This collection highlights the artistic dialogue between Emily Carr and the Group of Seven. Two oils on paper by Carr demonstrate her ability to convey the movement of British Columbia’s coastal forests through her distinct, sweeping brushwork. Works by Franklin Carmichael and Frank Johnston capture the architectural rhythms of the Algoma and La Cloche wilderness, representing the pinnacle of the Group of Seven. An 1887 watercolour by Lucius Richard O’Brien offers a rare, tranquil view of the Rocky Mountains, predating the modernist movement. Together, these works illustrate the evolution of Canadian visual identity, bridging the gap between the formal precision of the 19th century and the modernist spirit of the early 20th century.
