Although when we think of art, it is usually painting or sculpture that comes to mind, beyond these two clichéd representations, there is also graphic art and with it, the poster. A phenomenon in the world history of this medium turned out to be the Polish poster school. It is an artistic phenomenon that developed in Poland in the second half of the 20th century. It flourished in the 1950s and reached its apogee in the decade 1955-1965 [1]. During this time, the poster elevated graphic design to the level of high art, combining a variety of techniques and styles into unique, unconventional solutions.

CHARACTERISTICS OF THE POLISH POSTER SCHOOL

The artists associated with this phenomenon succeeded in transforming the hitherto vision of the poster from a banal utilitarian graphic design into high-class works of art. Poster artists such as Henryk Tomaszewski, Jan Młodożeniec or Franciszek Starowieyski experimented with various means of expression, from painterly compositions to complex letter arrangements, metaphors and provocative allusions, playing a kind of intellectual game with the viewer. Posters became not only carriers of information but also works of art, which soon began to attract the attention of critics, collectors and museum professionals around the world.

Over the years, posters by Polish artists gained international recognition, and their originality contributed to the organisation of the first International Poster Biennale in Warsaw (running periodically every 2 years almost continuously until today) in 1966 and the pioneering Poster Museum in Wilanów in 1968. Soon, the Polish poster became a hallmark of visual culture, triggering the need to move the poster from display cabinets and information poles to private collections.

HENRYK TOMASZEWSKI – FATHER OF THE POLISH POSTER

Although the poster as an art form has a long history in Polish circles, it is not until Henryk Tomaszewski, born in 1914, that he is recognised as the father of Polish poster art [2]. To this day, he remains one of the greatest artists in this field. Thanks to the simplicity of form that characterises Tomaszewski’s work, the depth of the message becomes comprehensible to a wide audience. Creating innovative and poetic works, he introduced elements of humour and allusion, which is why his works acquire a timeless dimension. Henryk Tomaszewski also ran the first poster studio at the Warsaw Academy of Fine Arts, passing on his intellectual legacy to young artists. This ensured that the vision of the poster as something more than a purely commercial object could spread freely among subsequent generations.

JAN MŁODOŻENIEC – MASTER OF COLOUR

Jan Młodożeniec, born on 8 November 1929 in Warsaw, quickly gained a reputation for his distinctive style based on a masterful handling of colour and colour spots. Młodożeniec referred to his work as ‘pictorial posters’,[3] reflecting his unique approach to art, which combined elements of both poster and painting. He brilliantly combined painting techniques with printmaking. Młodożeniec’s works often contained references to popular culture and everyday experiences, making them more accessible and comprehensible to a wide audience. His work was a response to the desire to combine art with everyday life, making it aesthetically interesting and socially engaged. Młodożeniec focused on dialogue with the viewer, provoking reflection on the surrounding world and its phenomena.

FRANCISEK STAROWIEYSKI – TOTAL ARTIS

Franciszek Starowieyski, born in 1930, is an example of a total artist, whose life and work interpenetrated each other. He was involved in painting, printmaking, drawing and also theatrical and television set design [4]. His posters reflect his fascination with the Baroque, eroticism and intense aesthetic search. In his works, Starowieyski depicts surreal characters mostly defined by a monochromatic color palette, usually limited to black, white and ochre. His brilliant visions are filled with a sense of unease and darkness. He uses the skull motif very often in his works.

Translated with DeepL.com (free version)

THE HERITAGE OF THE POLISH SCHOOL OF POSTER DESIGN

The tradition of the Polish poster school is still alive. Younger generations of artists still refer to iconic solutions by combining traditional techniques with modern trends. Contemporary posters often refer to the aesthetics of their predecessors while introducing a fresh perspective on form and message. As a result, the Polish school of posters remains a dynamic trend in art, gaining recognition both at home and abroad. Promising contemporary artists on the international poster scene include Bartosz Kosowski, Zielińska Ada, Martyna Wędzicka-Obuchowicz, and Maciek Polak.

[1] https://polskaszkolaplakatu.pl/pl/i/O-firmie/8
[2] https://www.galeriagrafikiiplakatu.pl/pl/sklep/84/-Tomaszewski-Henryk/1439/Kot-1996-r/
[3] https://www.polskieradio.pl/39/156/artykul/2400153,jan-mlodozeniec-malo-kto-tak-czul-kolor
[4] https://culture.pl/pl/tworca/franciszek-starowieyski