Essay on Emily Carr and the
Group of Seven
For many centuries, Canada
would be the last country that would cross the mind if the topic of art was
mentioned. European artists particularly dominated the art world and were
regarded as to create the best and most stunning master pieces. Canada on the
other hand, sold only about two percent of their art all over the world. One of
the reasons behind this was that many people deemed that this country lack both
the setting as well as the talent that would stir the international art scene.
By the 1920s however, a
group of seven Canadian artists joined together with a common objective of
putting their nation in the limelight of the art world. The members include
A.Y. Jackson, Fred Varley, Arthur Lismer, Lawren Harris, Barker Fairley, Franz
Johnston, and J.E.H Macdonald. Collectively, these artists were referred to as
the Group of Seven. What was most interesting about these painters was their
deviation from the typical and popular European art portrait painting. Instead,
the group travelled all throughout Canada in search for an inspiration. The
artists ultimately drew their inspiration by drawing their mother land’s unique
landscape. Most of their paintings and sketches include a wide range of Canada
setting such as wilderness, mill houses, rivers, and falls among many others.
Some of their most popular creations include Johnston’s Serenity, Lake of
the Woods, Varley’s Open Window, Harris’ Toronto Street, Winter
Morning, MacDonald’s Sumacs, and Jackson’s Evening, Les
Eboulements to name a few. The group received praises from all over the
world for their unique art pieces as well as for their soulful subjects. More
than this, the group showed the world Canada’s uniqueness and distinct
surroundings. Apart from the positive reviews received by the seven artists,
they were recognized as the pioneers for Canada’s school of art (Grainger 45).
Much like the Group of
Seven, Emily Carr also showed the international art world her country’s lush
surroundings through her paintings. Adopting a post-impressionist and modernist
technique, Carr made various sketches and paintings Vancouver’s indigenous
villages. She utilized vibrant colors and bold strokes to capture not only the
aboriginal villages but also other Canadian settings such as the wilderness,
forest scenes and other landscapes. Her talent was eventually recognized by the
Group of Seven as she gained their support. Consequently, the group influenced
Carr to create paintings of her personal conception of God. Hence, she created
art works that depict spirituality rather than institutional religion. Today,
Carr, along with the Group of Seven, is recognized as Canada’s best modern
artists. Some of her most well-known works include Kitwancool, Breton
Church, and Blunden Harbour (Grainger 45).
The works and efforts of
Emily Carr and the Group of Seven is a direct reflection of Canada’s search for
identity. What is most appealing about their situation was the fact that Canada
was virtually unheard of in the world of art. In addition to this, many
believed that the country’s landscape and environment is not “art or
painting-worthy”. These painters however, proved the world wrong as they have
successfully captured not just the landscape of the country but its essence as
well. This has allowed Canada as well as its people to be proud of their
motherland’s breath taking sceneries and astounding talents.
Although these eight artists
have undoubtedly secured Canada a position in the art world, the search for
Canada’s identity continues. It is important to note that in order for a
country to be great, one must not simply find an identity but it must also
evolve. It is only then that Canada along with its people, will find a sense of
self that does not need the validation of other countries or other people.
References
Grainger, Brett. “The Secret”. (Dec 2010) The Walrus.
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