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Extra info for Arthur Lismer, Visionary Art Educator
Tom made himself a bunk, shelves, a table, and an easel, and lived in that place as he would a cabin in the north. "47 Jackson was keenly interested in ideas being explored by MacDonald and Harris and was soon involved with the group. He recalled that the Studio Building "was a lively centre for new ideas, experiments, discussions, plans for the future and visions of an art inspired by the Canadian countryside. 5° It was difficult, if not impossible, to sell experimental work in the conservative atmosphere of pre-war Toronto, and Jackson was amused when MacCallum wrote on Harris's behalf to ask if he still had the painting: "If I still possessed it!
He was embarking on a new adventure beyond anything he had experienced before. In 1911 Canada was not so much a cohesive country as a collection TORONTO, 1 9 1 1 - 1 9 1 6 / 21 of regionally focused provinces. The population was separated not only by vast distances but by differing historical backgrounds and social, economic, and cultural needs. In spite of the cry for unity in the national election of that year and spasmodic outbursts of nationalism, a true national spirit did not evolve until World War i.
Both men were members of the Arts and Letters Club and applauded the new direction that MacDonald's work had taken. At the time, Grier, also felt that Canada needed a national art form: "Stirred by big emotions born of our landscape; braced to big courageous effort by our landscape ... "35 It was a new, if tentative, beginning for Canadian painting, given enthusiastic approval by some members of the Arts and Letters Club. The club itself played an important role in furthering the progress of this new movement by providing both an exhibition space for the work and a gathering place for discussion and entertainment.