Toronto Estate Art Appraisal Group of Seven
- elliotmelamed
- 15 minutes ago
- 5 min read
We recently completed a Toronto Estate Art Appraisal of Group of Seven originals, by several members of Canada's historic and iconic Group of Seven.
“Near Gros Roche”, Pencil drawing, Signed lower centre, Titled lower right.
With overall inscriptions of colour and detail notes, 5” x 9½”
Toronto Estate Art Appraisal Group of Seven
The Group of Seven holds an iconic place in the annals of Canadian cultural history. Formed in the early 20th century, this collective of landscape painters revolutionized Canadian art by focusing on the rugged, untouched natural landscapes of the country. They sought not only to develop a distinctive Canadian style of painting but also to foster a national identity rooted in the land itself. Through bold colors, expressive brushwork, and a spiritual connection to the wilderness, the Group of Seven changed the way Canadians saw their own country and laid the foundation for modern Canadian art.
“Gaspé, Quebec”, Pencil drawing, Signed lower left, Prov. Manuge Galleries Limited, Halifax, 7½” x 10½”
Origins and Formation
The Group of Seven officially formed in 1920 in Toronto, Ontario. Its founding members were Lawren Harris, J.E.H. MacDonald, A.Y. Jackson, Arthur Lismer, Franklin Carmichael, Frank Johnston, and Frederick Varley. Although Tom Thomson, a close associate and major influence, died in 1917 before the group’s formal creation, his work is often considered foundational to their ethos and artistic philosophy.
The members came together through shared employment at the Grip Limited design firm, where several of them worked as commercial artists. There, they began to exchange ideas about painting, nature, and national identity. They were inspired by European post-impressionists but wanted to adapt modern art to uniquely Canadian themes. The First World War also played a significant role in shaping their vision, fostering a desire to capture the enduring, spiritual essence of the Canadian landscape in contrast to the destruction seen overseas.
Mountains Study, Pencil drawing, Prov. Roberts Gallery, Toronto, stock #689A
Possibly a preliminary study for the canvas ‘Maligne Lake, Jasper Park, 1924’
(part of the National Gallery of Canada collection), 6 1/8” x 8¾”
Artistic Philosophy
The Group of Seven rejected the traditional European landscapes that had previously dominated Canadian art. Instead, they sought to depict the wilderness in a way that reflected Canada’s vast, untamed geography. Their work emphasized emotion over realism, and they believed the landscape could be a medium for spiritual expression.
The artists often ventured deep into the Canadian backcountry—particularly Northern Ontario, Algonquin Park, Georgian Bay, and the shores of Lake Superior—hauling canvases, paints, and supplies by canoe or train. This process of immersing themselves in the natural environment allowed them to develop an intuitive and immediate style, capturing the rhythm and mood of the wilderness rather than precise details.
Their paintings featured bold colors, thick brushstrokes, and abstracted forms, revealing the influence of Impressionism, Art Nouveau, and Scandinavian landscape painting. Lawren Harris, in particular, moved toward abstraction and mysticism, focusing on the stark beauty of the Arctic and the Rocky Mountains in later years.
Rocky Shoreline, Ink and wash drawing, Signed lower left, 11½” x 15¼”
Key Members and Their Contributions
Each member of the Group brought a unique perspective and style:
Lawren Harris was the philosophical leader, deeply interested in spirituality and theosophy. His stark, luminous depictions of the North helped elevate Canadian landscape painting to a symbolic level.
A.Y. Jackson brought a sense of social engagement and patriotism, often painting rural Quebec and the Maritimes with expressive color and movement.
Arthur Lismer focused on the dynamic, often chaotic interplay of nature, particularly coastal scenes and forests.
J.E.H. MacDonald created lush, decorative compositions filled with energy and vibrancy.
Frederick Varley was the group's portraitist and a more emotional painter, using color and light to evoke deep feeling.
Franklin Carmichael often painted Ontario’s La Cloche Mountains in watercolor, with an emphasis on subtle tones and rhythms.
Frank Johnston, though a founding member, was more conservative in style and left the group in 1921.
Over time, the group expanded to include A.J. Casson, L.L. FitzGerald, and Edwin Holgate, though technically the Group of Seven disbanded in 1933 and reformed as the Canadian Group of Painters. Their influence, however, persisted well beyond that point.
Hilly rural landscape, Pencil drawing, Signed lower right, Circa 1940
Prov. Roberts Gallery, Toronto, 8” x 10½”
Public Reception and Legacy
Initially, the Group of Seven faced criticism from the Canadian art establishment. Their work was seen as too radical, modernist, or even crude by critics accustomed to more genteel European traditions. However, by the late 1920s and 1930s, public opinion began to shift. The raw, honest depictions of the Canadian wilderness resonated with a growing national consciousness.
The Group’s promotion of Canadian landscapes aligned with the political and cultural currents of the time, which sought to define Canada’s identity independently of Britain or the United States. Their work came to be seen as a visual declaration of Canadian sovereignty and spirit.
Today, the Group of Seven is celebrated as the foundation of modern Canadian art. Their paintings are housed in major galleries across the country, especially the Art Gallery of Ontario (AGO) and the McMichael Canadian Art Collection in Kleinburg, Ontario, which is dedicated to their work.
“Fox River”, Pencil drawing, Signed and titled lower right, Prov. Walter Klinkhoff Gallery, Montreal,
Yaneff International Gallery, Toronto, 9” x 11”
Influence on Canadian Culture
The impact of the Group of Seven goes beyond the art world. They helped forge a Canadian identity rooted in its landscape—its forests, lakes, and mountains. This vision of the wilderness became a central theme in Canadian literature, music, and environmental movements.
Many contemporary Canadian artists acknowledge the Group's influence, whether by building upon their aesthetic or challenging their interpretation of the land. Some Indigenous artists, for example, have critiqued the Group’s work for omitting Indigenous presence and perspectives in the landscapes they painted, raising important discussions about land, ownership, and representation.
Nonetheless, the Group's belief in a distinct Canadian vision remains influential. Their legacy lives on in education, media, and tourism, with trails, parks, and exhibits dedicated to retracing their journeys and celebrating their contributions.
McMichael Conservatory, Kleinburg, Pencil drawing
Ink, signed lower right, 8” x 9¾”
Conclusion
The Group of Seven represents a pivotal moment in Canada’s cultural evolution. Through their art, they captured not only the beauty of the Canadian wilderness but also the spirit of a young nation searching for its identity. Their legacy continues to shape how Canadians see their land and themselves—bold, vast, diverse, and full of potential.
Though they painted nearly a century ago, their images still evoke a deep connection to the natural world and inspire new generations of artists and viewers to explore the emotional and spiritual power of landscape. In doing so, the Group of Seven remains a defining force in the visual and cultural fabric of Canada.
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