Dora Meeson, born on August 7, 1869, in Hawthorn, Victoria, was the daughter of Amelia and John Meeson, an English schoolmaster who settled in Melbourne in 1860. After establishing Hawthorn Grammar School, he later pursued law, becoming a barrister. Around 1879, the family relocated to Dunedin, New Zealand, where Dora began her artistic journey. While studying at the Canterbury College School of Art, she engaged with the suffrage movement, signing a petition advocating for women's rights.
In London, Dora attended the Slade School, studying under Henry Tonks alongside notable peers like Augustus John. Her artistic pursuits led her to apply for special entry to painting classes at the National Gallery School in Melbourne in 1895. Despite not completing the usual prerequisites, she was accepted as an advanced student by Master Bernard Hall. Her path crossed with George Coates, her future husband, at the school, where they both competed in a poster competition themed "Minerva," with Dora emerging as the winner.
While Coates received a scholarship to the Académie Julian in Paris, Dora's family funded her studies there. They planned to reunite in Paris after separate journeys. Enrolling at Julian's School of Art under esteemed mentors like Jean Paul Laurens and Benjamin Constant, they spent three transformative years immersing themselves in the vibrant Parisian art scene, admiring the works of renowned artists such as Claude Monet, Fantin-Latour, and Auguste Rodin.
Dora flourished at Julian's, earning prestigious awards like the First Prize in the Concours de Torse d'Homme and Second Prize in the Concours de Torse de Femme in 1898. Both Dora and George had their works exhibited at the Paris Old Salon in 1899, marking significant milestones in their artistic careers.
In 1900, Dora and George returned to England with plans to marry, but Dora's parents were apprehensive about their prospects as artists. George secured employment as an illustrator for The Historians' History of the World, and by 1902, Dora joined him in this venture. Attending the wedding of E. Phillips Fox and Ethel Carrick, the couple exchanged vows in 1903 at the same church in Ealing. However, they faced challenges establishing themselves in the art world, initially relying on producing small illustrations for encyclopedias to make ends meet.
Residing in Ealing from 1903 to 1905, they endured financial strain and felt isolated from the artistic community. Dora, who received an annual allowance of £100, also taught a handful of students during this time. They often used children as models due to their affordability. Dora found solace in England for leisure but considered Paris her artistic haven, admiring its avant-garde scene, while George felt like an outsider there.
In 1906, influenced by Augustus John, Dora and George leased a studio at Trafalgar Studios in Chelsea, initiating their prolonged stay in the area. They became integral members of a vibrant artistic circle, including notable Australian artists like Charles Conder, as well as regulars at the Chelsea Arts Club, such as Tom Roberts, Will Dyson, and George Lambert.
During their Chelsea years, Dora attended a suffrage meeting led by Emily Pankhurst, sparking her involvement in the suffrage movement, while George joined the Men's League for Women's Suffrage. They participated in marches together, earning endearing nicknames like "Coates and Trousers" from some Chelsea Arts Club members.
In 1909, following the passing of both of Dora's parents, they gained increased financial independence. Establishing their home and Dora's studio at No. 52 Glebe Place, with George having a spacious studio at No. 55, they embarked on their artistic pursuits with renewed vigor. Dora, particularly drawn to the Thames as a subject, adopted a post-impressionist style in her paintings.
Their artistic careers flourished in England, with notable engagements such as working as illustrators for the Encyclopædia Britannica in 1903. In 1921, they embarked on a successful visit to Australia, organizing exhibitions of their work across several cities, including Melbourne, Ballarat, Geelong, Adelaide, and Perth.
After the passing of her parents, Meeson embraced the suffrage movement, becoming a pivotal figure in the Kensington branch of the Women's Freedom League. In January 1907, she played a crucial role in the establishment of the Artists' Suffrage League, contributing significantly to the cause through her creation of political posters, banners, and postcards from the league's studio in The King's Road. Collaborating with fellow activists like Cicely Hamilton, Mary Lowndes, and C. Hedley Charlton, Meeson illustrated booklets sold to raise awareness and promote the suffragist agenda. Her postcards became immensely popular, with 6,488 sold at a penny each.
In May 1911, inspired by Vida Goldstein, Meeson and others formed the Australian and New Zealand Women Voters' Committee (London), aiming to exert political pressure for voting and women's rights. The culmination of their efforts came on June 17, 1911, during the Women's Suffrage Coronation Procession in London. Leading the Australian contingent were Vida Goldstein, Margaret Fisher, and Emily McGowen, carrying Meeson's banner, "Commonwealth of Australia," with the poignant message, "Trust the Women Mother as I have done." Meeson and her husband marched proudly at the forefront, displaying their unwavering support. The banner, a symbol of resilience and determination, was acquired by the National Women's Consultative Council in 1988 as a Bicentennial Gift to the Women of Australia and is now showcased in Parliament House, Canberra.