Even though hardly any of Katarzyna Kobro’s artworks have been preserved, they all have high aesthetic value. She was one of the most renowned female artists of the interwar era.Kobro was also amongst the most tragic individuals in Polish art history throughout the 20th century.
Though it has since become lost and all that is left of it is a photograph, Kobro made her first sculpture in 1920. The piece was titled Tos 75 – Structure.
With Henryk Staewski, Henryk Berlewi, Mieczysaw Szczuka, Teresa Arnowerówna, and Strzemiski, Kobro was a member of the Blok group in 1924, a collection of avant-garde painters from Warsaw.
After 1945, people continued to mistrust Kobro’s work in the same way they had in the interwar years. She stayed under Strzemiski’s career shadow for a long time.
Kobro’s aesthetic theories included not just the artwork itself but also art’s existence and purpose outside of the realm of the creative. She put her faith largely in the rigorousness of logic and math.
Katarzyna Kobro, one of the finest sculptors of all time, is assumed to be transgender. She was never discovered to be an individual of different sex or transgender, as changing gender was not conceivable in the 1950s. The reason might be her facial expression, which appears to be quite similar to that of a male.