Poljski plakat

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http://www.moma.org/visit/calendar/exhibitions/956
http://www.artdaily.org/index.asp?int_sec=11&int_new=30643

MoMA ove godine organizje izložbu poljskih plakata iz perioda 1940-1980. Ima dosta zanimljivih linkova sa informacijama o ovoj umetničkoj pojavi, koja ujedno svedoči i o društvenim dešavanjima u Poljskoj tokom hladnoratovskog perioda.

Citat:The late 1940s witnessed another shift in the life of the Polish poster. It was at this time that a small group of artists, including Henryk Tomaszewski, Józef Mroszczak and Eryk Lipiński , set out on a new path of artistic invention. When asked in 1946 by the Polish Film Department to design posters, they agreed- but with the stipulation that the work be based on their own artistic terms, not the typical advertising clichés of the past. This new direction saw a subtle use of metaphor, unusual juxtaposition of forms, and elements of abstraction combined in innovative ways. Films and other cultural events (opera, theater, circus), soon became the impetus for much of the great poster work that was done during the 50s and 60s, a period that became known as the Polish School of Poster.
....
There is no simple answer as to why such a distinct artistic poster phenomenon occurred in Poland. Perhaps a series of coincidences- a group of talented artists with energy and vision, coupled with a monitored system in which the arts, and in particular poster art, was deemed important, is the simplest explanation. Whatever the reason, this climate became a unique landscape for the creation of extraordinary work.
Izvor: http://oregonstate.edu/freedomonthefence/history.html

Citat:The poster soon became an element of mass culture and poster biennials in Warsaw attracted huge crowds. The collectors' movement spread widely. There were galleries that specialised in selling posters, while the popular daily Zycie Warszawy for many years held a famous contest for the best posters of the month and the year, as voted by the readers.
It is no surprise that the socialist authorities used posters as a means of propaganda, commissioning artists to celebrate such occasions as Labour Day, party congresses, anniversaries and ceremonies. Many leading Polish poster designers resisted temptation, but others succumbed and from time to time produced very memorable pieces of art (such as Starowieyski's famous poster representing Lenin).

The success of Polish poster art had strong artistic foundations and was not only due to the advantageous social conditions. The graphic artists who established the Polish poster school were first and foremost excellent artists. It was certainly not a standardised school, its most outstanding representatives adopting different forms of expression: Henryk Tomaszewski was conspicuous by a very discerning use of the mediums of expression, by intellectual abstracts and by refined symbols. The erudite Franciszek Starowieyski liked to shock the spectator.
He did not avoid surrealistic motives, willingly referring to the idioms of the painting of days gone by. Waldemar Swierzy, the master of the spot of colour and bold colour schemes, was close to the Pop Art poetics. Jan Mlodozeniec consciously adhered to Primitivism, efficiently using simple, almost childish lines and spots.

Izvor: http://www.polbook.com/polishartgallery/index.php?p=index&t=kat&v=bb

http://www.polish-poster.com/index.htm
http://www.polishposter.com/
http://www.poster.com.pl/sitemap.htm
http://www.postermuseum.pl/en/main
http://www.smashingmagazine.com/2010/01/17/the-legacy-of-polish-poster-design/