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wagthedog13

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Location: United StatesMember since: 15 September 2005

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Reviews (1)
Magnetic North: Imagining Canada in Painting 1910-1940
02 August 2025
Magnetic North – The Contemporary Revision of the Group of Seven’s Vision
Mission capture occurs in a project or organization when an individual or group with its own strong, vested interests and goals, that has either been invited or inserted itself into the project or organization, co-opts that project or organization and replaces the original interests and goals in order to pursue its own interests and achieve its own goals. Mission capture is the term that came to my mind when reading Magnetic North: Imagining Canada in Painting 1910-40. This is not a book about how artists in the first part of the Twentieth Century imagined Canada; it is about how artists (and activists) in the first part of the Twentieth-first Century believe the artists in the first part of the Twentieth Century should have imagined Canada. Magnetic North is nominally about the Group of Seven and other associated Canadian artists (Emily Carr, Tom Thomson, and Yvonne McKague Housser) and how they portrayed rural Canada during the period of their greatest cultural importance and artistic fervor. At least that is what the title indicates, with the National Gallery of Canada and Prestel Verlag’s exhibition and book descriptions reinforcing that idea. To be fair, Prestel’s blurb does state, “It also includes essays and interviews that offer contemporary indigenous perspectives on the impact of industry on nature, issues surrounding national identity, and modern Canadian landscape painting.” Examining the table of contents, one would assume the 40-page section “Land vs Landscape” would be where one would find those contemporary indigenous perspectives. They are present there, comprising the whole of that section, but that section’s position in the book, 40 pages smack dab in the middle of it, physically expresses its centrality to the book’s raison d'etre. That raison d'etre is to express contemporary, often indigenous, perspectives, and from that central section of the book, those perspectives spread like dry rot throughout every corner and every bit of text (and roughly one-third of the book’s pages are comprised entirely of text). That text tends to excoriate the Group of Seven for patriotism, racism, and colonialism while sometimes lapsing into traditional art appreciation discussing composition, color usage, and how works were created. Plenty of art books unfortunately have terrible text, the overwrought dross of an art history dissertation jazzed up with enough beautiful reproductions that no one bothers to actually read them. Magnetic North does not even have that going for it. The paper quality is unexpectedly terrible coming from Prestel, who I have always considered a publisher of the highest quality. 130g Schleipen Fly 06 is glorified printing paper, just thicker. Printing the Group of Seven’s paintings on matte paper, instead of on glossy art paper, makes the reproductions appear flat and muddy, words that I should never have to say about the work of Lawren Harris (words that have likely never in the history of art been said about the work of Lawren Harris). This gives what should be at least a visually impressive book a cheap feeling, not much better in quality than a print-on-demand book and making whoever pays the impressive retail price (US $60.00, CAN $79.00, GBP £45.00) feel like a sucker. An art book with no redeeming qualities is a rare find. Yet, there is nothing to recommend in this book to anyone. The text is a revisionist look through a critical theory lens at the Group of Seven. The illustrations are muddy and cheaply printed. Magnetic North does not do justice to the artistic and cultural legacy of the Group of Seven.
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