Abstract The posters that accompany the successive Warsaw Autumn Festival editions are a unique collection of works, mostly of outstanding quality. One might venture the thesis that their artistic value – living up to the high demands of the topic – exceeds the typical standards of representation characteristic of popular art. Formally speaking, they abandon the conventions of egalitarian iconographic art in favour of a more elite-oriented visual formula, addressed to a competent audience knowledgeable about contemporary music and its qualities. The authors of these WA posters include many artists associated with the Polish school, such as Jan Lenica, Jan Młodożeniec, Julian Pałka, Waldemar Świerzy, Henryk Tomaszewski, and Wojciech Zamecznik. Their graphic representations of the achievements of the musical avant-garde do not, however, situate this poster series within the well-sanctioned canon of the “Polish poster school”, mostly associated with the film and theatre – generally considered as more “democratic” and entertainment-oriented disciplines of art. The WA posters point to an evident polarisation of visual culture, corresponding to the division between high and low culture and between two types of audiences, differing in expectations. These posters form a largely autonomous collection and may be viewed as supplementary to the music they refer to, which determined the choice of expressive means appropriate to this topic. The whole collection is a display of its authors’ evident skills and their ability to live up to the high demands placed on these works. The task of translating one medium into another (in this case – a visual one) requires intellectual discipline. Some kind of (at least formal) similarity between the two media needs to be discovered, and shared semantic elements ought to be traced. On the verbal level, such similarities are presented in terms of related distinctive features, ways of describing phenomena, and intuitions. The 19th-century Romantic concept of the correspondance des arts was based on similar assumptions. The Romantics attempted to systematise the emotions accompanying the experience of different arts, looking for affinities and similar form-building strategies.

中文翻译：

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在内涵和外延之间。1956-2015 年华沙秋季国际当代音乐节宣传海报

摘要 历届华沙中秋节的海报都是独一无二的作品集，大多品质卓越。有人可能会提出这样的论点，即它们的艺术价值——满足主题的高要求——超过了流行艺术的典型表现标准。正式地说，他们摒弃了平等主义图像艺术的惯例，转而采用更加精英导向的视觉公式，面向了解当代音乐及其品质的有能力的观众。这些 WA 海报的作者包括许多与波兰学校有关的艺术家，例如 Jan Lenica、Jan Młodożeniec、Julian Pałka、Waldemar Świerzy、Henryk Tomaszewski 和 Wojciech Zamecznik。然而，他们对音乐先锋派成就的图示并不 将此海报系列置于“波兰海报学派”的广受认可的正典中，主要与电影和戏剧有关——通常被认为是更“民主”和以娱乐为导向的艺术学科。WA海报指向视觉文化的明显两极分化，对应于高低文化之间以及两种类型的观众之间的分歧，不同的期望。这些海报形成了一个很大程度上自主的收藏，可以被视为他们所指音乐的补充，这决定了适合该主题的表达方式的选择。整个收藏展示了作者明显的技能以及他们满足对这些作品的高要求的能力。将一种媒体翻译成另一种（在这种情况下是视觉媒体）的任务需要智力训练。需要发现两种媒体之间的某种（至少是形式上的）相似性，并且应该追踪共享的语义元素。在语言层面上，这种相似性表现为相关的显着特征、描述现象的方式和直觉。19 世纪浪漫主义的艺术通讯概念基于类似的假设。浪漫主义者试图将伴随不同艺术体验的情感系统化，寻找相似性和相似的形式构建策略。19 世纪浪漫主义的艺术通讯概念基于类似的假设。浪漫主义者试图将伴随不同艺术体验的情感系统化，寻找相似性和相似的形式构建策略。19 世纪浪漫主义的艺术通讯概念基于类似的假设。浪漫主义者试图将伴随不同艺术体验的情感系统化，寻找相似性和相似的形式构建策略。