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- Amidst flaming red and yellow a Russian soldier crushes a naked man beneath his boots. A bayonet is fixed threateningly to his rifle. His victim helplessly clenches his fists. The Cossack appears indifferent. With his shiny boots and his rifle, he personifies the cruelty of the Tsarist regime and his bloody victim symbolises the Russian people. The soldier is drawn with beautiful, angular lines. The design is full of expression and executed in bright colours. This austere, stirring image bears a single word, The Battleship Potemkin. For the Dutch public in 1926 that was more than enough. (en)
- The flirtation between advertising and art, which began so promisingly, did not end up in marriage. The expectations of the partners were too different. In the course of the 20th century, advertisers acted decreasingly as patrons of the arts and focused increasingly on ensuring that the artist's advertising work contributed to additional turnover. (en)
- Not so long ago, our stations, meadows and open wall surfaces were disflgured with ugly, tasteless advertisements. Luckily there has been a change. On all sides, people now realise the immense value of an attractive advertising poster, of a poster that is clear and speaks to the public in good colours, focusing the attention on what it was drawn for. (en)
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