"Goat Farm" by Jean Hogan
JEAN VIRGINIA M. HOGAN
(American, 1909 – 1995)
Oil on board, 20 x 22 inches (board), 28 x 30 inches (frame), signed lower left, 22k gold leaf & painted frame.
Jean Hogan, born in Hartford, Connecticut, worked and lived in Connecticut and Rhode Island, and summered on Monhegan Island, Maine. Her biography from a Brown University alumni magazine read: “Jean V. Hogan “31, Wickford, R.I.; Jan. 15. She was an art teacher in the South Kingstown, R.I., school system for many years before retiring, and also had taught at the Ethel Walker School in Simsbury, Conn. She studied art at the Rhode Island School of Design and the A. E. James School of Fine Art, and exhibited her paintings throughout New England. She had one-woman shows at New York City’s Morton Galleries and at the Harbor Art Galleries in Wickford.
Hogan was a painter, graphic artist, and teacher. Her art portrays an eastern United States version of American Scene painting or Regionalism. The Oxford Dictionary of Art defines Regionalism as: “Movement in American painting----part of the wider category of American Scene painting----in which artists concentrated on realistic depiction of scenes and types from the American Midwest and deep South. The movement flourished during the 1930’s and early 1940’s. The motivation of the Regionalists, like that of all American Scene painters, derived from a patriotic desire to establish a genuinely American art by the utilization of American subject-matter and the repudiation of innovative artistic styles. In addition, they were moved by a nostalgic desire to glorify, or at least to record, rural and small-town America as distinct from the new industrial urbanization, and it was from this that their widespread popularity drew its sustenance. Thomas Hart Benton was the vociferous mouthpiece of the group and prominent among them were Grant Wood, Andrew Wyeth, Edward Hopper, and John Steuart Curry, with Charles Burchfield and Ben Shahn on the fringes. Hopper was more interested in showing the psychological aspects of loneliness and drabness that characterized some aspects of American life than in the grandiose melodramatic idealization of Benton. In the work of Burchfield there ran a streak of fantasy which was absent from the others; Ben Shahn was driven by the spirit of social protest.” Social Realism is another term we hear when referring to eastern United States art like or similar to the paintings by Jean Hogan and others that painted in the Regionalist style. Usually, however, right or wrong, we tend to utilize the term Social Realism to define subject matter of a more serious nature. In reality, though, Jean Hogan’s work is American Scene painting, it is Regionalism, and it is Social Realism. Generally speaking and from a nation-wide standpoint, the same can be said about the work of many other American artists of the 1930’s and 1940’s, a period of outstanding achievement and creativity in the history of American art.
Comprehensive biographical information about the artist available upon request