by Ross King
9. Montreal Gazette, 28 May 1925 (reporting on responses in the French-language newspaper Le Canada); Montreal Herald, 15 July 1925.
10. See Clendinning, “Exhibiting a Nation,” pp. 92–93, 105.
11. Quoted in Tom August, “Art and Empire—Wembley, 1924,” History Today 43 (October 1993), p. 44.
12. Press Comments on the Canadian Section of Fine Arts, British Empire Exhibition
(London, 1924–25), unpaginated.
13. A Portfolio of Pictures from the Canadian Section of Fine Arts, British Empire Exhibition (Toronto: Rous and Mann, 1924), unpaginated.
14. Quoted in Christine Boyanoski, “Selective Memory: The British Empire Exhibition and National Histories of Art,” in Annie E. Coombes, ed., Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa New Zealand and South Africa (Manchester: Manchester University Press, 2006), p. 167. The Saturday Night article is
from 1933.
15. Morning Post, 28 May 1924.
16. Quoted in Ruth A. Drayer, Nicholas and Helena Roerich: The Spiritual Journey of Two Great Artists and Peacemakers (Wheaton, IL: Quest Books, 2005), p. 49.
17. The Times, 6 May 1924.
18. C. Lewis Hind, The Post-Impressionists (London: Methuen, 1911), pp. 2, 18.
His remarks about his unique tolerance of Matisse are found on p. 12.
19. Daily Chronicle, 30 April 1924.
20. Saturday Night, 17 May and 13 December 1924.
21. The Times, 28 May 1924.
22. Saturday Night, 13 December 1924.
23. This point is made in Hill, The Group of Seven, p. 145. For information on the purchase price I am grateful to Lisa Cole, Assistant Curator, Gallery Records,
at the Tate.
24. Canadian Bookman, November 1924.
25. Edgar Z. Friedenberg, “Culture in Canadian Context,” in Michael Rosenberg,
William B. Shaffir, Allan Turowetz, and Morton Weinfeld, eds., Introduction to Sociology (Agincourt, ON: Methuen, 1983), p. 123.
26. The Lamps, December 1911.
27. Glasgow Herald, 26 December 1924.
EPILOGUE: THE END OF THE TRAIL
1. Quoted in Tippett, Stormy Weather, p. 150.
2. Jackson, A Painter’s Country, p. 135.
3. Blodwen Davies in American Magazine of Art (July 1932).
4. Hundreds and Thousands: The Journals of Emily Carr, introduction by Gerta Moray (Vancouver: Douglas & McIntyre, 2006), pp. 25–26.
5. Jackson, A Painter’s Country, pp. 139–40. For an account of the International Exhibition of Modern Art, see Roald Nasgaard, Abstract Painting in Canada (Vancouver:
Douglas & McIntyre, 2007), p. 27.
6. Cole and Tippett, Phillips in Print, p. 86.
7. Varley, quoted in Tippett, Stormy Weather, p. 150; and Jock Macdonald, quoted in
Nasgaard, Abstract Painting in Canada, p. 38.
8. Toronto Telegram, 18 February 1928.
9. Vancouver Sun, 20 December 1932.
10. Quoted in Hill, The Group of Seven, p. 264.
11. Quoted in David P. Silcox, “Tom Thomson’s Art,” in Town and Silcox, Tom Thomson,
p. 102.
12. Reid, A Concise History of Canadian Painting, pp. 211–12.
13. Frye, The Bush Garden, p. 220.
14. Quoted in Peter Larisey, Light for a Cold Land: Lawren Harris’s Work and Life
(Toronto: Dundurn Press, 1993), p. 50.
15. artscanada, August 1970; Jackson, “Introduction,” A Painter’s Country, unpaginated.
16. “Introduction,” The Group of Seven (Ottawa: National Gallery of Canada, 1970), p. 10.
17. The New Outlook, 27 August 1930. The writer was Blodwen Davies.
18. New Liberty, November 1949. MacLennan’s other choices were Joseph Howe, Mackenzie King, Donald McKay, Sir William Osler, Sir Wilfrid Laurier and Sir Frederick Banting.
19. Quoted in Stephen Azzi, Walter Gordon and the Rise of Canadian Nationalism
(Montreal and Kingston: McGill-Queen’s University Press, 1999), p. 188.
20. For a summary of this argument, see A.D. Smith, Chosen Peoples, pp. 1–2. Smith argues, to the contrary, that it is equally possible that nations, “far from ceasing to possess meaning and relevance in a global epoch, take on new meanings and a different, but equally powerful, relevance” (ibid., p. 2).
21. Brian S. Osborne, “From Native Pines to Diasporic Geese: Placing Culture, Setting Our Sites, Locating Identity in a Transnational Canada,” Canadian Journal of Communication 31 (2006), pp. 147–75.
22. Erin Manning, Ephemeral Territories: Representing Nation, Home, and Identity in Canada (Minneapolis: University of Minnesota Press, 2003), pp. xx–xxi.
23. Quoted in Fetherling, Documents in Canadian Art, p. 109.
24. Jackson, A Painter’s Country, p. 128.
25. Peter Haggett, ed. Encyclopedia of World Geography: Canada, the Arctic
(Abindon, Oxon: Andromeda, 2002), p. 392. For urban vs. rural statistics in 1901 and 2001, see http://atlas.nrcan.gc.ca/site/english/aboutus/100anniversary/carto_exhibit/pop_1901_1911.html.
26. R. Cook, Watching Quebec, pp. 98–99.
27. Harold Troper, quoted in Magocsi, Encyclopedia of Canada’s Peoples, p. vii.
28. Mastin, The Group of Seven in Western Canada, p. 28.
29. The first and most emphatic of these condemnations is found in Bordo, “Jack Pine,”
pp. 98–128.
30. For a discussion of Morris’s career as a portraitist among the Aboriginal people,
see Daniel Francis, The Imaginary Indian: The Image of the Indian in Canadian Culture (Vancouver: Arsenal Pulp Press, 1992), pp. 26–30.
31. The Times, 27 September 2008; The Daily Telegraph, 6 July 2008.
32. Quoted in Hill, The Group of Seven, p. 215.
33. “Society and Art,” in Art (New York: Capricorn Books, 1958), p. 172.
34. Sandra Djwa, “‘Who Is This Man Smith?’: Second and Third Thoughts on Canadian Modernism,” in W.H. New, ed., Inside the Poem: Essays and Poems in Honour of Donald Stephens (Toronto: Oxford University Press, 1992), p. 208. Smith’s poem, first published in The McGill Fortnightly Review on 9 January 1926, was originally subtitled “The Group of Seven.” It was published in a revised form in Canadian Forum in July 1927.
35. Canadian Forum, December 1928.
36. Larisey, Light for a Cold Land, p. 151.
37. Kevin Bazzana, Wondrous Strange: The Life and Art of Glenn Gould (Oxford:
Oxford University Press, 2004), p. 327.
SELECTED BIBLIOGRAPHY
Adamson, Jeremy. Lawren S. Harris: Urban Scenes and Wilderness Landscapes,
1906–1930. Toronto: Art Gallery of Ontario, 1978.
Atanassova, Katerina. F.H. Varley: Portraits into the Light. Toronto:
Dundurn, 2007.
Bordo, Jonathan. “Jack Pine—Wilderness Sublime, or the Erasure of the Aboriginal Presence from the Landscape.” Journal of Canadian Studies 27 (Winter 1992–93): pp. 98–128.
Bridges, Marjorie Lismer. A Border of Beauty: Arthur Lismer’s Pen and Pencil. Toronto: Red Rock, 1977.
Brown, Robert Craig, and Ramsay Cook. Canada, 1896–1921: A Nation Transformed. Toronto: McClelland & Stewart, 1976.
Cameron, Ross D. “Tom Thomson, Antimodernism and the Ideal of Manhood.” Journal of the Canadian Historical Association 10 (1999): pp. 185–208.
Campbell, Claire. “‘Our Dear North Country’: Regional Identity and National Meaning in Ontario’s Georgian Bay.” Journal of Canadian Studies
(Winter 2003): pp. 68–91.
Clark, Kenneth. Landscape into Art. London: John Murray, 1976.
Cole, Douglas. “Artists, Patrons and Public: An Inquiry into the Success of the Group of Sev
en.” Revue d’études canadiennes / Journal of Canadian Studies 13 (1978):
pp. 69–78.
Cook, Ramsay. The Regenerators: Social Criticism in Late Victorian English Canada. Toronto: University of Toronto Press, 1985.
———. “Spiritualism, Science of the Earthly Paradise.” Canadian Historical Review 65 (March 1984): pp. 4–27.
Davis, Ann. The Logic of Ecstasy: Canadian Mystical Painting, 1920–1940. Toronto: University of Toronto Press, 1992.
———. “A Study in Modernism: The Group of Seven as an Unexpectedly Typical Case.” Journal of Canadian Studies 33 (Spring 1998): pp. 108–20.
———. “The Wembley Controversy in Canadian Art.” Canadian Historical Review
54 (March 1973): pp. 48–74.
Duval, Paul. The Tangled Garden. Toronto: Cerebrus / Prentice-Hall, 1978.
Fetherling, Douglas. Documents in Canadian Art. Peterborough, ON:
Broadview Press, 1987.
Fry, Roger. Vision and Design. Edited by J.B. Bullen. Oxford: Oxford University Press, 1981.
Grace, Sherrill E. Canada and the Idea of North. Montreal and Kingston:
McGill-Queen’s University Press, 2001.
———. Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies and Reproductions. Montreal and Kingston: McGill-Queen’s University Press, 2004.
Grigor, Angela Nairne. Arthur Lismer, Visionary Art Educator. Montreal and Kingston: McGill-Queen’s University Press, 2002.
Harper, J. Russell. Painting in Canada: A History, 2nd ed. Toronto: University of Toronto Press, 1977.
Hill, Charles C. The Group of Seven: Art for a Nation. Ottawa: National Gallery of Canada, 1995.
———. “The National Gallery: A National Art, Critical Judgment and the State.”
In Tooby, The True North, pp. 64–83.
———. “Tom Thomson, Painter.” In Reid, Tom Thomson, pp. 111–43.
Housser, F.B. A Canadian Art Movement: The Story of the Group of Seven.
Toronto: Macmillan, 1926.
Hubbard, Robert H. The Development of Canadian Art. Ottawa: National Gallery
of Canada, 1963.
Hunter, Andrew. “Mapping Tom.” In Reid, Tom Thomson, pp. 19–45.
Jackson, A.Y. A Painter’s Country: The Autobiography of A.Y. Jackson. Toronto:
Clarke Irwin, 1958.
Jasen, Patricia. Wild Things: Nature, Culture, and Tourism in Ontario, 1790–1914. Toronto: University of Toronto Press, 1995.
Jessup, Lynda. “Bushwhackers in the Gallery: Antimodernism and the Group of Seven.” In Antimodernism and Artistic Experience: Policing the Boundaries of Modernity, edited by Lynda Jessup, pp. 130–52. Toronto: University of Toronto Press, 2001.
———. “The Group of Seven and the Tourist Landscape in Western Canada.”
Journal of Canadian Studies 37 (Spring 2002): pp. 144–77.
Kaufmann, Eric. “‘Naturalizing the Nation’: The Rise of Naturalistic Nationalism in the United States and Canada.” Comparative Studies in Society and History 40 (October 1998): pp. 666–95.
Kelly, Gemey. J.E.H. MacDonald, Lewis Smith, Edith Smith: Nova Scotia. Halifax: Dalhousie Art Gallery, 1990.
Lacombe, Michele. “Songs of the Open Road: Bon Echo, Urban Utopians, and the
Cult of Nature.” Journal of Canadian Studies 33 (Summer 1998): pp. 152–67.
Lamb, Robert J. The Canadian Art Club, 1907–1915. Edmonton: Edmonton Art Gallery, 1988.
Landry, Pierre B. The MacCallum-Jackman Cottage Mural Paintings. Ottawa: National Gallery of Canada, 1990.
Larisey, Peter Daniel. “The Landscape Painting of Lawren Stewart Harris.”
PhD diss., Columbia University, 1982.
———. “Nationalist Aspects of Lawren S. Harris’s Aesthetics.” National Gallery of Art Bulletin 23 (1974): pp. 3–9, 31.
Linsley, Robert. “Landscapes in Motion: Lawren Harris, Emily Carr
and the Heterogeneous Modern Nation.” Oxford Art Journal 19 (1996):
pp. 80–95.
Littlefield, Angie. The Thomsons of Durham: Tom Thomson’s Family Heritage.
Ajax, ON: Durham West Arts Centre, 2005.
———. “Two of the Talented Thomsons”: George Thomson O.S.A., 1868–1965,
Margaret Thomson, 1884–1979. Toronto: John A. Libby Fine Art, 2006.
Lord, Barry. A History of Painting in Canada: Toward a People’s Art. Toronto:
N.C. Press, 1974.
Lowrey, Carol, ed. Visions of Light and Air: Canadian Impressionism, 1885–1920.
New York: Americas Society Art Gallery, 1995.
Mason, Roger Burford. A Grand Eye for Glory: A Life of Franz Johnston. Toronto: Dundurn Press, 1998.
Mastin, Catharine M., ed. The Group of Seven in Western Canada. Toronto:
Key Porter Books, 2002.
McLeish, J.A.B. September Gale: A Life of Arthur Lismer, 2nd ed. Toronto:
J.M. Dent & Sons, 1973.
Mellen, Peter. The Group of Seven. Toronto: McClelland & Stewart, 1970.
Morrin, Peter, Judith Zilczer, and William C. Agee. The Advent of Modernism:
Post-Impressionism and North American Art, 1900–1918. Atlanta: High
Museum of Art, 1986.
Murray, Joan. The Birth of the Modern: Post-Impressionism in Canadian Art,
c. 1900–1920. Oshawa: Robert McLaughlin Gallery, 2002.
———. Canadian Art in the Twentieth Century. Toronto: Dundurn Press, 1999.
———. Lawren Harris: An Introduction to His Life and Art. Toronto: Firefly Books, 2003.
———. Tom Thomson: Design for a Canadian Hero. Toronto: Dundurn Press, 1998.
Nasgaard, Roald. The Mystic North: Symbolist Landscape Painting in Northern Europe and North America, 1890–1940. Toronto: Art Gallery of Ontario / University of Toronto Press, 1984.
O’Brian, John, and Peter White. Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art. Montreal and Kingston: McGill-Queen’s University Press, 2007.
Ord, Douglas. The National Gallery of Canada: Ideas, Art, Architecture. Montreal
and Kingston: McGill-Queen’s University Press, 2003.
Pantazzi, Sybille. “Foreign Art at the Canadian National Exhibition, 1905–1938.” National Gallery of Art Bulletin 22 (1973): pp. 21–41, 43.
Reid, Dennis. A Concise History of Canadian Painting, 2nd ed. Oxford: Oxford University Press, 1988.
———. The Group of Seven. Ottawa: National Gallery of Canada, 1970.
———. “Photographs by Tom Thomson.” National Gallery of Canada Bulletin 16 (1970): pp. 2–16.
———, ed. Tom Thomson. Toronto and Ottawa: Art Gallery of Ontario and National Gallery of Canada, 2002.
———. “Tom Thomson and the Arts and Crafts Movement in Toronto.” In Reid,
Tom Thomson, pp. 65–83.
Roza, Alexandra. “Towards a Modern Canadian Art, 1910–1936: The Group of Seven, A.J.M. Smith and F.R. Scott.” Master’s thesis, McGill University, 1997.
Saunders, Audrey. Algonquin Story. Toronto: Department of Lands and Forests, 1963.
Schapiro, Meyer. Modern Art: 19th and 20th Centuries. New York: George Braziller, 1982.
Silcox, David P. The Group of Seven and Tom Thomson. Toronto: Firefly Books, 2003.
———. Tom Thomson: An Introduction to His Life and Art. Toronto: Firefly Books, 2002.
Stacey, Robert. “A Contact in Context: The Influence of Scandinavian Landscape Painting on Canadian Artists Before and After 1913.” Northward Journal 18/19 (1980): pp. 36–55.
———.“Harmonizing ‘Means and Purpose’: The Influence of Ruskin, Morris, and Crane on J.E.H. MacDonald.” In Scarlet Hunters: Pre-Raphaelitism in Canada, edited by David Latham, pp. 93–128. Toronto: Archives of Canadian Art and Des
ign, 1998.
———. “The Myth—and Truth—of the True North.” In Tooby, The True North,
pp. 36–63.
———. “Tom Thomson as Applied Artist.” In Reid, Tom Thomson, pp. 47–63.
Stacey, Robert, and Hunter Bishop. J.E.H. MacDonald, Designer: An Anthology of Graphic Design, Illustration and Lettering. Ottawa: Carleton University Press, 1996.
Staines, David. “Introduction,” The Canadian Imagination: Dimensions of a
Literary Culture. Edited by David Staines. Cambridge, MA: Harvard University Press, 1977.
Sullivan, Rosemary. “The Dark Pines of the Mind: The Symbol of the Forest in Canadian Literature.” Études canadiennes / Canadian Studies 23 (1987):
pp. 173–82.
Tippett, Maria. Art at the Service of War: Canada, Art and the Great War. Toronto: University of Toronto Press, 1984.
———. Stormy Weather: F.H. Varley, A Biography. Toronto: McClelland & Stewart, 1998.
Tooby, Michael. Our Home and Native Land: Sheffield’s Canadian Artists. Sheffield: Mappin Art Gallery, 1991.
———, ed. The True North: Canadian Landscape Painting, 1896–1939. London: Lund Humphries, 1991.
Tovell, Rosemarie L. “A.Y. Jackson in France, Belgium and Holland: A 1909 Sketchbook.” National Gallery of Art Annual Bulletin / Bulletin annuel 2
(1978–79): pp. 31–51.
Town, Harold, and David P. Silcox. Tom Thomson: The Silence and the Storm.
Toronto: McClelland & Stewart, 1977.
Vipond, Mary. “The Nationalist Network: English Canada’s Intellectuals and Artists in the 1920s.” Canadian Review of Studies in Nationalism 7 (1980): pp. 32–52.
Wadland, John. “Tom Thomson’s Places.” In Reid, Tom Thomson, pp. 85–109.
Walton, Paul H. “The Group of Seven and Northern Development.” RACAR 17 (1990): pp. 171–79.
Whiteman, Bruce. J.E.H. MacDonald. Kingston, ON: Quarry Press, 1995.
Wilson, Barbara M., ed. Ontario and the First World War, 1914–1918: A Collection of Documents. Toronto: Champlain Society, 1977.
“
“
INDEX
Page numbers refer to pages in the print edition of this book. Notes are indicated by “n” following the page number. To provide chronology for the extensive biographical information on the major artists, their main entries are divided into time periods. Subheadings within these entries are alphabetical.
