Frances Hodgkins: Paintings and Drawings

By Iain Buchanan; Michael Dunn et al. | Go to book overview
Save to active project

1914-1930

IAIN BUCHANAN

Friends say my work is much stronger now than ever -- I feel it is -- perhaps the war has vitalised & fortified -- who knows.

FRANCES HOGKINS, 10 JANUARY 1916


THE WAR YEARS 1914-20

It is quite significant that when Frances Hodgkins returned to Europe she chose France rather than England. France had always held a special importance for her -- besides being the centre of the most advanced developments in painting, the French countryside was a constant source of subjects and inspiration. She had spent the last four years based in Paris and clearly intended to resume her life of teaching and exhibiting. The outbreak of war in August 1914 ended that dream. Her pupils, on whom she depended for financial support, returned to England and shortly afterwards she joined them. By the end of the year she was living at St Ives in Cornwall, where she was to remain apart from brief periods in London. For Hodgkins, after working in France since 1908, the return to England meant a renewed involvement with British painting and all the restrictions it imposed. The wartime artistic situation was succinctly defined by the painter Wyndham Lewis, who wrote in 1915: 'The English have never been so insular and "English" as at the present moment.' 1 Frances Hodgkins was equally susceptible to this influence and by the end of the war her earlier French manner had been replaced by one based on an English approach to subject and treatment.

Hodgkins knew Cornwall well and had already spent part of the summer of 1902 in Penzance, working in close contact with her former teacher Norman Garstin. Cornwall, and in particular Newlyn, had been established as an artistic centre in the 1880s under the influence of French art and in conscious imitation of Brittany, where many Newlyn painters such as Stanhope Forbes and Norman Garstin continued to hold classes during the summer months. 2 Like Brittany, the Cornish countryside offered picturesque local subjects drawn from the customs of the villagers and fishermen, as well as attractive settings for plein air landscape painting. Garstin himself had praised the variety of scenery, ranging from rocky coves to moorland farms, in a 1909 article on "'West Cornwall as a Sketching Ground'". 3

At first Frances Hodgkins renewed her friendships and was associated with Norman

-30-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
Frances Hodgkins: Paintings and Drawings
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 188

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?