Mount Cheam is one of the subjects Weston returned to several times. A critic in 1944 described one version of Cheam as "strong, simplified, in great warmth of colour—deep rich henna reds, stark sulphur greens and vast blue shadows. In the foreground a beautifully simple patter of fields and farm houses, with a windbreak of autumn toned trees dwarfed by the over-powering mountain behind them."(14)

Just as Weston appreciated strength of character in trees on rocky shores, he valued the individual qualities of the mountains.

"All painting is abstract up to a point, but he [Harris] carried it so much farther. You were more struck by the geometric model forms of the cube and the cylinder than the actual mountain… We know that those are the underlying forms but I like to keep something of the character of the mountain…I like to keep something of the character of the mountain…I wasn’t painting mountains generally but…particular mountains…anyone could recognize the mountain."(15)

Hart House, University of Toronto, purchased one version of Mount Cheam, also painted in 1933, on the advice of Group of Seven member, Lawren Harris.(16)