Title of the week

Michałowski. Drawing is another book in the series on Polish drawing art. Piotr Michałowski (1800 –1855), the most recognised representative of Romanticism in Polish art, became famous primarily as a painter of battle scenes and equestrian images.

The twenty-fourth book in the series on posters and graphic arts presents the works by Lex Drewinski, involved with Polish and German artistic and academic circles. Drewinski graduated with honours and obtained a Master’s degree in Waldemar Świerzy’s workshop at the State Higher School of Fine Arts (now the University of the Arts) in Poznań.

The twenty first volume in the “Poster” series is devoted to the art by Professor Michał Kliś involved with the Academy of Fine Arts in Katowice, where he was a rector between 2001–2005.

Another book in the “Posters” series presents the art of Hubert Hilscher (1924–1999), one of the most famous Polish graphic artists. Hilscher was a versatile author of not only posters and applied graphics, but also book illustrations and corporate identity.

Stanisław Wyspiański (1869–1907) was a versatile artist: a playwright, poet, painter, graphic designer, typographer, theatre reformer and interior designer. Wyspiański. Drawing is a mini-album presenting the artist’s drawings, a clear reflection of his keen eye.

Mieczysław Wasilewski, born in Warsaw in 1942, was a student of Henryk Tomaszewski. A teacher at the Academy of Fine Arts in Warsaw since 1971, master of synthesis and lines, one of the most accomplished Polish poster artists.

The fourth mini-album from the series on posters and graphic forms is devoted to the works of Maciej Urbaniec, a co-founder of the Polish School of Posters, one of the most renowned Polish poster artists.

This mini-album contains over 50 works by one of the greatest artists of the Polish poster – Henryk Tomaszewski.

The book presents the history of Polish graphic tradition leading to the so-called phenomenon of the Polish poster – the history, which starts with the first printing workshops in Krakow in the sixteenth century. It continues with the birth of graphic arts in the seventeenth and eighteenth centuries, through workshop experiments in the nineteenth century, modernist transformations, world-famous Polish graphic arts in the interwar period, and the birth of the Polish school of graphic design in the 1930s, leading to the rise of the Polish school of posters in the second half of that century. It then goes on to Solidarity’s affiche brut of the next generation and ultimately the full bloom of a young, poetic and somewhat anarchic poster at the end of the twentieth century and the beginning of the twenty-first century.

The book presents the works of one of Poland’s most accomplished poster artists, Waldemar Świerzy.

The book is dedicated to most significant phenomena and art movements which shaped Polish art during the 40 years under communist rule.

Stefania Krzysztofowicz-Kozakowska’s book showcases the artistic and cultural achievements of the interwar Poland, offering an in-depth, multi-faceted study of the period’s architecture, fine arts, industrial design, while accentuating the artistic manifestos of the times and their influence on the lives and work of the most prominent artists.