(Updated April 2022) Hodges' paintings of the Pacific celebrate British exploration. He was appointed by the Admiralty to record the places visited on Cook's second voyage, undertaken in the 'Resolution' and 'Adventure', 1772-75. This was primarily in the form of drawings, with some oil sketches, many later converted to engravings in the official voyage account. This one was engraved there, with the title shown above in square brackets. Hodges also completed large oil paintings for exhibition in London on his return, which exercised lasting influence on European ideas of the Pacific. The National Maritime Museum holds 26 oils relating to the voyage of which 24 were either painted for or acquired by the Admiralty.

Cook's main purpose on this expedition was to locate, if possible, the much talked-of but unknown Southern Continent and further expand knowledge of the central Pacific islands, in which Hodges' records of coastal profiles were in part important for navigational reasons. But, the party also sought to understand and record different Pacific societies, establishing a hierarchy of what they saw as different stages of development.

When Cook returned to Tahiti during his second voyage in April 1774, he found the islanders preparing for war against the neighbouring island of Moorea. His party were impressed by the canoes and men massed for attack, which were interpreted as a mark of Tahiti’s more developed state than other Polynesian societies. It also played to European interests in extravagant public spectacle, with the galleys and crews decked out particularly splendidly. One of the Tahitian chieftains suggested that Hodges record the scene, which he primariy did in one of his most spectacular pen and wash panoramic drawings from the voyage, which is 76 inches (2m) across (BL Add. MS15743, f.8). He later painted this detailed oil study based on its central part for engraving in the published voyage account under the title 'The Fleet of Otaheite assembled at Oparee' and well as devoloping a less literal and very big painting - his largest surviving one - to exhibit at the Royal Academy (see BHC2374).

Little is known about the carved features of Tahitian canoes as represented by Hodges but the prow and stern of the one in the foreground of the present picture, and on the top of the tall carved prow 'pole' behind, bear a seated or squatting figure of a god, probably related to the sea, of which the National Museum of Scotland holds a good example.