Browsing at a local Barnes & Noble the other night I came across the Fall 2012 issue of Arabella , a Canadian arts quarterly. Standing out within the 400 or so glossy pages were the works of Philip Buytendorp, Steve Coffey and Jennifer Woodburn, three amazing landscape artists each painting in a decidedly impressionistic style that for me harkens back to the talented Group of Eight. Buytendorp’s canvases convey an aesthetic and color palette that is highly reminiscent of Tom Thomson’s vivid Canadian landscapes, while Woodburn’s style has a beautifully dreamy appeal and Coffey’s mannerism is soulful. Nice profile writing by Kylie Serebrin on two of these artists.
J.E.H. MacDonald, The Solemn Land
While reading a story in the latest volume of The Journey Prize Stories (more on that collection in a later post) I came across this passing reference to the Group of Seven: “Straight ahead a group of smallish islands. Like the Group of Seven but realer and more sad.” The narrator’s incidental reminder of this ground-breaking group of Canadian artists, who first rose to prominence in the 1920s (although several painted well after this period), prompted me to refresh my knowledge of an amazing band of painters who are not well-known to many people here in the U.S., but who collectively serve as a cultural touchstone for Canadians, as indicated by the above quote from the story I was reading.
Lawren Harris, Clouds, Lake Superior
The members of the group initially consisted of Franklin Carmichael, Lawren Harris, A.Y. Jackson, Frank Johnston, Arthur Lismer, J.E.H. MacDonald and Frederick Varley. Frank Johnston left the group in 1926 and A.J. Casson was invited to take his place. In addition, Tom Thomson and Emily Carr are also closely associated with the principal seven, and Thomson, in particular, was very influential even though his passing in 1917 preceded the group’s most prolific period. It’s fair to say that their collective focus on the Canadian landscape helped define in the popular imagination the majesty of Canada’s vast natural treasures.
Frederick Varley, Stormy Weather, Georgian Bay
Their work reminds me of the more loosely defined California School of American landscapists, whose many paintings of the American West during the first half of the Twentieth Century exhibit a subject matter and color palette remarkably similar to that of the Group of Seven. Both groups were obviously borrowing from and re-interpreting the approaches developed by the French Impressionists several decades earlier, and the Group of Seven evolved to adopt the vivid colors of Post-Impressionism and the simplified forms of abstraction of Art Nouveau. While other points of commonality can be found between the work of these artists and others here in the States (for instance, Lawren Harris’s spare abstracted landscapes bear a striking resemblance to some of Georgia O’Keeffe’s pieces), even if one does not recognize these connections there is much to appreciate in the Group’s representations of Canada’s diverse geography.
A.J. Casson, Rapids
As a whole the Group of Seven were prolific and their paintings and other works are held in many Canadian and other museums and collections. There are also several useful websites devoted to the Group with rich resources available for further exploration. Most notably, perhaps, is the site for Ontario’s McMichael Canadian Art Collection / Gallery (http://www.mcmichael.com/collection/seven/index.cfm), which houses one of the largest collections of the Group’s works. The CBC has a wonderful set of digital archives (http://archives.cbc.ca/arts_entertainment/visual_arts/topics/754/) featuring video and audio on various aspects of the work of the Group, including rare interviews and footage of some of the artists themselves.