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NOTE TO USERS This reproduction is the best copy available UMI University of Aiberta Plurality and Agency: Portraits of Women by Prudence Heward Shirley Kathleen Emeny 8 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillrnent of the requirements for the degree of Master of Arts History of Art and Design Department of Art and Design Edmonton, Alberta Spring 1999 National Library Bibliothèque nationale i+m of,, du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. me Wellington OttawaON K1AON.Q Ottawa ON KI A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aJlowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loaq distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Plurality and Agency: Portraits of Wornen by Prudence Heward Shirley Kathleen Emeny This study focuses on the work of Prudence Heward (1 896-1947), a Canadian painter who worked in Montreal during the second quarter of the twentieth century. Her body of work was dominated by portraits of women and influenced by the new ideas and aesthetic methods which established modem ways of thinking and producing art in the early twentieth centwy. Heward expressed an active strength in her fernale figures who were dealing with the codict and ambiguities inherent in the cultural upheaval created by the changing social and political situation of North American women at this tirne - a transformation that occurred at different rates for women in differing reiigious, economic and political situations. She did this by painting the figures as subjects of their own lives rather than objects of a male- centered outlook, and as individuals who engaged with their diverse and ofien diffrcult circurnstances in distinctive ways. This thesis was undertaken and completed with the help of many individuals who contributed intellechial, moral and practical assistance. My supervisor, Professor Colleen Skidmore, deserves special thanks for judicious advice, disceming criticisms and unwavering encouragement. I would aiso like to thank Professors he-Marie Link and Joan Greer who fiom time to time gave valuable aid and guidance. Pepita Ferrari was of immense assistance in suggesting directions for my research, helping me to arrange inte~ewsand allowing me to peme her files at length - even to the extent of a long term loan of the transcripts of her interviews. Natalie Luckyj was always quick to respond to my queries with interesting and informed replies. Anne Johanson, John Heward and Louis Muhlstock welcomed me into their homes and studios and gave me a generous amount of their thne for my many questions. Greg Spurgeon and Cyndie Campbell of the National Gallery of Canada, Dorothy Farr of the Agnes Etherington Art Center in Kingston, and Janine Butler of the Art Gallery of Windsor were al1 unstinting and prompt in their replies to my requests for slides and information. I am also gratefûl to the Faculty of Graduate Studies and Research at the University of Alberta for providing me with a grant that made it possible to travel to Montreai and Ottawa where a substantial part of my research took place. In the last and most important place 1would Iike to thank my children, my sisters, my mother and particdarly my husband, John, without whose support I couid not have accomplished this work. Table of Contents Introduction Alternative Models of Femininity and Modemity.. .. .. 1 Chapter 1 Rollande.. .. -1 3 Chapter 2 The Bather .. .. ..3 8 Chapter 3 Hester.. .. ... .. -. -60 Conclusion.. .. - . .. -87 Figures.. ... .. .. .. .92 Bibliography. .. .. .. .. 16 1 List of Figures AU measurements of two dimensional works, where known, are given in centimeters. The height of statues is given in meters. Prudence Heward, Rollande, 1929, oïl on canvas, 10 1.8 x 94.6, National Gallery of Canada. Prudence Heward, The Bather, 1930, oil on canvas, 162.1 x 106.3, Art Art Gallery of Windsor. Prudence Heward, Hester, 1937, oiI on cmvas, 121.9 x 88.9, Agnes Etherington Art Center, Kingston. William Bryrnner, The Vauehan Sisters, 1910, oïl on canvas, 10 1.6 x 128.3, Art Gallery of Hamilton. Prudence Heward, Sisters of Rural Quebec, 1930, oil on canvas, 157-5 x 106.7, Art Gallery of Windsor. niornas Gainsborough, Mr. and Mrs. Robert Andrews, 1750, oil on canvas, 69.7 x 11 9.3, National Gallery, London, Englarid. Prudence Heward, Sketch for the Backaound of Rollande, 1929, oil on canvas, private collection. Horatio Walker, The Fariner's Wife, reproduced in P.G. Roy, î île d'Orléans (1928), page 72. Horatio Walker, Milk Woman, reproduced in P.G. Roy, î île d'Orléans (1928), page 88. Horatio Walker, Girl with Turkeys, reproduced in P.G. Roy, île d'Orléans (1928), page 134. Horatio Walker, Wayside Shrine at Saint-Laurent, reproduced in P.G. Roy, î ne d'Orléans (1928), page 256. Horatio Walker, Killing Pi~s,reproduced in P.G. Roy, île d'Orléans (1 928), page 3 18. Horatio Wallcer, By the Fixeside, reproduced in P.G. ROY, île d'Orléans (1928), page 376. Horatio Walker, The Bake Oven, reproduced in P.G. Roy, île d'Orléans (1928), page 380. Horatio WaIker, Milking Early Mom, reproduced in P.G.Roy, île d'Orléans (1928), page 384. Horatio Waker, Potato Gatherers, reproduced in P.G. Roy, ~'fled'Orléans (1928), page 392. Horatio Waker, Before Milking, reproduced in P.G. Roy, ~'fled'Orléans (1928), page 468. Tamara de Lempicke, La Duchesse de la Salle, 1926, oil on canvas, Galerie du Luxembourg, Pans. Romaine Brooks, Self Portrait, 1923, oil on canvas, 117.5 x 68.3, Nationai Museum of Amencan Art, Smithsonian Institution. Romaine Brooks, Peter (A Young Enelish Girl), 1924, oil on canvas, 91 -5 x 62.3, National Museurn of American Aa, Srnithsonian Institution. Romaine Brooks, Una. Lady Troubridge, 1924, oil on canvas, 127.3 x 76.8, National Museum of American Art, Smithsonian Institution. Prudence Heward, Girl on a Hill, 1928, oil on canvas, 10 1.8 x 94.6, National Gallery of Canada. Prudence Heward, The Emimants, 1928, location unknown. Prudence Heward, Eleanor, 1924, oil on canvas, 64.8 x 64.8, private collection. Prudence Heward, Miss Lockerbv, 1924, oil on board, 59 x 45.7, private collection. Jacques-Louis David, Mars Disarmed bv Venus and the Three Graces, 1824, oil on canvas, 3 13 x 295.3, Musée Royaux des Beaux-Arts, Brussels. Jean-Auguste-Dominique Ingres, Jupiter and Thetis, 181 1, oil on canvas, 3 3 1.5 x 257.2, Musée Granet, Aix-en-Provence. Prudence Heward, At the Café, undated, oil on canvas, 68.5 x 58.4, Montreal Museum of Fine Arts. Honoré-Victorin Daumier, The Bathers, 1848, oil on wood, 25.4 x 32.1, Burrell ColIection, Glasgow. Charles Meissonier, Summer: Bathers at Ceè-sous-Poissy, 1888,200 x 300, Konstmuseum, Goteborg. Léon-Augustin Lhermitte, Bathers at Mont-Saint-Pere, 1884, charcoal on paper, 30.7 x 47.5, private colIection. Georges Seurat, The Bathers at Asnières, 1884, oil on canvas, 20 1 x 300, National Gallery, London, England. Gravelot & Cochin, Nature, 1786, engraving fiom Almanach IconoIoeiaue, 1774, reproduced in Schiebinger, Nature's Bodv, page 58. His nurse is the earth, fiom Michael Maier, Atalanta fupiens, 1671, reproduced in Schiebhger, Nature's Bodv, page 57. Jean-Honoré Fragonard, Bathers, c. 1765, oil on canvas, 64 x 80, Louvre, Paris. Pierre-Auguste Renoir, Bathers, 1887, oil on canvas, 1 15.6 x 170.2, Philadelphia Museum of Art. Raphaël Collin, Summer, 1884, oil on canvas, 312 x 413, Konstrnuseurn, Goteborg. Prudence Heward, Girl Under a Tree, 1931, oil on canvas, 122.5 x 192.7, Art Gallery of Hamilton. Diagram Illustrating the Concept of the Ferninine Wild Zori~ from Edwin Ardener, PerceiWig; Women, page 23. "An Artist Draws His Impression of Expressionist Art," Toronto Teleeram, 25 Nov. 1933. Apollo (portion), fiom the west pediment of the Temple of Zeus at Olympia, c. 450 BC, rnarble, over life size. Praxiteles, Knidian Aphrodite (Roman copy), c. 300 BC, marble, 2 meters, Vatican Museum, Rome. Praxiteles, Hermes (Roman copy) c. 300 BC, marble, 2.2 meters, Archeological Museum, Olympia. Car>itolYieVenus (Roman Copy), c. 120 BC, marble, 1.9 meters, Capitoline Museum, Rome. Venus de'Medici (Roman Copy), Helienistic, marble, 1.4 meters, Uffizi Gallery, Florence. Limbourg Brothers, Fa11 of Man and Ex~ulsion,fkom the Très Riches Heures du Duc de Berry, 1416. Hieronymus Bosch, Adam and Eve, firom the Tmtych of the Havwain, 1500, oil on panel, 134.8 x 99.8, The Prado, Madrid. Jan and Hubert van Eyck, Adam and Eve, from the Altamiece of the Lamb, 1432, oil on panel, each panel 3.5 x 4.6 meters, Cathedra1 of St. Bavo, Ghent. Sandro Botticelli, The Birth of Venus, 1480, tempera on canvas, 1.8 x 2.8 meters, U&i Gallery, Rome. Photograph of Loretta Young, fiom Vogue Magazine (American), 1930, reproduced in Christina Probert, Swimwear in Vomie (198 1). Jean-Auguste-Dominique Ingres, Venus Anad~omene,1848, oil on canvas, 163 x 92, Musée Condé, Chantilly. Randolph Hewton, Sleeping Wornan, 1929, oil on canvas, 10 1.6 x 152.4, National Gallery of Canada.
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  • On Art Clubs and Classrooms: Navigating Artist/Teacher Identities by Looking at Anne Savage and Arthur Lismer

    On Art Clubs and Classrooms: Navigating Artist/Teacher Identities by Looking at Anne Savage and Arthur Lismer

    On Art Clubs and Classrooms: Navigating Artist/Teacher Identities by Looking at Anne Savage and Arthur Lismer Joanna Black, University of Manitoba This article is dedicated to: students I have taught who are on the brink of pursuing careers in art education while desiring to foster their professional art practice, and Leah Sherman, and her part in the enriched experiences I had in the 1980s at Concordia University and the Museum of Fine Arts in Montreal. Through her, I was touched by the legacies of both Anne Savage and Arthur Lismer. “Do you think I can still ‘make’ my art when I teach?’ ask many soon to be teachers on the cusp of graduating from Bachelor of Education programs. They are uncertain about their ability to maintain their emerging artistic practice while teaching, and it is fitting to ask this key question given the two key role models seen by today’s graduates. On the one hand, their own university studio teachers are a dominant model representing the leading edge of art practice through the few tenure track positions at Schools of Art within higher education at the university. These young professional artists simultaneously maintain their ongoing artwork and exhibitions while having a career as a university art instructor/professor and it is expected and indeed vital that they continue art production. The second model, and the most immediate career path for most graduates in Art Education is within the kindergarten to grade twelve (K-12) public and alternative teaching profession, where there are few, if any professional expectations, pressures (or support) for K-12 art teachers to maintain a professional art practice.