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stylistic journey towards contemporary art trends, especially geometric and lyrical abstraction and from there towards the informal. After 1961, Bokchan returned to realism as determined by 'The Paris School'. Michel Ragon, art historian, suggested this was a type of abstract naturalism. Bokchan's art is also influenced by the
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to genres outside that dogma such as landscapes and portraits. This was evident in her first exhibition. She also moved away from genres taught at the
Academy which she described as "still life and skeletons". Bokchan's style belongs to the school of expressive realism. Her move to Paris began her
379:(Zadar's group). Bokchan first exhibited her work in 1950. Her first solo exhibition was 1952. Bokchan then moved to Paris with Petar Omčikus. She made Paris her home and had her first exhibition there in 1954. From 1960, she made regular summer trips to
427:. The Museum of Contemporary Art in Belgrade held a Bokchan retrospective in 2001. From 5 March 2010 to 27 April 2010, the Serbian cultural centre in the Latin quarter of Paris held a Bokchan retrospective. Bokchan was also published as an illustrator.
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Jeanine Warnod, Grâce a un mécénat populaire, une petite île yougoslave crée la ville de la mosaïque, Le Figaro, Paris, 1968
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Alpine fine Arts collection. 1981. University of
California. p75. Accessed at Google Books in English, 22 November 2013.
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Georges
Boudaille, 'Yougoslave 68', rendez-vous international, Les lettres françaises, No 1248, s. 24-27, Paris, 1968
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Exhibition
Suermondt Museum, Aachen. 1955. Accessed in German at Google Books 22 November 2013.
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Georges
Boudaille, Le Salon de Mai 1969, Les lettres françaises, No 1284, s. 21-27, Paris, 1960
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Gerald
Gassiot Talabot, Vela Luka actualités, Opus international, No 21, s. 53-56, Paris, 1970
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Kosara Bokšan, a retrospective exhibition catalog, Museum of
Contemporary Art, Belgrade, 2001
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Kossa
Bokchan's painting has changed over time. One early stage was her transition from
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Serbian
Cultural Centre. Paris. 2013. Website in French accessed 22 November 2013.
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The references used may be made clearer with a different or consistent style of
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Georges Boudaille, Giorgio di Genova, Galleria 'il Grifo (pref) Rome, 1974
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tradition. Bokchan transforms mythical symbols into artistic expression.
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Jeanine Warnod, Rencontre d'artistes à Vela Luka, Le Figaro, Paris, 1970
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Jean-Clarence Lambert, Actualité, Opus international, No 8, Paris, 1968
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2000 Special Award on VI International Biennial of Miniature Art,
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Gerald Gassiot Talabot, Sur une île dalmate, Annales, Paris, 1970
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In 1928, when Bokchan was three, her parents moved to
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Anne Tronche, 'Face a Femmes', (pref), Le Havre, 1978
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Georges Boudaille, Anne Tronche, (pref), Nancy, 1995
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328:. She married Petar OmAiikus (Pierre Omcikous).
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589:Bureau, Paris Convention and Visitors.
344:, as a teen, she studied painting with
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324:) was a Serbian painter who lived in
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680:2009 deaths
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617:|last=
569:"Omcikous."
551:Duc. 2012.
522:Tronche, A
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485:Jean Senac
397:Strasbourg
198:April 2012
190:footnoting
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381:Vela Luka
340:. During
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409:Novi Sad
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338:Belgrade
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524:"Ljuba"
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298:Painter
288:Serbian
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364:Career
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