Lawren S. Harris is best known for his iconic landscape paintings that declare a sense of cool Canadian resilience. Yet, in the 1920s, an audacious and more colourful interior world began to emerge in his work, and by 1934, the patriotic landscape painter had taken a seemingly unexpected turn toward a transnational career in abstract painting.

The social, intellectual, and aesthetic milieu of American transcendentalism shaped a movement of abstract art across North America, seen in the paintings of Georgia O’Keeffe, Marsden Hartley, Katherine Dreier, Raymond Jonson, and Lawren Harris. Harris, in particular, made an impact on both sides of the border. Inspired by the ideas of Kandinsky and informed by the writings of Emerson and Whitman, Harris and his contemporaries turned to abstraction to express higher states of consciousness, creating work that was the very embodiment of the modern spirit.

As Harris's career progressed, as he ascended from mountaintops to inner states of mind, he sought greater and more ethereal spiritual heights. This magnificent volume features reproductions of more than 75 paintings by Harris and his contemporaries. Two major essays by Roald Nasgaard and Gwendolyn Owens investigate Lawren Harris's exploration of modernity and the evolution of his work towards a form of abstraction that enthusiastically embraced the energies of the ambient visual culture.

Higher States: Lawren Harris and His American Contemporaries accompanied an exhibition organized by the McMichael Canadian Art Collection.

Roald Nasgaard (MA, University of British Columbia; PhD, Institute of Fine Arts, New York University), Professor of Art History, and, for the past decade, Chair of the Art Department at Florida State University, began his teaching career at the University of Guelph in 1971. In the years between, before returning to academia, he had a long and distinguished museum career. From 1975 to 1978 he served as Curator of Contemporary Art and then, until 1993, as Chief Curator at the Art Gallery of Ontario, Toronto. Among the many exhibition catalogues he authored are Yves Gaucher: A Fifteen-Year Perspective (1979); Structures for Behaviour: New Sculptures by Robert Morris, David Rabinowich, Richard Serra and George Trakas (1978); The Mystic North: Symbolist Landscape Painting in Northern Europe and North America, 1890-1940 (1984); Gerhard Richter: Paintings (1988); and Pleasures of Sight and States of Being: Radical Abstract Painting Since 1990 (2001). Other major curatorial projects at the AGO include The European Iceberg: Creativity in Germany and Italy Today (1985) and Free Worlds: Metaphors and Realities in Contemporary Hungarian Art. Nasgaard has held several Canada Council fellowships and grants as well as a Research Fellowship at the National Gallery of Canada Library and Archives (2002). He won an OAAG Curatorial Writing Award in 1991 for his essay in Individualités: 14 Contemporary Artists from France. Nasgaard was born in Denmark and is a Canadian citizen.

Roald Nasgaard's profile page

Gwendolyn Owens is Director of Curatorial Affairs of the Visual Arts Collection of McGill University. Her publications include articles, exhibition catalogues, and books on a variety of subjects, from mid-nineteenth century American landscape painters to David Milne and Melvin Charney.

Gwendolyn Owens' profile page

• Nominated, Melva J. Dwyer Award

"Sets Harris within the fuller North American story, teasing out further complexities. ... This move is all to the good; the argument has now been irrefutably made regarding Harris’s connection to the abstract trends of his time on both sides of the border."

<i>Literary Review of Canada</i>

"An extraordinary, comprehensive, and beautifully illustrated history of a major Canadian painter and unreservedly recommended."

<i>Midwest Book Review</i>

"Higher States is about Harris, but it’s also about us: A selective myth countered by a fuller version of perhaps our best-loved artistic icon, whose complications are often left in the margins in the service of promoting simplified patriotism."

<i>Toronto Star</i>