Tom Thomson

Tom Thomson
Life & Work by David P. Silcox
Key Works: After the Storm
1. David P. Silcox and Harold Town, Tom Thomson: The Silence and the Storm, 5th ed. (Toronto:
HarperCollins Canada, forthcoming 2016).
Significance & Critical Issues
1. Lawren S. Harris, The Story of the Group of Seven (Toronto: Rous and Mann Press, 1964), 7.
2. Harold Town, “Introduction,” in Tom Thomson: The Silence and the Storm, 5th ed., ed. David P.
Silcox and Harold Town (Toronto: HarperCollins Canada, forthcoming 2016).
3. See John Wadland, “Tom Thomson’s Places,” in Tom Thomson, ed. Dennis Reid and Charles C.
Hill (Vancouver: Douglas & McIntyre, 2010), 85–109.
4. See, for example, Lynda Jessup, “Art for a Nation,” and Leslie Dawn, “The Britishness of
Canadian Art,” in Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary
Art, ed. John O’Brian and Peter White (Montreal: McGill-Queen’s University Press, 2007), 187–201.
Also see Marylin J. McKay, Picturing the Land: Narrating Territories in Canadian Landscape Art,
1500–1950 (Montreal: McGill-Queen’s University Press, 2011), chaps. 8 and 9.
5. The Studio: An Illustrated Magazine of Fine and Applied Art, 31 (1904): 350.
6. David Milne to Harry McCurry, Milne Papers, 1932, National Gallery of Canada Archives.
7. See Dennis Reid, “Photographs by Tom Thomson,” in National Gallery of Canada Bulletin,
no. 16 (1970).
8. Sherrill Grace, Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies
and Reproductions (Montreal: McGill-Queen’s University Press, 2004), 96.
Style & Technique
1. Reviewer (probably Frederick Wedmore) writing in The Standard, July 27, 1888, quoted in
The Discovery of Constable, ed. Ian Fleming-Williams and Leslie Parris (London: Holmes and
Meier, 1984), 88.
2. See Robert Stacey, “Tom Thomson as Applied Artist,” in Tom Thomson, ed. Dennis Reid and
Charles C. Hill (Vancouver: Douglas & McIntyre, 2010), 47–63.
3. Ross King, Defiant Spirits: The Modernist Revolution of the Group of Seven (Vancouver:
Douglas & McIntyre, 2010), 14.
4. Quoted in Marylin J. McKay, Picturing the Land: Narrating Territories in Canadian Landscape
Art, 1500–1950 (Montreal: McGill-Queen’s University Press, 2011), 185.
5. Sandra Webster-Cook and Anne Ruggles, “Technical Studies on Thomson’s Materials and
Working Methods,” in Tom Thomson, ed. Dennis Reid and Charles C. Hill (Vancouver: Douglas &
McIntyre, 2010), 145–51.
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