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During the Meiji Period (1868 - 1912), rapid industrialization and modernization of Japan both allowed and required a massive increase in production and infrastructure. Japan built industries such as shipyards, iron smelters, and spinning mills, which were then sold to well-connected entrepreneurs.<br/><br/> Consequently, domestic companies became consumers of Western technology and applied it to produce items that would be sold cheaply in the international market. With this, industrial zones grew enormously, and there was massive migration to industrializing centers from the countryside. Industrialization additionally went hand in hand with the development of a national railway system and modern communications.
Vladimir Vasilyevich Lebedev (14 May 1891, Saint Petersburg – 21 November 1967) was a Soviet painter and graphic artist. He became famous for his exceptional illustrations of the poems of the prominent poet and translator Samuil Marshak, such as Circus, Ice Cream, Tale About a Foolish Mouse, Moustached and Striped, Book of Many Colours, Twelve Months and Luggage.<br/><br/> As a young boy, Lebedev started to paint postcards that were sold in a shop in Saint Petersburg. At the age of nineteen, he held his first exhibit at the Academy of Fine Arts. In 1913, he began work as a cartoonist for several satirical journals, including the famed 'Satirikon'). From 1920-1922, Lebedev worked for The Russian Telegraph Agency (ROSTA) and The Department of Agitation (Agitprop) designing propaganda posters.
During the Meiji Period (1868 - 1912), rapid industrialization and modernization of Japan both allowed and required a massive increase in production and infrastructure. Japan built industries such as shipyards, iron smelters, and spinning mills, which were then sold to well-connected entrepreneurs.<br/><br/> Consequently, domestic companies became consumers of Western technology and applied it to produce items that would be sold cheaply in the international market. With this, industrial zones grew enormously, and there was massive migration to industrializing centers from the countryside. Industrialization additionally went hand in hand with the development of a national railway system and modern communications.
On December 7–8, 1941, Japanese forces carried out surprise attacks on Pearl Harbor, attacks on British forces in Malaya, Singapore, and Hong Kong and declared war, bringing the US and the UK into World War II in the Pacific.<br/><br/> After the Soviet invasion of Manchuria and the atomic bombings of Hiroshima and Nagasaki in 1945, Japan agreed to an unconditional surrender on August 15. The war cost Japan and the rest of the Greater East Asia Co-Prosperity Sphere millions of lives and left much of the nation's industry and infrastructure destroyed.
During the Meiji Period (1868 - 1912), rapid industrialization and modernization of Japan both allowed and required a massive increase in production and infrastructure. Japan built industries such as shipyards, iron smelters, and spinning mills, which were then sold to well-connected entrepreneurs.<br/><br/> Consequently, domestic companies became consumers of Western technology and applied it to produce items that would be sold cheaply in the international market. With this, industrial zones grew enormously, and there was massive migration to industrializing centers from the countryside. Industrialization additionally went hand in hand with the development of a national railway system and modern communications.
Allied forces conducted many air raids on Japan during World War II, causing extensive destruction to the country's cities and killing between 241,000 and 900,000 people. During the first years of the Pacific War, sparked by the Japanese attack on Pearl Harbor, these attacks were limited to the Doolittle Raid in April 1942 and small-scale raids on military positions in the Kuril Islands from mid-1943.<br/><br/> Strategic bombing raids began in June 1944 and continued until the end of the war in August 1945. Allied naval and land-based tactical air units also attacked Japan during 1945.
During the Meiji Period (1868 - 1912), rapid industrialization and modernization of Japan both allowed and required a massive increase in production and infrastructure. Japan built industries such as shipyards, iron smelters, and spinning mills, which were then sold to well-connected entrepreneurs.<br/><br/> Consequently, domestic companies became consumers of Western technology and applied it to produce items that would be sold cheaply in the international market. With this, industrial zones grew enormously, and there was massive migration to industrializing centers from the countryside. Industrialization additionally went hand in hand with the development of a national railway system and modern communications.
The Great Leap Forward (simplified Chinese: 大跃进; traditional Chinese: 大躍進; pinyin: Dà yuè jìn) of the People's Republic of China (PRC) was an economic and social campaign of the Communist Party of China (CPC), reflected in planning decisions from 1958 to 1961, which aimed to use China's vast population to rapidly transform the country from an agrarian economy into a modern communist society through the process of rapid industrialization, and collectivization. Mao Zedong led the campaign based on the Theory of Productive Forces, and intensified it after being informed of the impending disaster from grain shortages.<br/><br/> Chief changes in the lives of rural Chinese included the introduction of a mandatory process of agricultural collectivization, which was introduced incrementally. Private farming was prohibited, and those engaged in it were labeled as counter revolutionaries and persecuted. Restrictions on rural people were enforced through public struggle sessions, and social pressure.<br/><br/> The Great Leap ended in catastrophe, resulting in tens of millions of excess deaths. Estimates of the death toll range from 18 million to at least 45 million.<br/><br/> In subsequent conferences in 1960 and 1962, the negative effects of the Great Leap Forward were studied by the CPC, and Mao was criticized in the party conferences. Moderate Party members like Liu Shaoqi and Deng Xiaoping rose to power, and Mao was marginalized within the party, leading him to initiate the Cultural Revolution in 1966.
Fabriano in central Italy was the first European centre of paper-making, developed after 1296 CE. Miliani also introduced the watermark technique. The technology for pulping and pressing paper in this 15th century factory was not dissimilar to Chinese paper mills some 16 centuries earlier.
During late 1920s and 1930s Japan, a new poster style developed that reflected the growing influence of the masses in Japanese society. These art posters were strongly influenced by the emerging political forces of Communism and Fascism in Europe and the Soviet Union, adopting a style that incorporated bold slogans with artistic themes ranging from Leftist socialist realism through Stateism and state-directed public welfare, to Militarism and Imperialist expansionism.<br/><br/> Though diverse in their messages, all bear the stamp of the ovebearing proletarian art of the time, reflecting shades of Nazi Germany, Socialist Russia and Fascist Italy in the Far East.
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.