By Nick Gill, London Transport Museum Friend and Volunteer Guide
London Transport has a long tradition of commissioning established and emerging artists to design advertising posters for the transport network. London Transport Museum’s collection holds around 15,000 between posters, prints and original artworks, the majority of which are housed in our Art and Poster store at the Museum Depot in Acton. As part of our Poster Power online celebrations from 25 April to 3 May 2020, we have asked Nick Gill, London Transport Museum Friend and volunteer guide for 17 years, to tell us about his favourite poster in the Museum’s collection.
My favourite poster in London Transport Museum’s collection is The Way For All by Alfred France (1911), both for the stunning visuals and the powerful statement about travel for all on the newly-formed Underground Electric Railways of London (UERL).
The Way For All is among a number of posters commissioned between 1909 and 1912 by Frank Pick. Before becoming London Transport’s first Chief Executive, Pick was Marketing Director of the UERL, having been appointed in 1906. A great visionary, he commissioned artists and graphic designers to create artwork for the UERL’s intense poster campaigns, and quite significantly he did so irrespective of gender, thus bucking the trend prevalent at the time.
The central figure in Alfred France’s poster represents a middle-class woman who could be a member of the Suffragette movement, highly topical at that time. The poster’s message is that women should feel safe to travel alone on the new Underground. The backdrop depicts silhouettes of people from all social backgrounds who can use the classless Underground for business or pleasure, with just one level of fare. The choice of the colour green is a nod to the booking hall tiles typical of Leslie Green’s station design.
Leslie Green’s design was heavily influenced by the contemporary Art Nouveau and Art & Crafts movements and complimented the modernity of the world’s first underground railway. The frieze in the poster alludes to the ornamental green dado friezes in Green’s design.
The story around the original artwork for the poster is quite interesting; the UERL Board considered the central character to be somewhat lacking in colour and bearing an air of intimidation in her stare. They also found the backdrop to be cold and uninviting. The lithographers were therefore requested to bring more colour into the poster and adjust the lady’s stare to a gentle distant gaze.
There is a strong feminist tone to the poster’s message which proclaims no social boundaries on the Underground. The poster also represents a strong link with the contemporary design of the newly-formed UERL which soon became known as the Tube.
To me, this poster sums up everything Frank Pick believed in when it came to design: beauty, utility, goodness, truth, immortality, perfection, righteousness and wisdom.
During this unprecedented time of global lockdown, the following selection of posters from London Transport Museum and V&A poster collections showcases a golden age of illustrative graphic design in the UK. Originally compiled for the Poster Power Open Weekend at the Museum Depot, it has been reorganised as a virtual trip down memory lane, looking forward to the time when we can get back to enjoying the rich cultural offerings of city life. Join us on a nostalgic look at the history of urban attractions and the advertisement of days out to museums, cinemas, and shows in London and beyond.
This charming poster by Irish artist Albert Morrow depicts an audience dressed up to the nines for an evening out to enjoy the new pastime of cinematic entertainment. From 1896, variety theatres and music halls in Britain started to show the novel art form of moving pictures, spawning a whole new genre of poster art in the process.
The most valuable and widely collected posters of all time advertise films of the 1920s and 30s. This 1935 gem by design duo Tom Eckersley and Eric Lombers advertises bus services to go out to cinemas. They worked together from 1934 to 1940 after both studying in Salford School of Art. The actress on the big screen resembles the star of the decade, Jean Harlow, with pencil thin eyebrows and large blue eyes. There is a surreal cheekiness in the superimposing of her face onto the plain everyman in the audience.
This sumptuous interior view depicts the Queen’s Hall in Langham Place, home of The Proms before the venue was destroyed in the London Blitz, never to be rebuilt. However, the message again is the mode of transport to attend evening events by Tube, so is not a recommendation for any single concert or artist.
Artist Fred Taylor (1875-1963) was one of the favourite designers for the London and North Eastern Railway (LNER), London Transport, and other travel companies from 1908 to the 1940s. He was one of the first ten designers who were conferred with the title Designer for Industry (DI), considered the highest accolade in the UK. Best known for posters highlighting train travel to cathedrals and castles up and down the United Kingdom, he fell into this style rather by accident, starting out as a figure artist. After 30 years of working in the same vein, in 1938 he said he longed for a change.
In just over a year, change and tragedy was thrust upon the entire world at the outbreak of World War II. Taylor moved to work on naval camouflage, a tactic of dazzle design invented by Norman Wilkinson during World War I. An example of it can be seen in this poster designed by Edward Wadsworth (1889-1949) advertising an exhibition on English graphic design at the Kunstsalon Wolfsberg in Zurich.
Wadsworth was an official dazzle artist himself, aligned with the short-lived Vorticist group of artists who launched in 1914 and broke up shortly after war broke out. It was also around this time that the Imperial War Museum was founded in 1917, first opening to the public in 1920 at the Crystal Palace in Sydenham Hill.
This sombre poster marks the souvenirs of war as tanks, bombs and destruction. A bold and hard-hitting design choice by Austin Cooper (1890-1964), he was a Canadian-British artist who created posters for many of the London museums. Note the South Kensington address, the IWM was then housed in the Imperial Institute on Exhibition Road before moving to its current home on Lambeth Road, 1936.
The South Kensington area has been a museum hub since the Great Exhibition of 1851. The Science Museum and the V&A were once part of the same institution called the South Kensington Museum. In 1909, they split into separate museums with science and technology on one side of Exhibition Road and art and design on the other.
Cooper’s multi-faceted style was put to excellent use by the Underground Group for 22 years. This jaunty example advertises historic bicycles in the Science Museum collection, nostalgically looking back to the late Victorian and Edwardian era.
This similarly fun poster of 1967 by Barbara Swiderska sports some opulent historical fashions to advertise the Victoria and Albert Museum. Little is known about this illustrator except that she continued to work throughout the 1970s as a cover designer for a number of children’s books. The poster text describes the museum as a sort of Aladdin’s cave to be explored at your whim, inviting audiences to put themselves in the picture:
‘… these are showcases, brilliantly illuminated and filled with figures from nearly 400 years of fashion’s pageant, from Jacobean gallantry via Georgian magnificence, Victorian upholstery, Edwardian confectionery and the twenties to Dior’s ankle-flapping New Look. Imagine your own choice of outfit – yesterday’s trend is often tomorrow’s…’.
The final behemoth of the South Kensington area is of course the Natural History Museum, superbly represented here by the woolly mammoth beneath an eye-catching rainbow motif by Edward McKnight Kauffer (1890-1954). The Natural History Museum was originally an offshoot of the wide-ranging British Museum collections, the two institutions separating completely in 1963. The NHM as we know and love it today has been in its present home on Cromwell Road since 1881.
Dubbed ‘The Poster King’, this extraordinary Montana born artist emigrated to the UK aged 25 and promptly became a graphic design tour de force. Weaving avant-garde and dynamic motifs into advertisements for airlines and department stores, it is his work for the London Underground which is the most celebrated. From his arrival in London in 1915 until his return to the USA in 1939 at the outbreak of World War II, around 140 of his poster designs brightened up the city under the commission of Frank Pick and the Underground Group.
This swirling dragon piece summarises the South Kensington museums, the British Museum, and the London Museum (a precursor to the Museum of London) all promising a dry and comfortable indoor experience on rainy days. It is by Freda Mildred Beard (1897-1984) who designed for the Underground Group between 1921 and 1926.
She was born in Clapham and besides working for the Tube poster campaigns, she designed advertisements for foodstuffs including many brands still going today like Jacob’s cream crackers, Cadbury’s chocolate, and Hartley’s jam. This poster drew high praise in ‘Advertising and British Art’ (1924) saying that Beard had adapted ‘the astonishing sea serpent’ from a Japanese cloisonné vase and that this creature was imbued with more imagination than was present in most modern British branding.
This rather naïve butterfly design by John Banting (1902-1971) is another summary of some of the South Kensington Museum transport links and shows an African Emperor Moth. This is actually an entire genus of moths in the Saturnia family of many varieties of evocative names such as the Cavorting Emperor, the Pallid Emperor, and the Confused Emperor! This one is commonly known as a Bulls Eye Silk Moth and perhaps was chosen by the artist due to the markings resembling a tube stop and the yellow Circle line.
Some of the liveliest posters to advertise attractions include animals, and in urban areas that usually means circuses or zoos. Many of the best posters for the London Zoo were done by female artists of the 1920s and 30s. Dorothy Burroughes was one such artist who achieved her first commercial break with a London Underground commission in 1920 depicting a trio of primates playing on a tree branch. Her second in 1922 was one of the most popular of the time, with requests pouring in for reproductions.
While her name will forever be synonymous with zoo posters, in an interview with Drawing & Design (1923) she spoke at some length over her sadness at seeing animals in captivity.
David Bownes, previously Head of Collections at London Transport Museum, wrote an excellent article on Burroughes which you can read here.
Another of my favourites is Ruth Sandys (1884-1941). These 1925 designs precede John Gilroy’s famous seals utilised for the Guinness posters by a decade.
Ruth was the daughter of the artist Frederick Sandys who had ten illegitimate children with the actress Mary Jones. Many of them were trained in artistic pursuits and include the portraitist Winifred Sandys. Ruth was active between 1912 and 1940 but it is this poster commission for the London Underground which remains her most well-known work.
This is of course just a tiny taste of our poster collections. While we are all unable to visit the museums in person at the moment, we hope you enjoy delving into London Transport Museum’s and V&A’s online catalogues to discover more until we are all able to get out and about into our cities once again.
The first horse trams in London were introduced in the 1860s, operated by private companies. Although banned from operating in the City and West End, which were still dominated by the omnibus, an extensive tram network developed across the rest of the city.
The arrival of the electric tram in the early 1900s brought cheap transport to the masses. Trams could carry twice as many people as motor buses, and in greater comfort. They were cheap to run, so fares were low, and they were quick and frequent. Despite competition from the first motor buses, the number of passengers using trams grew.
London United Tramways (LUT) began London’s first electric tram service in July 1901. They electrified lines between Shepherd’s Bush, Hammersmith, Acton and Kew Bridge. By 1906, ten municipal systems had been set up and by 1914 London operated the largest tram network in Europe. At their peak, over 3,000 trams carried a billion passengers a year over 366 miles of track.
After the First World War tramways began to decline as the motor bus competed for passengers. By the late 1920s, the new buses offered higher standards of comfort, while the pre-war trams were shabby and in need of modernisation.
When London Transport took over all bus, tram and Underground railway operation in the capital in 1933, a massive tram to trolleybus conversion programme began. The tram system was in poor condition with trams increasingly being seen as noisy, dangerous to road users and expensive.
Trolleybuses were cheaper to run and soon attracted more passengers than the trams. Within three years, over half of London’s tram routes had been converted.
Ironically, the Second World War brought a temporary reprieve for the tram, as the work on the trolleybus conversion was interrupted. Necessary repairs and maintenance were done to keep the tram system running to help the war effort.
After the war however, the remaining trams were replaced by diesel buses. In July 1952, the last tram left Woolwich for New Cross amidst scenes of great sadness. Many trams were scrapped, but some were sold to Leeds where they ran until 1959.
Trams were re-introduced into London in 2000, originally run by Tramlink but now owned by TfL. The tram network has 39 stops along 17 miles of track serving Croydon and surrounding areas of south London.
London’s tramways Poster Parade explores the history of trams in London and the rise and fall of the largest tram system in the world. Visit our Poster Parade, at the Museum from 10 January to 26 March 2020 to see our stunning posters up close.
Transport for London and its predecessor companies have a long history of producing posters to keep passengers informed about upgrades to the network. Communicating alterations and disruption to passengers, as well as celebrating successful projects, is an important job for train operating companies. Whilst social media is often used today to keep customers informed, the traditional practice of using eye-catching posters is still an effective method.
Upgrading a working railway usually requires weekend closures, which can catch people out. TfL commissioned this popular series of poster designs which use the iconography of the Tube lines to grab the attention of passengers.
Recently, Thameslink has also actively used posters to engage with customers. Some of these posters are explored in our Untangling the Tracks exhibition, which examines the Thameslink Programme, a major project to increase capacity, improve connections and provide greater reliability on the Thameslink route. During the programme, two major line closures over August bank holiday and Christmas 2017 affected hundreds of thousands of passengers. The iconography of the railway – specifically the ‘railway no entry’ icon – was used to add a festive touch to the poster campaign informing passengers.
For railway companies celebrating success at the end of a big project is also useful to remind passengers that the disruption was worthwhile.
What today is part of the Bank branch of the Northern line, started out as the City and South London Railway. It was the world’s first deep-level electric railway, opening in 1890. Being the pioneer, its tunnels were built on a smaller scale than subsequent Tube lines. When the time came to merge the line with the Hampstead Tube, the tunnels had to be closed to allow widening work to take place. This poster celebrates the reopening of the line in 1924, emphasising the new modern trains.
The redevelopment work at London Bridge station was a major element of the Thameslink Programme. Starting in 2013 the station was completely rebuilt, unifying what had essentially been two separate stations, yet remained open throughout. The architects, Grimshaw, also had to work carefully around its listed features, and many historical elements were kept and incorporated into the new building. The redeveloped station was officially opened by HRH the Duke of Cambridge in 2018. This poster was commissioned to thank the 50 million passengers who use the station every year for their patience during the disruption.
Visit Untangling the Tracks to explore how historic London Transport posters and their modern Thameslink equivalents help to communicate important updates to passengers.
The District line opened in December 1868. Then known as the Metropolitan District Railway, it was the second underground passenger railway in the world after the Metropolitan line. Initially running only between Sloane Square and Westminster, seven more stations opened during the first year. The intention was to join up with the Metropolitan line at either end, forming an ‘Inner Circle’ linking all London’s mainline termini. However, rivalry between the two railways meant that the Circle wasn’t completed until 1884.
The District expanded its services to the western suburbs during the steam era to Hammersmith, Hounslow, Ealing and Wimbledon. But when the American financier Charles Tyson Yerkes first took an interest in the railway in 1899, it was in poor financial shape. Yerkes took over the District in 1901, and through his influence the Inner Circle and District were electrified.
The poster Light, power and speed by Charles Sharland features one of the new trains that were introduced during the electrification of the line. Electrification greatly improved conditions in the sections running underground, and the company promoted their new trains as offering comfortable, modern and technologically advanced travel.
In addition to the District line, Yerkes’ Underground Electric Railways Company of London (UERL) owned many other underground railways, including the Bakerloo, Piccadilly, Hampstead (now part of the Northern line) and Central lines. To encourage off-peak travel the UERL used posters to promote destinations which could be reached by their expanding network. For the western section of the District line this meant attractions which are still popular today, such as Richmond and Kew Gardens. At the time Sudbury Town and South Harrow were promoted as rural destinations, easily reached in time to see a gorgeous sunset. Though originally served by the District line, these stations were transferred to the Piccadilly line in 1932.
At the eastern end of the District line, services from Whitechapel to Upminster opened in June 1902. The District Railway also ran through trains to the popular seaside resort of Southend. The Upminster Windmill and the Canvey Lady in Southend were both familiar local landmarks at the time, and whilst the Canvey Lady was pulled down after the Second World War, the windmill survives and is now a listed building. The process of electrification was slower at this end with Upminster served by steam until 1932, and Southend until after the Second World War.
Today the District line is being transformed once again, with air-conditioned, walk-through trains introduced on the line in 2014, and the Four Lines Modernisation programme due to deliver a new signalling system by 2023.
Check out our online exhibit on Google Arts & Culture to learn more about the history of the District line, and visit the Poster Parade (28 June – 19 September 2019) at the Museum to see our stunning posters up close.
Frank Pick, appointed Publicity Manager for the Underground Group of companies in 1908, quickly set about applying high standards of advertising content, presentation and display on the stations. Pick recognised that low standards of adult literacy, static passenger revenue and station environments overcrowded with poor quality signage and advertising were destroying clarity. Good design in all its forms would help build a brand that symbolised quality and reliability, and of course stimulate more passenger usage.
Pick presided over commissioning art and design posters for use on London Underground and (from the formation of London Transport in 1933) on buses and trams. The images commissioned were primarily intended to inform passengers of events, places to visit, safety and behaviour messages as well as sometimes to add interest and intrigue to entertain and educate the travelling public.
The variety of artists and designers commissioned, their artistic style, their experience, their gender and their reputation were of lesser importance than their response to the brief they were set. In a period where the only accessible media were posters, newspapers and magazines, the poster reigned supreme as a mean of mass communication and there was nowhere better for posters to be displayed and their simple messages understood by millions than on Underground stations.
It is acknowledged that the ‘golden age’ of posters ran between 1920 and 1939 (the period between the First and Second World Wars) and so many fantastic images by internationally renowned artists such as Man Ray, Graham Sutherland, Freda Lingstrom, Abram Games and Edward McKnight Kauffer were posted on the Underground.
During the 1960s the importance of the art poster declined. More people owned cars and televisions which in their different ways replaced the use of public transport for visiting cinemas, dance halls, shopping and days out in London or the countryside. There were more pressing priorities for the use of funds than producing ‘pretty’ images.
The art poster largely fell out of use from 1976 until 1986, when a new and enlightened Director of Marketing, Dr Henry Fitzhugh, was appointed and he revived the art programme with some stunning commissions including Tate Gallery by Tube and Highgate Ponds.
With various intervening twists and turns of fortune, I was invited to carry on the tradition in 1998. I am a passionate believer in great poster art and its power to please, annoy or be hated, but never to be ignored!
We have a limited budget for poster commissioning, so it is with great care that we choose artists and subjects. The annual list of subjects reflects what are important objectives for London Transport Museum, Transport for London and the Mayor of London. Artists and designers we employ are drawn from the huge array of illustrative and design talent that London hosts. Photographic commissions are largely avoided to differentiate the overwhelming output of that medium from the far less used illustrative approach.
Once a topic and appropriate artist is agreed, meetings take place to explore ideas, formats, budgets and timescales for delivery and display and a full written brief is issued. The chosen artist is invited to submit a series of rough sketches and suggested colour palette and a further meeting takes place to explore the final options for production. When the artwork has been delivered, the next steps are to employ in-house designers to format the artwork into a poster with the approved text and logos ready to submit to Transport for London and City Hall in time for approval.
Continuing the great tradition of commissioning art posters, we also host the biennial Poster Prize for Illustration exhibition, in parternship with the AOI. This year’s exhibition, London Stories, is on display at the Museum until 14 July 2019. The winning poster, London is the Place for Me by Eliza Southwood, will be displayed across the Underground network.
Art posters still engage millions of London Underground customers and doubtless persuade some to take additional journeys to featured destinations. These posters are sold in London Transport Museum’s shop to raise revenue to support its charitable objectives, and as we purchase appropriate copyright in perpetuity, we can assure these images will be available for the public to enjoy, and the Museum to use, for ever.
I am so proud to help maintain this ancient, honourable, but still wonderfully relevant job!
Every three months a new Poster Parade is installed for visitors to enjoy at London Transport Museum (LTM). The themes of the poster parades are often selected to either showcase a particular strength of the LTM poster collection, coincide with an exhibition or celebrate national or international events such as the Olympic Games. The poster parades are usually curated by young museum professionals such SOCL trainee curators or University of Leicester Museum Studies Interns. A SOCL trainee curator is a traineeship position provided by Cultural Cooperation in partnership with London Transport Museum through their Strengthening Our Common Life (SOCL) programme which encourages greater diversity in the Museum workforce.
As a current SOCL trainee at LTM I had the privilege of curating the current Poster Parade, Literary London, which explores the ways in which designers have engaged with the subject of literature in posters commissioned by London Transport and Transport for London. The display also celebrates National Storytelling Week (30 January – 6 February 2016) and World Book Day (3 March 2016).
Selection and Design Process
The theme for the exhibition was chosen because literary references are a recurring theme in London’s transport posters, from the early 20th century to the present day. The posters displayed in the exhibition were chosen because they are prime examples of four ways posters engage with books and literature and they are arranged in four sections to reflect this. The sections are called Country Walks, Children’s Book Illustrators, Poems and Prose and Today’s Commute – Read all about it. Posters from the Country Walks series were chosen because they are an example of a London Transport publication. A section about children’s book illustrators was chosen because many poster designers in the collection were also children’s book illustrators or come from an illustration or graphic design background. Poems were an important addition to the Poster Parade because the Museum holds a large collection of posters from the Poems on the Underground series. The last section Today’s Commute – Read all about it contains posters with literary references from the contemporary poster collection.
The order of the posters was chosen to reflect the sections and look visually appealing. This process was aided by a creation of a virtual model on SketchUp Make software which allows Curators to move the posters around and visualise what they would look like once they were installed without the physical objects. This was advantageous in regard to selecting the best posters and order for the display. Please see below for an example of a mock up:
Interpretation material was written in accordance with the Museum’s editorial guidelines which detail for example, how TfL and its predecessor institutions should be referred to and that written material should provide neutral accounts of historical or political events. The curator writes the introduction panel and labels. The interpretation material is edited by the senior curator and librarian to ensure the guidelines are adhered to and the text is written to the best standard possible. Once the editing process has been completed it is given to the design department for formatting and printing. The labels are printed in NJ TfL Book (16 point) typeface which is the house style and digital version of the Johnston typeface which is used across TfL from signage to publications. This is a clear san-serif font like Helvetica which is favoured by publishers and designers for its clarity which makes it suitable for a museum audience to read.
The Poster Parade can be found on Mezzanine Level 1 of the Museum and is on display from 29 January – 29 April 2016.
*Links to external websites are provided as a convenience and for informational purposes only; they do not constitute an endorsement or an approval by London Transport Museum of any of the products, services or opinions of the corporation or organisation or individual. London Transport Museum bears no responsibility for the accuracy, legality or content of the external website or for that of subsequent links.
As we all (hopefully) should know by now, this is the Year of the Bus. It’s also the theme for the Museum’s next Poster Parade; a temporary museum exhibit showcasing posters from our collection. Normally, the curators choose the posters for each of these exhibits. However for this Poster Parade we want you to help us make our selection, in celebration of the London Bus! A simple search of the collection’s database reveals over 5000 potential choices. We’ve narrowed this down to 30 and we need your help to reach the final 15 that will go on display.
Our extensive research (and much coffee!) resulted in a selection of posters which reveal some interesting historical developments and consistent themes in the life of the London bus. You might notice Shillibeer’s Omnibus and the London General Omnibus Company (LGOC) – the first reliable motorised bus – as well as the B-type, appear in several of our choices. The discontinuation of the Routemaster in 2005 and the introduction of low emission fuel buses also feature, to name but a few. Bus posters do not necessarily reflect all these changes, however there were a number of themes emerging.
Themes include recruitment, leisure trips and sightseeing as well as competition between bus, taxi and tube travel. There are also a range of stylist differences across the decades. The eighties posters might ring a few bells for you; from a decade in transport which saw the introduction of night buses and bus passes! If you prefer bright, animated images, vote for ‘Hop on a bus’ or ‘The motor omnibus for all ages’. The colourful London General posters from the 1920’s might catch you eye; or you might prefer the mixed media styles such as ‘Busabout’ and Eckersley’s ‘See London by Bus’.
The brightly coloured poster above by Charles Sharland was issued to promote the August bank holiday of 1914. It declares 3 August as ‘Underground day’ and encourages passengers to make their choice of what to do and where to go from the many destinations available by tube and bus.
However, when the day came, festivities were overshadowed by the threat of Britain becoming involved in the war on the Continent. By the end of the following day, on 4 August 1914, Britain had declared war on Germany.
The poster for the 1919 bank holiday reflects on the changed circumstances. The ‘short’ war had turned into a four year conflict with millions of lives lost, and many more changed forever. For the first time there had been a home front, with Londoners at risk from aerial bombardment.
The subdued design gently invites passengers to enjoy holidays once more. The emphasis of the trains, buses and trams being at the service of Londoners reminds us of the important role that London transport staff and vehicles played in the war.
Did you know: Originally the bank holiday in August was the first Monday of the month, as dictated by the Bank Holiday Act (1871). This was until the Banking and Financial Dealings Act (1971) decreed a century later that it would fall, in England, Wales and Northern Ireland, on the last Monday of the month. Why? One suggestion was that as the latter half of August is cooler the roads would be less busy with the crowds that thronged to the seaside, getting drunk and causing all sorts of mid-Summer mischief!
To tie in with our First World War Exhibition Goodbye Piccadilly we’ve focused our current Poster Parade on the use of Propaganda in posters, specifically those used on the Homefront. The 20 posters featured reflect advertising campaigns during both the First and Second World Wars.
The term ‘propaganda’ is not easy to define and all of the posters featured can be interpreted differently. Propaganda messages during this time were included, often surreptitiously, in advertising and other public messages.. At the beginning of the First World War, we can identify an emphasis on encouraging leisure travel and shopping. During the Second World War, we see greater use of patriotic and politically charged imagery. Posters also served to boost morale and provide safety information to the general public. However propaganda is defined, the posters produced in wartime were designed to influence thoughts and promote specific action.
Austin Cooper, a Canadian born artist, moved to London in 1922 and began producing posters for London Transport. Cooper is mainly known for his colourful, abstract style and in the pre-war years produced posters promoting travel by underground to places of heritage and the museums in South Kensington (http://tinyurl.com/cnspj9)
The poster‘They shout for joy, they also sing – Flags of Allied Nations’ (1944) is strikingly different to his other works. The central flags of The Republic of China, The United States of America, The Union of the Soviet Socialist Republic (USSR) and Great Britain represent the super powers of the time. The white star and blue background at the top of the poster is reminiscent of the League of Nations, which was formed after the First World War. Is its inclusion intended as a symbol of unity?
We had difficulty identifying all of the flags, but fortunately Cooper designed a key to illustrate them!
If you want to learn more about propaganda posters during the First World War, why not attend the talk by David Bownes, Assistant Director of Collections at the National Army Museum, at London Transport Museum on Tuesday 2 September.
Written by Hayley Jedrzejewski, Collections Assistant