‘The more evanescent the emotion I want to convey, the thicker the panel, the heavier the framing, the more elaborate the border, so that this delicate thing will remain protected and intact.’ 1984

Howard Hodgkin R.B.K. 1969-70 Tate enlarge this image

During the late 1960s Hodgkin experimented with different formats and painting supports. In R.B.K. 1969–70, a portrait of the artist RB Kitaj, Hodgkin introduced one of his signature motifs, the painted frame. These borders both encase the subject and draw attention to the works as objects. He reinforced this physicality when he changed from canvas to wood – a solid support which allows him to apply many layers of paint over long periods.

Around this time Hodgkin virtually eliminated figurative references, restricting himself instead to dots, stripes, splodges and overlapping planes of colour. His subject matter also evolved as he turned to nature and outdoor environments, particularly in relation to his travels. Bombay Sunset 1972–3 recalls a spectacular sunset in India. By transforming the landscape into a brilliantly distilled field of pattern and colour, Hodgkin creates a visual equivalent for his specific memory of this experience.

Howard Hodgkin Mrs Nicholas Munro 1966-9 Tate enlarge this image		Howard Hodgkin Bombay Sunset 1972–3 Private Collection enlarge this image
Howard Hodgkin Small Durand Gardens 1974 Private Collection, London enlarge this image		Howard Hodgkin Talking About Art 1975 Private Collection enlarge this image
Howard Hodgkin Mr and Mrs E.J.P. 1969-73 Tate enlarge this image		Howard Hodgkin Cafeteria at Grand Palais 1975 Private Collection, London enlarge this image