ABSTRACT

The historiography of modern art recognizes numerous cases of influence and impact that artist from the so-called ‘Western centres’ had on their ‘Eastern peripheral’ colleagues. Reverse examples, however, are rarely recognised. This article gives such an example, by demonstrating the influence of Katarzyna Kobro on Georges Vantongerloo, two prominent avant-garde sculptors. Analysis of historical material (e.g. letters and publications) and selected artworks clearly indicates that the pioneering sculptures of Kobro, who lived and worked mostly in Poland, had profound impact on Vantongerloo, a Belgian artist related to the Dutch formation ‘De Stijl’. In time Vantongerloo’s works evolved from compact sculptures-masses to open spatial compositions that came to share the spirit of Kobro’s unique works. This case thus serves as evidence of two-way artistic influences and mobility that took place within the supranational network of the avant-garde, contrarily to historiographical assumptions such as the ‘centre-periphery’ paradigm or the East-West dichotomization.

摘要

现代艺术史学承认了许多来自所谓“西方中心”的艺术家对其“东部边缘”同事的影响和影响的案例。然而，相反的例子很少被认可。本文通过展示 Katarzyna Kobro 对两位杰出的前卫雕塑家 Georges Vantongerloo 的影响，举了一个这样的例子。对历史资料（例如信件和出版物）和精选艺术品的分析清楚地表明，主要在波兰生活和工作的 Kobro 的开创性雕塑对与荷兰“De Stijl”形成相关的比利时艺术家 Vantongerloo 产生了深远的影响。随着时间的推移，Vantongerloo 的作品从紧凑的雕塑群演变为开放的空间作品，这些作品开始分享 Kobro 独特作品的精神。