---
title: The “Battle of the Fences”
url: https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/12-the-battle-of-the-fences/
description: The “Battle of the Fences”, from How We Advertised America by George Creel.
section: FRAME
---

![Illustration: an interwar radio-and-newsreel intelligence collage with a 1930s map of Europe and propaganda poster proofs.](https://propagandaarchive.org/static/generated/detail/hero-interwar.jpg)

[Library](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/) · Book · [How We Advertised America](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/)

# The “Battle of the Fences”

This text

- **Work:** [How We Advertised America](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/)
- **Author:** George Creel
- **Published:** 1920

Full details

- **Rights:** Published in the United States in 1920, more than 95 years ago, so in the public domain in the United States; the Internet Archive lists the scan as not in copyright. Creel died in 1953, so the text is also in the public domain in countries that count the author's life plus 70 years.

Chapters

1. [Dedicatory](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/01-dedicatory/)
2. [Foreword](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/02-foreword/)
3. Part I: The Domestic Section
4. [The “Second Lines”](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/03-the-second-lines/)
5. [The “Censorship” Bugbear](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/04-the-censorship-bugbear/)
6. [The “Fourth of July Fake”](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/05-the-fourth-of-july-fake/)
7. [The Committee’s “Aircraft Lies”](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/06-the-committee-s-aircraft-lies/)
8. [Relations with Congress](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/07-relations-with-congress/)
9. [The Division of News](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/08-the-division-of-news/)
10. [The Four Minute Men](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/09-the-four-minute-men/)
11. [The Fight for the Mind of Mankind](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/10-the-fight-for-the-mind-of-mankind/)
12. [The Battle of the Films](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/11-the-battle-of-the-films/)
13. [The “Battle of the Fences”](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/12-the-battle-of-the-fences/)
14. [The War Expositions](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/13-the-war-expositions/)
15. [The Speaking Division](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/14-the-speaking-division/)
16. [The Advertising Division](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/15-the-advertising-division/)
17. [The “Americanizers”](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/16-the-americanizers/)
18. [Work among the Foreign-Born](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/17-work-among-the-foreign-born/)
19. [A Wonderful Fourth of July](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/18-a-wonderful-fourth-of-july/)
20. [The “Official Bulletin”](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/19-the-official-bulletin/)
21. [Division of Women’s War-Work](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/20-division-of-women-s-war-work/)
22. [Other Divisions](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/21-other-divisions/)
23. [Showing America to the Foreign Press](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/22-showing-america-to-the-foreign-press/)
24. Part II: The Foreign Section
25. [The Fight in Foreign Countries](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/23-the-fight-in-foreign-countries/)
26. [America’s World News Service](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/24-america-s-world-news-service/)
27. [The Foreign Mail Service](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/25-the-foreign-mail-service/)
28. [Fighting with Films](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/26-fighting-with-films/)
29. [Breaking through the Enemy Censorship](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/27-breaking-through-the-enemy-censorship/)
30. [France, England, and Italy](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/28-france-england-and-italy/)
31. [The Work in Mexico](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/29-the-work-in-mexico/)
32. [The Work in Switzerland](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/30-the-work-in-switzerland/)
33. [The Work in Holland](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/31-the-work-in-holland/)
34. [The Work in Spain](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/32-the-work-in-spain/)
35. [The Work in Scandinavia](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/33-the-work-in-scandinavia/)
36. [The Work in the Orient](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/34-the-work-in-the-orient/)
37. [The Work in South America](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/35-the-work-in-south-america/)
38. [The Russian Campaign](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/36-the-russian-campaign/)
39. Part III: Demobilization
40. [After the Armistice](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/37-after-the-armistice/)
41. [“Americanizing” Mittel Europa](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/38-americanizing-mittel-europa/)
42. [Confusion and Neglect](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/39-confusion-and-neglect/)
43. Appendix
44. [The American Newspaper Publishers’ Association](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/40-the-american-newspaper-publishers-association/)
45. [“Savagery” vs. Sanity](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/41-savagery-vs-sanity/)
46. [Publications of the Committee on Public Information in the United States](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/42-publications-of-the-committee-on-public-informat/)

[← The Battle of the Films](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/11-the-battle-of-the-films/) [The War Expositions →](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/13-the-war-expositions/)

**Content note:** Quotes wartime anti-German language, including "Hun", and period terms for racial and national groups. This object is shown as it was published. [Why](https://propagandaarchive.org/about/#as-it-was)

IN some respects the Division of Pictorial Publicity was one of the most remarkable of the many forces called into being by the Committee on Public Information. Artists, from time immemorial, have been looked upon as an irresponsible lot, given over to dreams and impracticality and with little or no concern for the values that go to make up the every-day world. At America's call, however, painters, sculptors, designers, illustrators, and cartoonists rallied to the colors with instancy and enthusiasm, and no other class or profession excelled them in the devotion that took no account of sacrifice or drudgery. As a consequence, America had more posters than any other belligerent, and, what is more to the point, they were the best. They called to our own people from every hoarding like great clarions, and they went through the world, captioned in every language, carrying a message that thrilled and inspired.

Even in the rush of the first days, when we were calling writers and speakers and photographers into service, I had the conviction that the poster must play a great part in the fight for public opinion. The printed word might not be read, people might not choose to attend meetings or to watch motion pictures, but the billboard was something that caught even the most indifferent eye. The old-style poster, turned out by commercial artists

10 133 as part of advertising routine, was miles away from our need, however. The current Washington idea that imagined art as a sort of slot-machine was a mistake that had to be rectified. What we wanted — what we had to have — was posters that represented the best work of the best artists — posters into which the masters of the pen and brush had poured heart and soul as well as genius. Looking the field over, we decided upon Charles Dana Gibson as the man best fitted to lead the army of artists, and on April 17, 1917, this splendid American entered the service as a volunteer. He called F. De Sales Casey to his right hand as vice-chairman and secretary, and the two formed these committees:

Associate chairmen — Herbert Adams, E. H. Blashfield, Ralph Clarkson, Cass Gilbert, Oliver D. Grover, Francis Jones, Arthur F. Matthews, Joseph Pennell, Edmond Tarbell, Douglas Volk.

Executive Committee — F. G. Cooper, N. Pousette-Dart, I. Doskow, F. E. Dayton, C. B. Falls, Albert E. Gallatin, Ray Greenleaf, Miss Malvina Hoffman, W. A. Rogers, Lieut. Henry Reuterdahl, U. S. N. R. F., H. Scott Train, H. D. Welsh, J. Thompson Willing, H. T. Webster, Walter Whitehead, Jack Sheridan.

Departmental captains— C. B. Falls, H. T. Webster, Walter Whitehead, Ray Greenleaf, I. Doskow, N. Pousette-Dart, H. Scott Train.

Headquarters were opened in New York, and within a month the organization had enlisted the great artists of America, and was working with speed and precision. H. Devitt Welsh of Philadelphia came to the office of the Committee in Washington to serve as "contact man." He went to the heads of all the war-making branches of government, telling them of the mobilization of the artists, and obtaining from each department its list of poster needs. This list was then sent to Mr. Gibson in New York, who made the assignments as would the art manager of a magazine, picking the artists best fitted for the particular need. The work, when finished, was hurried to Washington, and after approval was followed through the printing by experts. Not only this, but every man associated with Mr. Gibson submitted poster ideas of his own, so that governmental routines were soon broken up by the inrush of new and more vivid thought.

Strange as it may seem, the Division of Pictorial Publicity traveled no royal road to the favor of governmental heads. Many of these executives knew nothing at all about art or artists, and others, with greater knowledge, were products of the "chromo school." As a matter of fact, Mr. Gibson had to spend days in Washington actually begging for the privilege of submitting sketches from men and women whose names stood for all that was finest in American art. Through it all he held to his patience and enthusiasm, and at last the importance of the offering penetrated the official consciousness, and that which had been ignored came to be wildly pursued.

It was not only the case that the artists were subject to call, like so many members of a volunteer fire department, but they held regular weekly meetings at which the task was discussed as a whole, every one present contributing criticism, ideas, and inspiration. These meetings of the division developed into the most interesting series of dinners ever held in New York City. Under the magnetic leadership of Mr. Gibson, the dominant note was patriotic fervor. Everybody felt it a duty to come. The most celebrated men in every branch of art met for the first time at the same board with the younger men of their profession. This set the highest standard for the division and was an assurance to the government that it could expect the best that American art could give. It was also an inspiration to the younger men to be associated in such a notable league of artists, and made it a distinguished honor to succeed in the friendly competition for government acceptance of work.

The character of the division was best described in the words of Mr. Gibson himself when he said: "This is a schoolroom. All are welcome. We come here to learn from one another, to get inspiration and get religion for the great task the government has set for us. No artist is too great to come and give his best. We are fortunate to be alive at this time and be able to take advantage of the greatest opportunity ever presented to artists."

Being chosen to speak through their work to the millions of their countrymen, the artists felt a great sense of responsibility that bound them into a harmonious unit. All worked together in the common cause, sank personal considerations, gave and received advice. A fine spirit of helpfulness prevailed, the one aim — the highest excellence in all commissions executed. The steady appearance of the division's work became a feature of the war, not only stirring patriotism, but awakening in the public mind the importance of artists. It was a wholesale education to the country in that the division made the billboard "safe for art," the work standing out in sharp contrast to the commercial disfigurations of the past.

To increase the scope of the committee and to stimulate the personal interest of the artists outside of New York, sectional branches were formed, and Oliver Dennett Grover of Chicago became the chairman of the Western Committee, Mr. E. Tarbell and Mr. Arthur F. Matthews taking charge in Boston and San Francisco.

The full contribution of the artists of America to the national cause, as well as the reliance placed upon the Division of Pictorial Publicity by every department of government, is shown by the following record of achievement:

Poster designs. Car, bus, and window cards. Newspaper and other advertising. 'Cartoons. Seals, buttons, banners, etc.

American Red Cross, Washing- War Savings Stamps Liberty Loan (Third)

Liberty Loan (Fourth)

Shipping Board American Library Association. .

War Camp Community Ser- Ordnance Department Fuel Administration War Department Public Health Service Young Men's Christian Association Young Women's Christian Asso- Signal Corps ...,...„..

Division of Films Committee of Patriotic Societies United States Boys' Working Committee on National Defense Western Newspaper Union Committee on Publio Infor- Division of Advertising Squad A, Magazine Gun Food for France .

Department of Interior United States Tank Corps Treasure and Trinket Fund .

Jewish Welfare Trades for Disabled Soldiers . .

Motor Corps Federation of Neighborhood As- Office of Chief of Staff Bastile Day Fifth Avenue Association American Poets' Committee Federal Food Board Rehabilitating Wounded Sol- Italian War Work Official Bulletin Pelham Naval Station United War Work Campaign. . .

RECAPITULATION

Departments and committees requesting work 58

Poster designs submitted 700 Cards requested 122 Newspaper and other advertising. 310 Cartoons submitted 287 Seals, buttons, etc., executed 19

Total material (drawings, designs, etc.) 1,438

In addition to the above, Lieut. Henry Reuterdahl and N. C. Wyeth worked on a painting ninety feet long, twenty-five feet high, which was placed at the Subtreasury Building for the Third Liberty Loan. Lieutenant Reuterdahl made also three paintings, each over twenty feet, for the publicity of the Fourth Liberty Loan in Washington, D. C.

During the United War Work Campaign the same plan was followed, seven artists painting on days assigned, in front of the Public Library, two others assigned in front of the Metropolitan Museum. This work was carried on by a committee of this division. These artists were:

F. D. Steele, Young Men's Christian Association.

Middleton Chambers, Knights of Columbus. C. B. Falls, Salvation Army. I. Olinsky, Jewish Welfare. Denman Fink, Library Association.

Jean McLane, Young Women's Christian Association.

Howard Giles, War Camp Community Service.

Charles Chapman and Luis Mora, Metropolitan Museum.

As showing the manner in which the artists rose to high esteem, when General Pershing asked that the artists be sent to the firing-line in France, the task of selection was turned over to the Division of Pictorial Publicity and these men received commissions: Capts. J. Andre Smith, Ernest Peixotto, Harry Townsend, Wallace Morgan, George Harding, William J. Aylward, W. J. Duncan, and Harvey Dunn.

Almost three hundred drawings were received from them, which were framed and sent throughout the country for exhibition, and in addition to this the majority of them were given exquisite reproduction in the great magazines. The following characteristic comment, lifted out of a recent letter from Mr. Gibson, gives a hint of the spirit that made the Division of Pictorial Publicity a force and an inspiration:

It always struck me as more than fortunate that your telegram on the night of April 17, 1917, should have reached me when and where it did. It was at a dinner at the Hotel Majestic, the first gathering of artists after the declaration of war. We were there to offer our services to the country, but were in some doubt as to the method of procedure. We were sparring for an opening. Some of the speeches were about half over and some of them threatened to get us off the track, when just at the psychological moment your telegram was handed to me and we had a focusing-point. If it had all been prearranged it could not have happened better.

If I remember rightly, it was the following Sunday we met at your house, where the Division of Pictorial Publicity was formed. As you say, the division met some rough going in the early days, but for that matter so did every one who tried to elbow his way into the front trenches. I dare say no one knows this better than yourself. At any rate, it is easy to forget all those bumps now. In fact, the suspicion with which some of those in Washington looked upon the artists was not to be wondered at and bothered me less as I became better acquainted with the men I met down there. After all, we were offering something for nothing and that in itself was suspicious. We always felt that your experience was more or less like ours, only on a much larger scale, and you understood and were with us, so it was easy to wait. There is nothing like good company when the going is rough, and now that I look back upon it I dare say it really made the job more interesting.

The Associate Chairmen were most useful in allaying the fears of the heads of the different departments, and the work done by Casey was invaluable. He had great knowledge of the work and in addition possessed tact, even temper, and modesty. There wasn't an artist in the country, man or woman, who didn't offer the best that was in him, and the single one who hesitated was a Quaker and he was only able to hold out for a short time.

THOUGHTS INSPIBED BY A WAR-TIME BILLBOARD By Wallace Irwin

I stand by a fence on a peaceable street

And gaze on the posters in colors of flame, Historical documents, sheet upon sheet,

Of our share in the war ere the armistice came.

And I think about Art as a Lady-at-Arms;

She's a studio character most people say, With a feminine trick of displaying her charms

In a manner to puzzle the ignorant lay.

But now as I study that row upon row

Of wind-blown engravings I feel satisfaction

Deep down in my star-spangled heart, for I know How Art put on khaki and went into action.

There are posters for drives — now triumphantly o'er —

I look with a smile reminiscently fond As mobilized Fishers and Christys implore

In a feminine voice, "Win the War — Buy a Bond!"

There's a Jonas Lie shipbuilder, fit for a frame;

Wallie Morg's "Feed a Fighter" lurks deep in his trench; There's Blashfield's Columbia setting her name

In classical draperies, trimmed by the French.

Charles Livingston Bull in marine composition Exhorts us to Hooverize (portrait of bass).

Jack Sheridan tells us that Food's Ammunition — We've all tackled war biscuits under that class. See the winged Polish warrior that Benda has wrought!

Is he private or captain? I cannot tell which, For printed below is the patriot thought

Which Poles pronounce "Sladami Ojcow Naszych."

There's the Christy Girl wishing that she was a boy, There's Leyendecker coaling for Garfield in jeans,

There's the Montie Flagg guy with the air of fierce joy Inviting the public to Tell the Marines.

And the noble Six Thousand — they count up to that — Are marshaled before me in battered review.

They have uttered a thought that is All in One Hat In infinite shadings of red, white, and blue.

And if brave Uncle Sam — Dana Gibson, please bow — Has called for our labors as never before,

Let him stand in salute in acknowledgment now Of the fighters that trooped from the studio door.

[← The Battle of the Films](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/11-the-battle-of-the-films/) [The War Expositions →](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/13-the-war-expositions/)

How We Advertised America, George Creel. Published in the United States in 1920, more than 95 years ago, so in the public domain in the United States; the Internet Archive lists the scan as not in copyright. Creel died in 1953, so the text is also in the public domain in countries that count the author's life plus 70 years. [Provenance and rights](https://propagandaarchive.org/library/creel-how-we-advertised-america-1920/).