Eleonore Koch’s canvas paintings retain much of the character of her paper studies; the pencil lines seen clearly here are often translated to fine black or white painted outlines in her larger works. This contributes to her peculiar sense of space, defined by multiple viewpoints contrasted by a lack of shadow and depth, the richly coloured backgrounds enveloping her objects. While her work is distinct from that of her Brazilian peers, she found more of an affinity with artists in the UK, including Patrick Caulfield and David Hockney, with whom she shares a similar formal economy and careful construction of space.

Her unusual perspective has also been described as a contemporary reading of Egyptian perspective, and likened to 14th century Italian painting, from where her teacher Alfredo Volpi developed his appreciation for egg tempera. Through the unique qualities of tempera, Koch shares a visual world with these old masters, one of stillness and bright clarity. One of the reasons Koch and Volpi favoured mixing their own egg tempera paints was the control over quality and purity this allowed, their colours translated without mediation and perfectly preserved over time. While Koch’s persistence with a seemingly anachronistic media and spatiality, coupled with her embrace of still life and interior scenes left her largely under-appreciated in her lifetime, it contributed to her achievement in transmitting to her viewers a wholly subjective sense of seeing and being in the world.