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"....a rare formal beauty enlivens a series of paintings centering on the elaborately costumed figure of a lone Japanese geisha by Maria Hegglin, which are specially notable for their expressively simplified forms and subtle subdued colors..."
(New York art critic Maureen Flynn, "Gallery & Studio", February/March 2012, pag. 4)
"Maria Angeles Hegglin, born in Cordoba, Spain, is a landscape painter whose work is notable for its subtle colors and tactile surfaces, apparently accomplished with a palette knife. Applying thick impasto directly to the canvas with strong strokes, Hegglin achieves a sensuous tactility that lends her compositions of lakes, mountains, and leaf laden tree limbs an appealing briskness and physical palpability. Her paintings are as sumptuous as cake frosting."
(New York art critic Maurice Taplinger, "Gallery & Studio", November/December 2012, pag. 23)
"Maria Angeles Hegglin, on the other hand, is a self-taught realist born in Cordoba, Spain, and now living in New York, whose oils on canvas present an idyllic sun-splashed vision of the world. Particularly pleasing for their freshness of colors and sensuous tactile qualities are a series of small (5"x7") landscapes on canvas board. In these exquisite little pictures, subjects such south western pueblos; firey sunlight reflection on a body of water; and snowcapped mountains towering above a verdant summer field (a memory, perhaps, of a period during which the artist and her family resided in Switzerland) are evoked in thick, luscious oil impasto on canvas board in subtly blended hues recalling the Impressionists. Along with her thickly textured palette knife compositions, Maria Angeles Hegglin is also known for paintings in a somewhat smoother, more detailed realist technique depicting luminous landscapes, architectural studies, and portraits of people ranging from children to Japanese geishas in ornate kimonos."
(New York art critic Marie R. Pagano, "Gallery & Studio", Jun/Jul/Aug 2013, pag. 3)
"The musical theme of this show is most directly expressed by the Spanish-born figurative artist Maria Angeles Hegglin in her atmospherically evocative paintings of cool African-American jazz musicians, which capture the mood of both the music and the players in a style at once realistic and subtly expressive. Hegglin's "Pianist" sports dark glasses and has the sleeves of his white shirt rolled up in a workmanlike manner, as he hovers over his keyboard, one of his hands reflected in the shiny mahogany above; her "Drummer", also in "shades", his head crowned by a skullcap, smiles knowing in profile, as though grooving to the sound of the fellow musician in another insightful portrait entitled "Saxophone".
(New York art critic J. Sanders Eaton, "Gallery & Studio", Sept/Oct 2013, pag.18)
"Interpreting the ostensible theme of the exhibition more literally, Maria Angeles Hegglin, an artist born in Cordoba, Spain, shows neoimpressionist paintings that explore images of the Highline in all four seasons. Working in a vigorous palette knife technique, Hegglin evokes its color and light with vigor - particularly in "Spring", where graceful tree-limbs laden with pink blossoms sway in the breeze against the sooty skyline of Chelsea, and "Summer", where grass and flowers adorn the space between the abandoned railroad tracks".
(New York art critic Maurice Taplinger, "Gallery & Studio, Feb/March 2014, pag. 19)
"Maria Angeles Hegglin heightens the effects of nature in her own unique manner, applying thick, brilliant impasto with a palette knife to practically "carve" the forms of ruddy mountains; spread sunlight like melting butter over the desert floor; or score the spiky stickers into the protruding arms of cacti. Hegglin's surgical skill with the knife lends the series she calls Arizona paintings a tactility every bit as appealing as her hot, earthy, color, creating a winning combination of natural ruggedness and lyricism reminiscent of Marsden Hartley, yet distinguished by her own singular painterly sensibility".
(New York art critic Wilson Wong, "Gallery & Studio, June/July/August 2014, pag. 12)