public green spaces
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Kew gardens, bluebells
oil, wax and charcoal on paper, 50 x 75 cm
2016

...her painting of the field of bluebells in Kew Gardens, a floral carpet through which the eyes wander in delight, feasting upon a palette of blues and greens blended on the shimmering surface with whites, purples, and other, darker tones There is no horizon, no linear structure to support the depth of a pictorial space that is created entirely by Hogan’s “concentration of small marks” (her phrase).Edouard Vuillard rather than Chardin comes to mind in this case, with his intimiste ability to create pictorial equivalents for the obvious pleasure he derived from gardens in full bloom.

Extract from the essay Beyond Appearances: Eileen Hogan’s Paintings by Duncan Robinson in Eileen Hogan: Personal Geographies published by Yale University Press, 2019

In a later snowscape, Melting Snow, Kensington Gardens, the unpeopled landscape is equally still, the wet snow on the ground impressed by fleeting marks of passage, which recall Ralph Waldo Emerson’s observation that “not footsteps into the snow, or along the ground, but prints, in characters more or less lasting, a map of its march. The ground is all memoranda and signatures.”

Extract from the essay The Three Perfections: Eileen Hogan and Urban Space by Todd Longstaffe-Gowan in Eileen Hogan: Personal Geographies published by Yale University Press, 2019

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Melting Snow, Kensington Gardens
oil and charcoal on paper, 128 x 127 cm
2015

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Plane trees, Hyde Park
oil, wax and charcoal on panel, 57 x 75 cm
2019

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Dexameni Square, Athens, Greece
oil, wax and charcoal on panel, 63 x 82 cm
2019

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Bethnal Green
oil, wax and charcoal on panel, 57 x 75 cm
2016

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Kensington Gardens
oil wax and charcoal on panel, 55 x 77 cm
2016

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Arnold’s Circus, detail
oil and wax on panel, 45 x 70 cm
2019

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