When the Group of Seven was formed in 1920, the artists hoped for recognition of their works and ideas. In the catalog to their first exhibition, they actually invited adverse criticism—but only because what they feared most was indifference. At a time when Canada was coming into its own, they felt that a major factor in the development of a strong and healthy nation was a vital and relevant art. They hoped that their works would make a significant contribution to the evolution of a truly Canadian art tradition. Therefore, the Group’s desire to paint the Canadian landscape lays the genuine conviction that it was the northern landscape that represented and expressed the country’s unique character. It was this concept that was to capture the imagination of so many Canadians.
Today there is every indication that the Group has attained its goals. These artists have achieved widespread popular success and acclaim, and their works have been heralded as one of the basic symbols of Canadian culture. They have been honored with exhibitions, degrees and medals; reproductions of their works can be found on every thing from posters to postage stamps.
As frequently happens with popular trends, there has been a tendency to romanticize the accomplishments of the Group, which has inevitably caused many misconceptions to develop. The most common of these is the popular belief that the Group of Seven were violently criticized in the first Group shows. However, the truth of the matter is that the reviews for these early shows were nearly all favorable.
1.What does the passage mainly discuss?（ ）
2.The author implies that the Group of Seven welcomed adverse criticism because it would（ ）
3.The author implies that the members of the Group of Seven were（ ）.
4.According to the passage, all of the following were major goals of the Group of Seven EXCEPT（ ）.
5.Which of the following is NOT mentioned as a way in which the Group of Seven was honored?（ ）
