Connect with us – Art History Stories

Pictures On My Wall – The Art Of Polish Film Posters

Henryk Tomaszewski, Urok Szatana (The Beauty of the Devil) (Poster for the French film directed by René Clair), 1954, The Museum of Modern Art, New York


Pictures On My Wall – The Art Of Polish Film Posters

The emergence of the poster as a fresh, creative medium was a timely episode in an unfolding age of consumer expendability. In an era of conveyor belt duplication, the twentieth century became an epoch dominated by advertising imagery.

During this brisk commercialisation, designers and artists were quick to recognise the innovative potential of this low-budget modern artefact. The poster rapidly became an exciting new art form.

Kazimierz Sichulski - Poster for Polish Exhibition of Contemporary Architecture, Sculpture and Painting, 1910 polish film posters

Kazimierz Sichulski – Poster for Polish Exhibition of Contemporary Architecture, Sculpture and Painting, 1910; source:

Regaining its independence in 1918, Poland was eager to establish itself as a cultural force. Prior to self-rule, the growing art of the poster had become an innovative vehicle for a new mode of youthful Polish expression. The First International Exposition of Poster Design had been held in Austrian controlled Krakow during 1898. Polish artists were inspired to integrate the evolving transformations of European avant-garde movements with their strengthening visual identity. Coinciding with the arrival of the poster as a revolutionary aesthetic item, liberated Polish culture experienced a sharp upheaval. Informing the development of twentieth-century graphic design, Polish poster art signalled a renewed self-determination and creative energy from a revived European power.

Stefan Norblin, ‘Zabawka’, 1933, Polish poster for film directed by Michal Waszynski.  Source:

However, tragedy was to reverse this newly discovered optimism as Nazi occupation and the Second World War left an everlasting heritage of horror and sacrifice in its wake. The Communist rule followed as the country fell under Soviet command in 1945, but ironically the art of the poster continued to flourish and expand. The industry became institutionalised and the traditional aim of the poster’s message became increasingly less commercial.  Creativity was to become socially propelled towards a purer fusion of artistic expression and higher meaning. Often abstract and experimental, especially during the post-Stalinist golden era of the 50’s and 60’s, Polish poster artists were given free rein to transcend Western methods of capiltalist advertising.

Roman Cieslewicz, ‘Zawrot Glowy’, 1963, Polish film poster for ‘Vertigo’ directed by Alfred Hitchcock, source:

This new ideal is most apparent in the realm of cinema promotion. The Polish film poster condensed the essence of a silver screen production into very basic shapes, images and text. Graphic detachment, off-set imagery, cut-ups and photo-montage techniques were employed in a very surrealistic way to conjure shock juxtapositions and a spark of inventive vitality.

Very often, artists would never view the films for their commissioned works, relying on the title, production stills or a general sense of atmosphere for inspiration. Standard Hollywood strategies of aggressively publicising its central actors were disregarded and glamorous stars are frequently ignored or integrated into the overall design of the composition. Similarly, text or the pervasive billing of top stars and directors are frequently assimilated into creative patterning or re-organized to balance the structure of finely arranged elements.

Henryk Tomaszewski, ‘Najpiekniejsza’, 1954, Polish film poster for ‘Bellissima’ directed by Luchino Visconti. PIGASUS polish poster gallery, Berlin

Winning five awards at the International Poster Biennale in Vienna during 1948, Henryk Tomaszewski was to become one of the central figures of the Polish Poster School. Graduating from the Warsaw Academy of Arts he returned as an appointed Professor, serving as head of their poster studio from 1952 to 1985. Inspiring a generation of young Polish designers, Tomaszewski’s film posters were applauded internationally for their painterly approach, often becoming stimulating artworks in their own right.

Henryk Tomaszewski, ‘Czarny Narcyz’ 1948, Polish film poster for ‘Black Narcissus’ directed by Michael Powell and Emeric Pressburger. Source:

Tomaszewski’s style and approach perfectly summarises the modern vigour and vitality of Polish posters throughout the latter half of the twentieth century. The lack of commercial pressure to actively sell a film title ensured creative decisions were driven by the artists rather than the major studios. The Polish Poster School was state-controlled with assignments issued by Film Polski, the central organisation for cinema production and distribution.

Jerzy Flisak “RZYMSKIE WAKACJE”, 1959, Polish film poster for ‘Roman Holiday’ directed by William Wyler. Source:

Hollywood film poster for ‘Roman Holiday’, 1953. Source:

It is interesting to note the differences between artworks produced under a tightly regulated, communist regime and those created for a commercial Hollywood system. Compare the poetic intensity of Polish designs by such innovative poster artists as Eryk Lipinski, Witkor Gorka, Jerzy Flisak and Roman Cielewicz (there are many more to investigate!) with their western counterparts. With the exception of the pioneering work of Saul Bass, Hollywood posters appear formulaic and stylistically garish. The Polish film posters provided a playful respite from standard cinema promotion. Allusive, mysterious and highly symbolic, the visual tenacity of the Polish school remains bold and effecting today.

Find out more:

13 Most Beautiful Posters of Alphonse Mucha You Must Know

In a Cabaret with de Toulouse-Lautrec’s Posters

The Poster Manifest: Making Publicity Beautiful Again!

A middle aged upstart who regards art to be a force for good if employed at the correct angle. Likes Surrealism and hats.


More in Abstraction

  • 21st century

    The Many Rebirths of Venus


    Sandro Botticelli’s The Birth of Venus is iconic in western art. Alongside the Mona Lisa, it is probably a contender for “most famous painting.” Unsurprisingly the renowned Renaissance picture has inspired reconfiguration, reproductions, and references in artworks ever since. So, let us explore some rebirths of...

  • dailyart

    Christian Dior and Surrealist Women Artists


    Since the entrance of feminism into public debate in recent years, it has influenced many aspects of our culture. One of these is fashion. Many designers have embraced female empowerment and diversity in many ways. One of the strongest manifestations of empowerment was the SS 2018...

  • The Terminus, Penzance Station, Cornwall by Stanhope Alexander Forbes cover The Terminus, Penzance Station, Cornwall by Stanhope Alexander Forbes cover

    20th century

    Fabulous Railway Station Paintings from the Golden Age of Train Travel


    Once upon a time, train travel was the height of fashion. That’s why the second half of the 19th century and first few decades of the 20th century are considered the Golden Age of Train Travel. The train represented an exciting new way to get places...

  • 20th century

    Art for Climate Change: Emily Carr, Odds and Ends


    Art has always had the power to communicate all kinds of emotions; some paintings convey a sense of peace and quiet, while others can make us feel upset or uncomfortable. The latter give us awareness about something that is wrong in our society, something that we...

  • Chateau Noir by Paul Cezanne Chateau Noir by Paul Cezanne

    Painting of the Week

    Painting of the Week: Chateau Noir by Paul Cézanne


    Today is Paul Cézanne’s birthday (he was born on January 19, 1839), so this Painting of the Week is dedicated to him. It is his landscape Chateau Noir, 1900/1904, at the National Gallery of Art in Washington D.C. Chateau Noir is one of several paintings Cézanne...

To Top

Just to let you know, DailyArt Magazine’s website uses cookies to personalise content and adverts, to provide social media features and to analyse traffic. Read cookies policy