[4] The Moissey Kogan Archive of the European Cultural Foundation, in Bonn, collects and captures the entire work of the artist.

[3] His talents were noticed by the art collector and patron Karl Ernst Osthaus, who worked for Kogan in later years, and offered the young artist a teaching position at the Folkwang Museum in Hagen.

[7] This situation was short-lived, and Kogan moved back to Munich, and then Paris, At the invitation of Henry van de Velde, he briefly taught at the Kunstgewerbeschule in Weimar.

[7] Kogan mixed mainly in artistic circles, and maintained relationships with figures such as Kandinsky, Jawlensky and Maillol.

He was an active participant in the Salon d'Automme, where he served on the jury and was eventually elected vice-president of the sculptural department in 1925.

[2] Kogan began his career working with gems, producing medals, plaques, vases, embroidery and drawings.

Despite this versatility, Kogan infuriated the gallery owner and art-dealer Daniel-Henry Kahnweiler, who insisted that he worked incredibly slowly, and very rarely finished his commissions on time.

According to the art-historian Gerhart Söhn: The fragile grace of his figures, their sensual and spiritual body language are of Hellenistic-looking cheerfulness.

The soft contours and lines of the body determine the composition of the picture, not infrequently at the expense of anatomical correctness.