From the Author
At the Art Canada Institute, I am grateful to Sara Angel, Meg Taylor, Anna Hudson, and Angelica Demetriou for their guidance and generosity. I would also like to acknowledge the editing prowess of Shannon Anderson, my substantive editor, as well as the fantastic work done by John Geoghegan on the image research and the stellar design by Simone Wharton. I am grateful for the valuable suggestions made by the anonymous peer reviewer. My thanks also to Janice Anderson of Concordia University’s Canadian Women Artists History Initiative for her help with Prudence Heward’s artist files. I am very grateful to Kristina Huneault in the Department of Art History at Concordia University for acting as my SSHRC Postdoctoral supervisor, as well as for her innovative and brilliant scholarship on Canadian women artists. Finally, I would like to dedicate this text to Janice Helland, my PhD supervisor at Queen’s University; she was the first to inspire my passion for feminist art history and the study of women artists.
From the Art Canada Institute
This online art book was made possible thanks to BMO Financial Group, Lead Sponsor for the Canadian Online Art Book Project, and the book’s Title Sponsor, Sandra L. Simpson. The Art Canada Institute gratefully acknowledges the other sponsors for the 2014–15 Season: Aimia, Consignor Canadian Fine Art, Gluskin Sheff + Associates Inc., the Hal Jackman Foundation, K. James Harrison, The McLean Foundation, and TD Bank.
Thanks also to the Art Canada Institute Founding Patrons: Sara and Michael Angel, Jalynn H. Bennett, the Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, Kiki and Ian Delaney, the Fleck Family, Roger and Kevin Garland, the Gershon Iskowitz Foundation, Michelle Koerner and Kevin Doyle, Phil Lind, Sarah and Tom Milroy, Nancy McCain and Bill Morneau, Gerald Sheff and Shanitha Kachan, Sandra L. Simpson, Pam and Mike Stein, and Robin and David Young, as well as its Founding Partner Patrons: The Pierre Elliott Trudeau Foundation and Partners in Art.
For their research support and generous contribution of images to this publication, the ACI gratefully acknowledges the support and assistance of the Agnes Etherington Art Centre (Jennifer Nicoll); the Art Gallery of Hamilton (Christine Braun and Lela Radisevic); the Art Gallery of Ontario (Jim Shedden and Ebony Jansen); the Art Gallery of Windsor (Catharine M. Mastin and Nicole McCabe); Eric Klinkhoff; the Masters Gallery; the McMichael Canadian Art Collection (Janine Butler and Ki-in Wong); the Montreal Museum of Fine Arts (Jacques Des Rochers and Marie-Claude Saia); Musée national des beaux-arts du Québec; the National Gallery of Canada (Kristin Rothschild, Philip Dombowsky, Raven Amiro, and Erika Dola); A.K. Prakash; Queen’s University Archives (Heather Home); the Robert McLaughlin Gallery (Sonya Jones and Linda Jansma); the University of Toronto (Heather Pigat and Daniella Sanader); Véhicule Press (Simon Dardick); the Winnipeg Art Gallery (Nicole Fletcher); and private collectors who wish to remain anonymous.
Image Sources
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credits for Banner Images
Biography: Portrait of Prudence Heward in London, photograph by Hugh Cecil, 1930. Robert McLaughlin Gallery Archives, Oshawa.
Key Works: Prudence Heward, At the Theatre, 1928. (See below for details.)
Significance & Critical Issues: Prudence Heward, Clytie, 1938. (See below for details.)
Style & Technique: Prudence Heward, The Blue Church, Prescott, 1933. (See below for details.)
Where to See: Installation view of the Memorial Exhibition of Heward’s paintings, organized by the National Gallery in 1948.
Credits for Works by Prudence Heward
Ann, 1942. National Gallery of Canada, Ottawa, gift of H.S. Southam, Ottawa, 1944, no. 4591.
Anna, c. 1927. National Gallery of Canada, Ottawa, no. 3537.
At the Cafè, c. 1929. Montreal Museum of Fine Arts, 1950.1036.
At the Theatre, 1928. Montreal Museum of Fine Arts, 1964.1479.
Autumn (Girl with an Apple), 1942. Collection of Elizabeth and Tony Comper. Photograph by Toni Hafkenscheid.
Autumn Landscape, c. 1941. National Gallery of Canada, Ottawa, gift of the Heward family, Montreal, 1948, no. 4964.
Barbara, 1933. Private collection. Photograph by Nick Menzies.
The Bather, 1930. Art Gallery of Windsor.
The Blue Church, Prescott, 1933. McMichael Canadian Art Collection, Kleinburg, gift of Dr. Naomi Jackson Groves, 1984.18.3.
Clytie, 1938. Robert McLaughlin Gallery, Oshawa, 1987HP38.
Dad (August 24th, 1910), Sketchbook 1, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Dark Girl, 1935. Hart House, University of Toronto, purchased by the Hart House Art Committee with the Harold and Murray Wrong Memorial Fund, 1936.
Eleanor, 1924. Private collection. Photograph by Nick Menzies.
The Emigrants, c. 1928. Private collection. Photograph by Nick Menzies.
Farmer’s Daughter, 1938. Winnipeg Art Gallery, gift of the Estate of Prudence Heward, G-51-170. Photograph by Ernest Mayer.
Farmer’s Daughter, 1945. National Gallery of Canada, Ottawa, gift of the Heward family, Montreal, 1948, no. 4953.
Figure Study, 1925, Sketchbook 3, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Girl in the Window, 1941. Art Gallery of Windsor, given in memory of the artist and her sister by the estate of Gladys S. Nares, 1981, no. 81.6.
Girl on a Hill, 1928. National Gallery of Canada, Ottawa, no. 3678.
Girl Under a Tree, 1931. Art Gallery of Hamilton, gift of the artist’s family, 1961.
Hester, 1937. Agnes Etherington Art Centre, Kingston, gift of the Honourable Heward Grafftey and purchase, Chancellor Richardson Memorial Fund and Wintario matching funds, 1985, no. 28-191. Photograph by Paul Litherland.
Indian Child, 1936. Montreal Museum of Fine Arts, 1975.30.
Indian Head, 1936. Robert McLaughlin Gallery, Oshawa, 1993HP5.
Italian Woman, c. 1930. Private collection.
Jim, 1928. Musée national des beaux-arts du Québec, Quebec City, 2010.235.
Leaves (Study for Portrait of Barbara), c. 1933. National Gallery of Canada, Ottawa, gift of the Heward family, Montreal, 1948, no. 4962.
Miss Lockerby, c. 1924. Private collection.
Mommsy, 1910, Sketchbook 1, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Negress with Flower, n.d. Robert McLaughlin Gallery, Oshawa, 1989HP143.
Negress with Sunflowers, c. 1936. Private collection.
Portrait (Mrs. Zimmerman), 1943. National Gallery of Canada, Ottawa, gift of the Heward family, Montreal, 1948, no. 4955.
Portrait Study, 1938. Art Gallery of Ontario, Toronto, no. 2540.
Rollande, 1929. National Gallery of Canada, Ottawa, no. 3709.
Rosaire, 1935. Montreal Museum of Fine Arts, 1944.859.
Scene of Venice, c. 1928. Montreal Museum of Fine Arts, 1975.32.
Self-Portrait, c. 1926, Sketchbook 3, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Sisters of Rural Quebec, 1930. Art Gallery of Windsor.
Street in Cagnes, c. 1930. Robert McLaughlin Gallery, Oshawa, 1989HP141.
Study of the Drawing Room of the Artist, c. 1940. Private collection. Photograph courtesy of Sotheby’s Inc.
A Summer Day, 1944. Private collection.
Tonina, 1928. Collection of A.K. Prakash.
Untitled (Figural sketch of a nurse and a patient), c. 1916, Sketchbook 2, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Untitled, c. 1925. Collection of Elizabeth and Tony Comper. Photograph by Toni Hafkenscheid.
Untitled, n.d., Sketchbook 3, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Untitled, n.d., Sketchbook 4, Prudence Heward fonds, National Gallery of Canada Library and Archives, Ottawa.
Credits for Photographs and Works by Other Artists
“An Artist Draws His Impressions of ‘Expressionist’ Art,” Toronto Evening Telegram, November 25, 1933.
Berries and Laurel, c. 1930, by Frances Hodgkins. Auckland Art Gallery Toi o Tāmaki.
Cover of The Adventures of the Black Girl in Her Search for God, by George Bernard Shaw (London: Constable & Co., 1932).
Cover of Canadian Art 3, 1 (Autumn 1950).
Cover of Expressions of the Will: The Art of Prudence Heward, by Natalie Luckyj (Kingston, ON: Agnes Etherington Art Centre, 1986).
Cover of From Women’s Eyes: Women Painters in Canada, by Dorothy Farr and Natalie Luckyj (Kingston, ON: Agnes Etherington Art Centre, 1975).
Cover of The Women of Beaver Hall: Canadian Modernist Painters, by Evelyn Walters (Toronto: Dundurn Press, 2005).
The Cradle, 1873, by Berthe Morisot. Musée d’Orsay, Paris.
Design for a Small Screen, c. 1920, by Vanessa Bell. Art Gallery of Ontario, Toronto, 91/152.
The Farm Pond, Charleston, 1918, by Roger Fry. Hepworth Wakefield, West Yorkshire, England.
In the Loge, 1879, by Mary Cassatt. Museum of Fine Arts, Boston, The Hayden Collection—Charles Henry Hayden Fund.
1. Heward, Prudence, 1896-1947. 2. Heward, Prudence, 1896-1947—
Criticism and interpretation. 3. Women painters—Canada—Biography.
I. Heward, Prudence, 1896-1947. Paintings. Selections. II. Art Canada
Institute, issuing body III. Title.
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