. In many French and German cities this problem was addressed by using poster columns to encourage and orderly and artistic display.

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  • 1 decade ago
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    從19 世紀70 年代被說明的海報的擴散能看在主要鎮街道並且城市在歐洲和北美洲, 宣佈戲劇性表現和音樂會, 烙記了糧食、旅行的新形式, 國內物品和穿衣。以回應樣式welter 在顯示, 設計師與藝術交往或與藝術和工藝有關係改革開發了"藝術性的" 海報新樣式, 希望這些會站立從休息。在法國有一個接近的協會在畫家和海報藝術之間, 但是在這經常是設計師和建築師轉動對海報設計, 尋求逐漸灌輸好口味的形式和印刷術的價值和妥帖的荷蘭、德國和比利時。

    儘早1881 藝術雜誌建議, 訪客對城市能目擊"街道當美術畫廊" 。含蓄地, 海報成為了手段傳播視覺想法對那些不熟悉與美術畫廊。這個想法會依然是數十年leitmotif 在評論在形象藝術和設計, 和經常提供和刺激改進設計的質量。

    但是, 不是大家對列印的圖像傳播是很熱心的橫跨鎮和鄉下。在倫敦在19 世紀90 年代, 例如, 社會為檢查惡習公眾做廣告見面監測藝術風格和海報的地點的問題。他們持有觀點, 說服這些方式是太強有力的, 並且室外廣告提出了視覺汙染的形式。在許多法國和德國城市這個問題由使用論及了海報專欄鼓勵和井然和藝術性的顯示。

    希望能幫到你的忙喔

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  • 情人
    Lv 6
    1 decade ago

    從19世紀70年代擴散的海報,說明可以看出,在街道上的主要城鎮和城市,在歐洲和北美,宣布戲劇表演和音樂劇,品牌食品,新形式的旅遊,國內商品和衣物等。為了應對複雜的風格展示,設計師與美術或與藝術和手工藝的改革運動發展了新的作風, "藝術"的海報,希望這些會站出來,從休息。在法國有密切關聯畫家及海報藝術,而在荷蘭,德國和比利時是更經常的設計師和建築師,他們轉而海報設計,設法灌輸價值觀念的良好品味和適宜的形式和印刷術。

    早在1881年該雜誌的藝術建議遊客到城市,可以見證"街頭藝術畫廊" 。言下之意,海報成了一種手段,以視覺傳播理念,以那些不熟悉的藝術畫廊。這個想法仍然是幾十年的一個主題,在評論上的版畫藝術與設計,並經常提供和獎勵,以提高國民素質的設計。

    然而,並不是每個人都那麼熱衷於傳播,印刷圖像整個城市及郊區。在倫敦,在19世紀90年代,舉例來說,社會為遏制濫用公共廣告會見了以監察事項的藝術風格及位置張貼宣傳海報。他們認為,這些方式的勸導太有力的,而且戶外廣告,介紹一種形式的視覺污染。在許多法語和德語城市是造成這一問題的解決,利用海報欄,以鼓勵和有序和藝術匯演。

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  • 1 decade ago

    求強制移除,感謝管理員。

    求強制移除,感謝管理員。

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