Francis Hans Johnston (also known as Frank H. Johnston and as Franz Johnston) (June 19, 1888July 9, 1949) was a member of the Group of Seven. Life and career Frank Johnston was born on June 19, 1888 in Toronto, the son of Hugh Hans and Mary Elizabeth (Roderick) Johnston. He was educated at Central Technical School in Toronto, studying with Gustav Hahn, and the Central Ontario School of Art with William Cruikshank and George Agnew Reid. In 1908, he joined Grip Ltd. as a commercial artist. In 1910, he left for the United States where he studied art in Philadelphia and worked in commercial design in New York. Upon his return to Toronto in 1915, he used his spare time from commercial art to pursue landscape painting, through sketching trips around Toronto. In 1918, he was commissioned by the Canadian War Memorials to record Canadian flying personnel training for overseas duty. In 1916, encouraged by Dr. James MacCallum, he travelled to Hearst, Ontario to paint. From 1918 on, he joined Lawren Harris and J.E.H. MacDonald on their journeys to Algoma. His paintings from those years express a strong decorative interpretation of the landscape, but he often employed fast-drying tempera rather than oil paint. Johnston's rate of production was such that in the 1919 Algoma show at the Art Gallery of Toronto he contributed sixty works - more than any other artist. A few months later, he asserted his independence even more, having a large one-man show of 200 paintings at the T. Eaton Company Galleries. In 1920, he was invited to join the Group of Seven, but his association with it was brief. He did take part in the Group's first exhibition of 1920, but by 1921 he had left Toronto to become Principal at the Winnipeg School of Art. He claimed that he had no disagreement with the group, only that he wanted to go his own way with regard to exhibition. In 1925, Johnston changed his name to the more exotic first name of 'Franz' Johnston. By 1927, he was back in Toronto, working as the principal at the Ontario College of Art. In later years, the artist's work demonstrated a return to a more classical style of landscape painting and revealed a strong fascination with the qualities of light, especially light on snow. This theme recurred in later works, in large narrative paintings of the 1930s and