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The original is housed at the Museum of Art in Łódź, Poland; Agata Zbylut i Iwona Demko, CC BY-SA 4.0, via Wikimedia Commons
The Nudes from 1948 and the Siemiatycze crayon landscapes are examples of her later works.
She was never discovered to be an individual of different sex or transgender, as changing gender was not conceivable in the 1950s. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. Kobro will most be remembered for how she investigated many ideas about space, movement, and the human body which were incorporated into avant-garde sculpture.
Take a look at our Katarzyna Kobro art webstory here!
Frequently Asked Questions
Who Is Katarzyna Kobro?
Katarzyna Kobro, a well-known figure in Poland’s Constructivist movement, was an avant-garde artist.
She and W. Strzemiński separated in 1947. The couple left the Soviet Union for Poland in 1922 and settled in the industrial town of Łódź, where their art, theoretical writings, and efforts to promote modern art made them key personalities in the Polish avant-garde. By mixing spatial composition, prefabricated parts, and commercial or goods into Katarzyna Kobro’s sculptures, she probed the notion of spatiality.
Katarzyna Kobro’s Biography
| Nationality | Polish |
| Date of Birth | 26 January 1898 |
| Date of Death | 21 February 1951 |
| Place of Birth | Moscow, Russia |
Even though hardly any of Katarzyna Kobro’s artworks have been preserved, they all have high aesthetic value.
Like Strzemiski, Kobro’s aesthetic theories included not just the artwork itself but also art’s existence and purpose outside of the realm of the creative.
https://www.youtube.com/watch?v=Vzz0WmvmFlE
In suprematism, “the backdrop is a constructively passive aspect,” according to Strzemiski, but he was interested in “the total communion of backdrop and form in one original whole,” or “post-suprematism.” Similar in thought was Kobro, whose goal was to “construct space.” The distinction between “pure” and “applied” art was rejected by both.
Kobro had little interest in intuitive or visionary work and put her faith largely in the rigorousness of logic and math.
Famous Artwork of Katarzyna Kobro
| Artwork Title | Year | Genre |
| Rzeźba Abstrakcyjna I | 1924 | Sculpture |
| Rzeźba Abstrakcyjna II | 1924 | Sculpture |
| Rzeźba Przestrzenna | 1925 | Sculpture |
| Kompozycja Przestrzenna I | 1925 | Sculpture |
| Sculpture Spatiale | 1928 | Sculpture |
| Spatial Composition Nr.
4 | 1928 | Sculpture |
| Spatial Composition Nr. 2 | 1928 | Sculpture |
| Spatial Composition Nr. 6 | 1931 | Sculpture |
| Spatial Composition Nr. 9 | 1933 | Sculpture |
Recommended Reading
In this article, we explored Katarzyna Kobro’s sculptures as well as Katarzyna Kobro’s biography.
Who is Katarzyna Kobro? Kobro’s aesthetic attempts are discussed in relation to analogous sculptural endeavors by artists like El Lissitzky and Friedrich Kiesler. Strzemiski tried to take away her right to care for their daughter, but he was unsuccessful. Only a few of K. Kobro’s pre-war works remain, as she donated most of them to the Łódź Museum of Art in 1945.
Among people deceased in 1951, Katarzyna Kobro ranks 127. Read more on Wikipedia
Her biography is available in 21 different languages on Wikipedia (up from 20 in 2024). In high school, according to her daughter Nika Strzemiska, her mother started creating sculptures and drawings, initially in bread and subsequently in plaster.
She earned the best grades in art, manual labor, and natural science on her bachelor’s diploma, which she acquired in 1916.
Not all of Kobro’s life has been documented; most of it is still shrouded in mystery, necessitating some educated speculation to ascertain the truth.
Additionally, she particularly enjoys exploring the different artistic styles of the 20th century, as well as the important impact that female artists have had on the development of art history.
Learn more about Isabella Meyer and the Art in Context Team.
Cite this Article
Katarzyna Kobro
SCULPTOR
1898 - 1951
Katarzyna Kobro
Katarzyna Kobro (26 January 1898 – 21 February 1951) was a Polish avant-garde sculptor and a prominent representative of the Constructivist movement in Poland.
According to the author: “The relationship between the many shapes was not permanent, and the pressure and tremors of the steel sections produced new dynamic effects, giving the sculpture’s components the appearance of being always in motion.” But simultaneously, “The artist positioned symbolic signals, the proto-forms of suprematism—the circle and the cross—in the area bounded by a dynamic, twisting hoop form full of inner energy.”
Middle Career
Katarzyna Kobro and Strzemiski fled Russia after having their first creative experiences to flee the growing panic; they most likely departed before the turn of the 20th century and entered Poland through an unauthorized border crossing.
Throughout the war, the family was constantly on the road. Some sources speculate that it may have been rheumatic heart disease.
Isabella Meyer( Head of Content, Editor, Art Writer )
Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology.