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Beginning in the 1950s and through the 1980s, the Polish Poster School combined the aesthetics of painting with the succinctness and simple metaphor of the poster. It developed characteristics such as painterly gesture, linear quality, and vibrant colors, as well as a sense of individual personality, humor, and fantasy. It was in this way that the Polish poster was able to make the distinction between designer and artist less apparent. Posters of the Polish Poster School significantly influenced the international development of graphic design in poster art. Their major contribution is in their use of the power of suggestion through clever allusions. Using strong and vivid colors from folk art, they combine printed slogans, often hand-lettered, with popular symbols, to create a concise inventive metaphor. As a hybrid of words and images, these posters created a certain aesthetic tension. In addition to aesthetic aspects, these posters were able to reveal the artist's emotional involvement with the subject. They did not solely exist as an objective presentation, rather they were also the artist's interpretation and commentary on the subject and on society. ==Artists of The Polish Poster School== Historic Collections of Polish Posters The largest and most complete private collection dating from 1909 to the modern era is described at rosenbergcollection.com It is a unique story of creativity under oppression. The courageous artists brought color, message and beauty to the streets as the war torn cities were re-built and posters were displayed in street kiosks, building walls and fences. *Roman Cieślewicz *Wojciech Fangor *Mieczyslaw Gorowski *Tadeusz Jodlowski *Jan Lenica *Jan Mlodozeniec *Józef Mroszczak *Julian Pałka *Franciszek Starowieyski *Waldemar Świerzy *Henryk Tomaszewski *Maciej Urbaniec *Mieczyslaw Wasilewski *Bronisław Zerlek 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Polish School of Posters」の詳細全文を読む スポンサード リンク
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