The Group of Seven: Shaping Canada’s Artistic Identity
Members of the Group of Seven at the Arts & Letters Club in Toronto, clockwise from the left: A.Y. Jackson, Fred Varley, Lawren Harris, Barker Fairley, Franz Johnston, Arthur Lismer and J.E.H. Macdonald. Image ca. 1920, F 1066, Archives of Ontario, I0010313 photograph by Arthur Goss
Few movements in Canadian art history have left as profound a mark as the Group of Seven. Formed in Toronto in 1920, this collective of painters set out to create a new visual language—one rooted not in European traditions, but in the raw, untamed landscapes of Canada. In doing so, they didn’t just change painting; they reshaped how Canadians saw themselves and their country.
A New Vision for Canada
At the start of the 20th century, Canadian art was still heavily influenced by European academic styles. The Group of Seven broke away, embracing bold colour, expressive brushwork, and direct engagement with the wilderness. Their canvases captured the vast forests, lakes, and northern landscapes with energy and emotion, transforming the wilderness into a national symbol of pride and identity.
Though their work was initially met with controversy, it quickly became celebrated as distinctly Canadian. By the 1930s, their legacy was secure: they had founded not only a new school of painting but also a cultural narrative that elevated nature as central to Canadian life.
Contributions of Each Member
Each artist brought a unique vision to the Group, shaping its diversity and richness.
Franklin Carmichael (1890 - 1945)
A master of watercolour, Carmichael infused Ontario’s hills and rural settings with lyrical beauty. His gentle, rolling landscapes inspired future generations of watercolourists and printmakers.
Leaf Pattern, 1922
Lawren Harris (1885 - 1970)
Often seen as the group’s leader, Harris sought spiritual transcendence in nature. His luminous depictions of the Rockies and Lake Superior defined the “mythic North” and inspired later Canadian abstraction.
Mountain Forms, 1926
A. Y. Jackson (1882 - 1974)
A tireless traveler, Jackson painted scenes across Quebec, Ontario, and the Arctic, connecting regional visions into a national tapestry. He was also a champion of young artists and regional art communities.
Laurentian Hills, 1932
Frank (Franz) Johnston (1888 - 1949)
Known for decorative snow scenes and luminous light effects, Johnston’s prolific career and popular appeal made him one of the most commercially successful members. He left the Group early to pursue his independent vision.
The Snowy Road, circa 1935
Arthur Lismer (1885 - 1969)
Blending bold design with childlike creativity, Lismer brought expressive rhythm to landscapes of Georgian Bay and the Atlantic coast. As an art educator and muralist, his influence reached well beyond painting.
McGregor Bay Island, 1925
J. E. H. MacDonald (1873 - 1932)
A poetic colourist and one of the Group’s central theorists, MacDonald’s northern landscapes brimmed with drama and energy. He also mentored younger artists and helped articulate the Group’s philosophy.
Lake O’Hara and Cathedral Mountain, Rockies, 1928
Frederick Varley
Distinguished for his portraits as well as landscapes, Varley brought psychological depth to the Canadian wilderness, using rich colour to explore the emotional resonance of nature.
Sun and Wind, Georgian Bay, 1915
Later Members
As the Group evolved, new artists extended its reach:
A. J. Casson (joined 1926)
Brought precision and fresh perspective with his watercolours of Ontario villages and woodlands.
Anglican Church at Magnetawan, 1933
Edwin Holgate (joined 1930)
Introduced figure painting and woodcuts, bridging Montreal’s art scene with the Group’s landscape focus.
Winter - Quebec Village, 1924
L. L. FitzGerald (joined 1932)
Added a Prairie voice, capturing Manitoba’s vast, geometric landscapes.
Dead Trees, 1930
Associates and Influences
Tom Thomson
Though he died before the Group’s official formation, his rugged vision of the North profoundly influenced them.
The Jake Pine, 1916-17
Emily Carr
On the West Coast, Carr shared their spirit and was often associated with their movement, though she was not a formal member.
Big Raven, 1931
Why the Group Still Matters
The Group of Seven’s impact cannot be overstated. They created the first internationally recognized school of Canadian art, gave form to a new national identity, and elevated the wilderness as an enduring symbol of Canadian creativity.
Today, their works hang in the country’s most important museums and remain highly valued on the market. For collectors, owning a work tied to this movement means holding a piece of the story that shaped Canadian culture itself.
Collecting the Group of Seven
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Collecting the Group of Seven 〰️
For collectors, the Group of Seven represents the pinnacle of Canadian art history—and the market reflects that. Recent auction results confirm that demand remains strong, with new records being set and steady values across all members of the group.
At the very top, works by Lawren Harris continue to command the highest prices. His Mountain Forms (1926) sold for a record $11.2 million CAD ($8.3 million USD) at Heffel Fine Art Auction in 2016 and his Northern Lake (1926) recently achieved more than $3.1 million CAD, while Franklin Carmichael’s Leaf Pattern broke records at $2.2 million CAD. Arthur Lismer and A.Y. Jackson have also crossed the million-dollar threshold with major canvases. These sales underline the enduring prestige of the movement’s most iconic figures.
For collectors at more accessible price levels, there are still many opportunities. Smaller oil-on-board works by Jackson, Johnston, and MacDonald often appear in the $7,000–$20,000 CAD range, depending on subject and provenance. For example, Johnston’s The Valley Stream realized $9,600 CAD, while MacDonald’s Gull River in Coboconk sold for just over $20,000 CAD. These pieces offer an approachable entry point into the Group of Seven legacy.
What drives value? Collectors consistently look for:
Strong subjects — bold northern landscapes, winter scenes, and Georgian Bay vistas are always in demand.
Provenance — works with ties to early exhibitions or notable collections carry a premium.
Condition — pieces in original, stable condition hold their value best.
Ultimately, collecting the Group of Seven isn’t just about numbers—it’s about owning a piece of Canada’s cultural story. Whether it’s a seven-figure Harris or a modest Johnston panel, these works continue to offer both emotional resonance and long-term stability in the market.
Map of Group of Seven Northern Ontario Painting Locations:
Here is a general map showing some of the key locations in northern Ontario where the Group of Seven painted. It highlights areas such as Algoma Country, the North Shore of Lake Superior, Nipigon, and Bruce Mines.
