A painter and print-maker. He studied painting in Paris at the Grande Chaumiere and Julian Academies from 1904 to 1908, under the painter J-P Laurens. He began to show an interest in print-making around 1910-1912.
In 1914 he returned to Greece and served in the army as artistic correspondent. His etchings were first on view in 1915. Following the exhibition that year at the “Parnassos” Gallery , where seven etchings were displayed, D. Kalogeropoulos wrote in “Pinakothiki” magazine: “We have just witnessed the first presentation of Greek landscapes artistically created and printed by a Greek etching artist”.
After 1921 and his acquaintance with the French print-maker, Andre Dunoyer de Segonzac, Kogevinas devoted himself entirely to the field of print-making. In 1932 he returned to Greece for good and settled in Athens. Kogevinas was an artist who depicted the open country with realism, and who created large folios portraying historic monuments from Greek history.
Dividing his time, at the beginning of the twentieth century and for at least three decades, between Athens and Paris, Lykourgos Kogevinas was one of the first Greek artists to appreciate the importance of the stupendous changes which were taking place in art and the importance which these could have for the evolution of art in Greece. Although he himself did not go so far as to apply daring solutions, he played a leading part in the founding, in 1917, of the 'Techni' group, which represented whatever was most avant-garde in the world of art. Kogevinas was the first Greek artist to involve himself in engraving, a technique which won him over in the end, as he gradually abandoned painting. His long stay in Paris and the influences of French painting are obvious, in spite of the gentle character which these take on in his oeuvre.
In Parthenon, where solutions found to issues of composition make manifest the influences which Kogevinas absorbed in Paris from the post-Impressionists. The subject is placed high on the horizon, and the Sacred Rock and the buildings are rendered by means of stylised surfaces, while the depiction of the trees in the foreground interrupts the vista to the background, bringing all the features of the picture close to the beholder.