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The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The Plaza de España is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain, built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of the Regionalism Architecture, mixing elements of the Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Christopher Columbus (c. 31 October 1451 – 20 May 1506) was a navigator, colonizer, and explorer from Genoa, Italy, whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the 'New World'.
Saint Francis Xavier, S.J., born Francisco de Jasso y Azpilicueta (7 April 1506 – 3 December 1552), was a Navarrese Basque Roman Catholic missionary, born in Xavier, Kingdom of Navarre (now part of Spain), and a co-founder of the Society of Jesus.<br/><br/> He was a companion of St. Ignatius of Loyola and one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris in 1534. He led an extensive mission into Asia, mainly in the Portuguese Empire of the time and was influential in evangelization work, most notably in India.<br/><br/> He also was the first Christian missionary to venture into Japan, Borneo, the Maluku Islands, and other areas. In those areas, struggling to learn the local languages and in the face of opposition, he had less success than he had enjoyed in India. Xavier was about to extend his missionary preaching to China but died in Shangchuan Island shortly before he could do so. He was beatified by Pope Paul V on 25 October 1619 and canonized by Pope Gregory XV on 12 March 1622.
Saint Francis Xavier, S.J., born Francisco de Jasso y Azpilicueta (7 April 1506 – 3 December 1552), was a Navarrese Basque Roman Catholic missionary, born in Xavier, Kingdom of Navarre (now part of Spain), and a co-founder of the Society of Jesus.<br/><br/> He was a companion of St. Ignatius of Loyola and one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris in 1534. He led an extensive mission into Asia, mainly in the Portuguese Empire of the time and was influential in evangelization work, most notably in India.<br/><br/> He also was the first Christian missionary to venture into Japan, Borneo, the Maluku Islands, and other areas. In those areas, struggling to learn the local languages and in the face of opposition, he had less success than he had enjoyed in India. Xavier was about to extend his missionary preaching to China but died in Shangchuan Island shortly before he could do so. He was beatified by Pope Paul V on 25 October 1619 and canonized by Pope Gregory XV on 12 March 1622.
Saint Francis Xavier, S.J., born Francisco de Jasso y Azpilicueta (7 April 1506 – 3 December 1552), was a Navarrese Basque Roman Catholic missionary, born in Xavier, Kingdom of Navarre (now part of Spain), and a co-founder of the Society of Jesus.<br/><br/> He was a companion of St. Ignatius of Loyola and one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris in 1534. He led an extensive mission into Asia, mainly in the Portuguese Empire of the time and was influential in evangelization work, most notably in India.<br/><br/> He also was the first Christian missionary to venture into Japan, Borneo, the Maluku Islands, and other areas. In those areas, struggling to learn the local languages and in the face of opposition, he had less success than he had enjoyed in India. Xavier was about to extend his missionary preaching to China but died in Shangchuan Island shortly before he could do so. He was beatified by Pope Paul V on 25 October 1619 and canonized by Pope Gregory XV on 12 March 1622.
Saint Francis Xavier, S.J., born Francisco de Jasso y Azpilicueta (7 April 1506 – 3 December 1552), was a Navarrese Basque Roman Catholic missionary, born in Xavier, Kingdom of Navarre (now part of Spain), and a co-founder of the Society of Jesus.<br/><br/> He was a companion of St. Ignatius of Loyola and one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris in 1534. He led an extensive mission into Asia, mainly in the Portuguese Empire of the time and was influential in evangelization work, most notably in India.<br/><br/> He also was the first Christian missionary to venture into Japan, Borneo, the Maluku Islands, and other areas. In those areas, struggling to learn the local languages and in the face of opposition, he had less success than he had enjoyed in India. Xavier was about to extend his missionary preaching to China but died in Shangchuan Island shortly before he could do so. He was beatified by Pope Paul V on 25 October 1619 and canonized by Pope Gregory XV on 12 March 1622.
An aerial view of the Tennessee Centennial and International Exposition, a celebration of the 100th anniversary of Tennessee's entry into United States held between May 1 and October 31, 1897, in what is now Centennial Park, Nashville.<br/><br/> Various exhibits were held. For instance, the host city built a full-scale replica of the Greek Parthenon, whereas Memphis constructed a large pyramid.
Louis Raemaekers (April 6, 1869 – July 26, 1956) was a Dutch painter and editorial cartoonist for the Amsterdam newspaper De Telegraaf during World War I, noted for his anti-German stance.
The Paris Colonial Exhibition (or 'Exposition coloniale internationale', International Colonial Exhibition) was a six-month colonial exhibition held in Paris, France in 1931 that attempted to display the diverse cultures and immense resources of France's colonial possessions.
Hanoi (Vietnamese: Hà Nội), is the capital of Vietnam and the country's second largest city. It has an estimated population of nearly 6.5 million (2009), (but only 2.6 million (2009) in urban areas). From 1010 until 1802, it was the most important political centre of Vietnam.<br/><br/> It was eclipsed by Huế during the Nguyễn dynasty as the capital of Vietnam, but Hanoi served as the capital of French Indochina from 1902 to 1954. From 1954 to 1976, it was the capital of North Vietnam.
Dancers of the Cambodian Royal Ballet travelled to France in 1906 for the Exposition Colonial de Marseille. Billed as the 'Royal Dancers of King Sisowath', they caused a sensation across France and Europe. Here, represented on the front cover of Le Petit Journal for 24 June, 1906, they are pictured performing 'The Dance of the Nymphs of the Forest'.
Between the end of the First World War in 1918 and the outbreak of the Pacific War in 1941, Japanese graphic design as represented in advertsing posters, magazine covers and book covers underwent a series of changes characterised by increasing Western influence, a growing middle class, industrialisation and militarisation, as well as (initially) left wing political ideals and (subsequently) right wing nationalism and the influence of European Fascist art forms.
Between the end of the First World War in 1918 and the outbreak of the Pacific War in 1941, Japanese graphic design as represented in advertsing posters, magazine covers and book covers underwent a series of changes characterised by increasing Western influence, a growing middle class, industrialisation and militarisation, as well as (initially) left wing political ideals and (subsequently) right wing nationalism and the influence of European Fascist art forms.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
The World's Columbian Exposition (the official shortened name for the World's Fair: Columbian Exposition, also known as The Chicago World's Fair) was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus's arrival in the New World in 1492. Chicago bested New York City; Washington, D.C.; and St. Louis for the honor of hosting the fair. The fair had a profound effect on architecture, the arts, Chicago's self-image, and American industrial optimism.
World War I (WWI or WW1 or World War One), also known as the First World War or the Great War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. More than 9 million combatants and 7 million civilians died as a result of the war, a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was one of the deadliest conflicts in history, paving the way for major political changes, including revolutions in many of the nations involved.<br/><br/> The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance.<br/><br/> These alliances were reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
Spahis were light cavalry regiments of the French army recruited primarily from the indigenous populations of Algeria, Tunisia and Morocco. The modern French Army retains one regiment of Spahis as an armoured unit, with personnel now recruited in mainland France. Senegal also maintains a spahi regiment as a presidential escort, the Red Guard.
World War I (WWI or WW1 or World War One), also known as the First World War or the Great War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. More than 9 million combatants and 7 million civilians died as a result of the war, a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was one of the deadliest conflicts in history, paving the way for major political changes, including revolutions in many of the nations involved.<br/><br/> The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance.<br/><br/> These alliances were reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
Javanese dance is the dances and art forms that were created and influenced by Javanese culture. Javanese dance is usually associated with the courtly, refined and sophisticated culture of the Javanese kratons, such as the Bedhaya and Srimpi dance. However, in a wider sense, Javanese dance also includes the dances of Javanese commoners and villagers such as Ronggeng, Tayub, Reog, and Kuda Lumping.<br/><br/> Javanese dance is usually associated with Wayang wong, and the palaces of Yogyakarta and Surakarta due to the nature of dance being a pusaka or sacred heirloom from ancestors of the palace rulers. These expressive dances are more than just dances, they are also used for moral education, emotional expression, and spreading of the Javanese culture.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.