![[War paintings & drawings by British artists] [Carnegie Institute, March 7 April 3].](https://cache.getarchive.net/Prod/thumb/cdn4/L3Bob3RvLzIwMTkvMDkvMjAvd2FyLXBhaW50aW5ncy1hbmQtZHJhd2luZ3MtYnktYnJpdGlzaC1hcnRpc3RzLWNhcm5lZ2llLWluc3RpdHV0ZS1tYXJjaC03LWFwcmlsLTVkNjMyMy0xMDI0LmpwZw%3D%3D/320/407/jpg "[War paintings & drawings by British artists] [Carnegie Institute, March 7 April 3].")
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[War paintings & drawings by British artists] [Carnegie Institute, March 7 April 3].
Summary
Printer's proof without text, of poster for an art exhibit showing an aviator with goggles pushed up on his head.
Accompanied by label: Linoleum Block Poster - 1916. Used by Carnegie Institute Fine Arts Department for display on local trolley cars. The impression carrying lettering was printed over the rendering of the aviator - no complete copy has been preserved. For this early use of this technique the blocks were cut by Harry L. Gage and printed on a cylinder press by his students in the Department of Printing, Carnegie Institute of Technology, Pittsburgh, Penna.
Following the outbreak of war in 1914, the conflict rapidly grew towards ‘Total War‘. During the early years of the war, poster design and distribution in Britain was organized by the War Propaganda Bureau run out of Wellington House in London. Many of the designs and content of the posters produced during this period were decided internally without oversight from the British Parliament. From 1916 onward, the production of posters and propaganda was centralized through the British Government and, by 1918, were run primarily by the British Ministry for Information. All posters in this collection are printable in high definition.
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