Although Valentine’s Day is celebrated once annually, it is very joyous to exchange cards among lovers. The earliest Valentine cards were delivered during the 19th century (Aydın " Burçe, 2017 p 115). At first, they were handmade because pre-made cards did not exist yet. Lovers would make decorations on paper using wild symbols such as love knots and flowers usually including poetry lines and puzzles. Those without much inspiration could purchase volumes which provided direction on choosing the appropriate images and words to pursue their lovers. These cards were often secretly tied on the door-knocker or placed under the door. Innovation during the Industrial Revolution resulted in mass production of colorful printed images including Valentine cards. An example of such images was Louis prang’s Valentine Card1883 (Flanagan, " Shelley, 2002 p 49). The picture on the cards shows a woman carrying cherubs tethered together while floating like balloons above her. It combines a variety of color and tone which was attained with chromolithography. The woman signifies piety and gentleness while Cherubs signifies cupid who was the god of love during the period of Renaissance. Louis Prang’s Valentine Card is a product of high innovation during the Renaissance period when the first Valentine cards were produced(Flanagan, " Shelley, 2002 p 51). It was also a time when Chromolithography was first employed in making images that resembled actual color paintings. Prang used a variety of color and tone while incorporating the 19th century culture to produce a unique Valentine Card through lithography
Chromolithography
Prang’s Valentine card was produced through Chromolithography. Lithography was initially invented in Germany in 1796 and was introduced in America in 1819 (Landis, 2013 p 12).Lithographs were made by drawing images upon a smooth stone, often limestone. They are then treated using chemicals and later printed on paper. In color lithography, which differs from a real chromolithograph, lithography was done in a black outline. The outline was then filled in with colors from different stones. When the Civil wars were ongoing, Lois Prang went to Europe to gain more knowledge in printing techniques abroad to introduce in Boston1819 (Landis, 2013 p 21). In the process, he discovered that he could create a lithograph print that resembles an oil painting whose cost is much cheaper. His Valentine card was designed using this method. The image on the card was printed from a very flat stone, upon which the pattern was neither cut in installing nor raised in relief. The lithographic stone or amorphous limestone which has a dense texture but not hard. The rock also has a high affinity for fat. The stone drawing was made using a lithographic crayon which consists soap, wax, and lampblack. Once the picture was completed, it underwent a procedure technically known as “the preparation” (Slautterback, 2012 p 52). It included pouring an Arabic gum solution with nitric acid on the face of the stone. The acid was used to neutralize the alkaline in the ink and crayon to free the fat and form a long-lasting union of the fat and rock by creating limestone which is water insoluble. The chromolithography was produced to look like an actual painting.
Chromolithographs were a fundamental constituent of the American culture during the nineteenth century. They were found in art galleries, railroad depots, hotels, businesses, and homes ("Harmony Of Hearts" , 2014 p 154). They were kept for photo albums, were seen in books and on covers of sheet music. They were also used as greeting cards. Until now, chromolithography is virtually not universal beyond a limited circle of dealers, curators, and collectors.
The widespread utilization of chromolithography within America started after the Civil war, and during the following half-decade, numerous chromatographs were created across the nation. These prints turned into a traditional decoration everywhere in homes, and indeed the nineteenth century's last half has been referred to as America’s “chromo civilization (“ Prang's Civil War Pictures”,
2002 p 334).Between the late nineteenth century and beginning of the twentieth century, the art of chromolithography was majorly used to make “cheap and bright” colored pictures. These simple and inexpensive prints made a negative name to this procedure, giving “chromos” a status as prints for the poor.
Victorian Impact on the work of Louis Prang
The Industrial revolution that happened from 1760 to 1840 resulted in many innovations and changes, particularly within the field of graphic design (Mantoux, 2015 p 46). Victorian design style was very influential in this period and was observed across several works of models in the nineteenth century. In the nineteenth century, the graphic form of Victorian style seemed to be familiar particularly for advertisements. Most of the convincing publications, which used Victorian influences and designs were created in the final decades during the nineteenth century. These designs include detailed decorative banners, illustrations, and typography (Kennedy, 2016 p 23). Romantic creation was heavily dependent on history. Therefore, there was a high sense of romanticism and nostalgia. Chromolithography was also introduced during the industrial revolution. It can be recognized by the existence of even edged-stippling in various tones and colors. Victorian designs continued to emerge via Louis Prang. The favorite romantic creations of the Victorian period was closely linked to the Prang’s graphic illustration and other chromolithographers. Prang’s Valentine card, 1833 constitutes one of the varieties of color and tone which could be attained with chromolithography. The Victorian era was a period of optimism, proper social conventions and strong religious and moral beliefs. The idea of beauty, nostalgia, and sentimentality was reflected via the images of puppies, maidens, and baby cherubs (Kennedy, 2016 p 33). Furthermore, traditional values of, religion, and home were symbolized with loyalty and sweetness.
The significance of Images on Prang’s Valentine Card
Prang’s Valentine cards, indicates a woman clasping a bunch of cherubs held together, who look like a group of balloons above (Kennedy, 2012 p 19). Amongst the angels is one that is depicted as a being a descent of Africa. Babies have their significance in the image. During the period of Renaissance, artists started to broaden the techniques of illustrating all kinds of subjects such as love. A famous Italian painter called Raphael alongside other artists during that period designed characters known as “putti” to symbolize the existence of true love around individuals (Flanagan, " Shelley 2002 p29). These cherubs appeared like male toddlers or babies, and they always had wings like angels. The appearance of cupid in art transformed around this period so that rather than being depicted as a young person, he was portrayed as a young child or a baby. In a short while, artists started showing with wings like angels. In the meantime, the images of Cupid and putti were ten referred to as “cherubs” due to their relationship with the glorious sensation of falling in love. The indication of purity evoked by the angelic baby in the art also informed people of the pure love of God that is guarded by the cherubim as a component of His glory in heaven (Lieb, 2014 p 28) Michael et al. Hence the cherubs appearing in the Valentine card do not only refer to the biblical angel but also to the image of putti or cupid in art.
Cupid is also a component of classical mythology. Images of the generic flying baby may symbolize some natural spirit. To Renaissance artists, this iconography was known for the statutory artistic survival and was adapted by Christian arts (Hudson, 2014 p 34). Its widespread at this period is significant as a result of the Donatello influence, even though many other examples existed before him. This artistic allocation of classical myth can be theologically justified in that the depiction of angels as babies highlights their innocence and benevolence. In simple terms, they imply cuteness. The cute toddler angels with little wings and chubby cheeks create romantic love among people. Many scholars have acknowledged that the techniques applied for describing texts or images are not enough for romantic valentines and material culture because of objects that convey messages best through tactile and tangible interactions, have not yet been reviewed in a manner that takes this sort of communication to be considered (Hudson, 2014 p 52).
Cupid has been the inspiration for love among mere mortals even before he became cupid. Though the infatuation of matchmaker by the western culture proceeded on well after the fall of ancient Rome and towards the Middle ages, Cupid was not directly linked to Valentine’s celebrations until the period of Renaissance (Lieb, 2014 p 44). At this time of cultural change, people began to develop an interest in classical traditions. Since many people were studying up on early Rome, it did not take long for cupid to be associated with Valentine’s Day. Finally, the link between the cherubs and Valentine’s celebration does not ha a complete linear logic. However it is also not a big stretch, and it is a good reminder of how different world cultures are intertwined and have been across history. Currently, Valentine’s celebrations are observed globally. Even though the holidays are marked in diverse traditions based on a person location, there is one standard image of baby cherubs like the on Prangs Valentine card 1883 (Lieb, 2014 p 57).
Valentine cards produced during the Victorian period indicate the sensibilities and style of that era. They also reflect the modern technological discoveries of the period that allowed the mass creation of intricate and beautiful cards. From the 1850s to 1860s, tickets in America started to have more embellishment such as multi-layered designs, embossing, and paper lace (Landis, 2013 p 59). Chromolithographs become more popular in Valentine cards production towards the end of the twentieth century, as a new technique of producing multi-colored images. Cards with embossed details, paper lace and “chromo” images continued to be progressively elaborate and ornate towards the end of the twentieth century (Slautterback, 2012 p 39). The cards started to show a younger aesthetic within their creation, catering to the rise in the exchange of valentine cards among children.
During the early nineteenth century, loyalty was a woman’s valued asset because it associated her with social benefits through active involvement in the community church (Landis, 2013 p 69), . Such a valuable Christian status earned her praise and respect of members of the community. The widespread belief of women being inferior was halted because women became active managers of organizations away from homes. Piety did not prevent a wife from maintaining her appropriate field because meetings were arranged from home. The common belief was that a woman’s nature was gentler and hence best suited to her charity and piety. It is against this background that Louis Prang chose the image of a woman holding baby cherubs on his valentine card to symbolize gentleness and loyalty as part of the message of true love.
How Chromolithography brought color to masses
During the late 19th century A lot of chromolithographs were sold very cheaply, and their democracy of art was associated with middle-class families (Slautterback, 2013 p 68) Reds, browns and the blues were layered up giving them richness, texture and were made to appear like oil paints. Rich oil-based inks helped to create this effect and prevented lithography from fading away fast hence fooling the casual eye. Most people would think they are original oil paintings. Louis Prangs Valentine card 1883 which was published past the Civil war fooled many people for its beautiful creation. Art lovers and the press were impressed by the new art and particularly his valentine cards. This card and other chromolithographs were sold widely. The chromolithography technique faded with the close of the 19th century. Nonetheless, chromolithographs are great prints which inform people more about the 19th-century culture. They were fast replaced with single-layered cards that were flatter and three-dimensioned. These pop-up Valentine cards were a flattened bunch of embossed chromolithographs. However, they foiled out and turned into multilayered paper monuments. The object that could stand freely were printed on thick cardboard stock. They became very popular during the twentieth century.
Conclusion
Valentine cards were first delivered during the 19th century. At first, they were handmade because pre-made cards were not in existence. People would make decorations on paper using wild symbols such as love knots and flowers usually including poetry lines and puzzles. Those without much inspiration could purchase volumes which provided direction on choosing the appropriate images and words to pursue their lovers. These cards were often secretly. Louis Prangs Valentine card. 1833 was produced through the process of chromolithography. It is a unique technique for creating multi-color prints. This kind of printing with color originated from the procedure of lithography. It involves all sorts of lithography which are color printed. This technique gained popularity during the 19th century. The Victorian era contributed immensely towards Prang’s creation of this Valentine card. Prang incorporated the cultural beliefs and setting of this period in the lithographic production of his work. This process of planography printing alongside its convincing and meticulous tonal drawing attained a notable realism through soft color. The image of this Valentine card matched the canon, nostalgia, sentimentalism of the cuteness that was characteristic of the designs of the Victorian period. The industrial Revolution innovation resulted in mass production of bright printed images including Valentine cards. An example of such images was the one on Louis prang’s Valentine caerd1883. The picture that shows a woman carrying a chorus tethered together and floats like balloons above her is the variety of color and tone which was attained with chromolithography. The woman signified piety and gentleness while Cherubs signified cupid who is the god of love during the period of Renaissance. Louis Prang’s Valentine Card is a product of high innovation during the Renaissance period during which the first Valentine cards were produced. It was also a time when Chromolithography was first employed in making images that resembled actual color paintings. Prang used color and tone while incorporating the 19th century culture to produce a unique Valentine Card through lithography. This way, he achieved his goal of producing a unique object that was relevant to the 19th century culture and still satisfied lovers of Valentine’s Day by incorporating love, nostalgia and sentimental images on the Valentine card.
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