|Title||Die Neue Kriegsanleihe muss Erfolgriech sein [The New War Loan Must be Successful]|
|Collection||Imperial War Museum: Posters of Conflict - The Visual Culture of Public Information and Counter Information|
|Printer||Hollerbaum und Schmidt, Berlin N65|
|Creator Date Of Birth||1883|
|Creator Date Of Death||1972|
|Concept||civilian effort, war loans / savings|
|Description||whole: the text is arranged down the centre, held within a red border. A 'Franktur' typeface is applied, with the main text in black and salient words in red.
image: text only.
text: Die neue Kriegsanleihe
erfolgreich sein - sonst ermutigen wir England weiterzukampfen! - Sie
erfolgreich sein - denn es ist Geld genug im Lande!
erfolgreich sein - wenn jeder handelt, als ob von ihm allein alles abhinge!
.Hollerbaum und Schmidt. Berlin. N.65.
[The new War Loan must be successful - otherwise we will encourage England to continue to fight! It can be successful - there is enough money in the country! And it will be successful - if everyone acts as if everything depended on him alone!]
|Id Number Current Accession||IWM PST 7302|
|Location Creation Site||Germany|
|Measurements Dimensions||1422 mm x 950 mm|
|Format Series Notes||Design formed by joining of 2 halves along a horizontal axis. Originally separate but joined during conservation Printed paper label, inscribed 'L III 15.' , originally applied to reverse, but removed during conservation and returned to Lambeth Road for filing.|
|Event||WW1 German Home Front, WW1 German 7th War Loan|
|Related Country||Germany (pre 1945 and post 1990) DE, Great Britain GB|
|Biographical Notes||Emil Kahn, later known as Lucien Bernhard, was born in Vienna. Essentially self-taught, he received some instruction at the Akademie der Kunst in Munich. Inspired by a major exhibition of Art Nouveau design, he repainted the family home in bright colours; his father threw him out. He moved to Berlin and took on the name by which he was to become well known.
In 1905 he won a poster design competition for Priester matches, launching his career. Bernhard's designs were groundbreaking. His 'sachplakat' [object poster] simplified the advertising poster to a striking image of the product harmoniously integrated with the maker's name. The use of flat areas of colour was particularly influenced by the English 'Beggarstaff Brothers'.
Bernhard was a master of lettering, and his typefaces were produced commercially. The majority of his First World War posters, for war loans and charities, were purely typographical. His 1913 Franktur typeface, a revival of the Gothic script of the Middle Ages, asserted a defiantly German identity.
In 1920 Bernhard was appointed First Professor of Poster Design at the Akademie der Kunst in Berlin. He left after three years for New York, where he designed further typefaces and advertising posters for oil companies such as Amoco, and developed corporate identity programmes. After the Second World War Bernhard moved away from advertising and concentrated on painting.
|Style Period Period||1914-1918|