Rosaire

In 1937, Prudence Heward was among the eleven painters artist John Lyman brought together for an exhibition at the Montreal Arts Club. At the time, the critic Robert Ayre considered that presentation of varied works by both well-known artists and new faces as “a revelation.” Heward, like the young Jori Smith, exhibited distinctly expressive depictions of the human figure there. As future members of Montreal’s Contemporary Arts Society, the two would show their works at practically all of its exhibitions, featuring the presence of two generations of figurative artists during the period before the rise of abstraction.