page_title: Tom Thomson
section_title: Artistic peak (1916–17)
hierarchical_section_title: Tom Thomson / Life / Painting career / Artistic peak (1916–17)
context_page_description: Thomas John Thomson was a Canadian artist active in the early 20th century. During his short career he produced roughly 400 oil sketches on small wood panels along with around 50 larger works on canvas. His works consist almost entirely of landscapes depicting trees, skies, lakes, and rivers. His paintings use broad brush strokes and a liberal application of paint to capture the beauty and colour of the Ontario landscape. Thomson's accidental death at 39 by drowning came shortly before the founding of the Group of Seven and is seen as a tragedy for Canadian art.
  Raised in rural Ontario, Thomson was born into a large family of farmers and displayed no immediate artistic talent. He worked several jobs before attending a business college, eventually developing skills in penmanship and copperplate writing. At the turn of the 20th century, he was employed in Seattle and Toronto as a pen artist at several different photoengraving firms, including Grip Ltd. There he met those who eventually formed the Group of Seven, including J. E. H. MacDonald, Lawren Harris, Frederick Varley, Franklin Carmichael and Arthur Lismer.
context_section_description: In March 1916, Thomson exhibited four canvases with the OSA: In the Northland (at that time titled The Birches), Spring Ice, Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to purchase Spring Ice instead. The reception of Thomson's paintings at this time was mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor:
  Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best.
   In The Canadian Courier, painter Estelle Kerr also spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects".
  In 1916, Thomson left for Algonquin Park earlier than any previous year, evidenced by the many snow studies he produced at this time. In April or early May, MacCallum, Harris and his cousin Chester Harris joined Thomson at Cauchon Lake for a canoe trip. After MacCallum and Chester left, Harris and Thomson paddled together to Aura Lee Lake. Thomson produced many sketches which varied in composition, although they all had vivid colour and thickly-applied paint. MacCallum was present when he painted his Sketch for "The Jack Pine", writing that the tree fell over onto Thomson before the sketch was completed. He added that Harris thought the tree killed Thomson, "but he sprang up and continued painting".
  At the end of May, Thomson took a job as a fire ranger stationed at Achray on Grand Lake with Ed Godin. He followed the Booth Lumber Company's log drive down the Petawawa River to the north end of the park. He found that fire ranging and painting did not mix well together, writing, "[I] have done very little sketching this summer as the two jobs don't fit in... When we are travelling two go together, one for canoe and the other the pack. And there's no place for a sketch outfit when your  [sic] fire ranging. We are not fired yet but I am hoping to get put off right away." He likely returned to Toronto in late October or early November.
  Over the following winter, encouragement from Harris, MacDonald and MacCallum saw Thomson move into the most productive portion of his career, with Thomson writing in a letter that he "got quite a lot done". Despite this, he did not submit any paintings to the OSA exhibition in the spring of 1917. It was during this time that he produced many of his most famous works, including The Jack Pine and The West Wind. Dr. MacCallum suggested that several canvas works were unfinished, including Woodland Waterfall, The Pointers and The Drive. Barker Fairley similarly described The West Wind as unfinished. Charles Hill has written that there are no reasons to believe Woodland Waterfall was unfinished. Similarly, while it has sometimes been suggested that The Drive was modified after Thomson's death, a reproduction from 1918 displays no discernible differences.
  Thomson returned to Canoe Lake at the beginning of April, arriving early enough to paint the remaining snow and the ice bre
caption: Tea Lake Dam, Summer 1917. Sketch. McMichael Canadian Art Collection, Kleinburg
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