The breakthrough of the poster as a mass medium took place around 1880. The most used form of printing, lithography, had then been developed far enough to be able to print large numbers of good quality relatively easy. In addition, labor costs were low, making this labor-intensive production method affordable. Moreover, the demand for goods increased due to an increase in prosperity for large groups of consumers, which could be met by more rational production processes. Posters were the first mass medium that allowed producers to reach a wide audience at a relatively low price. The streets of Paris, Berlin and Milan turned into a 'gallery of the street'. This dominant role would remain until the Second World War, when radio and television became the leading advertising means.

Jules Cheret is generally regarded as the 'father of the poster'. His images of cheerful Parisiennes in long, colorful dresses with slim waists and large hats are synonymous with the period now called Belle Epoque (ca. 1880-1900). A time full of expectation and optimism, fueled by technological progress (car and electricity). Theophile Steinlen in particular showed that reality looked differently for many.

Henri de Toulouse-Lautrec's first poster for the Moulin Rouge was a huge success when it appeared on the streets of Paris. It gave the poster a status as art. With great psychological insight he portrayed the artists and prostitutes in the nightlife of Montmartre. Posters have been collected since 1895. The series Les Maitres de l'Affiche published monthly reprints of 5 well-known posters in a handy format, which were eagerly purchased. It is partly due to the collecting frenzy of that time that posters are still available today. Beautifully illustrated books with lithographed reproductions such as Das Moderne Plakat (1896) and Osterreichische Plakatkunst (1916) also appeared early on.

From 1895 onwards, the Art Nouveau style (Jugendstil in German, Nieuwe Kunst in Dutch) became dominant. Mostly images of women in a natural environment full of flowers with thick contour lines. Alphonse Mucha is by far the best known of the Art Nouveau artists. He became instantly famous when he designed a poster for stage actress Sarah Bernhardt in 1895. Other well known artists were Eugene Grasset and the Belgian Privat Livemont. Art Nouveau was quickly adopted in other countries, but everywhere with a distinct style: in the Netherlands designs were more rational, in Italy they were more theatrical.
Around 1905, Art Nouveau began to lose its appeal. In Vienna and Berlin they experimented with a sleeker design that conveyed the message more powerfully. Lucian Bernhard made a breakthrough with his naturalistic representation of 2 matches against a black background and a brand name (Priester). This style is called Sachplakat. The artists of the Vienna Secession (Moser, Roller, Löffler) applied tighter ornaments and symmetry in their designs.

The First World War proved the value of the poster as a propaganda tool. In America, 20 million posters were printed in 2 years, which, among other things, were used to recruit military, sell government loans and raise money for the residents of the affected countries in Europe.
The new rulers in post-revolution Russia also recognized the power of the poster. a completely new school emerged there, based on constructivism.

Between 1910 and 1925, one designer was dominant in France: Leonetto Cappiello. Hundreds of posters for many brand manufacturers (Peugeot, Campari) were designed by him. They were often fantasy figures against a dark background. He was the first to really build brands and is therefore called the father of modern advertising. In Germany, Ludwig Hohlwein was a dominant designer, with his very distinct style of illustration.
The modernist art movements of the early 20th century resulted in one of the most appealing periods for poster art: Art Deco. the clean lines, large areas of color and angular typography together form a clear image, ideally suited for advertising. Well-known designers from the Art Deco period are Paul Colin, Charles Loupot, Roger Broders and, above all A.M. Cassandre.

After the Second World War, the importance of posters in commercial communication slowly diminished, thanks to the rise of radio and television. Lithography is being replaced by offset printing and photographic material is increasingly being used instead of drawn designs. In the post-war period, the Swiss school in particular achieved a high level.

VALUATION

Factors that determine the value of a poster:

1. QUALITY OF THE DESIGN
Every designer had good and bad days or a period when he excelled. For example, Cassandre's pre-war work is generally highly sought after and expensive. What he made after the Second World War is generally less popular.

2. REPUTATION OF THE DESIGNER
Some artists consistently command higher prices than others. Almost all of the work of Henri de Toulouse-Lautrec and Alphonse Mucha are very collectable, even magazine covers illustrated by them.

3. PERIOD
Posters from before 1940 are generally more valuable than post-war poster. Art Deco and Bauhaus are highly sought after.

4. SUBJECT
Certain topics are more sought after than others. There are many enthusiasts for shipping, cars and winter sports.

5. CONDITION
Posters were never meant to survive. A large part was pasted up and then the wind, sun and rain had free rein. They are therefore found in very different conditions. There are also copies that disappeared into a dark drawer immediately after printing and emerged again after decades in the same perfect condition.

6. QUANTITY
The smaller the number preserved, the higher the value. The problem, however, is that it is impossible to say exactly how many copies of almost any poster still exist.

7. HISTORICAL SIGNIFICANCE
If a poster marks a special event in history, this can result in a higher value. A well-known example is the poster announcing the return voyage of the Titanic from the US to Europe.