| Abstract |
| The art posters of the 19th century were developed based on the background of the times when the necessities of new formative styles were rising in accordance with industrialization. The demand for massive communication and the development of lithography provided a chance in which design of art posters could be vitalized. Especially when a canvas was moved to the street in regard of design and art formed in the process of industrialization, the art became a design area that could be easily accessed by the public. Therefore art posters directly show the initial period when design of the modern meaning was formed.
Art posters keep the stylistic characteristics of art and design of those days in full. The area of paintings and design was longing for new formative methods to solve problems related to modernity as getting out of thinking based on historicism, and the Oriental formative method was actively accepted as one of those solutions. From `Chinoiserie` to `Japonism`, Oriental paintings had huge influence on modern paintings and formative methods of design, which is also fully shown in art posters.
Contrary to the Western expression methods, the Oriental paintings show noticeable characteristics like lines, empty space, omission and flat surface. Such formative methods are originated from aesthetic concepts of Buddhism, Taoism and Confucianism which are the Oriental traditional thoughts. This study analyzed the 19th century works of Art poster artists based on the characteristics of these Oriental painting. As a result, it can be found in the 19th century works of Art poster that there are the effects of the line, empty space, omissions, flat surface characteristics in Oriental paintings. Like this, the influence of the Orient is not just a simple trend, but a cultural element that has influence on new formative methods in the aspect of formation of design. |
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| Key Words |
| 아트 포스터, 동양회화, 디자인, art poster, oriental painting, design |
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