Rowanberries (Mountain Ash), Algoma 1922

J.E.H. MacDonald built this painting up, touch by touch, with juicy strokes of oil paint. Look at the way he juxtaposes those bright berries against the shadowy rocks, all those warm browns with the little sparks of golden light in the water! I can almost feel MacDonald standing there in the Canadian wilderness, trying to capture the feeling of a fleeting moment. There’s something so immediate and raw about the painting, as if he’s wrestling with the landscape. But he is also surrendering to it. Those strokes of paint are like little gestures, each one loaded with intention, building up to an image that is both representational and abstract. I like the rhythm of this composition, the way the eye darts around, drawn in by the push and pull of color and texture. MacDonald was part of the Group of Seven, who were all trying to define a new vision for Canadian art, and you can see their influence in how he’s pushing beyond traditional landscape painting. He’s in conversation with artists like Van Gogh, with their own thick brushstrokes and bold colors. And in turn inspiring later generations.