Advertising also belongs in the museum
In Paris, the Musée de la publicité is showing an exhibition on the history of advertising that is well worth seeing
In Paris, the Musée de la publicité is presenting an exhibition on the history of advertising that is well worth seeingBy Andreas PanzeriWhat is still a dream in the minds of a few history-conscious creatives in Switzerland has already taken shape in Paris: the Musée de la publicité. Now the rich collection of otherwise quickly fading everyday art is attracting visitors to a special exhibition entitled "250 ans de pub". Paris is worth a trip for advertisers. Certainly until October 14.
Mona Lisa has a good smile. Now that the crowds of tourists are once again queuing endlessly in front of the Louvre, the grande dame of art can still maintain a good mood. Since mid-March, da Vinci's Mona has known that there are alternatives to queuing for hours in front of her likeness. Just around the corner from the Louvre's glass pyramid, at 107-111 Rue de Rivoli, is the Union centrale des arts décoratifs. In addition to a Musée de la mode et du textile on the top floor, there is also a Musée de la publicité.
This young museum has not yet attracted much attention.
in the grand style of the Louvre or the Centre Pompidou. However, this could change with the "250 ans de pub" exhibition, which opened in March and runs until October 14. Even if it was not a da Vinci, but a certain Jean Nouvel who designed the interior decoration of the advertising museum as an architect.
The seven-room gem plus "Trend" bar and Médiathèque was opened in November 1999. Its predecessor, the Musée de l'affiche, had already existed in Paris since 1978. Its holdings have now been taken over by the Museum of Advertising, supplemented by an extensive collection of commercials, packaging and other media documents.
Klimt, Toulouse-Lautrec,
Warhol - they are all there
50,000 historical posters from Henri de Toulouse-Lautrec to Gustav Klimt and 50,000 contemporary posters for Perrier, Andy Warhol and Benetton have been inventoried. These are supplemented by 10,000 commercials from all eras, shot by Federico Fellini to Ridley Scott, among others. New collector's items are added daily, ranging from enamel plaques, photos and advertisements to radio spots, promotional gifts and other promotional items on the history and future of brands.
With its extensive specialist library and state-of-the-art interactive facilities, including for professional research in the archive, the Musée de la publicité in Paris is a unique pioneering project in the international world of advertising. The museum is managed by Réjane Bargiel. The most renowned French advertising agencies act as sponsors. The French Art Directors Club regularly uses the exhibition rooms as a meeting place for all kinds of events.
The museum puts on several temporary exhibitions each year. The most comprehensive show to date has now been created under the title "250 ans de pub". The chronologically structured documentation divides the advertising era into six sections with increasingly shorter intervals up to the most recent chapter "1990-2000". The exhibition is limited exclusively to the history of advertising in France. Nevertheless, it is very representative.
The first room, "1750-1880", uses an audio-visual show to tell the story of the beginnings of advertising with the herald, who first proclaimed royal commands in 1180 and also announced goods from 1415. Since then, the sale of consumer goods has been accompanied by increasingly eye-catching and sophisticated advertising.
The founding of the Corporation des afficheurs in 1722 marked the birth of advertising and gave it the official right to print and display posters.
As early as 1857, there was a trademark law in France, the "loi sur la marque de fabrique". Interesting for today's comparisons: As early as 1865, advertisements filled a third of the entire space in Parisian newspaper columns.
With these and other surprising details, the exhibition explores Toulouse-Lautrec's posters from the period "1880-1920". The first trade journal La Publicité was printed in 1903. The first specialist books such as "La publicité suggestive et raisonnée" were read in those pioneering days. The first Paris poster exhibition was held as early as 1889.
"1920-1950" shows pictures of the Eiffel Tower, which was illuminated in color by Citroën in 1925 as part of the first "event marketing" event. The Publicis agency was founded a year later.
History is told in the
embedded in a social context
All these stories are not only illustrated with numerous photos and many original posters and documents. For each era, a video film with historical footage of the time and nostalgic impressions has also been created. In addition to the wild 1930s, the emergence of cinema advertising in the "1950-1970" era is particularly rewarding. Back then, the designers were able to indulge in beautiful images in an old film for Vittel mineral water.
Even during the first TV broadcast of the Tour de France, the riders still cycled through the countryside at a fairly leisurely pace. But then the cadence got faster and faster.
The "1970-1990" section, with its almost unmanageable amount of information, also makes it clear that advertising expenditure increased fivefold between the beginning of the 1950s and 1970. In terms of content, the ever-increasing power of advertising is reflected in more and more mergers between agencies.
On the Internet, the
Prepare your museum visit
Compared to the beginnings, the last era of "1990-2000" is only told in a rudimentary way. It is not only the Benetton posters that the audience is already familiar with from everyday life. The Médiathèque at the entrance to the exhibition next to the "Trend" café therefore provides a more impressive demonstration of how this current period, with its daily new achievements, can also be linked to advertising in the field of interactive media. Here, interested visitors can spend hours surfing through the bowels of the museum's extensive collection.
Some of these can also be accessed online at www.museedela pub.org. Details of the daily opening hours from Tuesday to Sunday can also be found on the museum's homepage.
Mona Lisa has a good smile. Now that the crowds of tourists are once again queuing endlessly in front of the Louvre, the grande dame of art can still maintain a good mood. Since mid-March, da Vinci's Mona has known that there are alternatives to queuing for hours in front of her likeness. Just around the corner from the Louvre's glass pyramid, at 107-111 Rue de Rivoli, is the Union centrale des arts décoratifs. In addition to a Musée de la mode et du textile on the top floor, there is also a Musée de la publicité.
This young museum has not yet attracted much attention.
in the grand style of the Louvre or the Centre Pompidou. However, this could change with the "250 ans de pub" exhibition, which opened in March and runs until October 14. Even if it was not a da Vinci, but a certain Jean Nouvel who designed the interior decoration of the advertising museum as an architect.
The seven-room gem plus "Trend" bar and Médiathèque was opened in November 1999. Its predecessor, the Musée de l'affiche, had already existed in Paris since 1978. Its holdings have now been taken over by the Museum of Advertising, supplemented by an extensive collection of commercials, packaging and other media documents.
Klimt, Toulouse-Lautrec,
Warhol - they are all there
50,000 historical posters from Henri de Toulouse-Lautrec to Gustav Klimt and 50,000 contemporary posters for Perrier, Andy Warhol and Benetton have been inventoried. These are supplemented by 10,000 commercials from all eras, shot by Federico Fellini to Ridley Scott, among others. New collector's items are added daily, ranging from enamel plaques, photos and advertisements to radio spots, promotional gifts and other promotional items on the history and future of brands.
With its extensive specialist library and state-of-the-art interactive facilities, including for professional research in the archive, the Musée de la publicité in Paris is a unique pioneering project in the international world of advertising. The museum is managed by Réjane Bargiel. The most renowned French advertising agencies act as sponsors. The French Art Directors Club regularly uses the exhibition rooms as a meeting place for all kinds of events.
The museum puts on several temporary exhibitions each year. The most comprehensive show to date has now been created under the title "250 ans de pub". The chronologically structured documentation divides the advertising era into six sections with increasingly shorter intervals up to the most recent chapter "1990-2000". The exhibition is limited exclusively to the history of advertising in France. Nevertheless, it is very representative.
The first room, "1750-1880", uses an audio-visual show to tell the story of the beginnings of advertising with the herald, who first proclaimed royal commands in 1180 and also announced goods from 1415. Since then, the sale of consumer goods has been accompanied by increasingly eye-catching and sophisticated advertising.
The founding of the Corporation des afficheurs in 1722 marked the birth of advertising and gave it the official right to print and display posters.
As early as 1857, there was a trademark law in France, the "loi sur la marque de fabrique". Interesting for today's comparisons: As early as 1865, advertisements filled a third of the entire space in Parisian newspaper columns.
With these and other surprising details, the exhibition explores Toulouse-Lautrec's posters from the period "1880-1920". The first trade journal La Publicité was printed in 1903. The first specialist books such as "La publicité suggestive et raisonnée" were read in those pioneering days. The first Paris poster exhibition was held as early as 1889.
"1920-1950" shows pictures of the Eiffel Tower, which was illuminated in color by Citroën in 1925 as part of the first "event marketing" event. The Publicis agency was founded a year later.
History is told in the
embedded in a social context
All these stories are not only illustrated with numerous photos and many original posters and documents. For each era, a video film with historical footage of the time and nostalgic impressions has also been created. In addition to the wild 1930s, the emergence of cinema advertising in the "1950-1970" era is particularly rewarding. Back then, the designers were able to indulge in beautiful images in an old film for Vittel mineral water.
Even during the first TV broadcast of the Tour de France, the riders still cycled through the countryside at a fairly leisurely pace. But then the cadence got faster and faster.
The "1970-1990" section, with its almost unmanageable amount of information, also makes it clear that advertising expenditure increased fivefold between the beginning of the 1950s and 1970. In terms of content, the ever-increasing power of advertising is reflected in more and more mergers between agencies.
On the Internet, the
Prepare your museum visit
Compared to the beginnings, the last era of "1990-2000" is only told in a rudimentary way. It is not only the Benetton posters that the audience is already familiar with from everyday life. The Médiathèque at the entrance to the exhibition next to the "Trend" café therefore provides a more impressive demonstration of how this current period, with its daily new achievements, can also be linked to advertising in the field of interactive media. Here, interested visitors can spend hours surfing through the bowels of the museum's extensive collection.
Some of these can also be accessed online at www.museedela pub.org. Details of the daily opening hours from Tuesday to Sunday can also be found on the museum's homepage.
