243:. Emphasizing the "spirit" of the painting, she wrote in 1935, "the spirit of the canvas leaps out to meet the spectator in a way no reproduction can fully convey. There is no fumbling, no hesitancy here ... brush was sure. Heavily laden with paint it swept over the canvas in broad, exultant strokes in which the very spirit of Tom Thomson still speaks aloud." Another Theosophist, Fred Housser, described the painting in 1926 as "a devotional meditative study. A single tree stands spreading the tracery of its limbs and branches like the pulsating veins of Mother Nature ... could believe that this tree was to the nature-worshipper Thomson what the symbol of the cross was to a mediaeval mystic."
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293:(1970), wrote of the work's "perfect serenity. It is evening – the sky and lake are perfectly calm and are painted in broad, flat horizontal strokes. Even the soft mauves, pinks, and greens contribute to this effect. Countering the strong horizontals are the drooping red tendrils of the bare pine branches, the vertical lines of the trees, and the curves of the hills ... achieves pure poetry in painting, by combining an intuitive feeling for nature with an almost classical control of technique." A year later, Jean Boggs proposed that Thomson was influenced by the European
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The pine, its branches bowed and placed to the right of centre, extends nearly the full length of the canvas, and is cropped at the top. It rises from a rocky foreground; the hardy jack pine often takes root on shores hostile to other trees, its sparsely leaved branches forming eccentric shapes. It is silhouetted against water and sky, with the canvas bisected by the far shore.
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338:. Representatives of the National Gallery visited the club on two occasions in the spring of 1918. The museum wished to add to its existing collection of three works by Thomson. Director Eric Brown was appalled on his first visit at the poor lighting provided the paintings. For the second visit, May 2, the display had been improved, and the director and his associate chose
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the focal point. The circle is formed from the large curving branches of the tree, the sloping left foreground, and the smaller tree at right. Reid writes that this near-circle "exists in space more like a ball, and as we peer through that ball to the opposite shore, for an instant we're inside our eye."
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The pine depicted in the painting was located by park staff in 1970. The tree was already dead by the time of its discovery; it later fell over and was used for firewood by campers. A lookout at Grand Lake now marks the site of the painting with a plaque that notes the significance of
Thomson's work
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The final canvas differs markedly from
Thomson's spring 1916 sketch. He made the tree appear larger by lowering the hills on the far side of the lake. The weather had been stormy when Thomson made the sketch and the dark, rolling clouds were echoed in the heavy, swirling brushwork of the sky and the
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are most dramatic, its branches struggling to life but dominated by dark-green, tattered, bat-like forms as if the tree were a symbol – beautiful, oriental, but a symbol nevertheless of
Thomson's wish for his own death on this spot." Others considered the painting evidence that Thomson was, or
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Yet the focal point of the painting is not in the foreground, but at the distant shore—the patch of snow just below the centre of the canvas. Dennis Reid, who wrote a booklet on the painting for the
National Gallery, points out an almost circular shape made by the foreground elements that encompass
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as a decorative and abstracted pattern, its shapes boldly simplified against the sunset. This stylization demonstrates
Thomson's command of decorative effects, developed during his years as a graphic designer, and with the strong colour and value contrasts, creates the picture's symbolic resonance.
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was a work of "significant form ... The artist thinks of big things first – and the design in this picture is the biggest thing in it. It is like a symphony of music. All the instruments are playing a part, and none is out of harmony with the whole ... the theme of a painting is a
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movement in space. The upright lines of the tree trunk give it serenity; the horizontal lines of the shore supplement this and give it strength; the rounded masses of the hills repeat the circular rhythm of the foliage masses, giving movement and powerful rhythm to the whole composition."
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designs in the flat, the principal motif in each case being a tree drawn in great sinuous curves ... Such pictures, are, however, saved from complete stylization by the use of uncompromisingly native subject-matter and of
Canadian colours, the glowing colours of autumn."
361:. It circulated until 1919, and only in February 1920 was the painting first displayed in Canada, as part of a Thomson memorial exhibition. In the next five decades it would be displayed widely, in Europe (London, Paris, Ghent), and across Canada and the United States.
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slate grey lake. In the final painting, Thomson has swapped the storm clouds for a clear twilight sky. The sky and lake are now highly stylized, painted in long horizontal brushstrokes that show, along with its nearly square format, the influence of
Thomson's colleague
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advocating his work. In a review of the Art
Gallery of Toronto's Inaugural Exhibition of 1926, Harris dismissed much of the American art shown there, writing that most of it "represented the average of the academies... no one of these canvasses approaches Thomson's
233:, is, after all, like all successful works of art a living thing that grows or declines, unfolds or closes up, according to the nature and the quality of the attention it receives. In that sense, there are as many meanings as there are viewers."
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from the spring until the autumn, often working as a guide while also fishing and painting for his own pleasure. In 1916, he also worked in the Park as a fire ranger. It was there, on
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was included in an exhibition of
Thomson's work that travelled across Canada in 2003, organized by the National Gallery and the Art Gallery of Ontario. It was then shown at the
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The painting was completed in 1917, the year of
Thomson's death. It is a roughly square canvas that measures 127.9 × 139.8 cm. It has been in the collection of the
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species in Canada, it is considered an iconic image of the country's landscape, and is one of the country's most widely recognized and reproduced artworks.
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in devotion and greatness of spirit." Those two paintings, he wrote, "contain the lasting qualities of the best old masters. The devotional mood of
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in 1916 that he would use for the final painting in 1917. There are numerous other paintings by Thomson with compositions similar to that of
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red and green. The red was allowed to show through in parts of the tree, foreground landscape, and hills, making the colour " to vibrate".
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The painting has been widely reproduced, seen across Canada in schools and public institutions. In 1967, a stamp featuring
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402:'s "Tom Thomson's Jackpine" and Doug Barbour's "Tom Thomson's 'The Jack Pine' (1916–1917)". Beissel's poem concludes:
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797:"Algonquin Park site marks location where Tom Thomson sketched famous work", The Canadian Press. August 25, 2008.
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arrived in Ottawa in August 1918, it was sent to St. Louis, Missouri, as part of an exhibition of contemporary
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was "in our opinion, and that of Thomson's fellow painters, the best picture of any kind he ever painted."
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has held the work since shortly after its creation. During his wilderness travels, Thomson likely stored
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was released to coincide with the fiftieth anniversary of the painting's creation and Thomson's death.
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and depicts the painting alongside a photograph of the scene from the 1970s, before the tree fell.
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Foreground trees and a distant body of water form a common motif in Thomson's work. In this regard
870:. Masterpieces in the National Gallery of Canada, No. 5. Ottawa: National Gallery of Canada, 1975.
394:. Thomson's life and mysterious death is a popular subject of Canadian biography and poetry. Even
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Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies and Reproductions
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124:: in fact, the majority of Thomson's canvasses depict the far side of a shore. These include
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573:." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford Art Online. June 6, 2010
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A 140-plate book on Thomson was published in 2002 to coincide with the exhibition.
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with the hills near Carcajou Bay in the background, that Thomson made the oil
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and 25 sketches) for the National Gallery. Brown wrote to a colleague that
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Light for a Cold Land: Lawren Harris's Work and Life – An Interpretation
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This article is about the painting by Tom Thomson. For the tree, see
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The site of Thomson's sketch for the painting, photographed in 2007
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813:. Art Gallery of Ontario and National Gallery of Canada, 2002.
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The Many Deaths of Tom Thomson: Separating Fact from Fiction
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with respect to American art at the exhibition. (Larisey)
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red undertone, which he likely chose to avoid mixing the
757:. CBC News, September 10, 2004. Retrieved June 12, 2010.
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Iconic Tom Thomson works showcased at Russia's Hermitage
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Thomson's background in design lent his composition an
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sensibility. One reviewer notes the effect in it and
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39:(1916–17). Oil on canvas; 127.9 × 139.8 cm.
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150:Thomson's spring 1916 sketch for
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877:. Firefly Books, Ontario, 2001.
683:. Toronto: Dundern Press, 1993.
662:Harris reserved praise only for
154:. Oil on panel; 21.1 x 26.8 cm.
1487:Death and legacy of Tom Thomson
827:. McGill-Queen's Press, 2004.
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641:Quoted in Reid, pp. 26–27
314:Provenance and exhibition
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1572:Visual arts
1380:Tom Thomson
1208:(1970 book)
1198:Joan Murray
1099:Friends and
1018:(1916–1917)
1010:(1915–1916)
1002:(1914–1915)
939:Tom Thomson
811:Tom Thomson
777:Grace, p. 2
632:Reid, p. 28
614:Reid, p. 31
583:Tom Thomson
558:Tom Thomson
548:Reid, p. 31
241:Theosophist
203:Art Nouveau
195:Art-Nouveau
142:Description
61:Tom Thomson
33:Tom Thomson
1582:Categories
1434:Spring Ice
1335:Emily Carr
1007:Spring Ice
804:References
604:1550023152
295:Symbolists
114:Grand Lake
82:Background
1497:Grip Ltd.
1394:Paintings
1059:Grip Ltd.
1042:Locations
1034:(1916–17)
1026:(1916–17)
1015:The Drive
982:Paintings
953:Biography
261:Jack Pine
180:vermilion
164:jack pine
21:Jack pine
903:CBC News
691:. p. 66.
310:artist.
304:abstract
43:, Ottawa
1546:Portals
1465:Related
1172:Related
946:General
454:O-Train
449:of the
1560:Canada
994:(1912)
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451:Ottawa
375:Legacy
324:Ottawa
118:sketch
76:Ottawa
460:Notes
879:ISBN
858:ISBN
843:ISBN
829:ISBN
815:ISBN
685:ISBN
666:and
600:ISBN
472:ncsu
318:The
275:".
98:and
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322:in
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23:.
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