Tom John Thomson
1877 – 1917
As I delved into Canadian art, I found myself captivated by the story of the Group of Seven and their profound inspiration for portraying the splendor of Canada's landscapes. Their work is celebrated as the cornerstone of Canadian painting, establishing it as a distinct and cherished national art form.
Six of the Group of Seven, plus their friend Barker Fairley, in 1920.
From left to right: A. Y. Jackson (1882—1974), Frederick Varley (1881—1969), Lawren Harris (1885—1970), Barker Fairley, Frank Johnston (1885—1970), Arthur Lismer (1885—1969)
and J. E. H. MacDonald (1873—1932). Franklin Carmichael (1890—1945) is absent.
Taken at The Arts and Letters Club of Toronto.
Tom Thomson. ca 1900
Library and Archives Canada
At the vanguard of this transformative movement stood Tom Thomson, whose visionary approach profoundly shaped the course of Canadian art.
Although he was not a formal member of the Group of Seven—having passed away three years before the group was officially established—his remarkable contributions were instrumental in its formation and success.
Lauren Harris, a renowned Canadian artist and a member of the Group of Seven, shared insights into the group's history. According to him, Thomson was considered part of the group even before it was officially named, much like the other members.
In his book Harris highlighted:
“Tom Thomson was... as vital to the movement,
as much a part of its formation and development.”
Lawren Harris, Toronto Arts and Letters Club, 1926
Credit: M.O. Hammond,
Archives of Ontario
Decorative Landscape, Birches, c. 1915-16.
National Gallery of Canada, Ottawa.
Bequest of Dr. James MacCallum, Toronto, 1944
Tom Thomson’s birth home, an old farmhouse, just outside Claremont, Ontario.
Two months later his parents moved to Leith, near Meadford.
In other words, Tom Thomson was deeply influenced by his family. Sketching quickly became a central focus for him, and as he matured, he explored both oil and watercolor mediums, broadening his artistic skills.
When Tom Thomson turned 21, he left home intending to prepare for an office job. However, he began developing skills in penmanship and copperplate writing. He collaborated with several photoengraving companies, including Marling and Ladd in Seattle and Legg Brothers in Toronto, as well as an advertising design firm, Grip Ltd, also in Toronto.
The Art Room, Grip Limited, Toronto, c. 1911-12. (Tom Thomson in the frame)
In 1909, Tom Thomson was hired as a commercial artist in the design section at Grip Ltd. There, he met several future members of the Group of Seven, including James MacDonald, Frederick Varley, Arthur Lismer, and Franklin Carmichael.
The Bridge, c. 1907. (Above on the right)
Watercolor over graphite laid down on paper on board.
Tom Thomson Art Gallery, Owen Sound, Ontario
The Farm at Night, ca 1908. (Below on the right)
Graphite and gouache on paper.
Private Collection, Montreal
By 1907, Grip Ltd had gained significant acclaim as Canada’s leading advertising and printing house. It was renowned for its pictorial advertising and for printing reproductions of artworks. Grip Ltd also introduced the Art Nouveau style to Canada and was instrumental in pioneering metal engraving and the four-color printing process.
Colored lithograph "Battle of Fish Creek", published by Grip, 1885
In that era, artists were still discovering their paths and exploring new ideas. It was an exciting time of experimentation and mutual inspiration. Soon, Thomson, Jackson, Lismer, and Varley embarked on a journey across Ontario, working closely together and supporting one another on numerous projects.
A close friend of Thomson, Dr. James MacCallum (1860–1943), was a professor of ophthalmology at the University of Toronto with a heartfelt passion for art. He eagerly attended exhibitions of the Ontario Society of Artists and was an active member of the Arts and Letters Club, where he formed connections with Lawren Harris and J. E. H. MacDonald. It was in MacDonald’s studio, that Tom Thomson had the opportunity to meet Dr. J.M. MacCallum.
James MacCallum immediately recognized the divine spark in Thomson’s work and saw his potential, encouraging him to pursue art full-time. Reflecting on Thomson’s sketches from 1912, he admired their “truthfulness” and described Thomson’s paintings as an “Encyclopedia of the North.” He saw them as a visual chronicle of the landscape, capturing the terrain in every season, at every time of day, and under all kinds of weather.
Sunset Over Hills, c. 1912.
McMichael Canadian Art Collection, Kleinburg
Dr. MacCallum provided crucial financial support to Thomson, enabling him to dedicate the entire year to his craft. After Thomson’s untimely death, James MacCallum played a key role in preserving and advocating for his art. In 1943, he donated a substantial collection
of Thomson’s works—eighty-five pieces—to the National Gallery of Canada. Dr. MacCallum's dedication to supporting and promoting Thomson’s art was crucial in ensuring that his legacy endured.
The Lake, Bright Day, Fall 1916.
National Gallery of Canada, Ottawa.
Bequest of Dr. James MacCallum, Toronto, 1944
Thus, Thomson was afforded the rare opportunity to paint freely, fully immersing himself in his artistic expression without financial constraints.
Earlier, in May of 1912, Thomson made his first visit to the captivating Algonquin Park with his friend Harry B. (Ben) Jackson from the Grip. As he explored the park, he was immediately enchanted by the stunning beauty of Canoe Lake. From that moment on, Thomson's heart was profoundly drawn to the majestic and serene wilderness of the park, which became a lasting source of inspiration for his work.
H.B. Jackson. Tom Thomson, Rainy Day in Camp, 1912
At Tea Lake Dam, Algonquin Park
National Gallery of Canada
In 1913, Tom Thomson exhibited for the first time at the Ontario Society of Artists' 41st Annual Exhibition. His painting Northern Lake
(1912–13) was purchased by the Government of Ontario. Between 1914 and 1916, Thomson participated in three more annual exhibitions. During this period, his works Moonlight (1913–14), Northern River (1914–15), and Spring Ice (1915–16) were acquired by the National Gallery
of Canada.
Tom Thomson frequently ventured on tours to explore the magnificent spots of Algonquin Park, where he would immerse himself in its beauty and find inspiration for his paintings. His deep connection to nature was reflected in his work, capturing the harmony he felt with the wilderness. Dr. MacCallum observed that Thomson didn't paint merely for its own sake, but because nature itself compelled him to do so. Through his art, nature spoke to people, with Thomson serving as its conduit.
Northern Lake, winter 1912-13.
Art Gallery of Ontario, Toronto
Moonlight, winter 1913-14.
National Gallery of Canada, Ottawa
Northern River, winter 1914-15.
National Gallery of Canada, Ottawa
Spring Ice, winter 1915-16.
National Gallery of Canada, Ottawa
Thomson used the shape of the pine tree in his works to symbolize the steadfast nature of the Canadian people and their quest for independence, whether consciously or intuitively.
His paintings often feature birch trees, representing a deep respect for nature and all living beings—a sentiment that resonates with Canadians today.
Larry Dickson’s Cabin. Spring 1917.
National Gallery of Canada, Ottawa
Tamarack. Fall 1915.
National Gallery of Canada, Ottawa
Hot Summer Moonlight. Summer 1915.
National Gallery of Canada, Ottawa
Northern Lights. Spring 1917.
National Gallery of Canada, Ottawa
Algonquin Park was the muse for Thomson's most notable works, created between 1915 and 1917. Among his most striking paintings from this period are The West Wind and The Jack Pine, which have become iconic in Canadian art and symbolize the spirit
of the future Group of Seven.
The West Wind, winter 1916-17.
Art Gallery of Ontario, Toronto
Man with Axe (Larry Dickson Splitting Wood). Fall 1915.
Art Gallery of Ontario, Toronto
Marguerites, Wood Lilies, and Vetch. Summer 1915.
Art Gallery of Ontario, Toronto
First Snow. Fall 1916.
Agnes Etherington Art Centre, Kingston
Silver Birches. Winter 1915–16.
McMichael Canadian Collection, Kleinburg
The Fisherman. Winter 1916–17.
Art Gallery of Alberta Collection, Edmonton
The Jack Pine, winter 1916-17.
National Gallery of Canada, Ottawa
Snow in the Woods. Spring 1915.
National Gallery of Canada, Ottawa
Northern Spring. Spring 1917.
National Gallery of Canada, Ottawa
Thomson was captivated by trees, their silhouettes, and the way light interacted with their multicolored crowns. He found inspiration in the intricate details and textures of the natural world, which played a significant role in his artistic expression.
“Of all Canadian artists [Thomson] was. I believe, the greatest colourist.”
The artist possessed an extraordinary talent for blending paints on his palette, creating breathtaking and distinctive tones and hues that continue to captivate audiences to this day.
Initially buried at the site, Tom Thomson’s remains were later moved by his family to the cemetery in Meaford, Ontario, where he rests beside Leith Presbyterian Church.
“Tom Thomson still stands as the Canadian painter, harsh, brilliant, brittle, uncouth, not only most Canadian but most creative.”
For over a decade, the Group of Seven and Tom Thomson's friends and colleagues pursued their artistic journey together before their creative paths diverged. Despite this, their shared commitment to creating beautiful Canadian art remained steadfast.
Despite the passage of time, his friends would always remember Tom Thomson as eternally young, his spirit and artistry forever preserved in their hearts.
Books and magazines
The Art of Tom Thomson by Joan Murray. Art Gallery of Ontario, Toronto 1971
Tom Thomson: Design for a Canadian Hero by Joan Murray. Toronto, Ont. ; Tonawanda, NY : Dundurn Press, 1998
Tom Thomson: The last spring by Joan Murray. Toronto ; Niagara Falls, N.Y. : Dundurn Press, 1994
The Group of Seven and Tom Thomson by David P. Silcox. Richmond Hill, Ont. ; Buffalo, N.Y. : Firefly Books, 2006
Tom Thomson. Life and Work by David P. Silcox. Art Canada Institute. 2015
The story of the Group of Seven by Harris, Lawren. Toronto: Rous & Mann Press, 1964
J. M. MacCallum, Tom Thomson: Painter of the North, The Canadian Magazine, March 31, 1918
Museums, Archives, and Galleries
National Gallery of Canada, Ottawa, ON, Canada
Art Gallery of Ontario, Toronto, ON, Canada
McMichael Canadian Art Collection, Kleinburg, ON, Canada
Tom Thomson Art Gallery, Owen Sound. ON, Canada
Library and Archives Canada, Ottawa, ON, Canada
Art Gallery of Alberta Collection, Edmonton, AB, Canada
Agnes Etherington Art Centre, Kingston, ON, Canada
City of Toronto Art Collection, ON, Canada
Allan Klinkoff Gallery, Toronto, ON, Canada
The Pool. Winter 1915–16.
National Gallery of Canada, Ottawa
In his later years, Thomson developed a particular fondness for painting the sky. He began to explore the changing colors and moods of the sky with greater depth, capturing the nuances of light and atmosphere.
Rocky Shore and Sky. Summer 1915.
National Gallery of Canada, Ottawa
Round Lake, Mud Bay. Fall 1915.
Art Gallery of Ontario, Toronto
This growing interest led him to increasingly showcase night and twilight landscapes in his work.
His paintings from this period reflect a heightened sensitivity to the subtleties of the evening sky and its transformative effects on the landscape.
Although Thomson primarily focused on painting nature, there is a suggestion that he struggled with depicting people. However, it seems that for Thomson, humans were simply another integral part of nature. This perspective is reflected in his work, where human figures often blend seamlessly into the natural landscapes he so vividly portrayed.
Figure of a Lady, Laura. Fall 1915.
McMichael Canadian Art Collection, Kleinburg
As James MacCallum once remarked, Tom Thomson’s aims were “truthfulness and beauty—beauty of color, of feeling, and of emotion”. After his death, in a poignant article featured in The Canadian Magazine (March 1918, Issue #5), MacCallum wrote that Thomson’s color “brilliant… sings the triumphant Hosannas of the joy and exaltation of nature.”
Researchers have also highlighted Thomson's profound influence on the work of the Group of Seven, especially on artists like Jackson, Lismer, MacDonald, Harris, and Carmichael.
Tom Thomson’s remarkable legacy includes over 400 sketches and 50 large canvases that capture the splendor of Canada's nature. Romantics see Thomson as a messenger of nature, believing that his artworks are a deeply heartfelt expression of the natural world.
They feel that after he had fulfilled his artistic calling, he returned to the very essence of nature he so lovingly portrayed. However, the circumstances surrounding his death remain shrouded in mystery.
Mowat Lodge dates back to before 1920, how it appeared
when Thomson was visiting Canoe Lake.
He stayed there if he was not camping in the Park.
The second window from the right of the upper story was
the artist’s room. The building burnt down in 1920.
Algonquin Park Archives
“He lived humbly but passionately with the wild. It made him brother to all untamed things of nature. It drew him apart and revealed Itself wonderfully to him. It sent him out from the woods only to show these revelations through his art and it took him to itself at last.”
Videos /Documentaries
West Wind Produced by the National Film Board of Canada for the National Gallery of Canada.
Tom Thomson: North Star. McMichael Canadian Art Collection
Canoe Lake Station. 1915.
Algonquin Park Archives
Tom Thomson in the canoe he painted dove grey. 1912.
National Gallery of Canada Library and Archives, Ottava.
Photo © NGC
Thomson's life was cut short in the summer of 1917, at the height of his creative prime—at just 39 years old. His body was discovered in Canoe Lake. There were scant official statements, while the artists were left in shock and consternation.
In a heartfelt tribute, his friends built a memorial cairn at Hayhurst Point to honor his legacy—the project generously funded by Dr. MacCallum (erected in September).
A bronze plaque, written and crafted with deep respect by J.E.H. MacDonald, adorns the cairn and reads in part as follows:
“...he was the guide, the interpreter, and we the guests partaking of his hospitality so generously given... my debt to him is almost that of a new world, the north country, and a truer artist’s vision...”
“He was a marvellously sensitive instrument — but refined and delicate. He gad a graceful mind — he loved poetry and music... His life was not a triumphant voyage, it was rather a slow unfolding—and when he had eventually arrived at his goal, he rapidly flowered into expression.”
“When I laid in the painting, it suddenly struck me that it could express Tom Thomson, and thereafter it was Tom I had in mind—his remoteness, his genius, his reticence”
Frederick Varley (1881–1969)
A. Y. Jackson (1882–1974)
Arthur Lismer (1885–1969)
Thomson's friends undertook extensive efforts to elevate his reputation and ensure the enduring impact of his legacy. They organized exhibitions, wrote articles, and engaged in public speaking to celebrate his contributions to art, striving to secure his place in history and maintain his influence within the artistic community.
Many of Tom Thomson’s paintings are housed in prestigious galleries, including the National Gallery of Canada in Ottawa, the Art Gallery of Ontario in Toronto, and the Canadian Art Collection at the McMichael Art Gallery in Kleinburg, Ontario. Some of his works are displayed at the Tom Thomson Art Gallery in Owen Sound, his hometown.
Online sources
Tom Thomson: Catalogue Raisonné.
Great Unsolved Mysteries in Canadian History/Death on a Painted Lake: The Tom Thomson Tragedy
The Algonquin Provincial Park Archives and Collections
Wikipedia
The Canadian Encyclopedia
J. E. H. MacDonald (1873–1932)
Lawren Harris (1885–1970)
Frank Johnston (1888–1949)
Franklin Carmichael (1890–1945)
Thomas John Thomson
(August 5, 1877 – July 8, 1917)
Library and Archives Canada
Resources
Thomson was born near the small village of Claremont, Ontario, into a large family with a strong affinity for the arts. His father sketched, and among Thomson’s relatives, at least five were skilled amateur artists. Notably, one of his family members, George Thomson (1868–1965), also achieved professional status.
George A. Thomson in c. 1887
View from the Windows of Grip Ltd., c. 1908-10.
City of Toronto Art Collection.
The Canoe, c. 1912.
Art Gallery of Ontario, Toronto
George A. Thomson, Tom Thomson's elder brother, became interested
in painting at the age of 38.
He refined his artistic skills through formal training, studying at the Art Students League in New York and the Lyme Artists Colony
in Connecticut.
His major achievements in art earned him recognition in the Canadian art world, He was also elected as a member of the Ontario Society
of Artists.
George Thomson. Creek at Leith. Date n.d.
Study of a Woman’s Head, ca 1903
Ink and crayon on paper 11 x 8 cm
Tom Thomson Art Gallery, Owen Sound, Ontario