The Polish poster phenomenon might be hard to understand to outsiders. It matured in unfavorable historical circumstances when artistic creation was often treated as an instrument for furthering political agendas. Unlike other disciplines, the poster succumbed to the restless eb and flow of history. The poster was active in the creation of history, it influenced the course of events, and  often fell victim to its own manipulation.

Examining the life, death and resurrection of Polish cities (concurrent to Polish history) Polish poster art provides a summary of the country’s aesthetic preferences, artistic tendencies, and political temperaments. Posters are like a portrait; they show a frozen reflection of the nation’s state of consciousness and mentality, attitudes to tradition and universal cultural heritage.

Multilayered in meaning, full of allusions, insinuations, and  able to speak about grotesque and funny things, posters provoked serious reflection on both serious and trivial topics.

The birth of Polish poster art dates back to 1899. From the start, posters were a relatively cheap, and therefore accessible form of art. Throughout the 20th century they served as a barometer of changes, tensions, and public sentiment.

At times the state issued  posters as reminders of  tradition, weaving in the information, and advertising folk and regional motifs. Furthermore, Polish posters served as calls to action, mobilization for war, and mobilization for reconstruction. Looking back, one can see that they were a reflection of Polish trends and styles, as well as ideas about city space and identity throughout each decade.

For the purposes of this project, I chose to focus specifically on the way in which cities and places in Poland were portrayed in Polish poster art. The number of posters produced in this category is vast, thus I chose only the most visually arresting works. I started in 1910, and examined works from each decade, until 2016.