The Group of Seven

The Group of Seven emerges in the early 20th century as a collective of artists transforming the perception of Canadian landscapes through their paintings, later evolving into an iconic representation of Canadian art.

Early 20th-Century Group of Seven: Artists Capturing Canadian Landscapes Through Paintings

Group of Seven Formed In 1920, With Roots in the 1910s as Founding Members Explored Northern Ontario and Developed a Distinct Artistic Style

The Group of Seven, officially founded in 1920, initially rooted themselves in the 1910s, drawing inspiration from the Northern Ontario wilderness, particularly the woodlands north of the major cities. Most of the members were living in or around Toronto, Canada at this time. Key institutions that fostered their cohesion were The Grip, a design firm where many of them worked, and the Arts and Letters Club, a private social club for male artists. The hosts mention that the media initially referred to them as the Algonquin School due to their significant connection to Algonquin Provincial Park—a venue that wielded considerable influence on their artistic style.

Core Members of the Group of Seven Included J.E.H. Macdonald, Lawren Harris, Franklin Carmichael, Arthur Lismer, A.Y. Jackson, Frank Johnston, and Frederick Varley; Artists Like Tom Thompson and Emily Carr Associated

J.E.H. Macdonald, a central figure or nucleus of the Group, moved from the UK to Ontario as a teenager and started working at The Grip in 1895. Despite his frequent illnesses, Macdonald's transcendent artwork, such as "Mist Fantasy," made a significant impact. Other core members included Lawren Harris, the adventurous heir to a British fortune; Arthur Lismer and Frederick Varley, both of whom painted for Canadian war memorials; Franklin Carmichael, known for his decorative sensibility and use of colorful, softer colors; and Frank Johnston, recognized for his opaque watercolor techniques.

Tom Thompson, who passed away in 1917 and was influential to the Group, had introduced the members to the wilderness. Emily Carr, although not officially in the Group, was closely associated and featu ...

The Group of Seven, a collective of artists known for their unique depiction of Canada's landscapes, combined bold expressionism with influences from European and Scandinavian art to create a distinct Canadian art style.

Group of Seven Paintings Were Known For Bold, Expressive Color and Brushwork Departing From Traditional European Landscape Styles

The Group of Seven, including artists like Lawren Harris, delved into the rough, rugged wilds of Canada—a move considered radical since few artists ventured into such landscapes for their art. Inspired by the unbridled spirit and energy of Canada's northern landscapes, they sought to capture the wild's transformative essence through their unique artistic vision.

Inspired by the Wild, Artists Captured the Spirit and Energy of Canada's Northern Landscape

Tom Thomson, who introduced the members of what would become the Group of Seven to the wild northern landscapes of Canada, heavily influenced their artistic focus. They aimed to reinterpret these landscapes into a new modernist style to cement a distinctly Canadian nationalistic art movement. For instance, the painting "Wild River" by J.E.H. MacDonald stands as a testament to their bold style, emphasizing the robust and dynamic essence of the Canadian wilderness.

Influences on the Group of Seven Included Impressionism, Post-Impressionism, and Scandinavian Painters, Which Freed Them From Traditional Landscape Painting Constraints

A pivotal moment for the Group of Seven's artistic evolution was witnessing an exhibition of Scandinavian artists in Buffalo, New York, in 1912. This event expanded their creative horizons, allowing them to paint the emotional impact of nature rather than merely expressing nature itself. J.E.H. MacDonald noted the Scandinavian artists' profound i ...

Josh Clark and Chuck Bryant discuss how the Group of Seven has been foundational to Canada’s artistic identity, demonstrating the enduring influence and legacy of the group's work in Canadian culture.

Group of Seven's Innovative Landscape Painting Met Initial Criticism, Quickly Gained Support Through Eric Brown, Director of National Gallery of Canada

The Group of Seven faced initial criticism but also quickly gained notable support, particularly from influential figures such as Eric Brown, the director of the National Gallery of Canada. Brown purchased at least three of the group's works and was instrumental in promoting their art in exhibitions around the world during World War I and II. His recognition played a significant role in the elevation of the group's work. Despite facing rebuke, including critiques for prioritizing their work over that of women and Indigenous artists, the Group of Seven received backing that was crucial for their acceptance and future legacy.

Group of Seven Art Becomes Emblem of Canadian Cultural Identity, Synonymous With National Character

As Canada was looking to develop its national identity, the Group of Seven came together to paint the Canadian wilderness, intertwining their work with the national character of the country. The tragic death of Tom Thompson, often associated with the Group of Seven, occurred before the group officially formed and deeply affected the remaining members, possibly motivating them to continue their work as a tribute to their late colleague. Over time, their paintings became emblematic of Canada's cultural identity, a legacy that has persisted through the efforts of ...