Lowrie Lyle Warrener, once a celebrated artist in the Toronto art scene of the mid-1920s, is now relatively obscure. During his prime, Warrener was part of a vibrant artistic movement that sought to capture the essence of the Canadian landscape, a goal shared by the Group of Seven and the Canadian Nationalist Art movement. His work exemplified the innovative spirit of a young generation of artists dedicated to advancing Canadian Art. In F.B. Housser's book, A Canadian Art Movement, the allure of the Northern landscape, which inspired Warrener and his contemporaries, is vividly portrayed:

"Ontario has an area of which about five-sixths is unsettled hinterland; a rough country of rivers, waterfalls, lakes, canyons, and great hills. The land has a peculiar magnetism...at night the stars look larger, the sun is brighter, the autumn colors more vivid. It is a subject for art with new materials far from the ateliers of foreign lands."

In 1919, influenced by the Group of Seven’s vision, the Women's Conservation Committee in Sarnia began collecting artworks to foster public appreciation for authentic Canadian art. Encouraged by Norman Gurd, a Sarnia lawyer, the committee acquired works from renowned artists such as Tom Thomson, A.Y. Jackson, and Lawren Harris, exposing a young Warrener to their revolutionary approach to art. This initiative, known as the "Sarnia Art Movement," played a crucial role in shaping Warrener's artistic development.

At the Ontario College of Art, Warrener studied sculpture under Emmanual Hahn while honing his painting skills independently. Influenced by European modernism and artists like Cezanne, he embarked on a transformative journey to Europe in 1924, studying at the Academie Royale des Beaux Arts in Antwerp. Despite his dissatisfaction with the traditional teaching methods, Warrener's European experiences profoundly impacted his art, evident in the shift from the Group of Seven’s influence to a style that reflected the aesthetics of masters like Cezanne, Van Gogh, and Gauguin.

Warrener’s artistic evolution is further illustrated by his fascination with the aesthetic theories of Clive Bell, particularly "pure art," "pure color," and "pure form." His correspondence with fellow artist Carl Schaefer reveals his excitement for these concepts and their application in his work. Upon his return to Canada in 1925, Warrener continued to explore the Canadian landscape, culminating in his first exhibition at the Sarnia Public Library in 1926, where he sold 25 paintings.

While his work received mixed reactions, Warrener was recognized for abstracting natural landscapes into stylized forms and rhythmic patterns, earning praise from contemporaries like Lawren Harris. His foray into theatre set design, particularly for productions at Hart House Theatre, showcased his ability to blend visual and performing arts, creating a unique aesthetic that resonated with audiences and critics alike.

Warrener’s contributions to both visual and performing arts, coupled with his commitment to Canadian Nationalist Art, cemented his legacy as a pioneering force in the development of a distinctly Canadian artistic identity.