War Aims Through Art: The U.S. Office of War Information

To control the content and imagery of war messages, the government created the U.S. Office of War Information (OWI) in June 1942. Among its wide-ranging responsibilities, OWI sought to review and approve the design and content of government posters. Eventually, two contending groups within OWI clashed over poster design. Those who saw posters as "war art" favored stylized images and symbolism, while recruits from the world of advertising wanted posters to be more like ads. When admen gained the upper hand at OWI, the look of government posters changed decidedly.

OWI officials felt that the most urgent problem on the home front was the careless leaking of sensitive information that could be picked up by spies and saboteurs.

"The Sound That Kills"
(U.S. Office of War Information, Poster No. 1, 1942
Poster, 164595.03, 14 1/4 x 20", 91-16249.
Gift of Bureau of Publications and Graphics,
U.S. Office of War Information.)

OWI officials brought a variety of approaches to poster design. Graphics chief Francis Brennan, former art director of Fortune Magazine, believed that posters should be "war art", combining the sophisticated style of contemporary art with the promotion of war aims.

"Strong in the Strength of the Lord"
(Artist: David Stone Martin,
U.S. Office of War Information Poster No. 8, 1942
Poster, 164238.02, 22 x 28", 88-10638.
Gift of Bureau of Publications and Graphics,
U.S. Office of War Information.)

OWI drew some of its specialists from the world of advertising and commercial art, who tended to think in terms of "ad campaigns". The results were sometimes oddly superficial -- posters that translated messages ofd sacrifice and struggle into the familiar advertising world of smiling faces and carefree households.

"We'll Have Lots to Eat This Winter,
Won't We, Mother?"

(Artist: Al Parker, U.S. Office of War Information Poster No. 57.
Poster, 1984.0473.042, 16 x 22 1/2", 87-8757. Purchase.)

This image of a Nazi soldier failed to make its point, according to OWI's admen, who claimed that factory workers could not understand stylized images. The admen commissioned a survey of five factories in New Jersey, which reported that some workers thought that "he" was "the boss". Others thought the helmet was the Liberty Bell. Such surveys enabled OWI's admen to call for a more straightforward style of poster design.

"He's Watching You"
(Division of Information,
Office for Emergency Management, 1942.
Poster, 163677.01, 28 1/2 x 40", 91-10319.
Gift of War Department Bureau of Public Relations.)

OWI admen argued against stylized images on the grounds that they could be misinterpreted. A survey of five New Jersey plants revealed that workers thought that this poster was about the FBI's war on crime. Instead of a workman holding a rivet gun, they saw a gangster holding a machine gun.

"Give 'em Both Barrels"
(Artist: Jean Carlu, Division of Information,
Office for Emergency Management, 1942.
Poster, 63958.01, 40 x 30", 91-13868.
Gift of Harris, Seybold, Potter Company.)

Advertising specialists in OWI finally gained the upper hand in 1943. From that time, government posters looked more like magazine illustrations, and the idea of "war art" was abandoned. OWI's admen now ran "information campaigns", using posters in concert with magazines, radio, and other kinds of paid advertising space.

"Help Bring Them Back to You!
...Make Yours a Victory Home!"

(Artist: Criss, U.S. Office of War Information
Poster No. 41, 1943
Poster, 1984.0473.039, 21 x 28". Purchase.)

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