This is a seriously annoying book, filled to the brim and beyond with unwarranted assumptions about Lawren Harris's motives and conscious and unconscious psychological quirks, most of which are based on little or no evidence at all. Harris himself was a fascinating person, a patrician inheritor of a sizeable fortune who decided to devote his life to creating art. And he produced many powerful pictures, especially of northern landscapes. But while this book does offer what I was hoping for--a sense of who Harris was and what happened to him in his life and especially, what part he played in the establishment of the Group of Seven and a distinctive Canadian art more generally, King is far too confident about his far-too-pop-psychological interpretations of Harris and his work for the book to be anything but infuriating. I was especially annoyed by this description of Harris's portrait of the woman who became his second wife: "The face is that of a person deeply attracted to and obviously in tune with theosophist principles; as such, it can be read as a tribute by the artist to his own religious beliefs. Yeah, sure. I wager that the vast majority of people selected randomly on the street and shown this painting would not immediately jump to the "obvious" conclusion that it revealed theosophical interests. "