Category Archives: oil painting

Frances Hodgkins’ wonderful legacy

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Frances Hodgkins (1867-1947)

When I learned the Gow Langsford Art Gallery in Auckland was holding an exhibition of New Zealander Frances Hodgkins’ paintings and Mary Kisler, an authority on Hodgkins, was to be speaking with gallery owner John Gow about the artist, I booked in immediately. I arrived early, as many were expected to attend, and I strolled around the gallery taking photos until the rooms swelled with viewers. I, like so many New Zealanders, have been attracted to Frances Hodgkins’ art for a very long time. Being an artist, I admired her determination not to be pigeonholed by any one style. She was adventurous, and prolific, working in many styles and mediums throughout her life. And although Hodgkins moved to Great Britain as young woman and spent most of her adult life there, she is still very much admired and loved by us here.

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No final painting but there is this

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La Femme au Bain by René-Xavier Prinet, around 1888

The final class was cut short, as we were to be given a talk about the painting by Charles Goldie, which is where the classes began. To recap, we were handed a copy of the painting and were asked to copy it. But what I never realised until this talk was, that Goldie had copied his La Femme au Bain, from an original, for on the bottom of the painting it reads ‘after’ René-Xavier Prinet. Both artists studied at the Académie Julian in Paris around the same time. So, I had made a copy of a copy. I didn’t know what to think. I guess seeing both men could certainly paint, I must have learned something through close observation.

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The penultimate session

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Last week I started to work on an invented background for my painting, as the room lacked ambience. Once home I spent some time trying to improve on the colours and build more interest to the painting as a whole.

First thing was to correct the position of the right leg. I was still struggling to get the thickness of my paint as I wanted, and it always seemed to come out too thin even with medium. Never mind I told myself, I can always let it dry and add more layers.

And so, that’s what I did. At least by the time I’d put the canvas aside I could say that I almost liked it. But there was a way to go.

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From sketch to canvas process

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Continuing on from last week, when I showed you the charcoal sketch (see above) which I would be transposing onto an A2canvas. As I am going to take you through that process I thought it would help to include it here as this is the pose I shall continue to work from.

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The next phase: sketching towards a painting

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Week Three. In this session we were to work on A2 paper, using pencil or charcoal for our preparatory sketch. No photocopies this week. The model Lulu is similar in build to the figure we had copied in Goldie’s work – the idea being, we were told, was to execute a painting in tones similar to the one we had copied. But first, the pose needed working out, and so a few minutes were spent moving a stool, arranging a cushion, and having the light in an appropriate position to suit both the model and the class. We would be working with this same pose for three weeks. Hard on the model I thought.

I was pleased to be using my favourite drawing medium for this stage. Charcoal is such a forgiving medium and I just love the nuance of tone it allows one.

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The last stages

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I worked a little on the painting yesterday, and this is the image here. I left it to dry overnight and returned to it today.

I will work on it a little tomorrow and hopefully it will be done.

I should have waited until the paint had dried to take the photo as every brush stroke is laid bare (unintentional pun).

I have decided to trim the image and focus on the model and not include the barely discernible chair at the periphery of the scene in the original. I think this format works better in my view.

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The work in progress: week two

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Last week’s underpainting

Following last week’s effort, I thought a good deal about how I would approach the second class, realising there was a chance of not been offered any specific way in how to apply oil paints. I decided to progress my painting by instinct; it wasn’t as if I haven’t drawn from life, and although my painting history has revolved around fiddling with watercolour, I have used acrylics before. And, I do know a reasonable amount about colour, albeit using pencils rather than paint. During this session we were encouraged to go and view the original painting again. It was difficult to see the actual paint strokes as it was behind glass but we did agree the painting was lighter in tone and showed the colour more effectively than the photocopies we were working from.

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Becoming a student again

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by Charles Goldie (NZ artist 1870-1947)

On Saturday I attended my first of six art classes at the Auckland Art Gallery in painting the figure using oils. It’s been over twenty years since I last tried oils, and had all but forgotten what to do, so was keen to gain some new skills. The above image is the one the class was to attempt to paint from; presented to us in photocopied form, the colours even more subdued than the original image shows. We were also handed a slightly smaller version with a grid pattern superimposed. I looked at the grid, knowing it was often used for beginners learning to draw proportions. I hadn’t used one ever for sketching the nude. However, I was keen to do what everyone had been instructed to do, and set about marking up a piece of paper with the same grid proportions.

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More on Frances Hodgkins

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Frances Hodgkins working from her studio in Croft.

A few months back I was in Dunedin, and visited their very good public art gallery. I was thrilled to find an exhibition of works by New Zealander Frances Hodgkins I’d not seen before which were all completed in England. She was in London in 1939 at the start of the war, and for safety reasons I imagine moved to the Dorset countryside. She lived in Corfe Castle village on the south-west peninsula, where she remained until 1945. She was able to move a little between the small villages, and set up a small studio in nearby Croft. Because of the war-time restrictions foisted upon her, she set about documenting the rural life of small villages and communities in her paintings. She was often forced to stay indoors, whether through atrocious weather, or air raids and coastal gunfire. It is testament to the dedication she gave to her art practice that she was able to work under such conditions.

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The influence of the Impressionists

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Frederick C Frieseke: Through the Vines, 1908

I opened a recent post on Sunnyside showing a painting by American artist Frederick C Frieseke called Through the Vines and it immediately reminded me of the work of New Zealander Evelyn Page (1899 – 1988). Like Frieske she was most adept at showing the human form through dappled light.

There was a retrospective of her paintings shortly after her death and I enjoyed viewing the collection.

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