Frances Hodgkins

Hodgkins was considered to be a key figure in British Modernism, also considered one of New Zealand's most prestigious and influential painters. However, it is the work from Hodgkins' life in Europe, rather than her home country, on which her reputation rests.

• Name — Frances Hodgkins • Born — 28 April 1869 • Birthplace — Dunedin, New Zealand • Died — 13 May 1947 • Place of death — Dorchester, Dorset, England • Resting Place — Waikanae Cemetery • Education — Columba College Dunedin School of Art and Design London Polytechnic • Known for — Modernist artist • Movement — British Modernism • Website — https: www.franceshodgkins.com/

Hodgkins was born in Dunedin, New Zealand, in 1869, the daughter of Rachel Owen Parker and W. M. Hodgkins, a lawyer, amateur painter, and a leading figure in the city's art circles. She and her sister, Isabel (later Field) attended Braemar House, a private girls' secondary school; both sisters demonstrated artistic talent early on and each became a successful landscape painter in their own right. Her father was declared bankrupt in 1888, and money remained an issue for Hodgkins throughout her life. Hodgkins first exhibited landscapes and portraits in 1890 at art societies in Christchurch and Dunedin. In 1893, Hodgkins became a student of Girolamo Nerli and painted numerous studies of female sitters, one of which earned her the New Zealand Academy of Arts' prize for painting from life in 1895 (Head of an Old Woman). Hodgkin's portraits of Māori are, like many by Ellen von Meyern and Gottfried Lindauer, associated with symbolic portraits of demure females with or without a child. In 1895–96 Hodgkins attended the Dunedin School of Art and subsequently became an art teacher, earning money to study in England.

In 1901, Hodgkins left New Zealand for Europe, enrolling in art school in London but also travelling and painting in France, the Netherlands, Italy and Morocco in the company of friend and fellow artist Dorothy Kate Richmond; whom she described as "the dearest woman with the most beautiful face and expression. I am a lucky beggar to have her as a travelling companion." While in Britain she intermittently met up with Margaret Stoddart, another expatriate artist. In 1903, one of Hodgkins' watercolours from this period (Fatima) became the first work by a New Zealander to be hung "on the line" at the Royal Academy of Arts in London. • Illustration — Frances Hodgkins with her brother-in-law, William Field She returned to New Zealand in 1903 and established a teaching studio in Wellington, where she held a joint exhibition with Richmond in 1904. Among her pupils was Edith Kate Bendall, lover of Katherine Mansfield. In the same year Hodgkins became engaged to a British man, T. Boughton Wilby, but the engagement was broken off and she returned to London in 1906 to pursue her artistic career. • Illustration — At the Window, 1912, watercolour on paper In Europe, Hodgkins held her first solo show at the Paterson's Gallery in London in 1907 and in 1908 was awarded the joint first award (value £50), with Thea Proctor, in a Franco-British exhibition in London to mark the fourth anniversary of the Entente Cordiale agreement. Later that year she moved to Paris. In In 1910 she began teaching in Paris at Academie Colarossi as the first woman to be appointed instructor in the school. She also founded a School for Water Colour in Concarneau. During this time she exhibited numerous watercolours at the Paris salon and came in contact with Canadian artist, Emily Carr, whom she taught while working on seascapes at Concarneau in Brittany. During World War I she spent some time in Zennor, Cornwall, where she worked with the Swansea painter, Cedric Morris, who painted her portrait in 1917. She herself began to paint in oils in 1915. In 1919, after the WWI, Hodgkins went to France, where she was influenced by Matisse and Derain, but developed her own highly personal style, which made a strong impact at her one-person show in London at the Claridge Gallery in 1928. While in France she visited Nice in 1924 and there met Margaret Butler, a notable New Zealand sculptor. In 1925, Hodgkins started work as a fabric designer at the Calico Printers' Association (CPA) in Manchester and during her employment visited the Exposition Internationale des Arts Decoratifs in Paris. From the late 1920s on her style came to embrace modernist hallmarks such as abstracted, simplified forms and a strong emphasis on colour values and relationships. Although Hodgkins continued to paint people, her work from this period also evidences an interest in fusing conventions of landscape with still life painting. In 1929 she joined the Seven and Five Society and worked alongside younger artists including Barbara Hepworth, Ben Nicholson and Henry Moore. In 1930, she "goaded" her friend Lucy Wertheim into opening her gallery in London to exhibit "artists who had not yet arrived". During the 1930s Hodgkins exhibited with many prominent London galleries and gained a contract from the Lefevre Gallery to produce work for a full-scale exhibition every second year. In 1931 she became a painting companion of fellow New Zealand artist Maude Burge and painted still lifes at Burge's Villa in the garden terrace. Saint-Tropez. Her experimentation with mixing artistic genres continued, resulting in paintings that conflate still life with self-portraiture to sidestep physical appearance in self-representation. In 1939 she was invited to represent Britain at the 1940 Venice Biennale, but wartime travel restrictions meant that her work could not be transported to Venice. She was highly regarded by British avant-garde society and in the later stages of her career was known as a key figure in British Modernism. Because of World War II Hodgkins spent the rest of her life in Britain. She continued to paint into her seventies, despite suffering from rheumatism and bronchitis. She died in Dorchester, Dorset on 13 May 1947. When she died she was regarded as one of Britain's leading artists. After her death her close friend and fellow artist Amy Krauss, boxed up the possessions from her studio and arranged for her ashes to be returned to New Zealand.

The Frances Hodgkins Fellowship, established in 1962 at the University of Otago in Dunedin, New Zealand, is named after her.

• Illustration — Still life eggs, tomatoes and mushrooms • Illustration — Spanish peasants • Illustration — Mrs. Hellyer • Illustration — Flowers in a vase • Illustration — Cheviot farm • Illustration — Portrait of Kitty West 1939

• Title — Year — Medium — Gallery no. — Gallery — Location • Portrait of a girl in a sunbonnet — circa 1895 — Pastel and gouache on paper — 80/154 — Hocken Collections — Dunedin, New Zealand • Māori woman and child — 1900 — Watercolour — 1936-0012-62 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • The market place, San Remo, Italy — 1902 — Watercolour — 1950-0005-001 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • A Dutch girl — circa 1907 — Watercolour — 1936-0012-50 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • Le Reveil (mother and child) — circa 1912 — Watercolour — 1955/31 — Auckland Art Gallery — Auckland, New Zealand • Loveday and Ann: Two Women with a Basket of Flowers — 1915 — Oil on canvas — N05456 — Tate — London, United Kingdom • The Edwardians — circa 1918 — Oil on canvas — 1969/13 — Auckland Art Gallery — Auckland, New Zealand • Mrs Hellyer — circa 1919 — Oil on canvas — PLYMG.1969.4 — Plymouth Museums Galleries Archives — Plymouth, United Kingdom • Portrait of Arthur Lett-Haines — 1920 — Oil on canvas — 2006-0030-1 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • Double Portrait — 1922 — Oil on canvas — 73/96 — Hocken Collections — Dunedin, New Zealand • The fair by the sea — 1927(?) — Watercolour — 1974-0009-1 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • Flowers in a Vase — circa 1928 — Oil on canvas — 4513 — Government Art Collection — London, United Kingdom • Still Life — circa 1929 — Oil on canvas — EASTG 1260 — Towner Art Gallery — Eastbourne, United Kingdom • Still Life: Eggs, Tomatoes and Mushrooms — circa 1929 — Oil on canvas — H1940_92 — Royal Pavilion & Museums, Brighton & Hove — Brighton, United Kingdom • Cedric Morris (Man with Macaw) — 1930 — Oil on canvas — EASTG 1262 — Towner Art Gallery — Eastbourne, United Kingdom • Flatford Mill — 1930 — Oil on canvas — N05978 — Tate — London, United Kingdom • Flatford Mill, Suffolk — 1930 — Oil on canvas — EASTG 1263 — Towner Art Gallery — Eastbourne, United Kingdom • Wings over Water — 1930 — Oil on canvas — N06237 — Tate — London, United Kingdom • ' — circa 1930 — Oil on canvas — 1982/46/2 — Auckland Art Gallery — Auckland, New Zealand • Cut melons — circa 1931 — Oil on cardboard — 1980-0063-2 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • Fish — 1931 — Watercolour — P2564 — British Council — United Kingdom • Sabrina's Garden — circa 1932 — Oil on canvas — K1669 — Bristol Museum & Art Gallery — Bristol, United Kingdom • Wings over Water — circa 1932 — Oil on canvas — LEEAG.PA.1940.0022 — Leeds Art Gallery — Leeds, United Kingdom • Spanish Peasants — 1934 — Oil on plywood — CHCPH 1017-14 — Pallant House Gallery — Chichester, United Kingdom • Still life: Self-portrait — circa 1935 — Oil on panel — 1999-0017-1 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • The Weir — circa 1935 — Oil on canvas — 2846 — Glasgow Museums — Glasgow, Scotland • Double Portrait No.2 (Katherine and Anthony West) — 1937 — Oil on canvas — 1967-0006-1 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • Tanks, Barrels and Drums — 1937 — Oil on canvas — 6752 — Government Art Collection — London, United Kingdom • Houses and Outhouses, Purbeck — 1938 — Oil on canvas — P75 — British Council Collection — London, United Kingdom • The Painted Chest — 1938 — Oil on panel — OS00094 — William Evans Bequest, Bangor University — Bangor, Wales • Cheviot Farm — circa 1938 — Oil on canvas — 1947.445 — Manchester Art Gallery — Manchester, United Kingdom • Broken pottery — 1939 — Watercolour — 1971-0044-1 — Museum of New Zealand Te Papa Tongarewa — Wellington, New Zealand • Landscape — circa 1939 — Gouache on paper — 3561 — Government Art Collection — London, United Kingdom • Purbeck Courtyard, Morning — 1944 — Oil on canvas — 1362 — Southampton City Art Gallery — Southampton, United Kingdom The Dunedin Public Art Gallery, in Dunedin, New Zealand, contains a major collection of almost sixty of Hodgkins' works, and has a dedicated gallery space which displays works by Hodgkins, often alongside works by her contemporaries.