Abstract
This article describes the perceptions of poster designing as a particular kind of ‘art’ practice in Britain in the late nineteenth and early twentieth centuries, and assesses the impact of an emerging advertising trade on this practice. It argues that the view of poster designing as a form of applied art became difficult to sustain with the growth of a systematic advertising practice. A discourse on advertising articulated across a range of journals and books in the period different to those in which the poster and poster designing was defined began to modify the role of the artist and the form of the poster with significant effects on the practice. The autonomy and status of the poster artist was challenged, and the function of the poster re‐defined in a way that heralded the emergence of a new kind of practice: commercial art.
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