The poster and its relationship with the avant-garde and artistic movements of the first half of the 20th century.

Abstract

This text is part of the doctoral research project "The Colombian advertising poster: the modernization of Cali through the stamp (1910-1944)", in which the hypothesis of assuming the advertising poster as a window and mirror for approach and read the modernizing process experienced by this Colombian city in the first half of the 20th century. Thus, it is intended to critically investigate how and why posters are configured as cultural objects, fruits of a time and reference of an era, which had a very close relationship with the art scene of the beginning of the last century. The historiographic intentions of this proposal are defined from the approach to the place of production of the posters, conditions that determine the construction of a discourse and that support the interpretive action of social products based on the multiple particularities that define them. (De Certeau, 1994: 221). In this way, an interpretive exercise is carried out (from where it is read) that understands history as a story, method and representation of a time to approach the past through a practice, articulating the form and content of the advertising poster as an input and historical document, providing data on the place, setting and epochal conditions of the source (Koselleck, 1993: 185). For this reason, this proposal deals with the emergence of the advertising poster as a cultural object of the bourgeoisie, developing from its beginnings in full industrialization as a commercial art closely linked to the artistic processes of that time, which highlighted a close relationship between the poster with the artistic avant garde of the early twentieth century.