Abstract
In this treatise, Katarzyna Kobro and Władysław Strzemiński distinguish between the condition of painting (which features a picture on a support with physical imits) and of sculpture (which involves space, which is limitless) and propose that the ways in which each medium determines its own essence must be fundamentally different. While painting relies on what would later be called “deductive structure,” in sculpture the issue is how to relate the object to space. After conducting a chronological examination of the different ways in which the sculptural object has related to space (in the Ancient, Medieval, Renaissance, and Baroque epochs), Kobro and Strzemiński propose various ways in which sculpture can not only relate to space but to “unite” with it via such solutions as polychrony and a disjunctive syntax through which the object itself eludes the perception of its identity.
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