Jackson enlisted in June 1915 and served in France from November 1915 to 1917, at which point he was seriously injured.[9] Harris enlisted in 1916 at taught musketry at Camp Borden. He was discharged in May 1918 after suffering a nervous breakdown. Carmichael, along with MacDonald, Thomson, Varley and Johnston remained in Toronto.[8] For a thorough discussion of the activity of the group during the war, refer to Mellen (1970), p. 70; Larisey (1993), pp. 34–36; Reid (1971), pp. 109–120 Mellen, Peter (1970). The Group of Seven. Toronto: McClelland and Stewart. ISBN978-0-7710-5815-8. Larisey, Peter S.J. (1993). Light for a Cold Land: Lawren Harris's Work and Life – An Interpretation. Toronto: Dundurn. Reid, Dennis R. (1971). A Bibliography of the Group of Seven. Ottawa: The National Gallery of Canada.
Murray (1990), p. 156: "In Carmichael's works of the 1930s, he managed the structure but at the same time began to overwork and overfinish. This killed him as a painter of larger works... Mainly, he could not relax in the large works: the fear of being not good enough may have been too great." Murray (1990), p. 159: "For [Carmichael], watercolour was the supreme art, one attuned to his subtlest impulse. He was a subtle man. All the more reason, therefore, for this comprehensive exhibition to have included more watercolours. Here, where Carmichael was sublime, we were offered only a sampling." Murray, Joan (Summer 1990). "Carmichael's Triumph?". Journal of Canadian Studies. 25 (2): 155–59. doi:10.3138/jcs.25.2.155. S2CID151323505. Murray, Joan (Summer 1990). "Carmichael's Triumph?". Journal of Canadian Studies. 25 (2): 155–59. doi:10.3138/jcs.25.2.155. S2CID151323505.
Murray (1990), p. 156: "In Carmichael's works of the 1930s, he managed the structure but at the same time began to overwork and overfinish. This killed him as a painter of larger works... Mainly, he could not relax in the large works: the fear of being not good enough may have been too great." Murray (1990), p. 159: "For [Carmichael], watercolour was the supreme art, one attuned to his subtlest impulse. He was a subtle man. All the more reason, therefore, for this comprehensive exhibition to have included more watercolours. Here, where Carmichael was sublime, we were offered only a sampling." Murray, Joan (Summer 1990). "Carmichael's Triumph?". Journal of Canadian Studies. 25 (2): 155–59. doi:10.3138/jcs.25.2.155. S2CID151323505. Murray, Joan (Summer 1990). "Carmichael's Triumph?". Journal of Canadian Studies. 25 (2): 155–59. doi:10.3138/jcs.25.2.155. S2CID151323505.