During World War I, the impact of the poster as a means of communication was greater than at any other time during history. The ability of posters to inspire, inform, and persuade combined with vibrant design trends in many of the participating countries to produce thousands of interesting visual works. As a valuable historical research resource, the posters provide multiple points of view for understanding this global conflict. As artistic works, the posters range in style from graphically vibrant works by well-known designers to anonymous broadsides (predominantly text).
The Library of Congress Prints & Photographs Division has extensive holdings of World War I era posters. Available online are approximately 1,900 posters created between 1914 and 1920. Most relate directly to the war, but some German posters date from the post-war period and illustrate events such as the rise of Bolshevism and Communism, the 1919 General Assembly election and various plebiscites.
This collection's international representation is among the strongest in any public institution. (For other major holdings, see the Related Resources page.) The majority of the posters were printed in the United States. Posters from Australia, Austria, Belgium, Canada, Germany, Great Britain, Italy, the Netherlands, and Russia are included as well. The Library acquired these posters through gift, purchase, and exchange or transfer from other government institutions, and continues to add to the collection.
World War I and the Role of the Poster
World War I began as a conflict between the Alllies (France, the United Kingdom, and Russia) and the Central Powers (Germany and Austria-Hungary). The assassination of Archduke Francis Ferdinand, the heir to the throne of Austria-Hungary and his wife Sophie ignited the war in 1914. Italy joined the Allies in 1915, followed by the United States in 1917. A ceasefire was declared at 11 AM on November 11, 1918.
The poster was a major tool for broad dissemination of information during the war. Countries on both sides of the conflict distributed posters widely to garner support, urge action, and boost morale. During World War II, a larger quantity of posters were printed, but they were no longer the primary source of information. By that time, posters shared their audience with radio and film.
Even with its late entry into the war, the United States produced more posters than any other country. Taken as a whole, the imagery in American posters is more positive than the relatively somber appearance of the German posters.
Poster Themes
The posters in the Prints and Photographs Division deal primarily with recruitment, finance, and home front issues. Although produced in different countries, many designs use symbols and messages that share a common purpose. (To explore the full array of topics and symbols supplied as index terms on individual poster descriptions, see the Subject/Format browse list.)
Enlistment and Recruitment Posters
Many posters asked men to do their duty and join the military forces. In the early years of the war, Great Britain issued a large number of recruitment posters. Prior to May of 1916, when conscription was introduced, the British army was all-volunteer. Compelling posters were an important tool in encouraging as many mean as possible to enlist. Four rarely seen posters printed in Jamaica and addressed to the men of the Bahamas illustrate the point that this war involved many parts of the world beyond the actual battlegrounds [ view Bahamas recruitment posters].
Women, who weren't being recruited for the military, were also asked to do their part. They could serve through relief organizations such as the YWCA or the Red Cross, or through government jobs. The Women's Land Army was originally a British civilian organization formed to increase agricultural production by having women work the land for farmers who were serving in the military. A Women's Land Army was also assembled in the United States.
Vincent Aderene, artist. Columbia calls--Enlist now for U.S. Army
Vincent Aderene, artist. Columbia calls--Enlist now for U.S. Army.
View selected enlistment posters
View selected women's recruitment and relief agency posters
Posters for War Bonds and Funds
In countries where conscription was the norm (France, Germany, Austria), recruitment was not such a pressing need, and most posters were aimed at raising money to finance the war. Those who did not enlist were asked to do their part by purchasing bonds or subscribing to war loans. Many finance posters use numismatic imagery to illustrate their point. Coins transform into bullets, crush the enemy, or become shields in the war effort.
Alfred Offner, artist. Zeichnet 8 Kriegsanleihe
Alfred Offner, artist. Zeichnet 8 Kriegsanleihe.
View selected war bonds and funds posters
Posters Dealing with Food Issues
Food shortages were widespread in Europe during the war. Even before the United States entered the war, American relief organizations were shipping food overseas. On the home front, it was hoped that Americans would adjust their eating habits in such a way as to conserve food that could then be sent abroad. Americans were told to go meatless and wheatless and to eat more corn and fish. Americans were also encouraged to plant victory gardens and to can fruits and vegetables. In Great Britain, eggs were collected for the wounded to aid in their recovery. In France, the ComitŽ National de PrŽvoyance et d'Economies sponsored a poster competition among schoolchildren to design conservation posters.
R.G. Praill, artist. Enlisted for duration of the war. Help the national egg collection for the wounded
R.G. Praill, artist. Enlisted for duration of the war. Help the national egg collection for the wounded.
View selected food issues posters
National Symbols
Many of the posters rely on symbolism to illustrate their point. Uncle Sam appears quite frequently on posters as a symbol for the United States. On other posters, John Bull and Britannia represent the United Kingdom, while France is personified by Marianne. Posters produced by the Allies often depict Germany as a caricature called a "Hun" who was usually portrayed wearing a pickelhaube (spiked helmet), often covered in blood.
Whistler's mother, from the painting "Arrangement in Grey and Black," is used to represent all motherhood on one Canadian poster. Men are asked to join the Irish Canadian Rangers and "fight for her."
A. Robaude, artist. 2me Emprunt de la Defense Nationale
A. Robaude, artist. 2me Emprunt de la Defense Nationale.
View selected national symbols posters
The Poster Artists
(Note: Select the name of the artist to view posters he designed.)
Many well-known artists and illustrators contributed their work to the war effort. Even though the British posters were primarily the work of anonymous printers and lithographers, established artists such as Frank Brangwyn (1867-1956), John Hassall (1868-1948), and Gerald Spencer Pryse (1881-1956) designed posters as well.
In Germany, Lucian Bernhard (1883-1972) produced many posters notable for their typography. Ludwig Hohlwein (1874-1949), who worked for most of his life in Munich, was internationally recognized for his integration of text and image and his brilliant use of color. In addition to his posters for the war effort, he designed many travel and advertising posters. Some of his last works were posters he designed for the Nazi Party during World War II.
Abel Faivre (1867-1945), a well-known cartoonist, and Théophile Steinlen (1859-1923), whose cats and Parisian scenes are some of the most recognizable images of the Belle Époque, lent their skills to the war effort and produced posters of considerable emotional depth.
In the U.S., the Committee on Public Information's Division of Pictorial Publicity urged artists to contribute their work in support of the war effort, and hundreds of poster designs were produced. The Division of Pictorial Publicity accepted Joseph Pennell's design for the Fourth Liberty Loan Drive of 1918, for example, which showed New York City in flames. Although the likelihood of enemy attack was small (aircraft of the day could not cross the Atlantic Ocean), the visual argument made for a haunting poster printed in approximately two million copies. The Prints & Photographs Division is fortunate to have works that show different phases of the design process: the original watercolor sketch, a proof for the poster, and the poster that was distributed.
Howard Chandler Christy (1873-1952) put the Christy girl into wartime service for the Marines and the Navy, as did other poster creators.
James Montgomery Flagg (1870-1960) designed what has become probably the best-known war recruiting poster: "I Want You for U.S. Army" [view poster]. Said to be a self-portrait, this most recognized of all American posters is also one of the most imitated. Flagg had adapted his design from Alfred Leete's 1914 poster of Lord Kitchener. Posters employing a similar composition were used on both sides of the conflict [ view examples]. The American poster was altered slightly for use in World War II [view poster ]. Since then, this image of Uncle Sam has been modified and parodied countless times [ view examples of parodies].
Marine Corps Emblem and Seal
The history of the Marine Corps emblem is a story related to the history of the Corps itself. The emblem of today traces its roots to the designs and ornaments of early Continental Marines as well as British Royal Marines. The emblem took its present form in 1868. Before that time many devices, ornaments, and distinguishing marks followed one another as official marks of the Corps.
In 1776, the device consisted of a "foul anchor" of silver or pewter. The foul anchor still forms a part of the emblem today. (A foul anchor is an anchor which has one or more turns of the chain around it). Changes were made in 1798, 1821, and 1824. In 1834 it was prescribed that a brass eagle be worn on the hat, the eagle to measure 3 ½ inches from wingtip to wingtip.
The large "living" emblem (left) is actually composed of thousands of Marines as shown below. The photo was taken aboard MCRD Parris Island in 1919.
During the early years numerous distinguishing marks were prescribed, including "black cockades", "scarlet plumes," and "yellow bands and tassels." In 1859 the origin of the present color scheme for the officer's dress uniform ornaments appeared on an elaborate device of solid white metal and yellow metal. The design included a United States shield, half wreath, a bugle, and the letter "M."
In 1868, Brigadier General Commandant Jacob Zeilin appointed a board "to decide and report upon the various devices of cap ornaments of the Marine Corps." On 13 November 1868, the board turned in its report. It was approved by the Commandant four days later, and on 19 November 1868 was signed by the Secretary of the Navy.
The emblem recommended by this board consists of a globe (showing the Western Hemisphere) intersected by a foul anchor, and surmounted by a spread eagle. On the emblem itself, the device is topped by a ribbon inscribed with the Latin motto "Semper Fidelis" (Always Faithful). The uniform ornaments omit the motto ribbon.
The general design of the emblem was probably derived from the British Royal Marines' "Globe and Laurel." The globe on the U.S. Marine emblem signifies service in any part of the world. The eagle also indirectly signifies service worldwide, although this may not have been the intention of the designers in 1868. The eagle which they selected for the Marine emblem is a crested eagle, a type found all over the world. On the other hand, the eagle pictured on the great seal and the currency of the United States is the bald eagle, strictly a North American variety. The anchor, whose origin dates back to the founding of the Marine Corps in 1775, indicates the amphibious nature of Marines' duties.
On 22 June 1954, President Dwight D. Eisenhower signed an Executive Order, which approved the design of an official seal for the United States Marine Corps. The new seal had been designed at the request of the Commandant of the Marine Corps, Gen Lemuel C. Shepherd, Jr.
The new seal consisted of the traditional Marine Corps emblem in bronze; however, an American bald eagle replaced the crested eagle depicted on the 1868 emblem, and is depicted with wings displayed, standing upon the western hemisphere of the terrestrial globe, and holding in his beak a scroll inscribed with the Marine Corps motto "Semper Fidelis" (Ever Faithful) with the hemisphere superimposed on a foul anchor. The seal is displayed on a scarlet background encircled with a Navy blue band edged in a gold rope rim and inscribed "Department of the Navy, United States Marine Corps" in gold letters. Coincident with the approval of this seal by the President, the emblem centered on the seal was adopted in 1955 as the official Marine Corps Emblem.
Unlike the robust recruitment efforts of World War I and World War II, recruitment today is more focused on maintaining a standing military. As such there’s more emphasis on character, skill, and career development instead of a call to arms in response to a specific threat.
Air Force medical group commander fired after less than 4 months on the job
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
The most famous recruiting poster in U.S. history, it was created by James Montgomery Flagg, who used himself as the model for Uncle Sam. The poster was enormously popular and used extensively during World War I and World War II.Image via National Archives
Viral campaigns, Hollywood blockbusters, and massive television promos have all but replaced the recruitment poster. However, they remain an important part of the military’s history and offer insight into the social and cultural trends that the services once played off of to draw recruits.
While many military recruitment posters are iconic, such as James Montgomery Flagg’s “I Want You,” they weren’t always so on the nose.
Military recruitment posters were traditionally placed in very public spaces: post offices, town squares, city halls, and of course, in military recruitment centers. Prior to television, radio, and the internet, they were the cheapest way to get the government's message to the public.
Related: The 1970s Marine Corps commercial that will actually make you want to re-enlist »
“All of them are designed to send a message that the reader would understand quickly and that would pair this catchy wording with an equally catchy image,” explained Bruce Bustard, a senior curator at the National Archives, in an email to Task & Purpose. “They are the equivalent of the brief ads that come up on websites. They want to grab your attention.”
The National Archives boasts one of the largest collections of U.S. military posters, between 3,000 and 3,500, with the vast majority aimed at recruitment during World War I and II, explained Billy Wade, a senior archivist with the National Archives’ Still Pictures Branch.
While the world wars marked the medium’s heyday, recruitment posters were in circulation long before then. The earliest posters focused on financial compensation and practical benefits for those enlisting, but around the early 1900s and well into World War II, they began to tug more on heartstrings than pockets. By World War II, military service was so closely tied to patriotic duty, sex appeal, and a life of adventure, that they didn’t bother to mention financial compensation.
Check out these eight military recruitment posters from National Archives ranging from the 1800s all the way to World War II.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
This broadside dates from the 1799 Quasi-War, an undeclared war between the United States and France that took place almost entirely at sea. Typically this style of poster, called a broadside, didn’t contain imagery, but this shows U.S. troops in uniform in an array of positions. Even as far back as 1799, the military knew they could draw recruits with a slick uniform.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
The message here is pretty direct. Don’t get drafted. Enlist!
Circulated in 1862, this broadside from the Civil War addressed the pending draft in the Northern States.
“It suggests that in addition to the various bounties a recruit would get for joining the Navy, he would also avoid being drafted into the Army, which was, presumably much more dangerous,” explained Bustard.
To sweeten the pot, the poster boasts “$50,000 in prizes,” but just below that it explains that an undefined “large portion” of that money will be awarded to ships crews, but is mum on what the take home will actually be for individual sailors.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Another broadside from the Civil War, this was issued just after the Emancipation Proclamation in 1863.
Bustard explained that the poster offers “protection of colored troops,” which was meant to reassure African-American servicemen that if they were captured, the U.S. government would come to their aid.
“This was important because the Confederacy had announced that captured black troops would be treated as slaves and sold back into slavery,” explained Bustard.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
This poster from 1912 was designed to appeal to young men seeking adventure and travel. If you’re strapped for cash, longing for excitement and you see an advert guaranteeing adventure, good pay, and not-so-subtly implying a trip to a tropical paradise, chances are you might think about signing up.
It’s a tried and true recruitment method. Don’t believe it? Check out this Marine Corps Recruitment commercial from the 1970s that uses a similar technique.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Incorporating the motto of the newly created Tank Corps, this World War I-era recruitment poster was designed to imply a sense of excitement for what was at the time, an entirely new form of warfare, Bustard explained.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Featuring a “Christy Girl” model, the brainchild of artist Howard Chandler Christy, this World War I poster ran from 1917-1918 and was aimed at getting young men to enlist in the Marines.
“For their time, dressing a woman in men's clothing was quite provocative and suggestive,” explained Bustard, who added that though the posters were quite popular, probably with young men, they were criticized as being “frivolous.”
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
Emblazoned with red, white, and blue, this is about as patriotic as you can get, not counting Uncle Sam. At the time, pilots were seen as sex symbols, akin to movie stars and sports heroes, explained Bustard, so it’s possible that this poster was trying to tap into that.
You know, something like “join the Air Corps, get a bomber jacket and all the babes.
How Recruitment Posters Used Pay, Patriotism, And Sex Appeal To Bolster The Ranks
This is pure machismo. The only way this poster could be more direct is if it led with the words: “Be a man and join the Navy.”
At first glance, it's not entirely clear who this is targeting, whether it's aimed at getting men to join the Navy, or to prompt their wives and girlfriends to pressure them to serve. The poster was produced in 1942 during the U.S. military’s first full year in World War II and a time when things were not going well for the Allies.
“This poster reinforces the connection between masculine strength and power and the armed forces,” explained Bustard. “I get an impression of the overwhelming armed might of the U.S. Navy. Perhaps this was a necessary connection at a time when things were not going well for the U.S.”