Roman Ceslevich Was one of the main creators of the “Polish poster school”. He was one of the representatives of the members of Alliance Graphique International (AGI).
Ceslevich was trained in the workshops of Cheslav Rzepinsky, Zbigniew Pronašky, Mechislav Weiman and was a student of the Lviv Industrial Design School (1943-1946). After he graduated from the academy and moved to Warsaw, there he began to design posters for the Central Film Fund, the Art and Graphic Publishing House (WAG), the Polish Chamber of Commerce.
Magazines and graphics
Together with the Warsaw Literary Museum, Roman Ceslevich organized in Paris exhibitions “70 drawings by Bruno Schulz” (1975) and “Portraits in the works of Stanislav Ignacy Vitkevich” (1978). He designed posters for the Graphic Arts Publishing House (WAG), as well as for the Central Film Fund and the Polish Chamber of Commerce. He was fond of poster design, worked with newspaper and book graphics, Braun design, as well as printing, photomontage, photography and various exhibition events.
Ceslevic developed the design for the magazine Ty i Ja (in 1959–1962 he was its artistic director), and he also created the design for the magazine Polska and the catalogs of the Warsaw gallery Galeria Współczesna. This artist collaborated with such publishing houses as Iskry, PIW, Czytelnik, “Art and Graphic Publishing”, as well as with numerous other organizations.
Famous work – Roman Ceslevich
Ceslevich’s work can be compared to a kind of bridge in Europe, divided by the cold war. He brought a surrealistic fantasy to the visual culture of communist Poland. After moving to Paris in 1963, the artist took a critical stance towards consumer influence of the West.
Roman Ceslevich designed the design for Ty i Ja magazine, Polska magazine and the catalogs of the Warsaw gallery Galeria Współczesna.
He was one of the main creators of the “Polish poster school” and was part of the union of Polish artists, Alliance Graphique International (AGI), and the International Center for the Typographic Arts.
Alliance Graphique Internationale is a club of the world’s leading artists and designers, which includes 497 members from 39 countries. All its members are collectively responsible for developing the design identity of most of the world’s leading corporations.
Ceslevich loved to design exhibitions. He worked on the decoration of the pavilion of the Electrim enterprise in Beijing (in 1961) and the pavilion of Tse-Te-Be at the International Exhibition in Poznan (in 1963). In 1979, he managed to make a film for the Paris Institut National Audiovisuel entitled “Climate Change”.
Posters and their motive
Ceslevich worked on the creation of playbill and posters, using both fictional and real characters. In his works one can often see the subtext of the anti-capitalist slogan. In his works, the artist used details that, through subsequent reproductions and transformations, turned into a clear sign. Ceslevich liked to use a strongly enlarged raster and a mirror effect on his images.
In the works of Roman Ceslevich, you can find all sorts of combinations of various intellectual and emotional motifs. Such combinations were determined by the author’s ability to link all artistic forms and words into a single whole, which made it possible to effectively use the language of images that are clear to the viewer.
When creating his works, Roman Ceslevich used a limitless arsenal of various artistic means. Very often, his works using the method of associations directly appeal to our subconscious.
The Polish school of posters and poster art has always felt and reacted to changes in politics, and Roman could not avoid this destructive “propaganda” influence. However, this had a positive effect on the saturation and semantic load of its imagery. Even in sketches of notorious villains, according to the capitalists, such as Ernesto Che Guevara, although the subtext of such works was not always enthusiastically received by the public.