WEBVTT - The Group of Seven

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<v Speaker 1>Welcome to Stuff you should know, a production of iHeartRadio.

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<v Speaker 2>Hey, and welcome to the podcast. I'm Josh, and there's

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<v Speaker 2>Chuck and Jerry's here too, believe it or not. And

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<v Speaker 2>this is stuff you should know. The Artsy edition.

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<v Speaker 1>Yeah, the uh, the O Canada or the Oak Canada Edition.

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<v Speaker 2>I don't know. I think it's a Well let me

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<v Speaker 2>ask you this, had you heard of any of the

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<v Speaker 2>members of the Group of Seven, we should probably just

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<v Speaker 2>say Group of Seven is Canada's most famous art school.

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<v Speaker 2>In that school like you go and Sydney classroom and learn,

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<v Speaker 2>but like a group of painters who work together, influence

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<v Speaker 2>one another, support one another, right.

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<v Speaker 1>Like a school of fish, except a paint.

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<v Speaker 2>Right, school of fish with paint brushes. Yeah, so like

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<v Speaker 2>like this is these guys were working in the teens,

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<v Speaker 2>nineteeneen's and nineteen twenties and they're still like the foundation

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<v Speaker 2>of Canada's art right.

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<v Speaker 1>Yeah. To answer you, I don't think I had, at

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<v Speaker 1>least as far as name recognition, but I feel like

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<v Speaker 1>I have seen some of these works of art before

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<v Speaker 1>in my many museum visits.

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<v Speaker 2>I didn't recognize any of them. But I have to say,

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<v Speaker 2>at first, I'm not a big fan of like nineteen

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<v Speaker 2>twenties thirties in particular esthetic. There's a lot of brown

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<v Speaker 2>and yeah, just dark stuff. But I actually, just from

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<v Speaker 2>researching this and looking at more and more of their paintings,

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<v Speaker 2>I actually did become a fan of that school, but

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<v Speaker 2>a couple of them in particular.

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<v Speaker 1>Yeah, I really like this stuff. It's not the kind

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<v Speaker 1>of thing that personally I would like hang in my house,

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<v Speaker 1>because that's just not my house aesthetic that we're cultivating.

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<v Speaker 1>But I really enjoy these landscapes of the northern realm

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<v Speaker 1>of Canada, which is where as you'll see shortly, they

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<v Speaker 1>mainly concentrated on the sort of woodlands north of the

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<v Speaker 1>major cities and to some criticism, kind of ignoring the

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<v Speaker 1>beautiful coastlines of Canada.

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<v Speaker 2>Yeah, and even the central prairies too.

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<v Speaker 1>Yeah. So it was this pretty specific thing. Seven sometimes six,

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<v Speaker 1>sometimes eight, sometimes ten, oh as many as ten.

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<v Speaker 2>I think there was ten overall.

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<v Speaker 1>Okay, that kind of came and went, some passed on,

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<v Speaker 1>some were fringe members that they were like, you're really

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<v Speaker 1>one of us, but maybe not an official group of

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<v Speaker 1>seven zero woman, Yeah, and in her case for sure.

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<v Speaker 1>But yeah, so let's let's dig into this, okay.

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<v Speaker 2>So we said that the Group of seven kind of

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<v Speaker 2>formed the foundation of Canada's artistic identity. And there's a

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<v Speaker 2>number of reasons why, like really solid reasons why that

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<v Speaker 2>go well beyond these these guys artistic abilities, which makes

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<v Speaker 2>the whole thing that much more interesting if you ask me.

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<v Speaker 2>But one of the reasons why is because they came

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<v Speaker 2>together and started painting Canada's wilderness, in particular at a

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<v Speaker 2>time when Canada was looking to develop its national identity,

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<v Speaker 2>because it wasn't until eighteen sixty seven that Canada formed

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<v Speaker 2>the Dominion of Canada with the Province of Canada which

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<v Speaker 2>is now Ontario and Quebec, Nova Scotia and New Brunswick,

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<v Speaker 2>and then I think of five years later they brought

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<v Speaker 2>BC into the mix. But that's what rushed things about

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<v Speaker 2>when they sing about marching to Bastille day aboard the

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<v Speaker 2>Thailand Express.

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<v Speaker 1>Yeah, totally. And that's you know, they were trying, like

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<v Speaker 1>you said, to form a national identity sort of d Angliz, Yeah,

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<v Speaker 1>can get something you do in a kitchen, actually, right,

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<v Speaker 1>d anglies And you know, in other words, shake off

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<v Speaker 1>a bit of that Britishness that lingered on both, you know, politically, economically,

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<v Speaker 1>and as we'll see are artistically. Their formal formation started

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<v Speaker 1>in nineteen twenty, but as you said, they were pretty

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<v Speaker 1>well acquainted with each other in the nineteen tens and

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<v Speaker 1>nineteen teens. Most of them were living in and around Toronto, Canada. Toronto, Canada,

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<v Speaker 1>don't I get bagged on for saying that.

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<v Speaker 2>Yeah, like Atlanta, USA.

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<v Speaker 1>Yeah, that's right. We're doing our best. Still. We love

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<v Speaker 1>Canada and they love us, so they forgive us of

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<v Speaker 1>these indiscretions.

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<v Speaker 2>Most of them love us, for sure.

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<v Speaker 1>Yeah, some of them don't. But you know, there's people

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<v Speaker 1>everywhere that don't like us.

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<v Speaker 2>I don't agree with that.

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<v Speaker 1>Where are some places where everybody likes us?

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<v Speaker 2>Germany?

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<v Speaker 1>Yeah, Germans dooth tend to like us, huh.

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<v Speaker 2>Australia. I don't think there's a single Australian that doesn't

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<v Speaker 2>like us.

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<v Speaker 1>Yeah, I think you're right. And there were a couple

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<v Speaker 1>of key sort of employment places and institutions that kind

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<v Speaker 1>of helped foster this cohesiveness. One was a design firm

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<v Speaker 1>called the Grip because most of these, if not all

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<v Speaker 1>of them, at some point worked for the Grip as

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<v Speaker 1>commercial designers. And they had a manager there named Albert

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<v Speaker 1>Robson that really or Robesen maybe, who helped sort of

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<v Speaker 1>foster their outside art, not outsider art, different thing, but

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<v Speaker 1>just saying like, hey, we love your design work, and

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<v Speaker 1>you should also do this other stuff because all boats

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<v Speaker 1>will rise. And then a place called the Arts and

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<v Speaker 1>Letters Club, which was a private club, a social club

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<v Speaker 1>for men and for artists in particular, so they would

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<v Speaker 1>get together with other Canadian musicians and writers and actors there.

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<v Speaker 1>They had patrons there that could they could get a

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<v Speaker 1>little juice to help support themselves, right, And those two

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<v Speaker 1>places were sort of the nuclei of which they spun around.

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<v Speaker 2>Yeah, And there was actually a person who you could

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<v Speaker 2>kind of point to as the nuclei of the group,

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<v Speaker 2>in part because he was the oldest of them. Apparently

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<v Speaker 2>he was a father figure to some of the younger ones.

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<v Speaker 2>But his name was J. E. H. McDonald and he

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<v Speaker 2>was originally born in the UK and he moved to

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<v Speaker 2>Ontario when he was a teenager. And he was the

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<v Speaker 2>first one to work at the Grip all the way

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<v Speaker 2>back in eighteen ninety five. And by the time most

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<v Speaker 2>of the other members of the group of seven got

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<v Speaker 2>their jobs at the Grip, he was already head designer.

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<v Speaker 2>One of the things that kind of differentiated him and

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<v Speaker 2>made it not surprising but noteworthy and remarkable that he

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<v Speaker 2>was kind of the center or the head of the

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<v Speaker 2>group of seven is that part of being a member

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<v Speaker 2>of the group of seven was getting out there in nature,

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<v Speaker 2>in rugged country that was way far away from the cities,

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<v Speaker 2>and really, you know, like most of the people in Canada,

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<v Speaker 2>in the towns did not go north at that point,

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<v Speaker 2>so it was a pretty kind of rebellious thing to do.

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<v Speaker 1>And J. H.

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<v Speaker 2>McDonald was always kind of frail. He was prone to

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<v Speaker 2>falling ill very easily. So he didn't make it on

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<v Speaker 2>all of these excursions. And yet he was doing as

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<v Speaker 2>good a work because any of them, if not better

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<v Speaker 2>in my opinion. In some cases, yeah.

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<v Speaker 1>His stuff is pretty great. He was a trans and dentalist.

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<v Speaker 1>Though he was he just got sick a lot, and

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<v Speaker 1>as we'll see, he died fairly young. And he kept

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<v Speaker 1>trying to tell everyone like, I really love this stuff.

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<v Speaker 1>I'm not an indoor kid. I promise, I just can't

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<v Speaker 1>go bushwhacking this weekend.

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<v Speaker 2>We have one more thing about him too. I don't

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<v Speaker 2>know if you saw this or not, But he had

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<v Speaker 2>a painting called Missed Fantasy. Huh that appears in the

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<v Speaker 2>shining in the background.

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<v Speaker 1>Of which scene you know? Is it the famous office

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<v Speaker 1>interview scene.

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<v Speaker 2>It's in the fireplace room. Oh okay, and then I

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<v Speaker 2>think it's also I think it also moves and is

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<v Speaker 2>in like the main lobby where mister Olman is giving

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<v Speaker 2>Jack like the beginning of the tour.

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<v Speaker 1>Yeah, so one of those from that documentary that probably

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<v Speaker 1>means something very significant.

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<v Speaker 2>Yeah, that painting's moving around. That's where I learned about

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<v Speaker 2>it from. I screamed two three seven and that's eye

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<v Speaker 2>screen two three seven dot com, which, Man, if you

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<v Speaker 2>want a deep dive into just Missed Fantasy and what

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<v Speaker 2>it means, just start there. Yeah.

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<v Speaker 1>Okay. There was another guy named and these are we're

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<v Speaker 1>going to kind of jump around as far as introducing

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<v Speaker 1>these people, or I guess it's not jumping around because

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<v Speaker 1>it's fairly chronological, okay, but these are sort of the

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<v Speaker 1>pre dudes before it was official McDonald's. One was a

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<v Speaker 1>guy named Tom Thompson. He passed away before the group

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<v Speaker 1>was officially founded in nineteen seventeen. It was founded in

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<v Speaker 1>nineteen twenty. Like I said, so he was never an

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<v Speaker 1>official member, but he was a really influential guy in

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<v Speaker 1>that he was a one of just a few Native Canadians.

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<v Speaker 1>He was born. I believe he was born in Ontario,

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<v Speaker 1>in rural Ontario. Big time outdoorsman also worked at the

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<v Speaker 1>Grip in nineteen oh eight. I don't think I mentioned

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<v Speaker 1>I mentioned they were designed for him, but they mainly

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<v Speaker 1>worked on designed for department stores, so I guess early

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<v Speaker 1>Canadian department stores. And it was at the firm where

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<v Speaker 1>he met McDonald and they were like, hey, we should

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<v Speaker 1>like get together and start going out in the woods

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<v Speaker 1>and sketching and painting.

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<v Speaker 2>Yeah. So apparently Tom Thompson. So he's one of Canada's

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<v Speaker 2>most famous artists by far. He must have been inherently

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<v Speaker 2>likable because I read that he hung around the Arts

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<v Speaker 2>and Letters Club even though he wasn't a member. They

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<v Speaker 2>didn't check him out. All of the members who met

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<v Speaker 2>him of the Group of seven took him under their

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<v Speaker 2>wing because he was a really talented artist but didn't

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<v Speaker 2>have any formal training. So he introduced the Group of

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<v Speaker 2>seven to the wilderness that became like the basis of

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<v Speaker 2>all of their paintings and their whole school and they

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<v Speaker 2>taught him in turn formal techniques.

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<v Speaker 1>Yeah, it's pretty cool.

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<v Speaker 2>Yeah, and he actually is well. See he died young

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<v Speaker 2>at thirty nine, and his career was very short. It

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<v Speaker 2>was five years. But in that five years he painted

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<v Speaker 2>fifty canvases and left behind four hundred sketches and he

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<v Speaker 2>got really good and sadly he died just as he

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<v Speaker 2>was really starting to get going.

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<v Speaker 1>Yeah, for sure, that was definitely a sad thing because

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<v Speaker 1>he was just getting cooking. I feel like, yep, for sure,

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<v Speaker 1>there's got him Lauren Harris law r e n. He

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<v Speaker 1>may be the second. I mean, I don't want to

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<v Speaker 1>judge how famous they are, but he seemed to be

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<v Speaker 1>pretty famous. He notably, I think, has sold at auction

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<v Speaker 1>the most valuable painting ever from a Canadian artist, at

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<v Speaker 1>eleven million bucks. It was called Mountain Forms, And I

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<v Speaker 1>like the painting. It looks quite a bit different, I

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<v Speaker 1>think than a lot of this other stuff as far

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<v Speaker 1>as steering away from like a Van go like post

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<v Speaker 1>impressionistic look. It looks a little more graphic designing. But

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<v Speaker 1>it's super cool. But you know, eleven million bucks. I

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<v Speaker 1>know Steve Martin's a big fan, yes, because he went

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<v Speaker 1>to some show of his ia on YouTube and was

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<v Speaker 1>kind of going on about his love for Harris.

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<v Speaker 2>Yeah, he mounted a touring exhibition back in twenty fifteen,

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<v Speaker 2>Like he's a big Superquan and one of the others.

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<v Speaker 2>And Harris is a really good example of this. A

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<v Speaker 2>lot of people consider Lauren Harris the first abstract painter

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<v Speaker 2>in Canada, and you can kind of make a pretty

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<v Speaker 2>good example that the Group of Seven represents the transition

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<v Speaker 2>from traditional painting to modern painting. They're the kind of

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<v Speaker 2>portal that it goes through in Canada, and it's really

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<v Speaker 2>neat to see their early work before they all kind

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<v Speaker 2>of came together, and then to see starting about nineteen nineteen,

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<v Speaker 2>nineteen twenty, all of them start to kind of resemble

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<v Speaker 2>one another, even though it's very distinct and different, you

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<v Speaker 2>can see that kind of through line that really did

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<v Speaker 2>make them like a cohesive school.

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<v Speaker 1>Yeah, I mean, I think that's kind of the point.

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<v Speaker 1>I don't even think that stuff is necessarily done on purpose.

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<v Speaker 1>I think similar sensibilities hanging out with each.

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<v Speaker 2>Other, ripping each other off, ripping each other.

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<v Speaker 1>Going to place, you know, the same places you know,

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<v Speaker 1>as we'll see that went on these excursions, and this guy,

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<v Speaker 1>he was one of the more adventurous ones. He went

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<v Speaker 1>as far as the Arctic to paint, you know, in

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<v Speaker 1>the colder climbs, including that eleven million dollar work as

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<v Speaker 1>a snowcap mountain. But he was a rich kid. He

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<v Speaker 1>was even though he was born in Ontario. He was

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<v Speaker 1>the heir to a British fortune from the Massy Harris

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<v Speaker 1>company that made agricultural equipment, so they're still around. He

0:12:29.200 --> 0:12:31.599
<v Speaker 1>didn't have to you know, there's no other way to

0:12:31.640 --> 0:12:34.280
<v Speaker 1>say it. He didn't really have to work to support

0:12:34.360 --> 0:12:36.320
<v Speaker 1>himself as an artist, so he was very free to

0:12:36.320 --> 0:12:36.760
<v Speaker 1>do his thing.

0:12:37.000 --> 0:12:39.840
<v Speaker 2>Yeah, and he was a very dedicated artist too, so

0:12:39.920 --> 0:12:42.840
<v Speaker 2>he wasn't just like I don't feel like doing anything today.

0:12:44.000 --> 0:12:44.840
<v Speaker 1>He was for some days.

0:12:44.880 --> 0:12:48.920
<v Speaker 2>He was also heavy into spiritualism, which was pretty predominant

0:12:49.000 --> 0:12:51.480
<v Speaker 2>at the time. Remember, Yeah, we did a whole episode

0:12:51.520 --> 0:12:58.360
<v Speaker 2>on that. And so if you put together McDonald's transcendentalism,

0:12:58.840 --> 0:13:05.280
<v Speaker 2>Tom Thompson's Exposure of Everybody to the woods Canadian forests,

0:13:05.840 --> 0:13:10.240
<v Speaker 2>and then Lauren Harris's non spirit or non religious spiritualism,

0:13:10.720 --> 0:13:15.640
<v Speaker 2>those kind of form like that. Ethosthys I can remember

0:13:15.679 --> 0:13:18.319
<v Speaker 2>which one it is. I remember one time I said

0:13:18.360 --> 0:13:21.280
<v Speaker 2>ethos and we were on a zoom call with Scott

0:13:21.320 --> 0:13:24.080
<v Speaker 2>Ackerman and he just kind of said, almost to himself, like, wow,

0:13:24.120 --> 0:13:25.400
<v Speaker 2>you got both vowels wrong.

0:13:26.280 --> 0:13:26.800
<v Speaker 1>Did he really?

0:13:26.960 --> 0:13:28.560
<v Speaker 2>Yeah? He did in no way.

0:13:28.679 --> 0:13:30.239
<v Speaker 1>Yeah, that's the kind of thing that sticks.

0:13:30.000 --> 0:13:32.280
<v Speaker 2>With you for sure. I'll never forget it. But I

0:13:32.320 --> 0:13:34.000
<v Speaker 2>still don't remember which way to say it.

0:13:34.480 --> 0:13:37.520
<v Speaker 1>I thought it was always ethos, So according to Scott Ackerman,

0:13:37.520 --> 0:13:41.400
<v Speaker 1>it would be ethos, ethos ethos. Yeah, but if you

0:13:41.400 --> 0:13:43.000
<v Speaker 1>said ethos, you didn't get both wrong.

0:13:43.559 --> 0:13:52.200
<v Speaker 2>Yeah, So so I said no ethos I think is yeah. Wow, Okay,

0:13:52.679 --> 0:13:55.640
<v Speaker 2>I think that was it. Regardless, I still don't say

0:13:55.640 --> 0:13:57.640
<v Speaker 2>it right, I'm sure, and if I do, it's accidental.

0:13:58.720 --> 0:14:02.400
<v Speaker 2>People know what I'm saying exactly. Yeah, you're Josh Clark.

0:14:02.400 --> 0:14:04.839
<v Speaker 2>We're known for mispronouncing. We really are.

0:14:05.920 --> 0:14:09.600
<v Speaker 1>So before they got together as a group again, which

0:14:09.640 --> 0:14:14.600
<v Speaker 1>was nineteen twenty, they took a pretty formidable trip in

0:14:14.600 --> 0:14:18.640
<v Speaker 1>May of nineteen twelve, when Thompson and another staff member

0:14:18.640 --> 0:14:23.360
<v Speaker 1>at the GRIP named Harry B. Jackson took this train

0:14:23.520 --> 0:14:28.520
<v Speaker 1>from Toronto to the Algonquin Provincial Park, or to Algonquin

0:14:28.600 --> 0:14:33.280
<v Speaker 1>Provincial Park. There's no d there and they just started sketching. Again.

0:14:33.360 --> 0:14:36.880
<v Speaker 1>Like you said, at the time, you know, you had

0:14:36.920 --> 0:14:41.120
<v Speaker 1>to be pretty adventurous to start venturing into those wild climbs.

0:14:41.440 --> 0:14:45.360
<v Speaker 1>It was rough and rugged territory. So certainly there probably

0:14:45.360 --> 0:14:47.320
<v Speaker 1>were not a lot of artists doing that. I mean

0:14:47.360 --> 0:14:50.720
<v Speaker 1>there were There's have always been Canadian men and women

0:14:50.760 --> 0:14:54.040
<v Speaker 1>who were like, yeah, I'm very comfortable out there and

0:14:54.080 --> 0:14:56.840
<v Speaker 1>it doesn't scare me. But I think artists to be

0:14:56.880 --> 0:14:58.560
<v Speaker 1>going out there was a pretty radical thing.

0:14:58.680 --> 0:15:01.800
<v Speaker 2>Yeah, for sure. Yeah, these guys are They were rebels

0:15:01.800 --> 0:15:03.680
<v Speaker 2>in their time. You just got to kind of remember that,

0:15:03.800 --> 0:15:07.560
<v Speaker 2>even though retrospectively now you're like, what's a big deal,

0:15:07.600 --> 0:15:10.160
<v Speaker 2>But yeah, at the time, this is all very new.

0:15:10.240 --> 0:15:12.640
<v Speaker 2>It was very big and also, as we'll see, they

0:15:12.680 --> 0:15:17.680
<v Speaker 2>were basically making like in your face style of art

0:15:17.800 --> 0:15:20.760
<v Speaker 2>that just was not the taste of Canada at the time.

0:15:21.520 --> 0:15:23.680
<v Speaker 1>Yeah, they spent a lot of time in that park,

0:15:23.720 --> 0:15:26.440
<v Speaker 1>and specifically Thompson at a certain point he was spending

0:15:26.960 --> 0:15:29.440
<v Speaker 1>you know, eight months out of the year there. He

0:15:29.520 --> 0:15:31.840
<v Speaker 1>left in the winter finally because it was pretty rough,

0:15:32.480 --> 0:15:36.400
<v Speaker 1>but he really really loved Algonquin Provincial Park, and I

0:15:36.440 --> 0:15:40.720
<v Speaker 1>think they even like the media initially started calling them

0:15:40.720 --> 0:15:44.080
<v Speaker 1>the Algonquin School before they settled on a name, and

0:15:44.120 --> 0:15:47.440
<v Speaker 1>some really beautiful paintings came out of that pre nineteen

0:15:47.480 --> 0:15:48.160
<v Speaker 1>twenty formation.

0:15:49.000 --> 0:15:53.760
<v Speaker 2>Yeah. The jack Pine is a very very famous painting

0:15:53.920 --> 0:15:58.680
<v Speaker 2>in Canada that was by Tom Thompson, I think from

0:15:58.800 --> 0:16:02.040
<v Speaker 2>nineteen sixteen. It's basically when he started it. But you

0:16:02.080 --> 0:16:05.760
<v Speaker 2>can really clearly see the Art Nouveau influence that he

0:16:05.840 --> 0:16:09.360
<v Speaker 2>developed as a commercial graphic designer.

0:16:10.440 --> 0:16:10.680
<v Speaker 1>Yeah.

0:16:10.720 --> 0:16:14.240
<v Speaker 2>Another one is a Y Jackson's The Red Maple. I

0:16:14.320 --> 0:16:16.360
<v Speaker 2>like A Y Jackson's work, but I don't like the

0:16:16.360 --> 0:16:19.400
<v Speaker 2>Red Maple, but it's about equally famous as the jack

0:16:19.440 --> 0:16:20.360
<v Speaker 2>Pine in Canada.

0:16:20.920 --> 0:16:22.760
<v Speaker 1>I like that one too, Again, not for my house,

0:16:22.760 --> 0:16:26.400
<v Speaker 1>but I would dive into it in a museum with Gusto.

0:16:26.720 --> 0:16:28.720
<v Speaker 2>They would not like that. The security guards would be

0:16:28.840 --> 0:16:30.320
<v Speaker 2>on you, like white on rice.

0:16:31.400 --> 0:16:33.760
<v Speaker 1>Oh. Sometimes I just want to touch those Oh.

0:16:33.760 --> 0:16:36.440
<v Speaker 2>Yeah, you can't do it. It's like the call of

0:16:36.480 --> 0:16:36.920
<v Speaker 2>the void.

0:16:38.160 --> 0:16:40.720
<v Speaker 1>It is a call of the void. Or yeah, I

0:16:40.760 --> 0:16:44.000
<v Speaker 1>could either touch the painting in the Guggenheim or pull

0:16:44.040 --> 0:16:46.880
<v Speaker 1>the gun out of the cops holder to his security

0:16:46.880 --> 0:16:47.640
<v Speaker 1>at the Guggenheim.

0:16:50.280 --> 0:16:52.480
<v Speaker 2>So one of the things that these guys did too

0:16:52.480 --> 0:16:54.760
<v Speaker 2>that was pretty smart is they got out there in

0:16:54.800 --> 0:16:57.280
<v Speaker 2>the wilderness. But it's not like they set up their

0:16:57.320 --> 0:17:00.520
<v Speaker 2>easels and were just sitting there painting the final paintings

0:17:00.560 --> 0:17:03.960
<v Speaker 2>that they showed to the public. They would do kind

0:17:03.960 --> 0:17:07.360
<v Speaker 2>of sketches. Tom Thompson was apparently very good and prolific

0:17:07.400 --> 0:17:10.800
<v Speaker 2>at it. I saw that he captured transient moments of

0:17:10.920 --> 0:17:15.240
<v Speaker 2>light and atmosphere by making these sketches out in the

0:17:15.280 --> 0:17:17.840
<v Speaker 2>actual like seeing the actual thing and then just kind

0:17:17.840 --> 0:17:20.240
<v Speaker 2>of bringing it back and translating that into the actual

0:17:20.320 --> 0:17:23.640
<v Speaker 2>finished canvas. And all of them basically did that. But yeah,

0:17:23.800 --> 0:17:28.879
<v Speaker 2>something about Tom Thompson's eye being translated to color and

0:17:29.040 --> 0:17:32.439
<v Speaker 2>texture in his paintings was really it was really something.

0:17:33.200 --> 0:17:36.240
<v Speaker 1>Yeah, I agree. One of my favorite things now. And

0:17:36.280 --> 0:17:39.560
<v Speaker 1>I've noticed this because did I tell you Emily started painting.

0:17:39.400 --> 0:17:41.640
<v Speaker 2>No, how awesome what medium.

0:17:43.040 --> 0:17:47.159
<v Speaker 1>Paint on canvas? Oil? Mainly? Oh wow, she dabbled in

0:17:47.200 --> 0:17:49.720
<v Speaker 1>watercolor a little bit, but she's mainly painting oil on canvas,

0:17:49.760 --> 0:17:52.040
<v Speaker 1>And like she's good, and it's it's sort of like

0:17:52.160 --> 0:17:55.159
<v Speaker 1>surprising and annoying. It's like, oh, okay, so you can

0:17:55.200 --> 0:18:01.320
<v Speaker 1>actually paint. That's that's super cool. Yeah, but it's she

0:18:01.520 --> 0:18:04.520
<v Speaker 1>started to you know, now they make these little travel

0:18:04.560 --> 0:18:06.439
<v Speaker 1>kits that or you can do your own in like

0:18:06.440 --> 0:18:09.399
<v Speaker 1>an Altoy ten of you know, very small little paint

0:18:09.440 --> 0:18:13.080
<v Speaker 1>sets that can like fit inside of a notebook, and

0:18:13.640 --> 0:18:16.400
<v Speaker 1>she takes them along and we'll just paint little things

0:18:16.480 --> 0:18:19.320
<v Speaker 1>or sketch little things and in nature, because that's mainly

0:18:19.359 --> 0:18:22.240
<v Speaker 1>what she's painting. And we went on this last trip

0:18:22.280 --> 0:18:24.160
<v Speaker 1>when we went to New York to see Guling Gary

0:18:24.160 --> 0:18:28.280
<v Speaker 1>Glenn Ross, which was awesome. By the way, we went

0:18:28.280 --> 0:18:30.280
<v Speaker 1>to the New York Botanical Gardens for the first time

0:18:30.280 --> 0:18:32.040
<v Speaker 1>in the Bronx we had been to Brooklyn's and I

0:18:32.160 --> 0:18:36.160
<v Speaker 1>noticed there were artists just everywhere, sitting on benches, sketching

0:18:36.200 --> 0:18:38.600
<v Speaker 1>and painting stuff around them, and it's it's just such

0:18:38.640 --> 0:18:41.200
<v Speaker 1>a lovely thing to witness because it's just so quiet

0:18:41.200 --> 0:18:43.760
<v Speaker 1>and peaceful, and they're creating art inside of, you know,

0:18:43.800 --> 0:18:46.320
<v Speaker 1>the natural wonder of nature's art, and I just I

0:18:46.400 --> 0:18:46.800
<v Speaker 1>just love it.

0:18:46.880 --> 0:18:50.160
<v Speaker 2>Yeah, I envy that. I admire it too. I've always

0:18:50.200 --> 0:18:53.000
<v Speaker 2>wanted to be able to at least draw too. I mean,

0:18:53.080 --> 0:18:56.359
<v Speaker 2>can't do any kid. I was friends with like artists

0:18:56.440 --> 0:18:58.920
<v Speaker 2>that could draw like real like it was. They were

0:18:58.960 --> 0:19:01.440
<v Speaker 2>just natural talents at it, and I would just try, try,

0:19:01.480 --> 0:19:04.720
<v Speaker 2>try and take classes and I just couldn't do it.

0:19:05.480 --> 0:19:08.439
<v Speaker 1>I couldn't either. My whole family. My father wasn't, but

0:19:08.520 --> 0:19:10.480
<v Speaker 1>my mother is an artist and an art major and

0:19:10.480 --> 0:19:13.080
<v Speaker 1>a painter. My brother could always draw. I believe my

0:19:13.160 --> 0:19:16.439
<v Speaker 1>sister could draw, and I can't draw a stick figure.

0:19:16.520 --> 0:19:18.760
<v Speaker 2>That's all right? Yeah, I was gonna say, anybody who's

0:19:18.760 --> 0:19:21.800
<v Speaker 2>seen my drawing of a horse on Instagram knows that

0:19:21.840 --> 0:19:22.040
<v Speaker 2>I can.

0:19:22.160 --> 0:19:23.680
<v Speaker 1>That was better than what I could do, I think.

0:19:24.760 --> 0:19:27.720
<v Speaker 2>Oh. Also, by the way, if Emily's making art kits

0:19:27.720 --> 0:19:30.399
<v Speaker 2>out of Altoyd tins, that makes her a Tentovator.

0:19:30.480 --> 0:19:33.040
<v Speaker 1>Chuck, Well, she's not doing that. She bought a kit,

0:19:33.080 --> 0:19:36.360
<v Speaker 1>but from a Tivator. I will not be a Tnovator

0:19:36.359 --> 0:19:40.720
<v Speaker 1>because of that episode. Can we just get that one off?

0:19:41.240 --> 0:19:42.080
<v Speaker 1>Can we scrub that?

0:19:42.600 --> 0:19:46.280
<v Speaker 2>I'm sure we can. Should we also do scuba cat? Yeah?

0:19:46.320 --> 0:19:47.920
<v Speaker 1>Those are two that really should go away?

0:19:49.280 --> 0:19:51.800
<v Speaker 2>So yeah, well we'll look into that. We'll have to

0:19:51.800 --> 0:19:52.359
<v Speaker 2>ask Jerry.

0:19:52.800 --> 0:19:53.680
<v Speaker 1>Should we take a break?

0:19:53.920 --> 0:19:55.440
<v Speaker 2>Oh yeah, I guess we should. We kind of got

0:19:55.480 --> 0:19:56.280
<v Speaker 2>away from ourselves, so.

0:19:56.560 --> 0:19:58.400
<v Speaker 1>All right, let's take a break. We're gonna ask Jerry

0:19:58.440 --> 0:20:00.440
<v Speaker 1>if we can scrub a couple of episodes. That means

0:20:00.480 --> 0:20:01.679
<v Speaker 1>we're gonna have to do two more at the end

0:20:01.720 --> 0:20:04.920
<v Speaker 1>of our career. Of course, that's fine, because we don't

0:20:04.920 --> 0:20:07.760
<v Speaker 1>want to short change ourselves. So we'll debate all that

0:20:07.880 --> 0:20:09.359
<v Speaker 1>and then we'll be back to talk more about the

0:20:09.359 --> 0:20:09.960
<v Speaker 1>Group of Seven.

0:20:36.320 --> 0:20:39.400
<v Speaker 2>So I think, with the exception chuck of Tom Thompson,

0:20:39.600 --> 0:20:41.760
<v Speaker 2>all of the rest of the Group of seven artists,

0:20:41.800 --> 0:20:45.200
<v Speaker 2>all of them over the years, even went and studied

0:20:45.240 --> 0:20:48.160
<v Speaker 2>in Europe at some point or another. They were formally trained.

0:20:48.880 --> 0:20:53.560
<v Speaker 2>I read that Lauren Harris was encouraged by his math

0:20:53.640 --> 0:20:57.760
<v Speaker 2>professor to study art in Berlin. Now I'm guessing then

0:20:57.800 --> 0:21:02.440
<v Speaker 2>that he wasn't very good at math. Right, you like

0:21:02.520 --> 0:21:04.840
<v Speaker 2>to draw, you play the piano, and I think, can

0:21:04.880 --> 0:21:09.320
<v Speaker 2>you do anything? Yeah. But when they were trained in Europe,

0:21:09.359 --> 0:21:11.879
<v Speaker 2>this is the time of the Impressionists. They were trained

0:21:11.920 --> 0:21:17.840
<v Speaker 2>in traditional conservative landscapes, and they brought all that back.

0:21:18.400 --> 0:21:21.280
<v Speaker 2>But they found, to their dismay that they were having

0:21:21.320 --> 0:21:26.040
<v Speaker 2>a really hard time translating the European techniques that they

0:21:26.119 --> 0:21:29.760
<v Speaker 2>had learned to the Canadian wilderness. It just wasn't working

0:21:29.880 --> 0:21:33.320
<v Speaker 2>quite right. And there was a really big, important turning

0:21:33.359 --> 0:21:38.000
<v Speaker 2>point that happened in nineteen twelve when Lauren Harris and j. E. H.

0:21:38.160 --> 0:21:42.200
<v Speaker 2>MacDonald traveled to Buffalo, New York to see an art

0:21:42.240 --> 0:21:46.600
<v Speaker 2>exhibition of Scandinavian artists and they were just blown away.

0:21:46.760 --> 0:21:51.080
<v Speaker 2>It completely freed them to create the art that went

0:21:51.119 --> 0:21:54.240
<v Speaker 2>on to become synonymous with them. And I saw that.

0:21:54.800 --> 0:21:58.480
<v Speaker 2>I think McDonald said that these were artists that were

0:21:58.480 --> 0:22:00.960
<v Speaker 2>not trying to express themselves so much as they were

0:22:01.000 --> 0:22:03.680
<v Speaker 2>trying to express something that took hold of themselves.

0:22:03.680 --> 0:22:04.120
<v Speaker 1>Oh wow.

0:22:04.600 --> 0:22:07.960
<v Speaker 2>Yeah, So these guys were like overwhelmed with nature and

0:22:08.000 --> 0:22:10.840
<v Speaker 2>they were painting the feeling that nature brought out in them.

0:22:11.560 --> 0:22:14.280
<v Speaker 2>And that's what the group of seven started doing.

0:22:14.480 --> 0:22:17.080
<v Speaker 1>Yeah, that's cool. I know. Van Go is another inspiration,

0:22:17.160 --> 0:22:20.800
<v Speaker 1>in particular from the European school, and that a technique

0:22:20.840 --> 0:22:24.639
<v Speaker 1>that I really love, the imposto technique where you just

0:22:24.760 --> 0:22:28.280
<v Speaker 1>goop that paint on there so you see the brushstrokes,

0:22:28.320 --> 0:22:30.840
<v Speaker 1>and in the case of some of these artists and

0:22:30.880 --> 0:22:33.199
<v Speaker 1>Mango and of course many others, it's you know, when

0:22:33.240 --> 0:22:35.760
<v Speaker 1>you get up close to these paintings, don't touch, but

0:22:35.800 --> 0:22:37.760
<v Speaker 1>you can lean in and get a really good look

0:22:37.840 --> 0:22:41.120
<v Speaker 1>at just how caked on it is in some places.

0:22:41.160 --> 0:22:42.480
<v Speaker 1>I just really really love that.

0:22:42.920 --> 0:22:45.040
<v Speaker 2>Yeah, And if you're really sly, you can kind of

0:22:45.080 --> 0:22:46.679
<v Speaker 2>touch it with the tip of your nose and just

0:22:46.720 --> 0:22:50.480
<v Speaker 2>be like, oops, I got too close. Yeah, sorry, Yeah,

0:22:50.520 --> 0:22:55.359
<v Speaker 2>that Jack Pine Thompson's Jackpine. If you look at the

0:22:55.400 --> 0:22:58.520
<v Speaker 2>sky or the lake, you can really see his use

0:22:58.560 --> 0:23:01.920
<v Speaker 2>of that. It's really it's a really cool painting. I'm

0:23:01.920 --> 0:23:02.960
<v Speaker 2>just gonna say it again.

0:23:03.240 --> 0:23:06.400
<v Speaker 1>Agreed. Another. You know something I've learned a lot more

0:23:06.640 --> 0:23:10.199
<v Speaker 1>having known an artist in my adulthood is that a

0:23:10.200 --> 0:23:12.000
<v Speaker 1>big part of doing your art is just having a

0:23:12.040 --> 0:23:14.080
<v Speaker 1>space to do it. Not everyone can just set up

0:23:14.080 --> 0:23:18.320
<v Speaker 1>in their dining room or whatever, and so studio space

0:23:18.480 --> 0:23:21.160
<v Speaker 1>is cherished and not. It's sometimes hard to come by,

0:23:21.200 --> 0:23:24.399
<v Speaker 1>sometimes too expensive, and so patrons are very important in

0:23:24.400 --> 0:23:26.920
<v Speaker 1>that regards. And there was a guy named doctor James

0:23:27.000 --> 0:23:31.360
<v Speaker 1>McCallum who built a building along with Harris, I think

0:23:31.359 --> 0:23:34.600
<v Speaker 1>funded by James McCollum. It's called the Studio Building in

0:23:34.640 --> 0:23:37.440
<v Speaker 1>the Rosedale neighborhood of Toronto, and that was a real

0:23:37.680 --> 0:23:45.359
<v Speaker 1>sort of cohesion cohesive thing. Cohesion unit, is that a

0:23:45.400 --> 0:23:48.560
<v Speaker 1>thing yeah, like a rank leader. Yeah, it was like

0:23:48.600 --> 0:23:51.040
<v Speaker 1>two units of cohesion when they built that building.

0:23:51.000 --> 0:23:53.719
<v Speaker 2>For sure, which is not there anymore. Unfortunately, I think

0:23:53.720 --> 0:23:57.280
<v Speaker 2>they built a high rise apartment over it. They tore

0:23:57.320 --> 0:23:59.680
<v Speaker 2>it down first and then built the high rise apartment.

0:23:59.720 --> 0:24:02.200
<v Speaker 2>But during the time, I think, well into the fifties,

0:24:02.680 --> 0:24:05.960
<v Speaker 2>this was still a thriving artist studio and it was

0:24:06.080 --> 0:24:11.440
<v Speaker 2>cheap apartments as well. I saw that Tom Thompson was

0:24:11.480 --> 0:24:17.240
<v Speaker 2>so broke that he couldn't even afford the subsidized rent

0:24:17.600 --> 0:24:21.760
<v Speaker 2>for the artists apartment at the at the studio. So

0:24:22.160 --> 0:24:25.240
<v Speaker 2>again he was so likable. James McCallum built him a

0:24:25.280 --> 0:24:27.520
<v Speaker 2>shed out back and charged him a dollar a month

0:24:27.600 --> 0:24:27.960
<v Speaker 2>for it.

0:24:28.359 --> 0:24:31.200
<v Speaker 1>Yeah, but they would you know, Canadians are known for

0:24:31.240 --> 0:24:33.240
<v Speaker 1>being nice, but they would bag on them. They'd say, man,

0:24:33.440 --> 0:24:35.080
<v Speaker 1>you're so broke you can't pay attention.

0:24:36.280 --> 0:24:37.119
<v Speaker 2>That's a good one.

0:24:37.160 --> 0:24:38.960
<v Speaker 1>And then they all started coming up with it, you know,

0:24:38.960 --> 0:24:39.880
<v Speaker 1>you're so broken joke.

0:24:39.960 --> 0:24:42.200
<v Speaker 2>How have I made it almost forty nine years without

0:24:42.200 --> 0:24:43.160
<v Speaker 2>having heard that one?

0:24:43.280 --> 0:24:46.240
<v Speaker 1>Have you not heard that one? No, that's the only

0:24:46.280 --> 0:24:49.720
<v Speaker 1>broke one I know. But yeah, I introduced Ruby that

0:24:49.760 --> 0:24:53.240
<v Speaker 1>whole that. You know, those kind of jokes it burns

0:24:53.280 --> 0:24:56.480
<v Speaker 1>your mama jokes and stuff that, you know, playground burns.

0:24:56.480 --> 0:24:59.920
<v Speaker 1>It's pretty fun, for sure. Your mama is so old

0:25:00.080 --> 0:25:03.400
<v Speaker 1>she owes Jesus and Nickel. Wow, did you ever hear

0:25:03.400 --> 0:25:03.720
<v Speaker 1>that one?

0:25:03.920 --> 0:25:07.840
<v Speaker 2>No? Wow, I really wasn't paying attention on the playground.

0:25:07.840 --> 0:25:10.359
<v Speaker 1>Apparently I couldn't make these up. Of course, I was

0:25:10.359 --> 0:25:13.479
<v Speaker 1>just trying to copy the great artists of the playground.

0:25:13.240 --> 0:25:15.320
<v Speaker 2>For sure. But I mean I still haven't heard them.

0:25:15.320 --> 0:25:17.119
<v Speaker 2>And you say them just beautifully.

0:25:17.240 --> 0:25:18.840
<v Speaker 1>I appreciate. I got a lot more. I'll trot them

0:25:18.880 --> 0:25:19.360
<v Speaker 1>out here and there.

0:25:19.440 --> 0:25:23.439
<v Speaker 2>Moving forward, kid, kid, So we talked about Tom Thompson

0:25:23.520 --> 0:25:27.000
<v Speaker 2>dying and this is a really big deal, right it was.

0:25:27.600 --> 0:25:30.560
<v Speaker 1>Another big deal was World War One? Oh yeah, that

0:25:30.600 --> 0:25:33.639
<v Speaker 1>came along, and you know, was a big disruption because

0:25:33.720 --> 0:25:36.760
<v Speaker 1>a lot of it certainly delayed the formation, the official

0:25:36.760 --> 0:25:40.240
<v Speaker 1>formation of the group right there in the late nineteen teens.

0:25:41.400 --> 0:25:44.840
<v Speaker 1>But a lot of them actually served in the war

0:25:44.960 --> 0:25:48.520
<v Speaker 1>in some capacity. A lot of them worked for the

0:25:48.680 --> 0:25:53.280
<v Speaker 1>Canadian War Memorials Fund, and they were producing art about

0:25:53.400 --> 0:25:57.800
<v Speaker 1>the war, some of which was super cool. I don't

0:25:57.840 --> 0:25:59.400
<v Speaker 1>know if we should talk about it now or later,

0:25:59.480 --> 0:26:03.840
<v Speaker 1>but the well, maybe let's hang onto that. Okay, put

0:26:03.960 --> 0:26:08.360
<v Speaker 1>a dazzle camouflage. Yeah, Arthur Listmer stuff. But yeah, we'll

0:26:08.359 --> 0:26:08.920
<v Speaker 1>hold on to that.

0:26:09.040 --> 0:26:12.280
<v Speaker 2>It is cool. So yeah. One of the things that

0:26:12.320 --> 0:26:15.840
<v Speaker 2>I think also cemented Tom Thompson's reputation as one of

0:26:15.880 --> 0:26:19.240
<v Speaker 2>Canada's most famous artists is that he died under what

0:26:19.400 --> 0:26:23.119
<v Speaker 2>some people consider mysterious causes. Like this guy was born

0:26:23.880 --> 0:26:27.520
<v Speaker 2>in rural Ontario. He was an avid outdoorsman. He spent

0:26:27.640 --> 0:26:31.399
<v Speaker 2>so much time up in the Canada, the Canadian forests

0:26:31.440 --> 0:26:35.840
<v Speaker 2>I guess around Algonquin or Algoma, that he would be

0:26:35.880 --> 0:26:38.520
<v Speaker 2>a fishing guide. Sometimes he served as a park ranger.

0:26:38.600 --> 0:26:41.000
<v Speaker 2>He was just there so he might as well do

0:26:41.040 --> 0:26:43.240
<v Speaker 2>that extra stuff. And he went out one day in

0:26:43.280 --> 0:26:46.879
<v Speaker 2>a canoe and his canoe was found overturned later that

0:26:46.960 --> 0:26:49.879
<v Speaker 2>day or the next day, and he was missing. His

0:26:49.960 --> 0:26:54.159
<v Speaker 2>body was found I think eight days later, and he

0:26:54.240 --> 0:26:56.879
<v Speaker 2>had like a bump and a bruise on the side

0:26:56.880 --> 0:26:58.640
<v Speaker 2>of his face. And some people are like, well, yeah,

0:26:58.640 --> 0:27:01.399
<v Speaker 2>he just stood up in the canoe and like fell

0:27:01.440 --> 0:27:04.080
<v Speaker 2>out and like hit his head and then drowned. And

0:27:04.119 --> 0:27:06.560
<v Speaker 2>other people are like, you didn't know Tom Thompson then,

0:27:06.560 --> 0:27:09.280
<v Speaker 2>because number one, he would never do something that stupid

0:27:09.840 --> 0:27:12.920
<v Speaker 2>and number two see number one.

0:27:13.800 --> 0:27:17.000
<v Speaker 1>Yeah, I mean it's hard to tell how fishy that

0:27:17.119 --> 0:27:19.360
<v Speaker 1>might have been. It very well could have been an accident,

0:27:19.440 --> 0:27:22.760
<v Speaker 1>but it's also very easy to say, like an experience

0:27:22.800 --> 0:27:25.119
<v Speaker 1>outdoorsment like that wouldn't have died that way, But it

0:27:25.200 --> 0:27:29.520
<v Speaker 1>was officially declared an accidental drowning. Some people theorize that

0:27:29.560 --> 0:27:33.719
<v Speaker 1>he may have killed himself if he wasn't murdered, because

0:27:33.760 --> 0:27:37.880
<v Speaker 1>he got his girlfriend pregnant, But I couldn't really see

0:27:37.880 --> 0:27:40.800
<v Speaker 1>a lot of like solid evidence other than just people surmising.

0:27:41.359 --> 0:27:43.639
<v Speaker 2>Yeah, there was like one or two people over the

0:27:43.720 --> 0:27:46.199
<v Speaker 2>years who wrote a book or something like that and

0:27:46.320 --> 0:27:50.000
<v Speaker 2>kept the whole thing alive. Yeah, but it was a

0:27:50.040 --> 0:27:53.120
<v Speaker 2>really big deal to the group of seven. They hadn't

0:27:53.160 --> 0:27:55.080
<v Speaker 2>even formed yet, and they lost to one of their

0:27:55.080 --> 0:27:58.600
<v Speaker 2>members already, and this was the guy who introduced them

0:27:58.600 --> 0:28:01.240
<v Speaker 2>to the wild. He was in inpherently likable guy. They

0:28:01.240 --> 0:28:04.359
<v Speaker 2>were really bummed out about it, but they still carried on,

0:28:06.359 --> 0:28:09.119
<v Speaker 2>you know, I think, at least in part out of

0:28:09.160 --> 0:28:12.560
<v Speaker 2>tribute to Tom Thompson, but also because they had really

0:28:12.640 --> 0:28:16.600
<v Speaker 2>come to appreciate what he introduced them.

0:28:16.720 --> 0:28:19.800
<v Speaker 1>Yeah, yeah, for sure. That also led to another sort

0:28:19.840 --> 0:28:25.399
<v Speaker 1>of if not tragedy like setback when McDonald was helping

0:28:25.440 --> 0:28:29.080
<v Speaker 1>to build a memorial cairn at the at Canoe Lake

0:28:29.119 --> 0:28:32.080
<v Speaker 1>where he died and McDonald collapsed because you know, as

0:28:32.080 --> 0:28:34.159
<v Speaker 1>we said, he was a pretty frail guy. May have

0:28:34.200 --> 0:28:38.720
<v Speaker 1>had a stroke, but recovered within a few months, well

0:28:38.840 --> 0:28:42.760
<v Speaker 1>enough at least that he was able to go on

0:28:42.880 --> 0:28:47.280
<v Speaker 1>this painting trip you mentioned Algoma in Ontario. They went there.

0:28:48.680 --> 0:28:51.520
<v Speaker 1>Frank Johnston, who was he would be another one of

0:28:51.320 --> 0:28:54.840
<v Speaker 1>the ogs as far as the group members go, and

0:28:55.200 --> 0:28:57.760
<v Speaker 1>doctor McCollum, who funded that studio, they all went along

0:28:57.840 --> 0:28:58.400
<v Speaker 1>on this trip.

0:28:58.840 --> 0:29:01.920
<v Speaker 2>Yeah, so they went on box car journeys because Laurence

0:29:02.360 --> 0:29:05.200
<v Speaker 2>so cool. Yeah, Laurence Harris was so rich. He went

0:29:05.240 --> 0:29:07.840
<v Speaker 2>to one of the railroads and said, hey, give us

0:29:07.840 --> 0:29:10.680
<v Speaker 2>a box car, will you, And they said, sure, mister Harris,

0:29:10.720 --> 0:29:13.400
<v Speaker 2>whatever you want. So they took a box car and

0:29:14.040 --> 0:29:17.720
<v Speaker 2>outfitted it, refurbished it with to basically turn it into

0:29:17.760 --> 0:29:20.320
<v Speaker 2>a traveling studio and arts quarters.

0:29:20.560 --> 0:29:22.719
<v Speaker 1>Yeah, it sounds like super cool. I mean that had

0:29:22.760 --> 0:29:25.680
<v Speaker 1>a stove that had furniture and they could move it

0:29:25.720 --> 0:29:30.720
<v Speaker 1>around to the different rail sidings and hang out and stay.

0:29:30.760 --> 0:29:33.320
<v Speaker 1>Then had a little home base there with some warm

0:29:33.680 --> 0:29:37.120
<v Speaker 1>some warmth warmth to it, sure, And the Wild River

0:29:37.200 --> 0:29:40.400
<v Speaker 1>was painted there, which is one of McDonald's biggest, most

0:29:40.440 --> 0:29:43.239
<v Speaker 1>popular paintings, and that was in nineteen nineteen, and it

0:29:43.320 --> 0:29:45.280
<v Speaker 1>is very gorgeous as well.

0:29:45.680 --> 0:29:48.440
<v Speaker 2>It is I don't remember that one. I had so

0:29:48.480 --> 0:29:50.360
<v Speaker 2>many tabs open and looked at so much heart that

0:29:50.400 --> 0:29:53.480
<v Speaker 2>I couldn't remember that. But I don't think there was

0:29:53.600 --> 0:29:56.480
<v Speaker 2>many paintings that I was like, oh, that's a real dog.

0:29:56.600 --> 0:29:59.400
<v Speaker 1>Right, except for that one painting of the dog, the

0:29:59.440 --> 0:30:01.760
<v Speaker 1>real one.

0:30:02.600 --> 0:30:06.840
<v Speaker 2>So by this time nineteen nineteen's rolling around, they've been

0:30:06.840 --> 0:30:10.040
<v Speaker 2>on box car journeys, they've lost Tom Thompson, they've gone

0:30:10.120 --> 0:30:12.880
<v Speaker 2>out in the wild a few times. They've really kind

0:30:12.880 --> 0:30:18.000
<v Speaker 2>of gotten into this new modernist interpretation of landscapes, specifically

0:30:18.120 --> 0:30:24.960
<v Speaker 2>Canadian landscapes, to basically create this new art identity of Canada.

0:30:25.120 --> 0:30:30.040
<v Speaker 2>It's like a nationalistic art movement. And they mounted their

0:30:30.080 --> 0:30:34.200
<v Speaker 2>first exhibition from at least one or more of those

0:30:34.680 --> 0:30:37.200
<v Speaker 2>box car journeys, and I think there was something like

0:30:37.240 --> 0:30:42.440
<v Speaker 2>two hundred canvases and it did not go over all

0:30:42.480 --> 0:30:42.880
<v Speaker 2>that well.

0:30:42.960 --> 0:30:46.200
<v Speaker 1>Actually, yeah, I mean there were some critics who didn't

0:30:46.240 --> 0:30:50.200
<v Speaker 1>love it. Some people did like it, but that was

0:30:50.320 --> 0:30:53.720
<v Speaker 1>just a key exhibition because it was their first one

0:30:53.800 --> 0:30:56.000
<v Speaker 1>as a group. And that was when and this is

0:30:56.040 --> 0:30:58.720
<v Speaker 1>in nineteen nineteen. That's when within the group they were like,

0:30:58.760 --> 0:31:02.720
<v Speaker 1>you know, we should official, like call ourselves a school

0:31:02.800 --> 0:31:04.680
<v Speaker 1>and form an official like the Avengers. We need to

0:31:04.720 --> 0:31:07.600
<v Speaker 1>get together and be an official group because it'll probably

0:31:07.640 --> 0:31:11.000
<v Speaker 1>just help our reputation, get us a little more press. Yeah,

0:31:11.400 --> 0:31:14.920
<v Speaker 1>in February March of nineteen twenty, they did. So. Jackson

0:31:15.600 --> 0:31:17.360
<v Speaker 1>was not there. He was on one of his sketching

0:31:17.400 --> 0:31:19.720
<v Speaker 1>trips at the time, and he came home and said

0:31:19.760 --> 0:31:22.120
<v Speaker 1>that he learned that it had been formed and that

0:31:22.200 --> 0:31:22.880
<v Speaker 1>I was a member.

0:31:23.440 --> 0:31:25.600
<v Speaker 2>Yeah, we haven't met Jackson yet. This is a different

0:31:25.680 --> 0:31:27.640
<v Speaker 2>Jackson than the one that went on that first trip

0:31:27.680 --> 0:31:30.360
<v Speaker 2>with Tom Thompson. This was a Jackson.

0:31:30.800 --> 0:31:33.080
<v Speaker 1>Well we introduced him, Oh we did.

0:31:33.120 --> 0:31:34.240
<v Speaker 2>I didn't remember that.

0:31:34.160 --> 0:31:37.320
<v Speaker 1>Because I almost made the joke that did they call him.

0:31:37.160 --> 0:31:40.280
<v Speaker 2>A yeah A but I didn't like the funds.

0:31:40.520 --> 0:31:43.800
<v Speaker 1>Yeah a y Jackson who actually he lived I think

0:31:43.960 --> 0:31:46.960
<v Speaker 1>the longest. Yeah, he lived all the way until nineteen

0:31:46.960 --> 0:31:51.840
<v Speaker 1>seventy four, ripe old age. He was born in Montreal,

0:31:52.360 --> 0:31:55.240
<v Speaker 1>had a single mom, with six or five other siblings

0:31:55.320 --> 0:31:58.480
<v Speaker 1>total six and as a result he had to work

0:31:58.480 --> 0:32:01.560
<v Speaker 1>a lot to support his family. But eventually he found

0:32:01.560 --> 0:32:03.640
<v Speaker 1>his way to Europe, where he was one of the ones,

0:32:03.680 --> 0:32:06.880
<v Speaker 1>like you said, that studied like formally in Europe, which

0:32:06.880 --> 0:32:09.360
<v Speaker 1>he did in France before he moved back to Ontario

0:32:09.360 --> 0:32:10.200
<v Speaker 1>in nineteen thirteen.

0:32:10.720 --> 0:32:14.120
<v Speaker 2>Yeah, and thanks to doctor James McCollum, he was able

0:32:14.160 --> 0:32:17.760
<v Speaker 2>to move to Toronto because he was not very well

0:32:17.760 --> 0:32:20.320
<v Speaker 2>off at the time, and McCollum said, how about this,

0:32:20.520 --> 0:32:23.040
<v Speaker 2>I will buy all of your paintings that you produce

0:32:23.080 --> 0:32:27.000
<v Speaker 2>in a year to keep you afloat essentially, and that

0:32:27.160 --> 0:32:29.600
<v Speaker 2>gave A. Y Jackson the ability to come to Toronto,

0:32:29.680 --> 0:32:32.840
<v Speaker 2>start working six hundred things right and make a name

0:32:32.880 --> 0:32:35.080
<v Speaker 2>for himself in time to be able to support himself

0:32:35.080 --> 0:32:35.600
<v Speaker 2>through his art.

0:32:35.960 --> 0:32:38.360
<v Speaker 1>Yeah, and he had that Montreal connection, so he sort

0:32:38.400 --> 0:32:41.880
<v Speaker 1>of Montreal artists would he'd make connections with the Group

0:32:41.920 --> 0:32:45.360
<v Speaker 1>of seven again, you know, artists knowing each other and

0:32:45.400 --> 0:32:50.080
<v Speaker 1>sharing ideas and just sensibilities ethos if you will is

0:32:50.120 --> 0:32:52.000
<v Speaker 1>a good thing. But he was one of the ones

0:32:52.000 --> 0:32:55.320
<v Speaker 1>that went over with World War One to fight. He

0:32:55.360 --> 0:33:01.560
<v Speaker 1>was actually wounded there and also painted for War memorials.

0:33:02.120 --> 0:33:05.239
<v Speaker 2>Yeah. Another guy who painted for Canadian War memorials that

0:33:05.280 --> 0:33:07.360
<v Speaker 2>you mentioned earlier was Arthur Lismer.

0:33:07.760 --> 0:33:08.440
<v Speaker 1>Yeah.

0:33:08.480 --> 0:33:12.760
<v Speaker 2>He was famous for painting warships that were returning to

0:33:12.840 --> 0:33:17.000
<v Speaker 2>port that had dazzle camouflage on them, which essentially is

0:33:17.040 --> 0:33:20.160
<v Speaker 2>like op art painted on warships. Yeah.

0:33:20.200 --> 0:33:22.800
<v Speaker 1>I had never heard of this before he do you No, huh,

0:33:22.840 --> 0:33:26.640
<v Speaker 1>it's super cool. It's a way for It's not you know,

0:33:26.800 --> 0:33:29.400
<v Speaker 1>camouflage in the way that it's supposed to blend in

0:33:29.440 --> 0:33:31.600
<v Speaker 1>with the sea around it. In fact, far from it.

0:33:31.600 --> 0:33:33.960
<v Speaker 1>It doesn't do anything like that, right, Like you said,

0:33:34.000 --> 0:33:36.360
<v Speaker 1>it looks like cool pop art, you know, painted on

0:33:36.200 --> 0:33:39.360
<v Speaker 1>a warship like could It almost looks like some weird

0:33:39.440 --> 0:33:42.440
<v Speaker 1>art installation and not a real thing that the Navy did.

0:33:43.000 --> 0:33:43.120
<v Speaker 2>Uh.

0:33:43.240 --> 0:33:45.640
<v Speaker 1>But the intention there, again is not to like conceal

0:33:45.680 --> 0:33:50.040
<v Speaker 1>it like it's not there, but to confuse and mislead

0:33:50.120 --> 0:33:53.200
<v Speaker 1>about like the course heading or something up like that,

0:33:53.440 --> 0:33:57.040
<v Speaker 1>or like how fast they're going or yeah, like I said,

0:33:57.080 --> 0:33:59.280
<v Speaker 1>where they're headed, And apparently it worked pretty good.

0:33:59.440 --> 0:34:02.840
<v Speaker 2>Yeah. They look like disjointed zebra stripes that there are

0:34:02.840 --> 0:34:05.320
<v Speaker 2>in different chunks that don't line up with one another.

0:34:05.840 --> 0:34:07.960
<v Speaker 1>Yeah. So that's on the actual ship, and he painted

0:34:08.000 --> 0:34:10.520
<v Speaker 1>paintings of these ships and they're really cool looking. I

0:34:10.560 --> 0:34:10.879
<v Speaker 1>love it.

0:34:11.160 --> 0:34:14.360
<v Speaker 2>Yeah, And Arthur Lismer is one of those painters whose

0:34:14.400 --> 0:34:19.440
<v Speaker 2>style seemingly changed overnight around nineteen twenty and really falls

0:34:19.440 --> 0:34:21.239
<v Speaker 2>into line with the rest of the group. So it's

0:34:21.239 --> 0:34:21.759
<v Speaker 2>pretty cool.

0:34:22.080 --> 0:34:24.680
<v Speaker 1>Yeah, I guess we'll go with the last three. Here.

0:34:24.719 --> 0:34:28.359
<v Speaker 1>We have Frederick Varley, who lived till nineteen sixty nine,

0:34:28.400 --> 0:34:32.000
<v Speaker 1>so I think he was the second longest. He was

0:34:32.000 --> 0:34:35.200
<v Speaker 1>a schoolmate of Lismers in England, and I think we

0:34:35.280 --> 0:34:39.880
<v Speaker 1>didn't mention that they both studied in Antwerp, Belgium, and

0:34:39.920 --> 0:34:42.759
<v Speaker 1>then he reconnected with Lismer after living in Yorkshire and

0:34:42.800 --> 0:34:45.600
<v Speaker 1>getting married, and he was like Listmer's like, come on

0:34:45.680 --> 0:34:48.040
<v Speaker 1>over to Canada, man, and he did so in nineteen twelve,

0:34:48.239 --> 0:34:49.759
<v Speaker 1>went to work at the Grip like a lot of them,

0:34:49.800 --> 0:34:51.480
<v Speaker 1>and also painted for the war memorials.

0:34:51.640 --> 0:34:56.040
<v Speaker 2>Yeah, he was actually embedded in Europe with the Canadian military,

0:34:56.160 --> 0:34:58.600
<v Speaker 2>so a lot of his paintings that he made during

0:34:58.680 --> 0:35:03.040
<v Speaker 2>the war were like bombed out villages or I read

0:35:03.080 --> 0:35:07.719
<v Speaker 2>that he's one of his paintings was a shelled cemetery.

0:35:08.120 --> 0:35:10.600
<v Speaker 2>To basically say, like even the dead can escape war.

0:35:11.760 --> 0:35:14.920
<v Speaker 2>It's some harrowing stuff that he produced, for sure, and

0:35:15.000 --> 0:35:19.080
<v Speaker 2>he was very affected by the war. I should say, yeah,

0:35:19.239 --> 0:35:21.759
<v Speaker 2>to answer your question, who else we have is my

0:35:22.120 --> 0:35:27.080
<v Speaker 2>favorite by far of the group, Frankie, Franklin Carmichael. And

0:35:27.120 --> 0:35:28.719
<v Speaker 2>you were saying you wouldn't hang any of these in

0:35:28.760 --> 0:35:31.960
<v Speaker 2>your home. I would hang at Carmichael basically any of them.

0:35:32.080 --> 0:35:34.400
<v Speaker 1>Yeah, I agree, actually, and that that's some of my

0:35:34.440 --> 0:35:36.480
<v Speaker 1>favorite stuff too, And I might I might hang some

0:35:36.520 --> 0:35:38.640
<v Speaker 1>of the other stuff, mambe I was being too harsh.

0:35:38.760 --> 0:35:41.960
<v Speaker 2>Hang it all. So he had kind of a more

0:35:42.000 --> 0:35:46.719
<v Speaker 2>decorative sensibility. I saw it described as he used more colorful,

0:35:47.360 --> 0:35:53.279
<v Speaker 2>softer colors. Its like just go look up Franklin Carmichael

0:35:53.440 --> 0:35:55.400
<v Speaker 2>art and you will just sit there and watch it

0:35:55.440 --> 0:35:55.879
<v Speaker 2>all day.

0:35:56.239 --> 0:35:58.520
<v Speaker 1>Yeah, he did more water colors than the rest of them,

0:35:58.920 --> 0:36:02.319
<v Speaker 1>but did work in other medium And then rounding out,

0:36:02.360 --> 0:36:05.839
<v Speaker 1>we have Frank Johnston born in Toronto, so another one

0:36:05.840 --> 0:36:09.600
<v Speaker 1>of Canadians sons, and he worked at the Grip as well,

0:36:10.160 --> 0:36:12.640
<v Speaker 1>and he's I think the only one that actually studied

0:36:12.680 --> 0:36:16.120
<v Speaker 1>in the United States. He went there for a little while,

0:36:16.160 --> 0:36:18.640
<v Speaker 1>studied there, did some work there, and then went back

0:36:18.680 --> 0:36:24.000
<v Speaker 1>to Toronto in nineteen fifteen, and he was known for his

0:36:24.040 --> 0:36:27.880
<v Speaker 1>opaque watercolor techniques, so he was kind of, you know,

0:36:27.920 --> 0:36:30.960
<v Speaker 1>watercolors quicker, so he was pumping out paintings much quicker

0:36:30.960 --> 0:36:31.920
<v Speaker 1>than the rest of these guys.

0:36:32.080 --> 0:36:35.160
<v Speaker 2>Yeah. I saw he contributed sixty of the two hundred

0:36:35.360 --> 0:36:37.840
<v Speaker 2>canvases that were at that first show.

0:36:39.080 --> 0:36:39.920
<v Speaker 1>That's amazing.

0:36:40.200 --> 0:36:43.319
<v Speaker 2>He also this is so artist. He was born Francis

0:36:43.360 --> 0:36:47.319
<v Speaker 2>Hans Johnston, and later on in life he compressed that

0:36:47.400 --> 0:36:48.160
<v Speaker 2>to Franz.

0:36:48.800 --> 0:36:50.000
<v Speaker 1>Oh wow, Hans and Franz.

0:36:50.160 --> 0:36:51.360
<v Speaker 2>Pretty cool. Yeah, exactly.

0:36:52.640 --> 0:36:55.040
<v Speaker 1>Maybe we should take another break, yes, and we'll be

0:36:55.120 --> 0:37:24.000
<v Speaker 1>back with mart Art. All right. So we've talked about

0:37:24.040 --> 0:37:26.080
<v Speaker 1>nineteen twenty and what happened over and over again. But

0:37:26.120 --> 0:37:29.880
<v Speaker 1>finally on May seventh is when the official Unified School

0:37:29.920 --> 0:37:32.200
<v Speaker 1>opened at the Art Gallery of Toronto with one hundred

0:37:32.239 --> 0:37:37.000
<v Speaker 1>and twenty paintings. And this is like definitely when the

0:37:37.040 --> 0:37:39.440
<v Speaker 1>critics kind of some of them poo pooed it. One

0:37:39.480 --> 0:37:41.960
<v Speaker 1>described some of the paintings as looking like the contents

0:37:41.960 --> 0:37:45.320
<v Speaker 1>of a drunkard's stomach. And I think this was maybe

0:37:45.360 --> 0:37:48.279
<v Speaker 1>more just because it was a departure from the traditional art.

0:37:49.120 --> 0:37:51.920
<v Speaker 1>They got popular pretty quickly. I think their second show

0:37:52.480 --> 0:37:55.200
<v Speaker 1>in May of twenty one drew about twenty five hundred

0:37:55.200 --> 0:37:59.600
<v Speaker 1>people over just three weeks in change. So people got

0:37:59.640 --> 0:38:00.680
<v Speaker 1>on board pretty quickly.

0:38:01.200 --> 0:38:04.000
<v Speaker 2>Yeah, for sure. Again because in part this is that

0:38:04.080 --> 0:38:08.560
<v Speaker 2>they were painting Canada's national identity. That's right. One of

0:38:08.560 --> 0:38:10.640
<v Speaker 2>the other things. I don't know if I've made that

0:38:10.680 --> 0:38:11.680
<v Speaker 2>point yet.

0:38:11.400 --> 0:38:13.520
<v Speaker 1>I think a few more times that might get at home.

0:38:13.719 --> 0:38:15.840
<v Speaker 2>One of the other things that was really big about

0:38:15.840 --> 0:38:19.720
<v Speaker 2>this this show was that the director of the National

0:38:19.760 --> 0:38:23.680
<v Speaker 2>Gallery of all of Canada bought at least three of

0:38:23.719 --> 0:38:26.720
<v Speaker 2>their works. His name was Eric Brown, and in addition

0:38:26.800 --> 0:38:30.319
<v Speaker 2>to basically ensconsing them in Canada's National Gallery saying like

0:38:30.360 --> 0:38:33.319
<v Speaker 2>these guys are legit, this is the real deal, he

0:38:33.400 --> 0:38:36.000
<v Speaker 2>put them in other exhibitions that Canada put on around

0:38:36.000 --> 0:38:39.000
<v Speaker 2>the world. And he would really play a big role

0:38:39.080 --> 0:38:43.920
<v Speaker 2>later on during World War one and two, as we'll see.

0:38:44.520 --> 0:38:46.800
<v Speaker 1>Yeah, and he you know, he was a patron of

0:38:46.800 --> 0:38:48.600
<v Speaker 1>the arts. He loved these guys, but he was also

0:38:48.680 --> 0:38:52.919
<v Speaker 1>criticized at times later by just solely being into these

0:38:52.960 --> 0:38:56.239
<v Speaker 1>guys and like, hey, you're not championing the work of

0:38:56.280 --> 0:38:59.600
<v Speaker 1>women as much as you should, or are indigenous artists,

0:38:59.640 --> 0:39:04.920
<v Speaker 1>So you know, he was criticized for that. That's all

0:39:04.920 --> 0:39:06.080
<v Speaker 1>I'll say for sure.

0:39:07.600 --> 0:39:10.440
<v Speaker 2>So the group is kind of like rolling by now

0:39:11.080 --> 0:39:14.080
<v Speaker 2>they're doing more journeys. They're meeting once in a while

0:39:14.080 --> 0:39:19.719
<v Speaker 2>to basically set up exhibitions. Franz Johnston leaves and they're like, well, God,

0:39:19.760 --> 0:39:21.720
<v Speaker 2>where the group of seven? We need to get a seventh.

0:39:21.719 --> 0:39:25.319
<v Speaker 2>They bring in a guy named aj Cassen, who used

0:39:25.360 --> 0:39:28.719
<v Speaker 2>to be Franklin Carmichael's assistant. They're like, okay, let's just

0:39:28.800 --> 0:39:31.279
<v Speaker 2>break the trend and bring in an eighth member. So

0:39:31.320 --> 0:39:33.920
<v Speaker 2>they brought in a guy named Edwin Holgate. He was

0:39:33.960 --> 0:39:35.520
<v Speaker 2>brought in in nineteen twenty nine.

0:39:35.960 --> 0:39:38.080
<v Speaker 1>Yeah, he was a portraitist, which was a little different

0:39:38.080 --> 0:39:38.720
<v Speaker 1>from the rest.

0:39:38.560 --> 0:39:42.319
<v Speaker 2>Of them for sure. He had also formed another group

0:39:42.360 --> 0:39:44.560
<v Speaker 2>in Montreal called the beaver Hall Group, which is a.

0:39:44.480 --> 0:39:46.359
<v Speaker 1>Pretty good group name, Yeah, great name.

0:39:47.000 --> 0:39:51.240
<v Speaker 2>And then Lemoyne Fitzgerald, who you could call the Jinks.

0:39:52.000 --> 0:39:54.880
<v Speaker 2>He was brought on in nineteen thirty two. The group

0:39:54.960 --> 0:39:57.960
<v Speaker 2>broke up in nineteen thirty three, So the Jinks missed

0:39:58.000 --> 0:40:02.080
<v Speaker 2>their last exhibition in nineteen thirty one, and then he

0:40:02.239 --> 0:40:04.759
<v Speaker 2>was there for their breakup the year after. He was

0:40:04.760 --> 0:40:05.560
<v Speaker 2>brought on board.

0:40:06.000 --> 0:40:09.040
<v Speaker 1>Yeah, that's too bad for Lemoyne, but he got a

0:40:09.040 --> 0:40:12.000
<v Speaker 1>brief taste and then you know, he looked until nineteen

0:40:12.000 --> 0:40:14.840
<v Speaker 1>fifty six, so he was still painting after that. We

0:40:14.880 --> 0:40:18.360
<v Speaker 1>did mention a woman, Emily Carr near the beginning as like,

0:40:18.719 --> 0:40:21.640
<v Speaker 1>you know, this is a boys club, but she was

0:40:21.719 --> 0:40:24.839
<v Speaker 1>never official officially Group of seven because of that, but

0:40:24.960 --> 0:40:28.440
<v Speaker 1>they did feature her works in some of their shows,

0:40:28.440 --> 0:40:31.120
<v Speaker 1>one in nineteen twenty seven in particular, and that's when

0:40:31.120 --> 0:40:32.520
<v Speaker 1>they you know, they kind of pulled her aside and

0:40:32.560 --> 0:40:34.440
<v Speaker 1>they were like, hey, you know, you're really you're one

0:40:34.440 --> 0:40:37.719
<v Speaker 1>of us. Like it might not be official, but you're

0:40:37.719 --> 0:40:38.600
<v Speaker 1>definitely one of us.

0:40:38.680 --> 0:40:39.759
<v Speaker 2>But don't tell anybody.

0:40:40.280 --> 0:40:44.200
<v Speaker 1>Yeah, exactly, don't tell anyone. And she painted a lot

0:40:44.239 --> 0:40:47.200
<v Speaker 1>of indigenous villages and stuff like that. Yeah, and at

0:40:47.239 --> 0:40:49.840
<v Speaker 1>one point was doing indigenous art like hooked rugs and

0:40:49.880 --> 0:40:52.600
<v Speaker 1>pottery and selling it to tourists. But yeah, she like

0:40:53.280 --> 0:40:55.480
<v Speaker 1>even way back then, was like, wait a minute, maybe

0:40:55.520 --> 0:40:58.200
<v Speaker 1>I'm appropriating this. They didn't use that word, I'm sure,

0:40:58.200 --> 0:41:00.239
<v Speaker 1>but she stopped doing it. She was like, this is

0:41:00.239 --> 0:41:01.600
<v Speaker 1>not a culture I'm a part of, so maybe I

0:41:01.600 --> 0:41:02.920
<v Speaker 1>shouldn't be doing it and selling it.

0:41:03.160 --> 0:41:06.400
<v Speaker 2>Yeah, that lady was ahead of even MPR.

0:41:06.800 --> 0:41:11.680
<v Speaker 1>Yeah yeah, or what's Canada's version of NPR.

0:41:11.600 --> 0:41:16.439
<v Speaker 2>CBC now, right, of course, So all good things must

0:41:16.480 --> 0:41:18.400
<v Speaker 2>come to an end. And one of the things that

0:41:18.440 --> 0:41:20.479
<v Speaker 2>I think you can give a nod to the Group

0:41:20.480 --> 0:41:22.879
<v Speaker 2>of Seven about is they're like, Hey, this thing's run

0:41:22.920 --> 0:41:28.240
<v Speaker 2>its course. Let's just disband. So they actually disbanded, They

0:41:28.280 --> 0:41:32.160
<v Speaker 2>had a formal disbanding, I think again in nineteen thirty three.

0:41:33.120 --> 0:41:36.799
<v Speaker 2>It was LeMoyne's fault. Again. Part of it was that

0:41:36.920 --> 0:41:40.799
<v Speaker 2>McDonald had died in nineteen thirty two, and again he

0:41:40.920 --> 0:41:44.040
<v Speaker 2>was kind of like the guy who was the original,

0:41:44.239 --> 0:41:48.399
<v Speaker 2>the figurehead, I think, Papa Smurt. Yeah, that was part

0:41:48.440 --> 0:41:50.600
<v Speaker 2>of it. They thought I had to run its course.

0:41:50.640 --> 0:41:52.960
<v Speaker 2>But they were also now starting to get real pushback,

0:41:53.440 --> 0:41:55.879
<v Speaker 2>not just them, but also the National Gallery and Eric

0:41:56.239 --> 0:42:00.440
<v Speaker 2>Brown saying like, you know, there's other there's other artists

0:42:00.440 --> 0:42:03.120
<v Speaker 2>in Canada. Can we kind of include them. There's other

0:42:03.200 --> 0:42:07.560
<v Speaker 2>parts of Canada besides the northern Boreal forest. Yeah, And

0:42:07.640 --> 0:42:09.960
<v Speaker 2>because of that they actually stepped back. They disbanded the

0:42:10.000 --> 0:42:14.080
<v Speaker 2>Group of Seven and then they regrouped and expanded to

0:42:14.440 --> 0:42:17.480
<v Speaker 2>the Canadian Group of Painters, which started out with twenty

0:42:17.480 --> 0:42:21.399
<v Speaker 2>eight artists and eventually grew to sixty one total over

0:42:21.400 --> 0:42:23.560
<v Speaker 2>the years, and this one included women.

0:42:24.239 --> 0:42:29.440
<v Speaker 1>Yes, they expanded it greatly at that point. One of

0:42:29.440 --> 0:42:33.120
<v Speaker 1>the reasons that you know, they're obviously famous because they

0:42:33.360 --> 0:42:35.680
<v Speaker 1>were you know, Canadian through and through and what they

0:42:35.760 --> 0:42:38.440
<v Speaker 1>were doing and where they were living in some of

0:42:38.440 --> 0:42:41.439
<v Speaker 1>them where they were from. But they in World War two,

0:42:41.560 --> 0:42:46.360
<v Speaker 1>the Canadian government got involved to do this silkscreen program

0:42:46.400 --> 0:42:48.520
<v Speaker 1>where they silk green prints of this art and they

0:42:48.560 --> 0:42:50.600
<v Speaker 1>put them up in their buildings and their government buildings

0:42:50.640 --> 0:42:53.640
<v Speaker 1>and then put them up for sale. And Eric Brown

0:42:53.760 --> 0:42:57.480
<v Speaker 1>was behind that as well, and that really just cemented

0:42:57.480 --> 0:43:00.000
<v Speaker 1>them because all of a sudden people were like buying

0:43:00.200 --> 0:43:02.400
<v Speaker 1>this stuff and putting it on their own walls as prints.

0:43:02.719 --> 0:43:05.920
<v Speaker 2>Yeah, they were in banks, they were in schools. Apparently

0:43:06.000 --> 0:43:08.480
<v Speaker 2>Arthur Lismer, one of the original Group of seven, was

0:43:08.520 --> 0:43:11.759
<v Speaker 2>in charge in part of selecting images. So, yeah, the

0:43:11.800 --> 0:43:15.799
<v Speaker 2>Group of seven was disproportionately represented in this and that

0:43:15.960 --> 0:43:21.640
<v Speaker 2>is one reason why they are so enmeshed in Canada's

0:43:22.320 --> 0:43:25.040
<v Speaker 2>artistic psyche, Like this is Canadian art, this is the

0:43:25.080 --> 0:43:27.040
<v Speaker 2>foundation of it. That's a big part of it.

0:43:27.520 --> 0:43:29.680
<v Speaker 1>Yeah, because you could get it at the Spencer Gifts

0:43:29.719 --> 0:43:30.759
<v Speaker 1>all of a sudden.

0:43:30.600 --> 0:43:34.040
<v Speaker 2>Yes, and you could you could also make an argument

0:43:34.120 --> 0:43:37.360
<v Speaker 2>that they were selected for this cheap silk screen reproduction

0:43:37.520 --> 0:43:42.680
<v Speaker 2>because the colors, the bold colors, the shapes, the contours

0:43:42.680 --> 0:43:45.440
<v Speaker 2>of the whole thing. They it was ripe for reproduction

0:43:45.520 --> 0:43:46.480
<v Speaker 2>through screen printing.

0:43:46.960 --> 0:43:50.000
<v Speaker 1>Yeah, for sure it looked good on a screenprint. Emily

0:43:50.040 --> 0:43:53.920
<v Speaker 1>Carr was not chosen. In fact, no women were chosen,

0:43:54.520 --> 0:43:57.960
<v Speaker 1>and I think no artists that painted the coastlines of

0:43:58.000 --> 0:44:02.720
<v Speaker 1>Canada were chosen, and no work by indigenous artists as well,

0:44:03.400 --> 0:44:07.719
<v Speaker 1>or work that depicted their community. So again some controversy

0:44:07.760 --> 0:44:11.239
<v Speaker 1>surrounding that stuff. Obviously, that kind of thing today would

0:44:11.280 --> 0:44:14.160
<v Speaker 1>be handled a lot differently, but this was again back

0:44:14.200 --> 0:44:17.920
<v Speaker 1>in the mid nineteen forties when they started the silk screening.

0:44:18.080 --> 0:44:20.440
<v Speaker 2>Yeah, but it was interesting that they were still criticized

0:44:20.440 --> 0:44:22.759
<v Speaker 2>for that kind of stuff even back then. You know

0:44:22.840 --> 0:44:26.479
<v Speaker 2>people were aware of it, for sure, Yeah, totally. But yeah,

0:44:26.520 --> 0:44:30.160
<v Speaker 2>if you want to waste some time, well wasted, I

0:44:30.200 --> 0:44:33.440
<v Speaker 2>should say, go check out the Group of seven dot

0:44:33.480 --> 0:44:36.840
<v Speaker 2>CA and they have bios and like a lot of

0:44:36.880 --> 0:44:40.240
<v Speaker 2>selected art or just look up these artists and type

0:44:40.239 --> 0:44:44.040
<v Speaker 2>in artist name works, and just look at all the

0:44:44.080 --> 0:44:46.960
<v Speaker 2>amazing stuff that comes up. It's good stuff. I'm glad

0:44:47.000 --> 0:44:49.640
<v Speaker 2>you found this one or picked it, or it was suggested.

0:44:49.719 --> 0:44:50.320
<v Speaker 2>I'm not sure.

0:44:51.640 --> 0:44:54.600
<v Speaker 1>I think I had just heard of him, and Olivia

0:44:54.640 --> 0:44:57.000
<v Speaker 1>helped us out. And I love learning more and more

0:44:57.000 --> 0:45:00.200
<v Speaker 1>about art here later in life, me too. Chuck in

0:45:00.239 --> 0:45:01.200
<v Speaker 1>my fifties.

0:45:03.000 --> 0:45:06.320
<v Speaker 2>Well, since Chuck said he's in his fifties, of course,

0:45:06.360 --> 0:45:12.040
<v Speaker 2>that means he's just unlocked. Listener mail, mid fifties.

0:45:13.080 --> 0:45:13.840
<v Speaker 1>When are you fifty?

0:45:14.440 --> 0:45:17.759
<v Speaker 2>I will be fifty the July after next, And I

0:45:17.960 --> 0:45:23.600
<v Speaker 2>don't care because forties suck. Yeah, it's the worst decade

0:45:24.080 --> 0:45:26.080
<v Speaker 2>so far at least. But I've heard it just gets

0:45:26.120 --> 0:45:29.719
<v Speaker 2>better after your forties, that your life satisfaction dips in

0:45:29.719 --> 0:45:31.800
<v Speaker 2>the forties and starts to climb back up and peaks

0:45:31.840 --> 0:45:34.880
<v Speaker 2>again in your sixties, and that that is comparable to

0:45:34.960 --> 0:45:38.560
<v Speaker 2>your younger years, the peak of happiness. So we have

0:45:38.560 --> 0:45:39.839
<v Speaker 2>a lot to look forward to, man.

0:45:40.080 --> 0:45:41.320
<v Speaker 1>Yeah, just get ready.

0:45:41.440 --> 0:45:43.600
<v Speaker 2>Yeah, we're going to be podcasting the whole time.

0:45:43.840 --> 0:45:47.920
<v Speaker 1>That's right, all right, This is a positive correction about fentanyl.

0:45:48.560 --> 0:45:50.200
<v Speaker 1>By the way, we got some props for just saying

0:45:50.200 --> 0:45:54.080
<v Speaker 1>fentanyl not fentanyl all right. Josh noted, if you go

0:45:54.120 --> 0:45:56.320
<v Speaker 1>to prison, you're expected to simply dry out and hopefully

0:45:56.360 --> 0:45:59.000
<v Speaker 1>recover that way. That is not the case, Guys, I

0:45:59.040 --> 0:46:01.279
<v Speaker 1>teach in a correctional play in Indiana. I'm happy to

0:46:01.320 --> 0:46:05.319
<v Speaker 1>report that our prisons give incarcerated individuals or iii IS

0:46:05.320 --> 0:46:09.240
<v Speaker 1>the option to take subox zone in a controlled environment

0:46:09.400 --> 0:46:11.120
<v Speaker 1>at a certain time each day. The II and the

0:46:11.160 --> 0:46:15.080
<v Speaker 1>program are sent to our medical department and given suboxone

0:46:15.200 --> 0:46:17.640
<v Speaker 1>in order to help with their treatment. This has helped

0:46:17.680 --> 0:46:20.000
<v Speaker 1>those who struggle with addiction, but it's important to note

0:46:20.000 --> 0:46:22.759
<v Speaker 1>that it can be addictive, leading to potential abuse as well.

0:46:23.680 --> 0:46:26.400
<v Speaker 1>Suboxone compared with recovery programs, has helped a lot of

0:46:26.400 --> 0:46:29.400
<v Speaker 1>my students, and I found I've been very fortunate to

0:46:29.400 --> 0:46:32.560
<v Speaker 1>see some people turn their lives around through this. And

0:46:32.600 --> 0:46:36.120
<v Speaker 1>we heard from a couple of other correctional workers from

0:46:36.160 --> 0:46:38.320
<v Speaker 1>different states that do the same thing, So it sounds

0:46:38.360 --> 0:46:39.320
<v Speaker 1>like it's sort of the norm.

0:46:39.600 --> 0:46:40.400
<v Speaker 2>Yeah, that's heartening.

0:46:40.760 --> 0:46:43.440
<v Speaker 1>Yeah, that's great to hear. Additionally, guys, I appreciate that

0:46:43.440 --> 0:46:46.800
<v Speaker 1>you cleared up some misconceptions about fentanyl. I can confirm

0:46:46.840 --> 0:46:50.120
<v Speaker 1>that those ideas still impact law enforcement, as our officers

0:46:50.120 --> 0:46:52.680
<v Speaker 1>are required to wear gloves during cell searches in order

0:46:52.719 --> 0:46:56.120
<v Speaker 1>to prevent absorbing fentanyl through the skin. Thanks for providing

0:46:56.160 --> 0:46:58.840
<v Speaker 1>years of knowledge and relaxed and fund manner. Thanks for

0:46:58.880 --> 0:47:00.799
<v Speaker 1>coming to Indianapolis. I was at the show and it

0:47:00.840 --> 0:47:01.160
<v Speaker 1>was great.

0:47:01.200 --> 0:47:01.879
<v Speaker 2>It was a good show.

0:47:01.920 --> 0:47:05.560
<v Speaker 1>And that is from Samuel Adult Basic Education instructor.

0:47:05.640 --> 0:47:08.880
<v Speaker 2>Thanks Samuel, you're out there doing God's work. Congratulations to

0:47:08.960 --> 0:47:11.319
<v Speaker 2>you and thank you for it. And if you want

0:47:11.320 --> 0:47:14.520
<v Speaker 2>to be like Samuel and gently correct us, we love

0:47:14.600 --> 0:47:17.280
<v Speaker 2>that kind of thing. You can send it via email

0:47:17.400 --> 0:47:23.360
<v Speaker 2>to stuff Podcasts at iHeartRadio dot com.

0:47:23.560 --> 0:47:26.440
<v Speaker 1>Stuff you Should Know is a production of iHeartRadio. For

0:47:26.560 --> 0:47:30.719
<v Speaker 1>more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,

0:47:30.840 --> 0:47:32.680
<v Speaker 1>or wherever you listen to your favorite shows.