Menu Search
Jump to the content X X
SmashingConf London Avatar

We use ad-blockers as well, you know. We gotta keep those servers running though. Did you know that we publish useful books and run friendly conferences — crafted for pros like yourself? E.g. our upcoming SmashingConf London, dedicated to all things web performance.

The Legacy Of Polish Posters

Before the era of globalized entertainment made movie posters look the same in every country, Polish artists were creating their own versions for the internal market. What resulted was a whole school of artists trained in the art of the poster. This article about polish posters presents a short historical look at how this movement was born and how it developed, form its art-related beginnings at the end of the 19th Century to the golden era of the film posters throughout the 20th Century.

Further Reading on SmashingMag: Link

The Beginnings Link

Toward the end of the 19th Century Poland was still absent from the maps. Its territory was split and controlled by Russia, Austria and Prussia. While Warsaw, then under Russian rule, was the biggest economic, trade and industrial center of the non-existent country, Krakow, under the less oppressive Austria, soon established itself as a cradle for artistic, cultural, scientific, political and religious life, becoming the ideal capital of the nation.

Krakow was populated by writers, poets and artists who had travelled Europe and had come in contact with the modernist cultural trends of the time. The poster had just been born in France at the hand of Jules Chéret following the invention of color lithography. Influenced by the achievements of the French masters of this new art form, Henri de Toulouse-Lautrec above all, these Polish artists chose the poster as the new medium of expression. They were well respected, connected with the Academy Of Fine Arts and members of the Society of Polish Artists “Sztuka” (Art). The poster thus became acceptable as a form of art.

The first Polish posters appeared in the 1890’s at the hand of outstanding painters like Jozef Mehoffer, Stanislaw Wyspianski, Karol Frycz, Kazimierz Sichulski and Wojciech Weiss. Influenced by the Jugendstil and the Secessionist movements, understandably they painted posters that were art-related, announcing exhibitions, theater and ballet performances. Their work was vastly popular, which led to the first International Exposition of the Poster being held in Krakow in 1898.

Jugendstil, Secession, Japanism and modernist styles like Cubism were mixed with traditional elements of symbolism and national folklore. What set the Polish posters apart from their European counterparts was the emphasis placed on the highly artistic quality of the project, an attitude that will continue to characterize the Polish poster throughout the 20th century.

polish posters - Loteria
Jozef Mehoffer – Furniture Lottery for Matejko’s House (1899)

polish posters - Print Exhibition
Edward Trojanowski – Print Exhibition (1904)

Jozef Czajkowski – 1st Exhibition of the Polish Company of Applied Art (1902)

Rolling papers
Karol Frycz – Rolling papers advertisement (1908)

Wojciech Jastrzebowski – Swoszowice Health resort near Krakow (1907). A fine example of Japanism.

Contemporary Art Exhibition
Jozef Mehoffer – Contemporary Art Exhibition (1910)

Contemporary Polish Exhibition
Kazimierz Sichulski – Contemporary Polish Exhibition of Architecture, Sculpture and Painting (1910)

Jan Bulas – Symphonic Concert (1910). A poster inspired by Expressionism.

Henryk Kunzek – Forward (1910)

Interior architecture exhibition
Jozef Czajkowski – Interior architecture exhibition (1912)

Spring salon
Jan Rembowski – First Spring Salon (1914)

Jan Wdowiszewski from 1891 to 1904 was the director of the Technical Industrial Museum in Krakow. He was the organizer of the International Poster Exhibition in 1898, for which he wrote two essays, the first of their kind, entirely devoted to the art of the poster. He immediately recognized the power of the poster to act like a mirror for society’s physical and mental way of life. This was especially true of the exhibition posters, which promptly reflected every trend and influence coming from the West. The strong drive to promote the national style, as a means to a true political independence, was also faithfully recorded in the street art.

Stefan Norblin and the Touristic Poster Link

The period between the two World Wars sees Poland finally reappearing on the maps. The twenty years of independence are marked by a stunning growth in all industries. Tourism, especially, is at its height. Stefan Norblin is appointed to create a series of posters with the intent of promoting Poland as a tourist resort.

First and foremost a painter rooted in the school of realistic representation, Norblin approaches the poster the way he approaches the canvas. He makes use of obvious imagery to secure immediate reading from the viewer. Although characterized by recognizable forms and silhouettes, his works remain stunning for the stark choice of “neon” colors. They are not of an Expressionist nature but they create an irreal atmosphere around familiar objects. This and the minimalist style confer his posters a timeless quality.

Sale for the poor (1916)

Stefan Norblin - Polska
Polska (Poland), 1925

Stefan Norblin - Gdynia
Gdynia, 1925

Stefan Norblin - Lwow
Lwow (Lviv), 1928

Stefan Norblin - Wilno
Wilno (Vilnius), 1928

Divine Service
Poland – Divine Service at Lowicz (1925)

“Peasants!!! Support the national contemporary exhibition!!!” (1929)

Toy (1933)

Tadeusz Gronowski: Father of the Polish Poster Link

After the First World War Poland finally gained independence (1918). With it came a rapid process of industrialization and development of trade. The market was suddently saturated with different products hence the need for powerful advertising. The poster became its medium of choice. The advertising poster of the 1920’s and 1930’s differs from its highly elaborated artistic predecessors in that it utilises a simpler, more direct visual language to communicate with the viewer.

This was a requirement of the market made possible by Cubism, a style that forever freed art from beauty and ugliness, from the necessity to imitate nature. Architects, especially students from Warsaw University, were the most receptive creators of posters during this period. They were not weighed down by the academic ballast as were the painters of the previous generation. They were naturally inclined to apply the rules of geometry to commercial uses. It is among these students that we find the figure of Tadeusz Gronowski.

A gifted student, Gronowski was the first to specialize in poster art. Influenced by European art movements (he was well connected in Paris in the Twenties) he singlehandedly created the art of the Polish poster. Catering to the new necessities with which graphic art was confronted, advertising, he took advantage of the full spectrum of techniques available to the artist at the time to create the most striking advertisements of the period. His work shows a transition to the newest tool, the airbrush, resulting in softer lines and backgrounds. His advertising posters remain a milestone in the development of what came to be known as the School of the Polish poster.

In contrast to Stefan Norblin, Gronowski, himself an accomplished painter, approaches the poster as a medium unto itself. Instead of merely adapting his painterly style to the poster format, he sees in it the opportunity to create something new, indeed a new form of artistic expression. He is one of the first artists to consciously integrate the typography with the illustration and instead of choosing the obvious he offers the viewer a different look into the subject, often displaying a penchant for the light and the humorous which endeared him to the viewers.

The next image portrays one of his earliest works. Even though the text is not incorporated in the image, the composition is clear. The cat and the artist’s faint smile add his trademark touch of humor to the painting.

Litografia Artystyczna
Artistic Lithography (1920)

A true master of the advertising poster, Gronowski blends the mundane with the artistic in a seamless composition.

Tire (1923)

Tire (1923)

S.A. Staporkow
S.A. Staporkow (1924). The radiator as architecture on a modern industrial background.

Ceres Lard “To die for…” (1926)

Gronowski founded his own studio in Warsaw and aptly named it Plakat, i.e. Poster.

Poster for his own studio “Plakat” (1925)

The next poster is particularly important in Gronowski’s production. An advertisement for a washing product named Radion, its slogan reads “It washes by itself.” The artwork is minimalistic and to the point: a black cat enters a bucket full of Radion and jumps out all white. A clear message amplified by the stark chromatic contrast and the essential lines.

Radion “It washes by itself” (1926)

The next pieces exemplify the evolution towards integrated designs. The typography is part of the composition.

Wiadomosci Literackie
Literary News (1925)

Oaza Restaurant Dancing (1926)

KAGR – Circle of Advertising Graphic Artists (1936)

Marine baths
Marine Baths in Gdynia (1938). Gronowski’s rendition of the touristic poster.

polish posters design - Peace Congress
1st Polish Peace Congress (1950)

The Warsaw Architects Link

Gronowski’s work was continued into the Thirties by a group of architects educated in Warsaw under professors Zygmunt Kaminski and Edmund Bartlomiejczyk. At the University they learned to master the techniques of applied graphics. Architecture was seen as the Gesamtkunstwerk, the total artwork, the summation of all arts applied to a specific, practical function. Their hands-on approach lent itself beautifully in their transition from architects to graphic artists.

Responsible for this transition were economic reasons but also the will to work for contemporary society, which poster art was capable of immortalizing faithfully. Incidentally, these are the same reasons that today drive budding architects to graphic design: creating applied art with fast job turnarounds and satisfying economic turnover.

These architects turned graphic artists took Tadeusz Gronowski’s approach forward, combining it with a sense of composition and proportion naturally derived from their architectural background. Not only did they incorporate three-dimensionality in their works, they also adapted their style to the subject of the given poster, for example using a precise linework for posters depicting mechnical parts, humorous figures for posters depicting ballets and festive occasions and striking, dynamic compositions to illustrate sports events. Their work marks the transition of the Polish poster from narrative medium of the 19th century to modern advertising device of the 20th century.

Dorm Week
Jan Mucharski – Dorm Week (1927)

Eastern Trade Fair
Jerzy Hryniewiecki, Andrzej Stypinski – Eastern Trade Fair (1930)

Maciej Nowicki, Stanislawa Sandecka – Everyone Fight Against Tuberculosis (1934)

Youth Meeting
Maciej Nowicki, Stanislawa Sandecka – 2nd Meeting of Polish Youth from Abroad (1935)

Stefan Osiecki – The Lopek Dancing(1935)

The Propaganda Posters Link

After World War II Poland found itself under Communist rule. The new government needed to spread the new aesthetics and make the new institutions acceptable to the public. With that goal in mind the Propaganda Poster Studio was established in the city of Lublin.

Wlodzimerz Zakrzewski was a talented landscape painter and active member of the Communist Party who had studied painting in Moscow in 1940 and had designed posters for the Soviet Propaganda. He was therefore the perfect candidate to run the Studio. The military introduced patterns of representation borrowed from the Soviet poster tradition, propaganda graphics connected with the TASS, the Telegraphic Agency of the Soviet Union. Zakrzewski was given a list of catchphrases assigned to the propaganda. His task was to devise graphical rules to create a working method for propaganda posters.

Zakrzewski aimed to introduce a new visual language by basing his colorful images on verified patterns borrowed from the stylizations learned in Russia. He also acted as mentor to a number of what were, in fact, unprofessional poster artists. This experience marks the first time poster art was institutionalized in Poland, giving birth to the proper phenomenon that followed, the “Polish Poster School.”

Propaganda Poster Workshop
The Propaganda Poster Workshop in Lublin. Wlodzimierz Zakrzewski sitting left. (1944)

Propaganda poster designs
Mieczyslaw Tomkiewicz – Poster designs for the workshop (1945)

Wlodzimierz Zakrzewski – “What the soldier wins by fighting the peasant will plow” (1944)

Wlodzimierz Zakrzewski – “Where Hitler sets foot the earth dies…” (1945)

Wlodzimierz Zakrzewski – The giant and the disgusting reactionary dwarf (1946)

Wlodzimierz Zakrzewski – Party (1955)

The 50’s and the 60’s: The Golden Age Link

The Fifties and the early Sixties mark the Golden Age of the Polish poster. Like everything else, the film industry was controlled by the state. There were two main institutions responsible for commissioning poster designs: Film Polski (Polish Film) and Centrala Wynajmu Filmow – CWF (Movie Rentals Central). They commissioned not graphic designers but artists and as such each one of them brought an individual voice to the designs.

The School of the Polish Poster is therefore not unified but rather diverse in terms of style. It wasn’t until the Mid-Fifities, though, that the school flourished. The fierce Stalinist rule had been lifted, once again leaving room for artistic expression. The classic works were created in the next ten years. Three important remarks must be made. First, at the time the poster was basically the only allowed form of individual artistic expression.

Second, the state wasn’t concerned much with how the posters looked. Third, the fact that the industry was state-controlled turned out to be a blessing in disguise: working outside the commercial constraints of a capitalist economy, the artists could fully express their potential. They had no other choice but to become professional poster designers and that’s why they devoted themselves so thoroughly to this art.

The Polish film poster is artist-driven, not studio-driven. It is more akin to fine art than commercial art. It is painterly rather than graphic. What sets the Polish poster apart from what we’re used to see in the West is a general disregard for the demands of the big studios. The artists requested and received complete artistic freedom and created powerful imagery inspired by the movies without actually showing them: no star headshots, no movie stills, no necessary direct connection to the title.

They are in this regard similar to the work of Saul Bass, a rare example of a Hollywood artist who enjoyed total freedom from the studios. Next to a typical Hollywood film poster with the giant headshots of the latest movie star and the title set in, you guessed it, Trajan Pro, the Polish film poster still looks fresh and inspiring today.

Without further analyzing a history that is best told in pictures let’s take a look at some of the many classic works created by the likes of Wiktor Gorka, Eryk Lipinski, Marek Mosinski, Jan Lenica, Jerzy Flisak and others.

Witkor Gorka Link

1966 – “Kaidan”, Japan 1964. Directed by Masaki Kobayashi.

Cat Ballou
1967 – “Cat Ballou”, US 1965. Directed by Elliot Silverstein.

The Professionals
1968 – “The Professionals”, US 1966. Directed by Richard Brooks.

Deadlier Than the Male
1969 – “Deadlier Than the Male”, UK 1966. Directed by Ralph Thomas.

Jerzy Flisak Link

Three Men in the Snow
1958 – “Three Men in the Snow”, Austria 1955. Directed by Kurt Hoffmann.

1958 – “Pane, amore e..”, Italy 1955. Directed by Dino Risi.

Rancho Texas
1959 – “Rancho Texas”, Poland 1959. Directed by Wadim Berestowski. The first Polish western!

Roman Holiday
1959 – “Roman Holiday”, US 1953. Directed by William Wyler.

1962 – “The Hitman”, Italy 1960. Directed by Damiano Damiani.

1965 – “Mr Hobbs Takes a Vacation”, US 1962. Directed by Henry Koster.

Zwariowana Noc
1967 – “Zwariowana Noc”, Poland 1967. Directed by Zbigniew Kuzminski.

Pali Sie
1968 – “The Firemen’s Ball”, Czechoslovakia 1967. Directed by Milos Forman.

Jan Lenica Link

1957 – “Kanal”, Poland 1956. Directed by Andrzej Wajda.

1957 – “Il Bidone”, Italy 1955. Directed by Federico Fellini.

The Deadly Invention
1958 – “The Deadly Invention”, Czechoslovakia 1958. Directed by Karel Zeman.

Noz W Wodzie
1962 – “Knife in the Water”, Poland. Directed by Roman Polanski.

1962 – “L’Avventura”, Italy – France 1960. Directed by Michelangelo Antonioni.

1965 – “The Visit”, Germany 1964. Directed by Bernhard Wicki.

Eryk Lipinski Link

1948 – “Uliczna Graniczna”, Poland. Directed by Aleksander Ford.

Niedzielny poranek
1955 – “One Sunday Morning”, Poland 1953. Directed by Andrzej Munk.

1958 – “Le Notti di Cabiria”, Italy 1957. Directed by Federico Fellini.

1961 – “Me and the Colonel”, US 1958. Directed by Peter Glenville.

Le Soldatesse
1966 – “Le Soldatesse”, Italy/Yugoslavia/West Germany 1965. Directed by Valerio Zurlini.

Marek Mosinski Link

Testament Gangstera
1968 – “Les Tontons flingueurs”, France 1963. Directed by Georges Lautner.

King Kong Escapes
1968 – “King Kong Escapes”, Japan 1967. Directed by Inoshiro Honda.

1972 – “Infanzia, vocazione e primo esperienze di Giacomo Casanova, veneziano”, Italy 1969. Directed by Luigi Comencini

Other artists Link

The Man with the Golden Key
Hubert Hilscher, 1957 – “The Man with the Golden Key”, France 1956. Directed by Leo Joannon.

Leszek Holdanowicz, 1966 – “Bariera”, Poland. Directed by Jerzy Skolimowski.

Sunset Boulevard
Waldemar Swierzy, 1957 – “Sunset Boulevard”, US 1950. Directed by Billy Wilder.

Wojciech Wenzel, 1959 – “Shane”, US 1953. Directed by George Stevens.

Maciej Hibner, 1962 – “Pickpocket”, France 1959. Directed by Robert Bresson.

Two Way Stretch
Maciej Hibner, 1963 – “Two Way Stretch”, US 1960. Directed by Robert Day.

The Birds
Bronislaw Zelek, 1965 – “The Birds”, US 1963. Directed by Alfred Hitchcock.

A Woman Is a Woman
Franciszek Starowieyski, 1967 – “A Woman Is a Woman”, France 1961. Directed by Jean-Luc Godard.

One Million Years B.C.
Bohdan Butenko, 1968 – “One Million Years B.C.”, UK 1966. Directed by Don Chaffey.

The 70’s and the 80’s: Decadence and Death Link

The School had its peak in the Mid-Sixties and during the following decade declined, much like art and advertising in the rest of the world. A few examples of posters from the Seventies follow.

Witkor Gorka Link

1973 – “2001 : A Space Odyssey”, US 1968. Directed by Stanley Kubrick.

1973 – “Cabaret”, US 1972. Directed by Bob Fosse.

We Were So in Love
1976 – “We Were So in Love”, Italy 1974. Directed by Ettore Scola.

Marathon Man
1977 – “Marathon Man”, US 1976. Directed by John Schlesinger.

Jerzy Flisak Link

1971 – “Playtime”, France 1967. Directed by Jacques Tati.

Sacco e Vanzetti
1972 – “Sacco e Vanzetti”, Italy 1971. Directed by Giuliano Montaldo.

El Dorado
1973 – “El Dorado”, US 1967. Directed by Howard Hawks.

1973 – “Morgiana”, Czechoslovakia 1972. Directed by Juraj Herz.

Brutti, sporchi e cattivi
1978 – “Brutti, sporchi e cattivi”, Italy 1976. Directed by Ettore Scola.

Eryk Lipinski Link

Nie ma powrotu Johnny
1970 – “Nie ma powrotu Johnny”, North Vietnam/Poland. Directed by Kaveh Pur Rahnama.

Okna Czasu
1970 – “Az Ido Ablakai”, Hungary 1969. Directed by Tamas Fejer.

Sea in the fire
1972 – “Sea in the fire”, Soviet Union 1971. Directed by Leon Saakow.

The Day of the Jackal
1975 – “The Day of the Jackal”, UK 1973. Directed by Fred Zinnemann.

The Eighties were marked by society’s strong opposition to the increasingly oppressive Communist rule, exemplified by the Solidarnosc movement. Poster art quietly dwindled through the decade. After 1989, when film distribution was privatized, it died.

Nowadays alternative film posters are created by numerous artists as exercise and showcase of their abilities. Such posters are typically printed in small runs and viewed and sold exclusively in art galleries.

Conclusion Link

Posters are very important in the Polish culture. During the Communist regime they were probably the only colorful things one would see in the streets.

A small but dedicated market for Polish posters has emerged over the years. Driven by more than just nostalgia, its aim is the preservation of what is both testament of a cultural heritage largely unknown outside its borders and an immense source of inspiration for today’s young artists. These collectibles are not available in huge numbers but, due to their being relatively unknown, don’t command high prices yet.

Further Resources On Polish Posters And Design Link

Here’s a list of online sources to browse and even buy Polish posters. The stores are not listed for advertising purposes but rather because they provide picture galleries with details for each item.

  • Wilanow Poster Museum5
    The first Poster Museum in the world, opened in 1968 as a branch of the National Museum in Warsaw.
  • Krakow Poster Gallery6
    A small gallery located in downtown Krakow. Despite its size it has an impressive collection of originals and reprints.
  • The Art of Poster7
    Poster gallery located in Warsaw.
  • Poster Gallery at Antykwariat Rara Avis
    Poster gallery from a recent auction. It features some well known and rare pieces.
  • Classic Polish Film Posters8
    Probably the biggest online collection of film posters. The gallery is well organized and includes very detailed information about each artwork. Invaluable resource. Most of the images and film data in the article come from this site.
  • Polish Poster Shop9
    A very thorough catalog with many artists.
  • Cine-Images Gallery – Movie Posters10
    A decent collection of posters, mostly from the ’70s.
  • Film posters typeset in Trajan11
    For comparison purposes. A collection of movie posters in the Hollywood studio tradition: big star headshots, predictable composition and typography. This type of poster has replaced the artistic output of the past decades.
  • Rene Wanner’s Poster Page12
    This gallery contains various collections og graphic design artists, among them are also Polish artists and designers.

A few bibliographical references.

  • Piotr Rudzinski, curator “Pierwsze polwiecze polskiego plakatu 1900-1950” (2009) A collection of essays by various authors about the development of the Polish poster. The emphasis is on the first half of the 20th Century. The essays are veru well researched and read like master’s degree papers. Includes many of the posters presented in this article.
  • Anna Agnieszka Szablowska “Tadeusz Gronowski – sztuka plakatu i reklamy” (2005) A monography of the master. Includes 189 eproduction of his works.
  • Krzysztof and Agnieszka Dydo “PL21, The Polish Poster of the 21st Century” (2008) A book about the contemporary poster scene. Created by the owners of the Krakow Poster Gallery.

Footnotes Link

  1. 1
  2. 2
  3. 3
  4. 4
  5. 5
  6. 6
  7. 7
  8. 8
  9. 9
  10. 10
  11. 11
  12. 12

↑ Back to top Tweet itShare on Facebook

Andrea Austoni is an Italian freelance graphic designer currently living in Krakow, Poland. He specializes in icon design and illustration. He runs Cute Little Factory, his personal portfolio and blog.

  1. 1

    It would be nice to include Polish posters for some well known movies, like Star Wars, Indiana Jones, etc. They’re quite impressive, and readers could grasp the concept, if they see the posters of the movies they know :)

  2. 3

    nice compilation. i dig it!

  3. 5

    Awesome compilation!

  4. 6

    Very nice! :)

  5. 7

    Bart Majewski

    January 17, 2010 2:04 am

    That’s really awesome! Greetings from Krakow! :) Thank you for that!

  6. 8

    Great collection!
    I’m from Poland and trust me. Those posters really grasp that times. You’d have to read the whole book to get the same what’s behind each poster here.

  7. 9

    najs,, nice collection from my playground :)

  8. 10

    Beautiful stuff. Awesome and unknown!

  9. 11

    It’s a great post, so inspirational.
    Thanks to share it!

  10. 12

    Wow, this is a real cracker of a post. Kudos for the showcase that highlights some really bold, strong, skillful and inspiration pieces.

    This makes for a fantastic piece of reference material. <3

  11. 13

    Wow, what a treat! Thanks for sharing these lovely and inspiring posters. Have a super day.

  12. 14

    If you guys like the post, you might also like this article I’ve done:
    The article is about old Polish folk art called “wycinanki” and how they inspired local (and not only local) designers. Hope you like it! :)

  13. 15

    I’ve been subscribed to the Smashing Mag rss feed for a long time. I’ve never been disappointed! Just wanted to comment and say that this is a wonderfully broad piece that gives a great scope to the extent of Polish poster production. Thanks for the references too, I’ll look into picking them up.

  14. 16

    Amazing, I wish I could understand the language. :)

  15. 17

    A.M.A.Z.I.N.G, I wish I could understand the language. :)

  16. 18

    Good job Andrea. Greetings from Warsaw.

  17. 19

    That one is great ! Thanks for sharing the stuff :)

  18. 20

    I hope that it’s just an introduction! Very nice article :)

  19. 21

    More Poland on SM! :)

    Świetna robota, dziękujemy za newsa :)

  20. 22

    correction to Ceres Lard “To die for…” (1926) – it’s more like “finger licking good”, now of course copyrighted by someone calling himself the colonel… ;)

    btw add some more popular/cult/classic movie posters, it adds a new perspective for people, and it’s surprising how many of them one can guess even without reading the title…

    • 23

      Andrea Austoni

      January 17, 2010 5:15 am

      You’re right about that. I was conflicted between the two possible translations.
      The reason why I didn’t show posters of recent movies is, of course, because the classic works were created in the Sixties.
      Anyway I hope this sparks more interest in this design movement.

  21. 24

    I’ll post the same thing as Błażej couple posts above: – its a great gallery with more posters, including 1980’s-90′, which aren’t covered by this post.

  22. 25

    Wow, great post! As a Pole I’m really proud of the amazing artists my country has produced.

    @Mariusz – Great post on wycinanki, it’s great to see modern culture hasn’t forgotten them!

  23. 26

    Extremely awesome, Warsaw thanks for that :)

  24. 27

    Smashing collection.

    Absolutely stunning. So creative and magical!
    I never seen this posters before, but I must say that’s amazing.
    Thanks for putting together the collection. Greetings from my inspirational country.

  25. 28

    Gisele Muller

    January 17, 2010 6:00 am

    Great article… really amazing!
    Thanks for the compilation.

  26. 29

    Great one

  27. 30

    Now that’s a quality post. Hope to see these kind of posts in future.

  28. 31

    Świetna kompilacja :)

  29. 32

    Great post, this is actually the first time in a while where I read every single word. I hope to see some more of these

  30. 33

    awesome! i’m a Brazilian designer and i would like to translate this post to portuguese. can i?

  31. 34

    here at Drexel University (philly PA, USA) the Graphic Design department has a huge collection of polish posters from a range of times. I’m not sure how many it is, but they used to have them all hung up in the gallery, it was pretty amazing.

  32. 35

    great article, thanks!

  33. 36

    Thanks for polish poster showcase. :)

    Greeting from Poznań! :)

    P.S. Miło zobaczyć trochę polskiego języka na SM.

  34. 38

    Really great compilation of posters from Polish history. Bravo for such extensive work and information. Loved reading all of it!

  35. 39

    This was an awesome post! Thanks for the inspiration!!

  36. 40

    Really impressive! Bohdan Butenko was the spirit of my childhood. I also liked polish adverts from 30’s (especially Citroen’s) – I wish they were in this compilation…

  37. 41

    Great collection of samples here – nice post. For anyone interested, there was a film released last year on the subject of Polish posters: “Freedom on the Fence” directed by Andrea Marks. You can view the trailer for it here:

  38. 43

    I’m so surprised they haven’t listed the most important Polish poster desiner – Henryk Tomaszewski! You have to check him out – he produced one of the most intelligent graphic design work ever seen and HE is called the father of the Polish Poster School…

  39. 44

    This is really awesome post. Personally I’m a great fan of such a dusted, almost forgotten things from the past. They are sometimes sources of thrill and great inspiration to me. Greetings form Otwock.

  40. 45

    Marta Spendowska

    January 17, 2010 3:20 pm

    Feels so good to be Polish!
    I just came back from Poland two days ago and after looking at the books about Polish posters + all the graphic art I have a feeling of an amazing melancholy that drives my beautiful country;-)

    BTW – it is so expensive to study graphic design there — books + software are not for the normal-size student pocket.

    Smashing — thanks so much for this post and

    Wszystkiego najlepszego wszystkim!


  41. 46

    thx 4 sharing :D

  42. 47

    Allan Sorensen

    January 17, 2010 5:53 pm


  43. 48

    Ryan Baillargeon

    January 17, 2010 8:06 pm

    Incredible Collection! Thank you. I’m sending this to my wife who will enjoy this immensely.

  44. 49

    Rinaldi Syahran

    January 17, 2010 8:26 pm

    hi Andrea,
    your posting is very inspiring. The way that you talk about poster history in polish is not make me bored. You also give us the information with the photo of the poster itself. So we can now the output of poster from the beginning history of poster until now.

  45. 50

    At first, I was thinking “shoe polish”, then I was thinking “polished” as in refined. These are cool too! :)

  46. 51

    bright as yellow

    January 17, 2010 9:02 pm

    Thanks for bringing attention to such an unknown subject! I was very impressed by a lot of these. The posters for “The Hitman, Kanal”, “the Deadly Invention”, and “the Birds” in particular seemed like they could be mistaken for more current works of art. I also liked the poster for “We Were So In Love”, as it reminded me of a scene from Pink Floyd’s movie “The Wall”.

  47. 52

    Very Nice and inspirational. Classic design from my country . Thanks from Poland

  48. 53

    Podveg Razvedcheka

    January 17, 2010 11:46 pm

    inspirational indeed!

  49. 54

    Hey good job, i really like this kind of posters

  50. 55

    Cool! :)
    I have nerver nown all this, and Im a Polak!
    Nice to know :D

  51. 56

    This is so much inspirational. Great!
    Ps. Pozdrowienia z Polski ;)

  52. 57

    Very interesting collection :) Good to know that there are many foreign people who take care about polish arts :P

    Pozdrawiam z Polski :)

  53. 58

    Great classic designs! Proper old school… Thanks for that!

    Pozdrowienia z Londynu!

  54. 59

    Bardzo fajne. Pozdrowienia z Polski :)

  55. 60

    I have been in Wilanów (Warsaw) Poster Museum few days ago and made nice sets of pictures in addition there has been “365 Days of Happiness exhibition” take a look –
    Best regards,

  56. 61

    But Poland cannot into space ;(

  57. 62

    Dzięki! Great job!

  58. 63
  59. 64

    Fantastic collection

  60. 65

    mariusz słonina

    January 18, 2010 8:11 am

    what to say about… just good to see these posters:) dzięki;)

  61. 66


  62. 67

    Yulka Plekhanova

    January 18, 2010 12:25 pm

    Wow, this is amazing! I feel so inspired!

  63. 68

    uhh I’m stoked!
    Cheers to Smashing from polish designers ;)


  64. 69


  65. 70

    Michał Kulinski

    January 18, 2010 7:59 pm

    Great idea for an article!
    I hope we will see another ones featuring different countries soon!

    Thanks Smashing for opportunity and Andrea for execution.

  66. 71

    Kilian Obniski

    January 18, 2010 11:25 pm

    Now i wait for “Showcase Of Web Design In Poland”

    Greetings from Bydgoszcz

  67. 72

    I love the Polish Design! It’s not mainstream!

  68. 73

    Those were fantastic! Some of those posters are just beautiful and display an incredible amount of creativity. It would be great if I could buy some, but they probably cost a fortune everywhere except in DubLi, and I’m not sure that they stock such things.

  69. 75

    Well, these posters are beautiful! Butenko rulez :)
    Greetings from Poland :)
    Jak miło zobaczyć post o Polsce na SM!


  70. 76

    Incredible! Thank you very much for this article. I think that visit in Warsaw Museum of Posters is for me now a MUST TO DO. Now I will spend a month analysing all these works ;)

  71. 77


    January 20, 2010 8:27 am

    Many thanks for the well researched and informative article from another Italian lover of Polish art and graphic design.

  72. 78

    Enjoyed immensely!

  73. 79

    Some of the posters have amazing type, really good material for anyone that cares on how type works.

    Really nice post.

  74. 80

    Have a look on for polish poster

  75. 81

    Man, this is amazing part of polish modern art. That posters are much diffrent than other European styles.

    visit –

  76. 82

    It is Wiktor Gorka not Witkor Gorka. Spelling error, look bad!!

  77. 83

    Thanks for some history, I really appreciate that. Greetings from Poznań :)

  78. 84

    Pablo Biardzki

    February 1, 2010 1:54 pm

    Nice job!

  79. 85

    Not sure if you found the resource, but the RISD Library has a very nice collection that was donated to the school. Some prime examples of polish posters that span the 20th century.

  80. 86

    I was initially excited about this post, but the omission of Roman Cieslewicz is a glaring error. He was a huge influence on me in school—and I’m not Polish! He’s a master and I’m surprised he’s not in here.

  81. 87

    great great great
    thx this is so helpful

  82. 88

    gayle Croes Bezerra

    June 4, 2010 11:28 am

    I have a collection of 23 POLAND magazines in great shape from the 60s. They featured extraordinary cover art by artists such as Cieslewics Wilkno Mlodozeniec Rechowicz Kilian etc. They are beautiful and the magazines are beautifully designed. Very cool graphics

    • 89

      I have some magazine’s from the 60’s also. The covers are great artwork! They are in english. A friend use to order them from Poland. Are they of any value. I do enjoy them. I would like to print the covers and have them displayed on my wall.

    • 90

      Hi, I have those magazine’s too. Do you know of any value for them. I love the artwork!!!

  83. 91

    Maxwell Magain

    May 21, 2011 8:53 pm

    Fantastic resource site and examples of fundimental design principals,
    Thanks for compiling this collection!

    ps. why do I think of Sydney Nolan when I look at 1958 – “Le Notti di Cabiria”, Italy 1957. Directed by Federico Fellini.?

  84. 92

    Looking for info on Eva Feiglova, poster artist.

    WE bought an anti drunk driving poster from poland c1950 by her.

    have only seen one other poster by her

  85. 93

    Really great article. I love the history behind the posters and discovering the Polish culture.

  86. 94

    What an eye opener, brilliant compilation – i’m off to learn more about the stories behind them.

  87. 95

    Ali Ghamsary

    June 2, 2013 9:40 am

    They are beautiful and the magazines are beautifully designed. Very cool graphics

  88. 96

    I’m so grateful to have come across your magazine recently, and thank you from the bottom of my heart for this collection of Polish posters. I remember a public television special in the late 60’s called “The Animation Generation” which featured a lot of phenomenal animation from Eastern Europe. I know how to access the Russian animation – like that of Yuri Norstein, but not animation from Poland and Czechoslovakia. This collection reminds me of how thrilled I was when a design student in the early 70’s to encounter these posters. Keep up the great work!


↑ Back to top