Tile has an inescapable connection to the natural world, in its material connection to earth and fire, and in our desire to create textures in our homes that are available only through the designs and creations of nature herself.
Maybe that’s why we’ve long been fans of the work of Canada’s Group of Seven artists–a group of Canadian landscape artists who believed a very close connection to nature would help distinguish their techniques and even define a new “school” of painting. Their success resulted in widespread influence among succeeding generations of artists.
The Group of Seven — sometimes known as the Algonquin school — was a group of Canadian landscape painters from 1920 to 1933, originally consisting of Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A. Y. Jackson (1882–1972), Frank Johnston (1888–1949), Arthur Lismer (1885–1969), J. E. H. MacDonald (1873–1932), and Frederick Varley (1881–1969). Later, A. J. Casson (1898–1992) was invited to join in 1926; Edwin Holgate (1892–1977) became a member in 1930; and LeMoine Fitzgerald (1890–1956) joined in 1932. (Souce: Wikipedia)