She had a promising early start with her works being shown at the London Group, Royal Academy and New English Art Club.

In 1925 she married fellow artist Stanley Spencer with whom she had what has been described as "the most bizarre domestic soap opera in the history of British art."

Carline's physical and mental health was poor starting several years after her divorce and after 1937 she lived with family members.

A touring exhibition of her works, The Art of Hilda Carline: Mrs. Stanley Spencer, was held in 1999.

[1] George Carline taught his daughter to paint until October 1913, when she enrolled in the school that Percyval Tudor-Hart had established in Hampstead.

[1][2] Tudor-Hart, a Post-Impressionist who was an early proponent of colour theories of Wassily Kandinsky,[3] introduced them to avant-garde continental art that was "expressive, bold, abstract and 'primitive.

[nb 1] She made Return from the Farm, in a Gauguinesque style that reflected her connection to and appreciation for the countryside.

In the early 1920s, Hilda participated in the gatherings of artists and intellectuals[1][2][4] – including Stanley Spencer, John and Paul Nash.

"[5] The Carline family travelled for painting retreats and Stanley Spencer accompanied them on the 1920 Seaford, Sussex, 1922 Yugoslavia and 1924 Essex and Suffolk trips.

Spencer and Hilda Carline often painted landscapes side-by-side, making similar works.

While the girls were young Carline was unable to paint much, needing to tend to them and household duties.

[2] Spencer and Carline moved in 1932 to Cookham and bought a large house called Lindworth.

Spencer pursued a relationship with Patricia Preece, a neighbor, who had a lesbian lover, Dorothy Hepworth.

[2] Although he faltered on his obligations to provide support for Hilda and the girls, Spencer bought Preece gifts, including jewellery.

[4] "Hilda later wrote that Patricia was interested in Spencer for his money (he did indeed spend recklessly on her) and 'set about to procure him, trying to keep the road clear to get rid of him when she wanted to.

Throughout the emotional crisis, her sister-in-law, Nancy Carline (wife of Richard) said that painting was therapeutic for her.

[9] Spencer began visiting his ex-wife regularly after his relationship with Preece ended,[5][nb 4] although they remained legally married.

She then was immersed in what Alfred Hickling of The Guardian phrased was "the most bizarre domestic soap opera in the history of British art."

She was one of the early British modernist painters and made important works and interacted with other artists in the movement.

When she was married she shared a small room with her youngest daughter, Unity, and her things were cramped and hard to get to.

[1] Towards the end of her life, Carline created works that expressed her devout religious beliefs using pastels.