Resumen
The Khrushchev Thaw allowed Poland a slightly larger margin of freedom in its cultural exchange with Western Europe than it had since the end of the Second World War. In this newly relaxed political climate, two models of Polish cultural diplomacy emerged in the West. The first constituted the official foreign policy of Poland?s communist authorities, while the other remained unofficial, relying on a network of contacts with Poland?s government-in-exile. An examination of contemporary Polish art exhibited in Paris during the 1950s and 1960s reveals this dichotomy. The first type of cultural patronage was coordinated in Paris by communist representatives of the Polish Embassy. The second emerged in Paris within Polish political émigré circles. Its key proponents were the Literary Institute (Instytut Literacki), including the intellectual and artistic milieu of the monthly journal Kultura (?Polish-based Culture?) and the Lambert Gallery (Galeria Lambert). State foreign policy, funded by the state budget and anchored in agreements between Poland and France on cultural cooperation determined the former, while the latter constituted an oppositional stance against the Eastern Bloc, deriving its strength from the resolve of Polish political émigré circles, their extensive network of sympathetic foreign contacts, and an understanding of the mechanics of the art market. The communist model sought to build a friendly image of Polish culture despite the apparent ideological rift between Eastern and Western Europe. The émigré approach stemmed from a refusal to accept the political division of Europe and involved searching the world of art for evidence of forces in Poland that opposed the political status quo. Finally, the patronage model adopted by communist authorities followed the state-imposed policy of favoring figurative art over Polish abstract art, whereas the model championed by émigré circles pursued the opposite strategy. It showcased unrestrained, spontaneous, and mostly abstract art. It evidenced an affinity for international trends in the art of the time, including abstract expressionism and, in particular, Parisian Art Informel. How can these two strands of cultural diplomacy co-exist? Which resonated more with international audiences?