The publisher tells us that ‘World War One Posters’ is published “In commemoration of the 100th anniversary of America’s entrance into World War One”, although the “fine reproductions of 100 of the era’s greatest posters” come from Europe as well as the United States.

Many of the posters are indeed visually arresting, all have some historical importance and there’s considerable variety on display, ranging from a gung-ho sailor astride a torpedo (Plate 15) to a sobering reference to the widows and orphans produced by war (Plate 18). However, to describe this collection as comprising “100 of the era’s greatest posters” is clearly hyperbole if only for the fact that the last two posters contain nothing but text – and pretty dull text at that.

The posters could have been arranged chronologically or thematically but instead are loosely arranged geographically, with fifty-one U.S. posters (Plates 1-50 and 63); followed by posters from France (51-60 inclusive); Italy (62); Poland (64-65); Czechoslovakia (66); Russia (67); Germany (68-77), Austria-Hungary (78-79), Britain (61, 80-84, 87, and 92-100); Canada (85 and 88-90); and Australia (86). This is clearly a very unbalanced representation, even if one excludes Turkey from Europe. Moreover, two of the French posters (Plates 53 and 56) deal with tuberculosis and thus appear only tangentially related to World War One.

The publisher also tells us that “James Montgomery Flagg's celebrated ‘I Want You for the U. S. Army,’ [Plate 49] with its stern, finger-pointing image of Uncle Sam, remains a powerful and much-imitated symbol of patriotism”, apparently unaware of the fact that it represents an imitation of Alfred Leete’s poster of Lord Kitchener, which is easily the most famous British poster of World War One and which is omitted from this collection. In short, little thought seems to have been given either to the choice of posters or to the order in which they are presented.

Little thought or effort is also evident in the text accompanying the posters. Sometimes a translation is provided for non-English posters but not always. Descriptions of the posters are invariably brief (some poster titles are longer than their descriptions) and often tell you nothing which you can’t see. Plate 19, for example, is described as a “Poster showing Admiral Farragut directing a battle while tied high up in the rigging of the U.S.S. Hartford” but no information is provided on Farragut or the 1864 Battle of Mobile Bay.

This description is identical to the summary of the poster in the Library of Congress Digital Collection. Indeed, whoever was tasked with describing the posters in this book has been very liberal in copying and pasting from the Library of Congress. This also means that in the rare instances where the Library of Congress makes an error (usually by repeating an error in the original poster) that mistake is slavishly reproduced here. Thus Plate 75 mistakenly refers to the “British Labour leader Johnson-Hicks” when the reference should be to the Conservative MP Joynson-Hicks.

Doubtless there is a market for a book of World War One posters but it is depressing that this particular one appears to have been thrown together in such a shoddy manner.

A fantastic collection of posters from the war. Lots to love here!

This very impressive collection of World War I posters is stunning graphically, but also of great interest to anyone interested in history, the Great War, propaganda or art. Fascinating to look through, with examples from both sides including British, French, and German but also from Canada, Scotland, Ireland, the U.S., and Poland.

A stunning collection of WWI posters from around the world (with examples from the US, Canada, the UK and Ireland, France, Germany, Austria, Poland, Czechoslovakia, Russia, Italy, and Australia). Each poster is accompanied by only a brief description, allowing readers to experience a more genuine reaction than if they were fed a detailed analysis.

America declared war on the Government of Germany on April 2, 1917, and needed to raise an army to battle in Europe. America had not planned on entering the war and Wilson campaigned for his second term with the motto "He kept us out of war." War was not popular and many remembered the Civil War just a short 50 years in the past. Americans had no desire to fight the war "over there." The American population was a mix of nationalities. There were many Americans of German descent and even German immigrants.

In order to raise an army, navy, Marine Corps, and fund them, the government turned to art and propaganda. Posters were not simple recruiting posters but played on duty, adventure, and America's honor. Appeals were made to support liberty. To work the shipyards. Buy bonds. Eat fish because they feed themselves -- no need to care for them or use resources like livestock. Electricians, mechanics, and carpenters were encouraged to enlist and contribute their skills. Women were called to take office jobs held by men so they could enlist.

Posters are not limited to the United States. France, Belgium, Poland, Russia, Canada, and Germany all contribute posters. German posters portraying defense especially from aerial attacks. Other nations calling on men to enlist and others to contribute to the war effort. All posters are meant to play to the viewer's emotions and patriotism. These were more than just notices to be read they were meant to inspire loyalty and duty to one's country.