A concert by the American Dixieland orchestra the Wings of Dixie and the Belgrade Chamber Choir, in the park in front of the Museum of Applied Art, on Wednesday 10 May, at 6 PM, will open two exhibitions of posters: Serbia, War and Poster 1914–1918 and Posters by Milton Glaser from the Collection of the Museum of Applied Art.
The exhibition Serbia, War and Poster 1914–1918: A Story of Three Posters, Three Authors and Three Aid Campaigns for Serbia is the third part of the trilogy by Vladimir Čeh dedicated to posters in the Great War. The third exhibition deals with the promotional campaign Help Serbia..., conducted by the Allies – France, Great Britain and the United States, during World War I.
The general audience is not familiar with historical facts, the organization of actions, the ways of collecting aid and the most successful authors of posters used in this campaign. The three most important posters from the three Allies were designed by Théophile Steinlen for France, Malvina Hoffman for the United States and Sampson Chernov for the Great Britain. All of the authors cherished Serbia and produced other works inspired by Serbia – drawings and photographs.
The exhibition presents four original lithographs by Théophile Steinlen (prints made 100 years ago) and seventeen replicas that feature the term ‘Serbia’ in the title. The process of creating the poster La journée serbe is also displayed. The poster was based on the original Steinlen’s oil painting held by the Louvre – a detail of the painting was used for the poster.
The exhibition segment dedicated to Samson Chernov presents his lesser-known works, replicas of the coloured portraits of the famous Serbs of the time. The portraits, as well as a number of other motifs, were done by Chernov in oil on canvas. In fact, he ‘coloured’ them based on his black-and-white photographs. The exhibition also reveals the “development” of his most famous work, the symbol of the Serbian army, the portrait of the soldier known as the Eagle’s Eye.
In the segment of the exhibition dedicated to Malvina Hoffman, her drawings made while travelling in Serbia with the US Red Cross in 1919 and the historiographic facts related to her efforts to help Serbia in the Great War found in the Getty Institute in Los Angeles will be presented to the public for the first time.
The exhibition also shows the artistic process that led from a photograph of a dying Serbian soldier on the island of Vido made by the Serbian war reporter Miloje Igrutinović to the application of his image in Malvina Hoffman’s famous poster Serbia needs your help.
The second segment of the exhibition draws attention to the French, British and American campaign undertaken with the same goal: to ensure aid for Serbia in the countries where the image of Serbia was positive (France), neutral (USA) or negative (Great Britain). Has anything changed in the communication with this population in the past 100 years? If yes, what has changed and how has it changed?