Painting the Land: the Group of Seven D

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6.4.1 Painting the Land: The Group of Seven d The Group of Seven began as an informal group of Canadian artists in Ontario who met and worked together in the 1910s. In the beginning, the group included: Tom Thomson Franklin Carmichael A.Y. Jackson Frank Johnston Arthur Lismer J.E.H. Macdonald F.H. Varley What was unique about the Group of Seven? They all believed that, before a land could truly be a home for its people, it should have its own art. This art should be inspired by the land, and should express people’s experience of the land. All the Group of Seven painters used bold colours and forms to reflect Canada’s natural environment, its powerful weather, and the vastness of the North. Most of their paintings reflect Canada’s geography and express people’s emotional response to the land in which they live. The Group of Seven was recognized as being among the first non-Aboriginal artists to create and promote a distinctively Canadian style of art. They tried to capture the spirit of Canada in their paintings and, in this way, expressed a Canadian identity. The Group of Seven was really a movement to create a truly Canadian art, and it came to involve many more than seven artists. Over the years, a number of other artists joined the group or shared ideas with these painters, such as: A. J. Casson Edwin Holgate L. LeMoyne Fitzgerald (from Winnipeg) Emily Carr Bertram Brooker David Milne Prudence Heward Yvonne McCague Housser Keep these ideas in mind as you view works of art by the Group of Seven. Select three or four paintings you feel best represent the land. Using the questions on the next page, write a short response to each image you select. (page 1 of 2) 6.4.1 Painting the Land: The Group of Seven d Title of the painting: Artist’s name and date it was painted: Describe what you see (e.g., colour, form, line, size). Does this painting remind you of a place you have seen in Canada? Where? What does this painting tell you about the natural environment? List some adjectives to describe the feelings this painting expresses. Explain why you selected this painting. Give this painting a title that says something about how the land affects life in Canada. (page 2 of 2) .

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Finding Artwork
Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada.
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Franklin Carmichael's Representation of The
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[Carr – Bibliography]
Bibliography Steven C. McNeil, with contributions by Lynn Brockington Abell, Walter, “Some Canadian Moderns,” Magazine of Art 30, no. 7 (July 1937): 422–27. Abell, Walter, “New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr,” Maritime Art 2, no. 4 (Apr.–May 1942): 137. Abell, Walter, “Canadian Aspirations in Painting,” Culture 33, no. 2 (June 1942): 172–82. Abell, Walter, “East Is West – Thoughts on the Unity and Meaning of Contemporary Art,” Canadian Art 11, no. 2 (Winter 1954): 44–51, 73. Ackerman, Marianne, “Unexpurgated Emily,” Globe and Mail (Toronto), 16 Aug. 2003. Adams, James, “Emily Carr Painting Is Sold for $240,000,” Globe and Mail (Toronto), 28 Nov. 2003. Adams, John, “…but Near Carr’s House Is Easy Street,” Islander, supplement to the Times- Colonist (Victoria), 7 June 1992. Adams, John, “Emily Walked Familiar Routes,” Islander, supplement to the Times-Colonist (Victoria), 26 Oct. 1993. Adams, John, “Visions of Sugar Plums,” Times-Colonist (Victoria), 10 Dec. 1995. Adams, Sharon, “Memories of Emily, an Embittered Artist,” Edmonton Journal, 27 July 1973. Adams, Timothy Dow, “‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits,” Journal of Canadian Studies 27, no. 2 (Summer 1992): 37–48. Adeney, Jeanne, “The Galleries in January,” Canadian Bookman 10, no. 1 (Jan. 1928): 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection (ex. cat.). Victoria: Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery (ex. cat.). Toronto: Art Gallery of Ontario, 1974.
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