When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. As posters became metaphysical symbols of commercial modernity, some feared that they presaged imminent cultural decline. The graphic designer Aubrey Beardsley used decadent visual styles to create advertising posters, shocking critics while successfully marketing consumer goods. Though decadence typically connotes aristocratic nostalgia, it was in fact reacting to a new, middle-class consumer culture of which it was very much a part. The chapter shows how decadence manifested in visual media, including the advertising poster. In fact, posters offer surprising insight into the Decadent Movement, which is usually associated with 1890s literary authors like Oscar Wilde and Joris-Karl Huysmans. But they also starred in major art exhibitions in London and Paris and were attacked for their “decadent,” avant-garde styles. Posters were mass-produced, disposable, and advertised commodities like cocoa and the circus. Chapter 6 looks to the end of the nineteenth century to study the rise of the artistic advertising poster.
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