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Left Panel - UL 238,FH172,FR59, Beehives at Little Sparta, 2012,oil and charcoal on paper, diptych, overall: 177 x 244cm | Right panels - UL 238,FH172,FR59, Beehives at Little Sparta, 2012,oil and charcoal on paper, diptych, overall: 177 x 244cm

Eileen Hogan: Personal Geographies
Yale Centre for British Art | May 9 –  Aug. 11, 2019
Eileen Hogan: Personal Geographies at the Yale Center for British Art — 70 paintings, 20 sketchbooks, and a dozen artist books — juxtaposes the artist’s preparatory imagery against completed works, conveying the connections between them and the creative process that encompassed their evolution. As a group, they engage the viewer in both the pure pleasure of painting and drawing and the more complex concept of thought and reflection. Hogan is an artist who is more than an impartial observer. She invites one to enter both the external and internal worlds she depicts, the imagery at once literal, biographical, and autobiographical.

British artist Eileen Hogan, Yale Center for British Art curator Elisabeth Fairman, and Artists’ Lives oral historian Cathy Courtney have a wide-ranging conversation about painting, exhibitions, gardens, poetry, and more.

Book: Eileen Hogan: Personal Geographies | Yale University Press

Foreword by Amy Meyers, edited and introduced by Elisabeth Fairman with additional essays by Fairman Eileen Hogan: Personal Geographies; Hogan A Conversation with My earlier Self, Duncan Robinson Beyond Appearances: Eileen Hogan’s Paintings; Roderick Conway Morris An Artist in Greece; Todd Longstaffe-Gowan The Three Perfections: Eileen Hogan and Urban Space ; and Sarah Victoria Turner Painting Portraits, Recording Lives. ISBN 977-0300-24147-1

Craig Raine ‘Book of the Year, Spectator December 2019

“Hogan is an immensely accomplished painter. Think Dürer’s ‘Das Grosse Rasenstuck’ (‘The Large Piece of Turf’), the first picture to discover charisma in the ordinary, in the unimpressive. Hogan’s paintings are representational without being pedantically literal, swift, fluent, inspired in their choice of subjects, inspired in their laconic solutions, a million miles from academic painting, modest and immensely covetable. ‘Her Painting Apron’ (2017), oil on paper, is unassuming but definitive, a lovely, dirty, unforgettable thing, fixed for ever. The book’s cover shows an impulse-watering sprinkler in urgent action. It is better than David Hockney’s bravura bigger splash — a justly famous capture of the impossibly evanescent. She can do people, too. Adam Phillips, the psychoanalyst, is here, with his Bob Dylan impulse-watering artfully sprinkled hair — painted in 2014, just before it more or less vanished.”