Canadian
School of Painting
The greatest influence on Canadian painting in
the 1920s and 1930s was exerted by the Group of Seven, an
association of artists in Toronto who strove to produce a style they
felt appropriate to Canada. They were the first to proclaim a
national school of painting and challenge other established artists.
Alexander Young Jackson (1882-1974) was one of the Group’s leading
members.
In 1913 after Lawren Harris (1885-1970) bought
his painting Edge of the Maple Wood, Jackson moved to Toronto from
Montreal and shared a studio with the very gifted Tom Thomson
(1877-1917). Thomson centered the group’s interest on Algonquin Park
and Georgian Bay. His unexplained drowning in 1917 two years before
the group was officially launched prevented him from being one of
the original seven. Jackson soon began to paint with Arthur Lismer
(1885-1969), who had come to Canada in 1911 after studying at
Sheffield and Antwerp and whose life was to be devoted to teaching
art. He also painted with Frederick Varley (1881-1969), the most
peripheral of the group, an artist who preferred people to scenery
as subjects.
Franklin Carmichael (1890-1945), Orillia-born
and educated at Antwerp, was the group’s water-colorist. Franz
Johnston (1888-1949) was primarily a landscapist. He made sketching
trips to the West and the Far North. Senior member of the Group of
Seven was a designer named J.E.H. MacDonald (1873-1932) who had a
rich command of color and was the mentor of his fellow painters,
inculcating in them the national feeling that gave the group its
purpose.
Other artists were adopted or influenced by the
group which remade the visual image of Canada. The group had its
first exhibition in Toronto in 1920 and its works were included in
the Wembley Exhibition of 1924. Jackson was the member who remained
most faithful to the group’s original aims and was one of its most
powerful advocates.
Group of Seven paintings are among the
country’s greatest treasures.
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