*Lawren Harris, Lake and Mountains, 1928, Oil on Canvas.*

Lawren Stewart Harris was born on October 23, 1885, in Brantford (Ontario) and died on January 29, 1970, in Vancouver. He was an inspiring painter for Canadian artists during 3 generations, thanks to the founding of the Group of Seven. After the disbanding of the first group, in 1933, he and some members founded its successor: the Canadian Group of Painters. Lawren Harris was the first president of this group.

To go back in time, in 1911, Lawren was sketching with J.E.H. MacDonald and Tom Thomson. By the 1920s, the Group of Seven was formed, and he evolved into a masterful landscape painter, skillfully transforming nature's powerful forms into works of striking force and elegance. Then, between 1940 and 1970, in Vancouver, Harris continued with what made him special: nature painted abstractly. Came a time when he stopped signing and dating his works to ensure they were judged solely on their own merit, without influence from his name or the period in which they were created.

Lawren Harris, a prominent member of the Group of Seven, distinguished himself from his peers through several unique characteristics and contributions to Canadian art:

Early in his career, Harris painted urban and industrial scenes of Toronto, which were less common among his peers. These works, depicting the harsh realities of city life, showcased his versatility and interest in a broad range of subjects beyond the natural wilderness that the Group of Seven is typically known for.
His work evolved towards a more spiritual and mystical approach, particularly in his later years. He sought to capture the sublime and transcendental aspects of the Canadian landscape, often stripping his scenes down to their elemental forms to convey a sense of universal spirituality.
Nearing the end of his life, he ventured into geometric abstraction. His abstract works were characterized by simplified forms, bold colors, and a sense of order and harmony, reflecting his interest in Theosophy and spiritualism.
As said above, he was deeply influenced by Theosophy, a spiritual and philosophical movement that sought to explore the connections between humanity, nature, and the divine. This influence is evident in his work's thematic depth and symbolic content.
Harris's artistic style underwent significant evolution over his career, moving from representational landscapes to abstract forms. This evolution reflects his personal quest for expressing the inner spirit of the landscape, rather than merely its outward appearance.