Among the most prominent representatives of the Polish Constructivist movement, Katarzyna Kobro developed an innovative approach to multi-dimensional abstract sculpture. She was also a key proponent of the integration of scientific advances in visual art. She rejected Aestheticism in favor of the idea of spatial rhythm, which she saw as more important.
Akty
During the interwar period, Katarzyna Kobro was a sculptor. She was a member of a number of art groups. During the early part of her career, she created works that included expressive abstract forms and geometric shapes. These were not widely recognized outside of her artistic circle.
After the outbreak of World War II, her life became less stable. She left her home in Lodz, Poland, and lived in Smolensk, Russia. There she met her future husband Wladyslaw Strzeminski. They married in 1920. Their marriage resulted in Kobro’s daughter Nika.
Kobro’s husband, Strzeminski, was a painter. He and his family were active travelers, particularly during World War II. Their family discovered that many of their previous residences had destroyed much of their art. They returned to Lodz in 1940.
Siemiatycze
During the early 20th century, Katarzyna Kobro (January 26, 1898 – February 21, 1951) was an avant-garde artist who was a prominent member of the Polish Constructivist movement. Her sculptures were based on the concept of spatiality and included abstract forms. She also created theatre sets. Her work incorporated scientific advances into visual art.
Her artworks also resisted the Aestheticism of the time. She studied in Moscow and then reemerged in Poland in the early 1920s. she worked with Wladyslaw Strzeminski and Jana Przybosia. She was the founder of a group of artists. she later became a curator at the Lodzi Museum of Modern Art.
Spatial Composition 4
During the first half of the 20th century, Katarzyna Kobro was a leading figure in the Central European avant-garde movement. Her works were featured in numerous international exhibitions. However, fewer than 20 of her sculptures are currently surviving.
In the mid-1920s, Kobro developed a group of plaster nudes that depict the female body in a compact mass. These sculptures are characterized by concave and convex modeling. The work was also influenced by Cubism.
Kobro’s Spatial Compositions were first exhibited in 1926. These works are painted in primary colors, either monochromatic or multicolored. In the Spatial Composition 4, a white U-shaped curve forms the center of the painting. Each side of the painting is painted in a different color.
ToS 75–Struktura
Sculpture made by Polish artist Katarzyna Kobro is based on ideas about space and movement. Her works are often characterized by juxtapositions of eclectic materials. She is most famous for her series of Spatial Composition sculptures.
Her first sculptural work was created in 1920. It was called “Tos 75 – Struktura” and was constructed from cork and metal. It also featured futuristic and cubist elements. Unfortunately, this work was destroyed before Kobro and her family were able to leave Russia. Fortunately, photographs are still in existence.
In 1926, Kobro’s works were first shown in Poland. Her Spatial Compositions were a series of sculptures that were crafted to emphasize open spaces.
Unism
During the interwar period, Katarzyna Kobro was a female sculptor in Poland. Her sculptures were based on geometric forms and expressive abstract shapes. Her works also incorporated scientific advances into visual art. Several exhibitions of her artwork have been held at major museums since the 1970s.
Kobro studied at the Moscow School of Painting, Sculpture, and Architecture from 1917 to 1920. She received the highest marks in manual work and natural science. She participated in various artistic groups. However, she did not feel at home in Russia. She returned to Lodz, Poland, in 1939. She left when Nazis invaded the city. During World War II, much of her artwork was destroyed by the Germans. Many of her sculptures were rebuilt after her death.
Sculpture in the inter-war period
During the inter-war period, Katarzyna Kobro is a pioneer in the development of modern sculpture. Her work was emblematic of a new understanding of space and movement. she was also influenced by several avant-garde traditions.
She was born in Moscow and studied at the Moscow School of Painting. she was active in the Trade Union of Painters of the City of Moscow. she received the highest marks in drawing and manual work. She worked with various avant-garde artists.
In 1916, Kobro met Wladyslaw Strzeminski in the hospital. They were married in Latvia in the same year. After their marriage, they moved to Brzeziny near Lodz. They had a young daughter, Nika. However, they were forced to leave Poland in 1939, when the Nazis invaded. They later relocated to Koluszki.