德国是今日欧洲最大的广告国,其广告设计思想对今日欧,美、日等发达广告国家的广告有重大影响。作为占据广告设计王座地位的德国招贴,其历史发展的来胧去脉在世界广告史上有着极为重要的作用,但目前我国出版的各类有关广告史论书籍很少有介绍德国招贴发展状况的,特别是具有重要地位的“柏林招贴”,对我国广告设计界来说还十分陌生,这是很不应该的。 在19世纪末20世纪初,作为这个世纪之交时期欧洲和美国新艺术运动(Art Nouveau)招贴的合乎逻辑的某种必然结局,产生了一种强调削减、强调最简化的形式语言的招贴流派——柏林招贴,代表人物是德国的卢欣·伯哈德(Lucien Bernhard)。 Germany is the largest advertising country in Europe today, and its advertising design ideas have a significant impact on advertisements of developed advertising countries such as Europe, the United States and Japan today. As a German poster occupying the throne of advertising design, the historical development of the poster has a very important role in the history of advertising in the world. However, at present, there are few books on advertising history published in our country that introduce the development of the German poster. In particular, the important “Berlin Poster” is still very strange to the advertising design community in our country. This should not be the case. In the late nineteenth and early twentieth centuries, a logical and inevitable outcome of the placings of Art Nouveau in Europe and the United States at the turn of the century resulted in a pensky genre that emphasized the reduction and emphasis on the simplest forms of language - - Berlin Poster, represented by Germany’s Lucien Bernhard.