Katarzyna Kobro Spatial Composition,Katarzyna Kobro was one of the most famous sculptors during the Civil War; Although some of his works have survived, they all have significant artistic value.
After his death (in 1951), some of his artwork had to be redesigned to understand the level of his novelty and adventure, as many of his sculptures - mainly his early works - were lost and only known from the Go Iconographic Archives. He is one of the saddest figures in the history of Polish art of the 20th century.
Due to his German-Russian descent (he was born in Moscow in 1898), he lost some of his sculptures during war exile, while throwing scraps at the war. Due to her post-war divorce from Vediso Strajeminsky, she had to make a living caring for her child. After signing the so-called "Russian List" during the war, he had to defend himself in court on charges of "deviation from Polish citizenship."
The last fight against all these incurable diseases destroyed his creativity in the last years of his life. As a result, on the edge of Avant-Garde's art scene in Audi, the cobra is covered by Stravinsky. When the first post-war exhibition opened at the Museum's Neoplastic Hall in Audi in 1948,
Strejminsky admitted to including five of his compositions, Progesterone. However, Cobra himself, who was still alive, was not invited. It should be noted that, at least in evaluating his work,
Strejminsky was true to his original opinion, which he formulated in early 1922 when he described him as "the most talented sculptor of the youth." He added:
Polish sculptor and designer.
Katarzyna Cobro studied sculpture at the Moscow School of Painting, Sculpture, and Architecture on the eve of the 1917 Revolution, and then in 1918 at the city's Free State Art Studio. In 1920 he moved to Smolensk, where he joined the artist community. Works on Kasimir Malevich (1878-1935). There he taught sculpture at a ceramic school and designed sets and posters.
She married the painter Vediso Strajeminsky (1893-1952), with whom she founded the local branch of Univis, which was initially K. Malevich led a group of Russian artists.
The couple left the Soviet Union for Poland in 1922 and settled in the art city, where their efforts to promote art, theoretical writing, and modern art made them prominent figures in the Polish avant-garde.
1924 to 1927 Cobro was co-founder and member of the important national and international artistic group - the Block, a group of avant-garde artists (Warsaw, 1924); Appearance (1926); Avangarda Rezavista (1929); And has signed a number of declarations, including Abstraction-Creation (Paris, 1931) and Dimensist Manifesto (1936). He has been involved in creating modern art collections in Lodge since 1930,
beginning in 1931, the second since the Hanover Collection. He taught interior design until the declaration of war and reached the peak of his productivity between 1922 and 1939.
Over the years he created his famous "space sculpture" - a combination of solid architectural structures, sculptural forms, and creative aesthetics.
About work
This work - one of Cobra's eight space creations, all made of painted steel - reflects his approach to sculpture as a tool of "space design". With these abstract forms,
he sought to transcend the traditional notion of sculpture as an independent object in favor of a new unity between himself and his environment. This was to eliminate his group, which he saw as a "betrayal of the essence of sculpture".
The result is almost a sculpture of architectural quality that reflects the common interest of his partner Vediso Strejminsky in combining art with urban space and experience.
These artists believed that art should work not only aesthetically and theoretically, but also socially and politically.
Newspaper information
In Historical, Artbus publishes articles on a historical exploration of art in a broad sense, including film, photography, and other fields of visual expression. The journal promotes interdisciplinary research on art and issues,
especially across the boundaries of art history and other branches of humanity. The special focus is on exploring the relationships between different arts - painting, architecture, sculpture - and sculpture.
We welcome methodologically outdated articles and contain new, scientifically correct ideas. Reference point and reference for contributions published in Artibus et Historia,
art history as an academic discipline. In Historia, Artibus is published twice a year. Articles are published in Italian, German, English, or French, according to the author's preference.
Style
Salah Neoplastics (Neoplastic Room) in Strejminsky with cobra sculptures at the Art Museum.
Cobra was one of the most progressive avant-garde artists of the Civil War. Influenced by constructivism, he rejected aesthetics, individualism, and concepts of personality,
instead of embracing the absolute objectivity of form. His main goal was to find universal and purposeful rules through experimentation and spatial analysis that should create an abstract work of art. [3]
His sculpture evoked and imagined an infinite space without a reference point, such as the origin of a focus or coordinate system. Therefore, he tried to arrange the space so that it would not be split and excluded in the closed space within the form, but would allow the function to coexist with the space and allow space to enter it.
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