Frances Mary Hodgkins (1869-1947) stands as one of New Zealand's most celebrated expatriate artists, a pioneering figure who carved out a significant career in the competitive art world of Europe. Her journey from the colonial setting of Dunedin to the heart of European modernism is a testament to her talent, resilience, and unwavering dedication to her artistic vision. Known primarily for her evocative landscapes and distinctive still lifes, Hodgkins navigated the shifting currents of early 20th-century art, absorbing influences from Impressionism to Fauvism and Cubism, ultimately forging a unique and personal modernist style. This article will delve into her life, her artistic evolution, her interactions with contemporaries, her participation in key art movements, and her lasting legacy.
Early Life and Artistic Awakening in New Zealand
Born on April 28, 1869, in Dunedin, New Zealand, Frances Mary Hodgkins was immersed in an environment that nurtured artistic pursuits from a young age. Her father, William Mathew Hodgkins, was a lawyer by profession but also a keen amateur painter, particularly in watercolours, and a significant figure in Dunedin's cultural life. He actively encouraged his daughters, Frances and her sister Isabel, in their artistic endeavors. This paternal influence was crucial in shaping Frances's early artistic inclinations and providing her with initial exposure to the practice of painting.
Hodgkins received her formal art education at the Dunedin School of Art (then known as the Otago School of Art and Design). Even in these early stages, her talent was apparent. She initially worked primarily in watercolour, a medium in which her father also excelled. Her early works from this period often depicted local scenes, portraits, and genre subjects, reflecting the prevailing tastes of colonial New Zealand but already hinting at a keen observational skill and a burgeoning command of her medium. After completing her studies, she briefly worked as an art teacher, a common path for aspiring female artists of the time. However, her ambitions extended far beyond the confines of her homeland.
A pivotal figure in her early development was the itinerant Italian painter Girolamo Pieri Nerli, who spent time in Dunedin during the 1890s. Nerli, with his European training and more cosmopolitan understanding of art, introduced a fresh perspective to the local art scene. Hodgkins attended his classes, and his influence can be seen in her growing confidence in handling paint and her exploration of portraiture with a greater psychological depth. This period laid the foundational skills and, perhaps more importantly, ignited a desire to experience the art world of Europe firsthand.
The European Sojourn: Paris and Beyond
In 1901, at the age of 32, Frances Hodgkins made the decisive move to leave New Zealand for Europe, a journey that would define the rest of her artistic and personal life. Like many artists from the colonies, she was drawn to the established art centers of the Old World, particularly London and Paris, seeking advanced instruction, exposure to masterpieces, and the stimulating company of fellow artists.
Her initial base was in England, but Paris soon became a focal point. She enrolled at the Académie Colarossi, a progressive art school popular with international students, including many women, as it offered life drawing classes for both sexes. At Colarossi, she honed her skills and began to absorb the revolutionary artistic ideas circulating in the French capital. This was a period of immense artistic ferment, with Impressionism having already reshaped the landscape of art, and Post-Impressionist figures like Paul Cézanne, Vincent van Gogh, and Paul Gauguin gaining increasing recognition.
Hodgkins's talent was quickly recognized, and she even began teaching watercolour classes at the Académie Colarossi, a remarkable achievement for a woman from the colonies in such a competitive environment. During these early years in Europe, she traveled extensively, sketching and painting in France, Italy, the Netherlands, and Morocco. These travels provided her with diverse subject matter and exposed her to different light conditions and cultural aesthetics, all of which enriched her developing style. Her works from this period, while still largely representational, show an increasing interest in capturing the fleeting effects of light and atmosphere, characteristic of Impressionist concerns, and a bolder use of colour.
Development of a Modernist Vision
The years spent in Europe, particularly in Paris, were transformative for Frances Hodgkins. She was a keen observer and an intellectually curious artist, readily engaging with the avant-garde movements that were challenging traditional artistic conventions. While she never fully subscribed to any single "ism," her work demonstrates a thoughtful assimilation of various modernist principles.
The influence of Post-Impressionism is evident in her move towards more subjective interpretations of her subjects, emphasizing emotional response and decorative qualities over strict naturalism. The bold, non-naturalistic use of colour and expressive brushwork associated with Fauvism, spearheaded by artists like Henri Matisse and André Derain, also left a significant mark on her work. Hodgkins began to employ colour not merely for descriptive purposes but as an independent expressive element, creating vibrant and emotionally charged compositions.
Later, particularly after World War I, elements of Cubism, with its fragmented forms and reordering of pictorial space, began to filter into her paintings. She was less interested in the analytical deconstruction of objects in the manner of Georges Braque or Pablo Picasso, but rather in the way Cubist ideas could liberate form and composition, allowing for a more dynamic interplay of shapes and planes.
Hodgkins's primary medium in her early career was watercolour, in which she achieved remarkable fluency and expressiveness. Her watercolours are characterized by their fluid handling, luminous colours, and often a sense of spontaneity. As her career progressed, she increasingly turned to oils and gouache, and sometimes tempera, which allowed for greater textural richness and intensity of colour. Her mature style is a highly personal synthesis of these influences, marked by a sophisticated colour sense, a rhythmic approach to composition, and a distinctive way of blending figurative elements with near-abstract passages. She often focused on still lifes and landscapes, imbuing everyday objects and familiar scenes with a poetic and imaginative quality.
Key Influences and Artistic Circles
Throughout her career, Frances Hodgkins engaged with a wide array of artists, and these interactions were crucial to her development. In Paris, beyond the formal instruction at Académie Colarossi, she would have been aware of the groundbreaking work of Henri Matisse, whose radical use of colour and form was revolutionizing painting. The presence of Pablo Picasso and the nascent Cubist movement also contributed to the charged artistic atmosphere.
Hodgkins formed important friendships and professional relationships that provided both support and intellectual stimulation. One of her most significant early friendships was with the New Zealand artist Dorothy Kate Richmond. They traveled and painted together in Europe, and Richmond remained a lifelong correspondent and supporter. Such relationships were vital, particularly for women artists navigating the often challenging and male-dominated art world.
In England, where she spent a considerable part of her career, Hodgkins became associated with various artistic groups and individuals. She spent time in artists' colonies such as St Ives in Cornwall, a popular destination for painters drawn by its unique light and picturesque scenery. Here, she would have encountered other artists exploring modern approaches to landscape painting, including figures like Ben Nicholson and Christopher Wood, who were also pushing the boundaries of British art, and perhaps even the naive painter Alfred Wallis.
She also developed a close working relationship and friendship with artists like Cedric Morris and Arthur Lett-Haines, who founded the East Anglian School of Painting and Drawing. Morris, a notable painter of portraits, landscapes, and intricate flower studies, shared with Hodgkins an interest in vibrant colour and expressive form. These connections provided a supportive network and opportunities for exhibition and critical discussion. Her correspondence reveals a lively engagement with her peers, discussing artistic ideas, the struggles of the creative process, and the practicalities of making a living as an artist. She also knew the writer Jane Simone Bussy, daughter of Dorothy Strachey and the painter Simon Bussy, connecting her to Bloomsbury Group circles.
The Seven and Five Society and British Modernism
A significant milestone in Frances Hodgkins's career in Britain was her association with the Seven and Five Society. Founded in 1919, the "Seven and Five" (initially comprising seven painters and five sculptors) was an influential exhibiting group that played a key role in the development of British modernism. By the time Hodgkins joined in 1929, the society was moving towards a more abstract and avant-garde direction, particularly under the influence of artists like Ben Nicholson, Barbara Hepworth, and Henry Moore.
Her membership in the Seven and Five Society placed Hodgkins at the forefront of the British avant-garde. The group's exhibitions provided a platform for some of the most progressive art being produced in Britain at the time. Other notable members during this period included Ivon Hitchens, John Piper, and Christopher Wood. Hodgkins exhibited regularly with the society until it disbanded in 1935. Her work from this period shows an increasing confidence in her modernist vocabulary, with a greater emphasis on flattened perspectives, bold colour harmonies, and a lyrical abstraction of form.
Her participation in the Seven and Five Society was crucial for her recognition within the British art scene. It solidified her reputation as a significant modernist painter and brought her work to the attention of influential critics, collectors, and gallerists. Despite her New Zealand origins, Hodgkins became an integral part of the narrative of British modernism, contributing a unique voice that blended European influences with her own distinct sensibility. Her work was often praised for its sophisticated colour and design, and its ability to evoke mood and atmosphere.
Notable Works and Stylistic Evolution
Frances Hodgkins's oeuvre is rich and varied, reflecting her long career and continuous artistic exploration. Several works stand out as particularly representative of her style and its evolution.
Early works, such as portraits of Māori women, demonstrate her skill in watercolour and her interest in capturing character. As she moved to Europe, her subjects expanded. The Farmer's Daughter (Portrait of Annie Coggan) (c. 1929-30), now in the Dunedin Public Art Gallery, is a powerful oil painting that shows her mature handling of form and colour, imbuing a seemingly ordinary subject with monumental presence.
Her still lifes are among her most celebrated works. Cut Melons (c. 1931) exemplifies her ability to transform everyday objects into vibrant, almost abstract compositions. The interplay of rich colours – deep blues, greens, and creamy whites – and the dynamic arrangement of forms create a visually exciting and sensuous image. Similarly, Arrangement of Jugs (c. 1938) and Phoenician Pottery and Gourds showcase her mastery in composing still lifes that are both decorative and structurally complex, often blurring the line between the objects and their surrounding space.
Landscapes also remained a constant theme. Spring at Little Woolgarston captures the lushness of the English countryside with a vibrant palette and expressive brushwork. Ruins (c. 1940s) reflects a more sombre mood, possibly influenced by the war years, where architectural fragments are integrated into a landscape that feels both timeless and melancholic. The Elevator (c. 1930), held by Auckland Art Gallery Toi o Tāmaki, is a dynamic composition that hints at urban themes and a more structured, almost Cubist-influenced approach to space.
A particularly notable later work is Loveday and Ann: With a Basket of Flowers (1941), acquired by the Tate Gallery in 1944. This double portrait is a complex and richly coloured composition, demonstrating her ability to integrate figures into a decorative, almost dreamlike setting. Her late works often feature a more fluid, calligraphic line and a heightened sense of abstraction, where forms dissolve and merge in a tapestry of colour and light. Red Cockrel is another example of her vibrant late style.
Throughout her career, Hodgkins continually experimented. She moved from the detailed realism of her early New Zealand period through an Impressionistic phase, absorbed the lessons of Post-Impressionism and Fauvism, and engaged with aspects of Cubism and Surrealism, all while maintaining a distinctive personal voice. Her evolution was not a linear progression towards pure abstraction but rather a continuous process of synthesis and refinement.
Challenges and Triumphs: A Life Dedicated to Art
Frances Hodgkins's life as an artist was one of considerable personal and professional challenges, yet also marked by significant achievements. As a woman artist from the colonies trying to establish herself in Europe, she faced numerous obstacles. Financial insecurity was a recurrent theme throughout much of her career. She often relied on teaching, sales of her work (which were not always consistent), and the support of friends and patrons.
The two World Wars profoundly impacted her life and work. During World War I, she remained in England, primarily in Cornwall, continuing to paint despite the difficult circumstances. The interwar period saw her artistic reputation grow, particularly in Britain. World War II brought new anxieties and disruptions. She spent part of the war years in Corfe Castle, Dorset, where she found a studio and continued to produce remarkable work, often imbued with a sense of resilience and an enduring connection to the natural world, even amidst the turmoil.
Personal relationships also presented complexities. While she formed deep and lasting friendships, including those with Dorothy Kate Richardson (Richmond), Jane Sands (Sanderson), and the supportive couple John and Myfanwy Piper, she never married and often experienced periods of loneliness and isolation. Her correspondence reveals a woman of great intelligence, wit, and determination, but also one who felt the strains of her chosen path. Her relationship with her sister, Isabel Hodgkins, also an artist, was complex, marked by periods of closeness and distance, reflecting their different life choices and artistic paths.
Despite these challenges, Hodgkins achieved considerable recognition during her lifetime, particularly in Britain. She exhibited widely, including at the Royal Academy, the Lefevre Galleries (which regularly showed her work), and internationally, such as at the Venice Biennale. The acquisition of her work by the Tate Gallery was a significant mark of her standing. However, recognition in her native New Zealand was slower to come, a common fate for expatriate artists of her generation.
Later Years and Enduring Legacy
In her later years, Frances Hodgkins continued to paint with undiminished creativity, even as her health began to decline. Her late works are often characterized by a remarkable freedom and vibrancy, a culmination of her lifelong exploration of colour and form. She remained in England, her adopted home, and passed away in Dorchester, Dorset, on May 13, 1947, at the age of 78.
Frances Hodgkins's legacy is multifaceted. She is undoubtedly one of New Zealand's most important artists, a pioneer who transcended her colonial origins to achieve international recognition. Her success provided an inspiring example for subsequent generations of New Zealand artists, particularly women, demonstrating that it was possible to compete and thrive on the world stage.
In the context of British art, she is recognized as a significant contributor to the modernist movement. Her unique synthesis of European avant-garde influences with a personal, lyrical sensibility carved out a distinct place for her. Her work is celebrated for its sophisticated colour harmonies, its innovative compositions, and its ability to evoke mood and atmosphere.
Posthumously, her reputation has continued to grow, both in New Zealand and internationally. Major retrospective exhibitions have been held, and scholarly research has further illuminated her life and work. She is seen not just as an expatriate success story but as an artist whose work possesses an enduring aesthetic appeal and historical significance. Her paintings continue to engage viewers with their beauty, their intelligence, and their deeply personal vision.
Hodgkins in Collections and the Art Market
The works of Frances Hodgkins are held in high esteem and are found in numerous public and private collections around the world, reflecting her international career and posthumous recognition.
In New Zealand, major institutions proudly feature her art. Auckland Art Gallery Toi o Tāmaki holds a significant collection, including key pieces like The Elevator and Phoenician Pottery and Gourds. The Dunedin Public Art Gallery, in her city of birth, houses important works such as The Farmer's Daughter (Portrait of Annie Coggan). Te Papa Tongarewa Museum of New Zealand in Wellington also has a representative collection, including works like Red Cockrel. Toi MAHARA (formerly the Mahara Gallery) in Waikanae boasts one of the largest public collections of Hodgkins's work in New Zealand, with 44 pieces, underscoring her deep connection to the country despite her long expatriation.
Internationally, the Tate in London is a key holder of her work, most notably Loveday and Ann: With a Basket of Flowers, acquired during her lifetime. Her paintings are also found in other British public collections and in private collections across Europe, North America, and Australasia.
In the art market, Frances Hodgkins's works command significant prices, a testament to her established reputation and the rarity of major pieces coming to auction. Auction houses like Sotheby's, Christie's, and Bonhams in London, as well as leading auction houses in New Zealand such as Webb's and Art+Object, regularly feature her paintings and watercolours. For instance, a work like Arrangement of Jugs was noted to have an estimate of £10,000-£17,000 in a 1989 auction. Another piece, A Chelsea Garden, was reported to have sold from a private collection for between £22,000 and £32,000. Prices for her major oils can reach well into six figures, reflecting sustained collector interest and her art historical importance. Her watercolours and drawings, while generally more accessible, are also highly sought after. The consistent performance of her work at auction underscores her blue-chip status within both New Zealand and British modern art.
Conclusion: Reappraising a Pioneer
Frances Hodgkins's journey from Dunedin to the forefront of European modernism is a compelling narrative of artistic ambition, perseverance, and creative evolution. She navigated the complex art worlds of London and Paris, absorbing diverse influences from Impressionism and Fauvism to Cubism, yet always forging them into a style that was uniquely her own. Her vibrant still lifes, evocative landscapes, and sensitive portraits are characterized by a sophisticated use of colour, a dynamic sense of composition, and a profound emotional depth.
As a woman artist from the colonies, she overcame significant personal and professional hurdles, establishing herself as a respected figure within the British avant-garde, notably through her involvement with the Seven and Five Society alongside contemporaries like Ben Nicholson, Barbara Hepworth, and Cedric Morris. Her friendships with artists like Dorothy Kate Richmond and her interactions with the broader artistic community provided crucial support and stimulus.
Today, Frances Hodgkins is celebrated not only as New Zealand's most distinguished expatriate painter but also as a significant contributor to 20th-century British modernism. Her works, held in major public collections and keenly sought after in the art market, continue to resonate with their beauty, innovation, and the enduring power of her artistic vision. She remains an inspirational figure, a testament to a life courageously dedicated to the pursuit of art.
