Two artists commonly associated with the group are Tom Thomson (1877–1917) and Emily Carr (1871–1945). Although he died before its official formation, Thomson had a significant influence on the group. In an essay, Harris wrote that Thomson was “a part of the movement before we pinned a label on it”; Thomson’s paintings The West Wind and The Jack Pine are two of the group’s most iconic pieces. Emily Carr was also closely associated with the Group, though never an official member."
"The Group was united in the belief that a distinct Canadian art could be developed through direct contact with the country's vast and unique landscape." Christopher Varley and Russell Bingham write that "The group presented the dense, northern boreal forest of the Canadian Shield as a transcendent, spiritual force." MacDonald stated that the Group's aim was "to paint the soul of things [...] the inner feeling rather than the outward form".
"For the Group of Seven, the landscape became akin to a religion. Varley and Harris particularly venerated nature, finding God's immanence within it. From their paintings, Dr. Salem Bland, a leading liberal theologian, stated that he felt, "as if the Canadian soul was unveiling to me something secret and high and beautiful which I had never guessed; a strength and self-reliance, depth and mysticism I had not suspected." Katerina Atanassova says “There is a great deal of spirituality in early twentieth century Canadian art, Varley was very influenced by Buddhism, and many of Lawren Harris’s paintings are based on theosophic principles.”
Jim Friedrich notes that, in 1927, Emily Carr saw an exhibition by the Group and that night wrote in her journal: "Oh, God, what have I seen? Where have I been? Something has spoken to the very soul of me, wonderful, mighty, not of this world. Chords way down in my being have been touched. . . Something has called out of somewhere. Something in me is trying to answer." Carr, at age 56, would go on to begin her most productive period as a painter, exploring the unique spirituality of Canadian landscapes.
Margaret Hirst writes that "Carr yearned to find and express God, and Lawren Harris ... was the catalyst for her great spiritual journey. In addition, Harris befriended and encouraged Carr, offered technical advice, and introduced her to philosophies such as Theosophy and the transcendental poetry of Walt Whitman." "An awe of great expanses became a crucial component of Carr’s religious expression, as she moved away from paintings of native scenes and totems toward a focus on the timbers and skies of the woods. Though Christian, Carr retained the Pantheistic tendencies born in her girlhood, hearing “the myriad voices of God shouting in one great voice: ‘I am one God.... I am heaven. I am earth. I am all in all’.” Her developing religious devotion began to permeate her art." "As she developed her technical skills and style, expression of the Almighty remained foremost in her artistic purpose. By 1934 she could write: “I am painting my own vision now, thinking of no one else’s approach.” Carr had synthesized her faith into a personal, non-dogmatic Christianity, accented by traces of Pantheism, all of which would be reflected in her famous “sky” paintings."
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Bruce Cockburn - Hills of Morning.
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