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Western Amerykanski : Polish Poster Art and the Western by Kevin Mulroy (1999, Trade Paperback)

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Product Details: • Condition: New Condition. No notes, no highlight, no missing pages, no damage.(See Pictures for Reference and Size) • Stored in a Non Smoking Home Shipping: • Ships via USPS from California, USA • Fast Shipping Thank you for checking out our listing. Please visit my eBay store to find harder to find unique items and rare books. Unikorn Books

About this product

Product Identifiers

PublisherUniversity of Washington Press

ISBN-100295978139

ISBN-139780295978130

eBay Product ID (ePID)789276

Product Key Features

Book TitleWestern Amerykanski : Polish Poster Art and the Western

Number of Pages240 Pages

LanguageEnglish

Publication Year1999

TopicPosters, American / General, European

IllustratorYes

GenreArt, Antiques & Collectibles

AuthorKevin Mulroy

FormatTrade Paperback

Dimensions

Item Height0.6 in

Item Weight23.5 Oz

Item Length9.8 in

Item Width5.9 in

Additional Product Features

LCCN98-052392

Dewey Edition21

ReviewsAn important contribution to understanding how mythic imagination influences popular culture; in this case, how the American Western was perceived and exploited by Polish artists following WWII..The book is a scholarly examination of an esoteric subject but, unlike so many academic works, its essays and illustrations, like the Wild West itself, have universal appeal.

Dewey Decimal741.6/74/09438

SynopsisThe figure of Gary Cooper as the proud frontier sheriff striding down the street in the 1952 American Western High Noon is as much a symbol of dignity and courage in contemporary Poland as it is in the United States. In 1989, for Poland's first free election since the Communist takeover, the political party Solidarity dramatically and successfully used that image of Cooper on a campaign poster urging voters to respond to their country's own "high noon"--their critical moment of decision. The Western motion picture, from its silent days on, exported an epic vision of America. William S. Hart, John Wayne, James Stewart, Henry Fonda, Gregory Peck, Clint Eastwood, and Kirk Douglas became legendary heroes throughout the world, and especially in Poland. In postwar Poland, film poster artists employed the universally recognized symbols of the Western--horse, six-shooter, boots, tin-star badge, Stetson, saddle--to convey violence as a negative force. Unlike many other art forms, the film poster did not fall within the censor's domain because it was not expected to pose a threat to the social order. But messages were conveyed through subtle means of symbol and color. The Polish poster has been likened to the Trojan horse, with the artist smuggling messages onto the streets in the guise of ephemera. The posters displayed so strikingly in this book, and discussed in three essays, are from the golden age of Polish poster-making, the mid-1940s to the 1970s. They are part of the collection assembled by the Autry Museum of Western Heritage, the Western poster holdings of which include more than a hundred created in Poland--the largest such collection outside of Poland itself., The figure of Gary Cooper as the proud frontier sheriff striding down the street in the 1952 American Western High Noon is as much a symbol of dignity and courage in contemporary Poland as it is in the United States. In 1989, for Poland's first free election since the Communist takeover, the political party Solidarity dramatically and successfully used that image of Cooper on a campaign poster urging voters to respond to their country's own ?high noon'their critical moment of decision. The Western motion picture, from its silent days on, exported an epic vision of America. William S. Hart, John Wayne, James Stewart, Henry Fonda, Gregory Peck, Clint Eastwood, and Kirk Douglas became legendary heroes throughout the world, and especially in Poland. In postwar Poland, film poster artists employed the universally recognized symbols of the Western'horse, six-shooter, boots, tin-star badge, Stetson, saddle'to convey violence as a negative force. Unlike many other art forms, the film poster did not fall within the censor's domain because it was not expected to pose a threat to the social order. But messages were conveyed through subtle means of symbol and color. The Polish poster has been likened to the Trojan horse, with the artist smuggling messages onto the streets in the guise of ephemera. The posters displayed so strikingly in this book, and discussed in three essays, are from the golden age of Polish poster-making, the mid-1940s to the 1970s. They are part of the collection assembled by the Autry Museum of Western Heritage, the Western poster holdings of which include more than a hundred created in Poland'the largest such collection outside of Poland itself.

LC Classification NumberPN1995.9.P5W47 1999