Tom Thomson

Thomson, a precursor to the Group of Seven, died before its formation. He was a Canadian painter of landscapes with luminous color and bravura brush work. This painting titled “West Wind” is one such painting that will be the subject of this entry.

There is a sense of motion in this painting, the jewel like quality of the water and those dashes of white keep the eyes on edge as you follow the tree into the sky. The clouds are active, yet their speed is much slower than the waves below. Since the area of highest contrast in the painting is where the leaves and sky meet, you are pulled right back into the lower portions of the painting. The composition creates a cyclical motion that is less dramatic, lending itself to periphery views that keep things active. For instance, when your looking into the clouds you catch a glimpse of the glittering tide below. This keeps the painting fresh and holds your attention, because there is something leading you around to the next spot of interest.

The space in the painting is also doing a few interesting things, thanks to the tree. Without this tree there would be little interest in this subject, because it would be completely open and accessible to the viewer. What the tree does, is create a frame for the landscape to be viewed through. It is also an affirmation of the viewers vantage point and their limitations. The fact that the tree is cropped at the top tells you that there is potentially more in the range of view that we are not seeing. We are limited to this composition, however the notion of there being more adds a sense of authenticity to the space. It seems less formulated and more happened upon. The reduction in detail of spatial elements like the mountains, not only pushes them back, but creates shapes that allow breathing in the composition. It is important to have a solid shape in a somewhat complicated composition like this, it helps to stave off clutter.

So, what does any of this tell you about painting or Thomson? He is definitely aware of the picture plane, and the relative place we are viewing the painting from within the composition. Thomson is also a wonderful colorist, these colors keep integrity to a visual observation. They do not seem like studio reproductions, but rather they seem created in their element. Conceptually, Thomson is almost tied to a Hudson River School type of opulence in nature. His technique is much more physical and takes more liberties with what is observed, but there is a kindred spirit amongst them. The most interesting thing about his paintings is seeing how he organizes everything. There is a deconstruction and construction aspect to his paintings. He breaks things down then rebuilds them with paint in a very decisive manner, very chess like in approach. He thinks moves ahead before making any mark. Thomson is definitely worth exploring in depth, as well as the Group of Seven following him.