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. In Europe, Hodgkins held her first solo show at the Paterson's Gallery in London in 1907 and moved to Paris in 1908. In 1910 she began teaching in Paris at Colarossi's academy as the first woman to be appointed instructor in the school. She also founded the School for Water Color. During this time she exhibited numerous watercolors 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 War, she 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 she 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 important 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