Analysis of the relationship between advertising and the different artistic disciplines in Paris in the late nineteenth and early twentieth centuries
Cuadernos de Bellas Artes – 30
Paying due attention to advertising is the very essence of adver¬tising work. One of the tools used is based on the principle of “saving physical effort” announced by Freud (1905) in his book Mechanisms of pleasure and the psychogenesis of the spiriP. “It is univer- sally admitted that our pleasure is in what we know and recognize. So, we can expect the man to use as a game something that we recognize and creates pleasure”. From this premise authors can establish that advertising is the use for a particular purpose of things that people recognize as pleasurable. At this point the link between advertising and art is found. To this end advertising constitutes both our “collective memory” and our “ordinary memory”. This mental coexistence is essential in advertising effectiveness (Gruning, 1990). Advertising throughout history has used art -and all stereotypes that surround this— to its own benefit.
As a result, art has been criticized by many groups of anthropologists, historians as well as the general public; advertising has been accused of confiscating and plundering of art in search of a trivial and mercantilist goal. These groupsmaintain this negative view of advertising, accusing advertising of usurping, based on aesthetic power, altruistic and almost divine art versus na- ture “earthly” of advertising. Moulin (1992) speaks of a kind of art out of the ordinary (…) that is combined with aristocratic image of the artwork, unique and irreplaceable; or Saudubray (1984) who states that, on one hand is a series concept, useful and not real; and on the other, unity, gratitude and imagination.
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