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23 Like all modern traditions of art, the evolution of the Canadian tradition arose by processes of aesthetic mutation. Despite some assertions to the contrary, which have been discredited, the Group of Seven looked carefully at foreign art, including the work of several of the artists mentioned above. Examples from abroad were assimilated by the Group – and then transformed by them in their engagement with the local environment. Members of the Group travelled to the United States and Europe and were devoted readers of art periodicals, especially of The Studio.

As the unruly elephant on the Canadian doorstep, the United States was already a large presence in the Canadian imagination. Lawren Harris rejected it as insufficiently northern and insufficiently white. ” The racial overtones in this sentence were not accidental. ”27 Harris’s assumption that a pure version of modernity in Canada stood apart from the polyglot version in the United States was as false as it was prejudicial. Both countries were polyglot and racially mixed. Both encouraged immigration in order to support capitalist industrialization.

In recent decades, the predisposition of critical theorists, anthropologists and historians has been to insist that nature and culture are not free of one another or static in their interactions. Michael Pollan has observed: “In the years since Darwin published The Origin of Species, the crisp conceptual line that divided artificial from natural selection has blurred. Whereas once humankind exerted its will in a relatively small arena of artificial selection (the arena I think of, metaphorically, as a garden) and nature held sway everywhere else, today the force of our presence is felt everywhere.

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A Buena Forma De Las Ciudades by KEVIN LYNCH

by Michael

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