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Slikar Leon Koen (1859-1934)

Painter Leon Koen

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1954
full text (752.8Kb)
Authors
Đurić, Olivera
Article (Published version)
,
Savez jevrejskih opština Srbije = Federation of Jewish Communities of Serbia
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Abstract
Leon Koen zauzima značajno mesto u srpskom slikarstvu. Ne samo zbog toga što je bio porodično vezan za Beograd i što potiče iz porodice koja se istakla svojim patriotskim opredeljenjem, nego i zbog slikarskih motiva kojima je povezan sa svojim nacionalnim centrom. On je to pokazivao na svojim slikama u kojima je, iako u tuđini, ilustrovao našu nacionalnu istoriju preko kompozicija kao što su "Đurađ Branković", "Usamljeni grobovi", "Otmica Srpkinja za turski harem". Slikarskim jezikom, on se potpuno uklapa u razvoj našeg novijeg slikarstva i čini prelaz od Đorđa Krstića ka Nadeždi Petrović.
Leon Cohen has a significant place in Serbian painting. Not only because of his family connections to Belgrade and their patriotic commitment but also because of the painting motives which was full of associations. He showed it in paintings in which, although abroad, illustrated our national history through compositions such as "Đurađ Branković", "Lonely Tombs", "Kidnapping a Serbian woman for a Turkish Harem". With a pictorial language, he fully fits into the development of our recent painting and makes the transition from Đorđe Krstić to Nadežda Petrović.
Keywords:
Leon Koen (1859-1934), slikar
Source:
Jevrejski almanah 1954 [Jewish almanac], 1954, 121-126
Publisher:
  • Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]

ISSN: 0448-9993

[ Google Scholar ]
Handle
https://hdl.handle.net/21.15107/rcub_jdb_278
URI
https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/278
Collections
  • Znameniti Jevreji [Famous Jews]
  • Umetnost [Art]
  • Jevrejski almanah [Jewish Almanac] 1954
Topic
Jevrejski časopisi i novine [Jewish Magazines and Newspapers]
TY  - JOUR
AU  - Đurić, Olivera
PY  - 1954
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/278
AB  - Leon Koen zauzima značajno mesto u srpskom slikarstvu. Ne samo zbog toga što je bio porodično vezan za Beograd i što potiče iz porodice koja se istakla svojim patriotskim opredeljenjem, nego i zbog slikarskih motiva kojima je povezan sa svojim nacionalnim centrom. On je to pokazivao na svojim slikama u kojima je, iako u tuđini, ilustrovao našu nacionalnu istoriju preko kompozicija kao što su "Đurađ Branković", "Usamljeni grobovi", "Otmica Srpkinja za turski harem". Slikarskim jezikom, on se potpuno uklapa u razvoj našeg novijeg slikarstva i čini prelaz od Đorđa Krstića ka Nadeždi Petrović.
AB  - Leon Cohen has a significant place in Serbian painting. Not only because of his family connections to Belgrade and their patriotic commitment but also because of the painting motives which was full of associations. He showed it in paintings in which, although abroad, illustrated our national history through compositions such as "Đurađ Branković", "Lonely Tombs", "Kidnapping a Serbian woman for a Turkish Harem". With a pictorial language, he fully fits into the development of our recent painting and makes the transition from Đorđe Krstić to Nadežda Petrović.
PB  - Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]
T2  - Jevrejski almanah 1954 [Jewish almanac]
T1  - Slikar Leon Koen (1859-1934)
T1  - Painter Leon Koen
SP  - 121
EP  - 126
UR  - https://hdl.handle.net/21.15107/rcub_jdb_278
ER  - 
@article{
author = "Đurić, Olivera",
year = "1954",
abstract = "Leon Koen zauzima značajno mesto u srpskom slikarstvu. Ne samo zbog toga što je bio porodično vezan za Beograd i što potiče iz porodice koja se istakla svojim patriotskim opredeljenjem, nego i zbog slikarskih motiva kojima je povezan sa svojim nacionalnim centrom. On je to pokazivao na svojim slikama u kojima je, iako u tuđini, ilustrovao našu nacionalnu istoriju preko kompozicija kao što su "Đurađ Branković", "Usamljeni grobovi", "Otmica Srpkinja za turski harem". Slikarskim jezikom, on se potpuno uklapa u razvoj našeg novijeg slikarstva i čini prelaz od Đorđa Krstića ka Nadeždi Petrović., Leon Cohen has a significant place in Serbian painting. Not only because of his family connections to Belgrade and their patriotic commitment but also because of the painting motives which was full of associations. He showed it in paintings in which, although abroad, illustrated our national history through compositions such as "Đurađ Branković", "Lonely Tombs", "Kidnapping a Serbian woman for a Turkish Harem". With a pictorial language, he fully fits into the development of our recent painting and makes the transition from Đorđe Krstić to Nadežda Petrović.",
publisher = "Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]",
journal = "Jevrejski almanah 1954 [Jewish almanac]",
title = "Slikar Leon Koen (1859-1934), Painter Leon Koen",
pages = "121-126",
url = "https://hdl.handle.net/21.15107/rcub_jdb_278"
}
Đurić, O.. (1954). Slikar Leon Koen (1859-1934). in Jevrejski almanah 1954 [Jewish almanac]
Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]., 121-126.
https://hdl.handle.net/21.15107/rcub_jdb_278
Đurić O. Slikar Leon Koen (1859-1934). in Jevrejski almanah 1954 [Jewish almanac]. 1954;:121-126.
https://hdl.handle.net/21.15107/rcub_jdb_278 .
Đurić, Olivera, "Slikar Leon Koen (1859-1934)" in Jevrejski almanah 1954 [Jewish almanac] (1954):121-126,
https://hdl.handle.net/21.15107/rcub_jdb_278 .

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