Tom Thomson

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Tom Thomson Life & Work by David P. Silcox Creating nocturne paintings enthralled Thomson in all seasons. On warm summer nights, with a light breeze keeping the mosquitoes down, Thomson liked to float on a lake in his canoe, enveloped by the darkness. In the autumn when the northern lights danced in the sky, he captured their swiftly shifting drama. In the depths of winter, with only the moon for light, the night presented long shadows and eerily illuminated snow. And in the spring, as the earth shucked off the mantle of winter, Thomson painted other night scenes—of lumber camps, trees in leaf, moose grazing at the water’s edge, and geese flying north. Thomson painted at least twenty-three nocturnal paintings—more than all his colleagues in the future Group of Seven put together. He found mystery in the night, when shadows were deep, and the light of the moon and the stars shone across the surface of a lake. They were an essential part of his diary or compilation of phenomena about the North—or, as his patron Dr. James MacCallum called it, his “Encyclopedia of the North.” Autumn, Algonquin Park 1916 Tom Thomson, Northern Lights, 1916, oil on plywood, 21.6 x 26.7 cm, Thomson Collection, Art Gallery of Ontario, Toronto. Thomson painted five versions of the northern lights Tom Thomson, Nocturne, 1914, oil on board, 21.6 x 26.7 cm, Art Gallery of Windsor 38
Tom Thomson Life & Work by David P. Silcox Autumn, Algonquin Park 1916 Tom Thomson, Autumn, Algonquin Park, 1916 Oil on panel, 21.6 x 26.7 cm A.K. Prakash Collection, Toronto Autumn, Algonquin Park is a fine example of Thomson’s new-found style and power during his final twelve months of life and work. The composition is a miracle of simplicity: three broad bands across the width of the panel interrupted, dramatically, by a vertical, scrawny shrimp of a tree with yellow leaves and by two equally skinny, though taller, leafless stems. 39
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Tom Thomson

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