DOCSLIB.ORG

Painting Canada List of Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Painting Canada List of Works LIST OF WORKS in order of display Tom Thomson’s Sketch Box Tom Thomson Before 1913 Sketch for The Jack Pine Wood 1916 6.5 x 30.5 × 27 cm (closed, including metal fittings Oil on wood panel and leather handles) 21 × 26.7 cm National Gallery of Canada, Ottawa (ST34) The Weir Foundation, RiverBrink, Queenston, Ontario, purchase 1947 (982.65) Tom Thomson The Opening of the Rivers, sketch for Spring Ice Tom Thomson 1915 The Jack Pine Oil on composite wood-pulp board 1916 21.6 × 26.7 cm Oil on canvas National Gallery of Canada, Ottawa, bequest of Dr. 127.9 × 139.8 cm J.M. MacCallum, Toronto, 1944 (4662) National Gallery of Canada, Ottawa, purchase 1918 (1519) Tom Thomson Spring Ice Tom Thomson 1916 Burnt Land Oil on canvas 1915 72 × 102.3 cm Oil on canvas National Gallery of Canada, Ottawa (1195) 54.6 × 66.7 cm National Gallery of Canada, purchase 1937 (4299) Tom Thomson Maple Woods, Bare Trunks Tom Thomson 1915 Burnt Country, Evening Oil on wood 1914 21.3 × 26.6 cm Oil on plywood National Gallery of Canada, Ottawa, bequest of Dr. 21.5 × 26.6 cm J.M. MacCallum, Toronto, 1944 (4682) National Gallery of Canada, bequest of Dr. J.M. MacCallum, Toronto, 1944 (4661) Tom Thomson Maple Woods, Bare Trunks Tom Thomson (originally entitled The Hardwoods) The Pointers Winter 1915–16 1916–17 Oil on canvas Oil on canvas 81 × 87 cm 101 × 114.6 cm Private collection Hart House Permanent Collection, University of Toronto, purchase 1928–29 Tom Thomson The West Wind Tom Thomson Winter 1916–1917 Evening, Canoe Lake Oil on canvas Winter 1915–16 120.7 × 137.9 cm Oil on canvas Art Gallery of Ontario, Toronto, gift of the Canadian 41.3 × 51.5 cm Club of Toronto, 1926 (784) The Thomson Collection, Art Gallery of Ontario, Toronto (69248) Tom Thomson Tom Thomson Blue Lake, sketch for In the Northland Tamaracks Autumn 1915 1915 Oil on wood Oil on wood panel 21.7 × 26.9 cm 21.3 × 26.7 cm National Gallery of Canada, Ottawa, bequest of Dr. McMichael Canadian Art Collection, Kleinburg, J.M. MacCallum, Toronto, 1944 (4716) Ontario, gift of Mr. R.A. Laidlaw (1968.12) Tom Thomson Tom Thomson Moonlight Northern Lights c. 1915 1916 or 1917 Oil on board Oil on wood 26.4 × 21.6 cm 21.5 × 26.7 cm Private collection National Gallery of Canada, Ottawa, bequest of Dr. J.M. MacCallum, Toronto, 1944 (4677r) Tom Thomson Smoke Lake Tom Thomson 1915 Moonlight and Birches Oil on wood panel 1915 21.5 × 26.9 cm Oil on wood panel McMichael Canadian Art Collection, Kleinburg, 22 × 26.9 cm Ontario, gift of Mr. and Mrs. W.D. Patterson McMichael Canadian Art Collection, Kleinburg, (1968.21) Ontario, gift of Mrs. H.P. de Pencier (1966.2.5) Tom Thomson Tom Thomson Tamarack Phantom Tent Autumn 1915 1915 Oil on wood Oil on wood panel 21.5 × 26.2cm 21.4 × 26.7 cm National Gallery of Canada, Ottawa (1522) McMichael Canadian Art Collection, Kleinburg, Ontario, gift of Mr. R.A. Laidlaw (1969.2.3) Tom Thomson Approaching Snowstorm Tom Thomson 1915 Yellow Sunset Oil on wood 1916 21.3 × 26.6 cm Oil on wood National Gallery of Canada, Ottawa, bequest of Dr. 21.3 × 26.7 cm J.M. MacCallum, Toronto, 1944 (4689) National Gallery of Canada, Ottawa, bequest of Dr. J.M. MacCallum, Toronto, 1944 (4684) Tom Thomson Campfire Tom Thomson 1916 Ragged Oaks Oil on wood 1916 26.6 × 21.6 cm Oil on panel National Gallery of Canada, Ottawa, bequest of Dr. 21.5 × 26.7 cm J.M. MacCallum, Toronto, 1944 (4646) Private collection Tom Thomson Tom Thomson The Tent Purple Hill 1915 1916 Oil on wood panel Oil on wood panel 21.5 × 26.8 cm 21.6 × 26.7 cm McMichael Canadian Art Collection, Kleinburg, McMichael Canadian Art Collection, Kleinburg, Ontario, purchase 1979 (1979.18) Ontario, gift of Mrs. H.P. de Pencier (1966.2.4) 2 Tom Thomson Tom Thomson A Northern Lake March c. 1916 1916 Oil on composite wood-pulp board Oil on wood 21.6 × 26.7 cm 26.9 × 21.4 cm Art Gallery of Ontario, Toronto, gift from the Reuben National Gallery of Canada, Ottawa, bequest of Dr. and Kate Leonard Canadian Fund, 1927 (848) J.M. MacCallum, Toronto, 1944 (4699) Tom Thomson Tom Thomson Winter in the Woods Path Behind Mowat Lodge 1916 Spring 1917 Oil on wood Oil on wood 21.4 × 26.5 cm 26.8 × 21.4 cm National Gallery of Canada, Ottawa, bequest of Dr. The Thomson Collection, Art Gallery of Ontario, J.M. MacCallum, Toronto, 1944 (4655) Toronto (69219) Tom Thomson Tom Thomson Nocturne, The Birches Spring Flood Spring 1916 1917 Oil on composite wood-pulp board Oil on wood panel 21.6 × 26.8 cm 21.2 × 26.8 cm National Gallery of Canada, Ottawa, bequest of Dr. McMichael Canadian Art Collection, Kleinburg, J.M. MacCallum, Toronto, 1944 (4711) Ontario, gift of Mr. R.A. Laidlaw (1966.15.23) Tom Thomson Tom Thomson Spring Spring in Algonquin Park 1916 1917 Oil on wood Oil on wood panel 21.2 × 26.7 cm 21.2 × 26.7 cm National Gallery of Canada, Ottawa, bequest of Dr. McMichael Canadian Art Collection, Kleinburg, J.M. MacCallum, Toronto, 1944 (4679) Ontario, purchase 1980 (1980.5) Tom Thomson Tom Thomson Potters Creek, Canoe Lake The Rapids c. 1916 Spring 1917 Oil on wood panel Oil on wood panel 21.4 × 26.7 cm 21.6 × 26.7 cm Art Gallery of Ontario, Toronto, gift from the estate of Private collection R. Fraser Elliott, 2005 (2005/166) Tom Thomson Tom Thomson Birches Birches 1917 1916 Oil on wood panel Oil on wood 12.9 × 18.7 cm 21.3 × 26.7 cm McMichael Canadian Art Collection, Kleinburg, National Gallery of Canada, Ottawa (1540) Ontario, purchase 1979 (1979.15) Tom Thomson Tom Thomson Winter Thaw in the Woods Larry Dickson’s Cabin Spring 1917 Spring 1917 Oil on composite wood-pulp board Oil on wood 21.6 × 26.8 cm 21.3 × 26.6 cm The Thomson Collection, Art Gallery of Ontario, National Gallery of Canada, Ottawa (1528) Toronto (69207) 3 Tom Thomson J.E.H. MacDonald Tea Lake Dam Beaver Dam and Birches 1917 c. 1919 Oil on wood panel Oil on wood panel 21.3 × 26.2 cm 21.5 × 26.4 cm McMichael Canadian Art Collection, Kleinburg, McMichael Canadian Art Collection, Kleinburg, Ontario, purchased with funds donated by Mr. R.A. Ontario, gift of the Founders, Robert and Signe Laidlaw (1970.1.4) McMichael (1966.16.49) J.E.H. MacDonald J.E.H. MacDonald Mongoose Lake, Algoma Algoma Hills 1920 1920 Oil on wood-pulp board Oil on paperboard 21.4 × 26.5 cm 21.4 × 26.4 cm National Gallery of Canada, Ottawa (4854) McMichael Canadian Art Collection, Kleinburg, Ontario, gift of Mr. R.A. Laidlaw (1966.15.6) J.E.H. MacDonald Mist Fantasy, Sand River, Algoma J.E.H. MacDonald 1920 Autumn Bush, Algoma Oil on cardboard c. 1919–20 21.4 × 26.6 cm Oil on wood-pulp board National Gallery of Canada, Ottawa (4858) 21.3 × 26.6 cm National Gallery of Canada, Ottawa (4986) J.E.H. MacDonald October Shower Gleam J.E.H. MacDonald 1922 Woodland Brook, Algoma Oil on canvas 1918 105.4 × 120.7 cm Oil on board Hart House Permanent Collection, University of 21.6 × 26.7 cm Toronto McMichael Canadian Art Collection, Kleinburg, Ontario, gift of the Founders, Robert and Signe J.E.H. MacDonald McMichael (1966.16.31) Sketch for October Shower Gleam c. 1922 J.E.H. MacDonald Oil on paperboard The Little Falls 21.6 × 26.7 cm 1918 The Thomson Collection, Art Gallery of Ontario, Oil on composite wood board Toronto (103882) 21.6 × 26.7 cm Art Gallery of Ontario, Toronto, purchase 1933 J.E.H. MacDonald (2106) Beaver Dam September 1919 J.E.H. MacDonald Oil on board Waterfall near Lake O’Hara 21.2 × 26.7 cm 1929 Collection of the Faculty Club, University of Toronto Oil on multi-ply paperboard 21.5 × 26.7 cm J.E.H. MacDonald Art Gallery of Ontario, Toronto, gift of the Students’ The Beaver Dam Club, Ontario College of Art, Toronto, 1933 (2114) 1919 Oil on canvas J.E.H. MacDonald 81.6 × 86.7 cm Near Montreal Lake, Algoma Gift from the Reuben and Kate Leonard Canadian 1919 Fund, 1927, Art Gallery of Ontario, Toronto (840) Oil on cardboard 21.6 × 26.5 cm National Gallery of Canada, Ottawa (15496) 4 J.E.H. MacDonald Frederick Horsman Varley Autumn Leaves, Batchewana Wood, Algoma Autumn Prelude c. 1919 1938 Oil on composite wood board Oil on canvas 21.6 × 26.7 cm 55.4 × 70.9 cm Art Gallery of Ontario, Toronto, gift of the Students’ The Thomson Collection, Art Gallery of Ontario, Club, Ontario College of Art, Toronto, 1933 (2115) Toronto (108065) J.E.H. MacDonald Frank Johnston Moore Hill, Gull River Algoma Arabesque c. 1921 1924 Oil on board Tempera on paper 21.3 × 26.4 cm 55 × 58.5 cm Art Gallery of Ontario, Toronto, gift from the T. Eaton Private collection Co. Ltd. Fund for Canadian Works of Art, 1959 (50/16) Franklin Carmichael Autumn Hillside Lawren Harris 1920 Winter Oil on canvas 1914 76 × 91.4 cm Oil on panel Art Gallery of Ontario, Toronto, gift from the J.S. 25.9 × 33.1 cm McLean Collection, Toronto, 1969; donated by the Collection of A.K.
Load more

Recommended publications
  • Franklin Carmichael's Representation of The
    TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE by NICOLE MARIE MCKOWEN Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE Thesis Approved: ______________________________________________________________________________ Major Professor, Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History ______________________________________________________________________________ Dr. Frances Colpitt, Deedie Rose Chair of Art History ______________________________________________________________________________ Dr. Meredith Munson, Lecturer, Art History at University of Texas, Arlington ______________________________________________________________________________ Dr. Joseph Butler, Associate Dean for the College of Fine Arts Date ii iii Acknowledgements I would like to express my gratitude to my committee chair Dr. Mark Thistlethwaite and my committee members Dr. Frances Colpitt and Dr. Meredith Munson for their time and guidance throughout the writing of this thesis. I am also grateful to all of the faculty of the Art History Division of the School of Art at Texas Christian University, Dr. Babette Bohn, Dr. Lori Diel, and Dr. Jessica Fripp, for their support of my academic pursuits. I extend my warmest thanks to Catharine Mastin for her support of my research endeavors and gratefully recognize archivist Philip Dombowsky at the National Gallery of Canada, archivist Linda Morita and registrar Janine Butler at the McMichael Canadian Art Collection, and the archivists at the Library and Archives Canada for their enthusiastic aid throughout my research process. Finally, I am indebted to my husband and family, my champions, for their unwavering love and encouragement.
    [Show full text]
  • Fine Canadian Art
    HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART FINE CANADIAN ART FINE CANADIAN ART FINE CANADIAN ART NOVEMBER 27, 2014 HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~1~927031~14~8 SALE THURSDAY, NOVEMBER 27, 2014, TORONTO FINE CANADIAN ART AUCTION THURSDAY, NOVEMBER 27, 2014 4 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7 PM, FINE CANADIAN ART PARK HYATT HOTEL, QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, NOVEMBER 1 THROUGH TUESDAY, NOVEMBER 4, 11 AM TO 6 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 13 THROUGH SATURDAY, NOVEMBER 15, 11 AM TO 6 PM PREVIEW AT UNIVERSITY OF TORONTO ART CENTRE 15 KING’S COLLEGE CIRCLE ENTRANCE OFF HART HOUSE CIRCLE SATURDAY, NOVEMBER 22 THROUGH WEDNESDAY, NOVEMBER 26, 10 AM TO 6 PM THURSDAY, NOVEMBER 27, 10 AM TO 12 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE, TORONTO ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 TOLL FREE 1 800 528-9608 WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE CATALOGUE SUBSCRIPTIONS A Division of Heffel Gallery Inc. Heffel Fine Art Auction House and Heffel Gallery Inc. regularly publish a variety of materials beneficial to the art collector. An TORONTO Annual Subscription entitles you to receive our Auction Catalogues 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 and Auction Result Sheets. Our Annual Subscription Form can be Telephone 416 961~6505, Fax 416 961~4245 found on page 116 of this catalogue.
    [Show full text]
  • Download Guide
    TEACHER RESOURCE GUIDE FOR GRADES 5–12 LEARN ABOUT MODERN CANADIAN LANDSCAPES & THE GROUP OF SEVEN through the art of TOM THOMSON Click the right corner to MODERN CANADIAN LANDSCAPES & THE GROUP OF SEVEN TOM THOMSON through the art of return to table of contents TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO WAS TIMELINE OF OVERVIEW TOM THOMSON? HISTORICAL EVENTS & ARTIST’S LIFE PAGE 4 PAGE 9 PAGE 12 LEARNING CULMINATING HOW TOM THOMSON ACTIVITIES TASK MADE ART: STYLE & TECHNIQUE PAGE 13 READ ONLINE DOWNLOAD ADDITIONAL TOM THOMSON: TOM THOMSON RESOURCES LIFE & WORK IMAGE FILE BY DAVID P. SILCOX EDUCATIONAL RESOURCE MODERN CANADIAN LANDSCAPES & THE GROUP OF SEVEN through the art of TOM THOMSON RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Tom Thomson: Life & Work by David P. Silcox. The artworks within this guide and images required for the learning activities and culminating task can be found in the Tom Thomson Image File provided. Tom Thomson (1877–1917) is one of Canada’s most famous artists: his landscape paintings of northern Ontario have become iconic artworks, well-known throughout the country and a critical touchstone for Canadian artists. Thomson was passionate about the outdoors, and he was committed to experimenting with new ways to paint landscape. He had several friends who shared these interests, such as A.Y. Jackson (1882–1974), Lawren Harris (1885–1970), and J.E.H. MacDonald (1873–1932); a few years after his premature death, these friends helped establish the Group of Seven, a collection of artists often credited with transforming Canadian art by creating modern depictions of national landscapes.
    [Show full text]
  • Elements & Principles of Design
    CANADIAN ART: The Late 1800’s Canadian artists working in the late 1800’s and early 1900’s painted landscapes in a fairly realistic style. They painted what they saw without expressing any feeling or emotions. This style of painting landscapes with a soft, quiet, tame, and inviting appearance originated in Europe. These landscapes were full of realistic details and natural colours, but they lacked personal expression. Homer Watson John A. Fraser September Afternoon, Eastern At the Rogers Pass, Summit of the Townships 1873 Selkirk Range, B.C. 1886 CANADIAN ART: THE GROUP OF SEVEN The Group of Seven was founded in 1920 to develop a new style of Canadian painting with a distinct Canadian identity. These artists painted what they saw, but added imagination and feeling. They were especially interested in expressing the wild, untamed spirit of the Canadian wilderness in their paintings. The artists often travelled into the wilderness to make sketches in the open air. They wanted to capture the atmosphere, the effects of light, and the spirituality and ruggedness of the northern Canadian landscape. In order to accomplish this, their style was also rugged, expressive, and powerful. THE GROUP OF SEVEN PAINTING STYLE a)Colours: bold and vibrant or bold and dark/dull high contrast between lights and darks b) Shapes/Forms: simplified with few details almost 2 dimensional abstract c) Brushstrokes: thick paint application (impasto) often visible (not blended) Franklin Carmichael Lake Wabagishik 1928 Mirror Lake 1929 Arthur Lismer A September Gale, Georgian Bay 1921 Bright Land 1938 J.E.H. MacDonald The Solemn Land 1921 Mist Fantasy 1922 F.H.
    [Show full text]
  • Colours in the Storm Script 2012
    COLOURS IN THE STORM Northern River, 1915 Tom Thomson National Gallery of Canada A Gallery Of Scenes And Songs On The Life Of Tom Thomson by Jim Betts COLOURS IN THE STORM Scene/Cast/Song Breakdown ACT 1 .............................................................................................................................................................. 1 PART 1 - PINEWOOD ARMS TO HOLD ME ............................................................................................... 1 Scene 1 - Where Once We've Felt The Colours ...................................................................................... 1 WILD MARY, THOMSON, COMPANY ......................................................................................................... 1 "Algonquin" ................................................................................................................................................... 1 Scene 2 - The Ghost Story ...................................................................................................................... 2 COMPANY ........................................................................................................................................................ 2 Scene 3 - The Frozen Waterfall .............................................................................................................. 4 THOMSON, (COMPANY behind) .................................................................................................................... 4 Scene 4 - An Ordinary Man ...................................................................................................................
    [Show full text]
  • Tom Thomson's Paintings Are Frequently Reproduced As Icons of Canadian Nationalism
    'OURIDEAL OF AN ARTIST': TOMTHOMSON, THE IDEAL OF MANHOODAND THE CREATIONOF A NATIONALICON (1 9 17-1 947) by Ross DOUGLASCAMERON A thesis submitted to the Department of History in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada September, 1 998 Copyright 6 Ross Douglas Carneron, 1998 National Library Bibliothèque nationale I*B of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Wwa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial'extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Tom Thomson's paintings are frequently reproduced as icons of Canadian nationalism. His best known works, such as "A Northern River," "The Jack Pine," and "The West Wind," have been reproduced in such various forms as postage starnps, coins, coasters and posters.
    [Show full text]
  • 11 Canadian Landscape Artists Retrace Tom Thomson’S Steps in Canada’S Great North 100 Years After His Untimely and Mysterious Death
    UNTAMED THINGS 11 Canadian Landscape Artists retrace Tom Thomson’s steps in Canada’s Great North 100 years after his untimely and mysterious death. “What is honored in a country is cultivated there.”- Plato Thomson Memorial Plaque at Canoe Lake 2017 SPONSORSHIP PACKAGE Untamed Things HOW YOU CAN BE A PART OF CANADIAN HISTORY AND CELEBRATE TOM THOMSON’S LEGACY One hundred years ago, July 8, 1917, Tom Thomson died on Canoe Lake. His death is still shrouded in mystery, but what remains clear is his profound influence on Canadian art and most specifically plein air landscape painting. Tom Thomson ABOUT THE TRIPS AND SHOW A group of 11 bush trekking plein air painters calling themselves “Untamed Things” Untamed Things will be retracing the steps of Tom Thomson one hundred years after the untimely and mysterious death of the favourite Canadian painter. –– ARTISTS –– Canoe Lake, Tea Lake and Smoke Lake just to name a few of the locations on the 2017 schedule. Mark Berens Algonquin Park looks much as it did 100 years ago as Thomson paddled around producing hundreds of the small 8 x 10 inch sketches on panels before retreating to the Lonny Doherty studio building in Rosedale, Toronto for the winter to work up some larger canvases. Low rolling hills, iconic pines, reflecting waters and vast wild skies from the melting of Jonathan Houghton the spring ice to the vibrant autumn colours. Paul Mantrop To be there, is like stepping into the paintings themselves. You assume that Thomson David Marshak must have taken some liberties to capture such vibrant colours but it really is like that up there.
    [Show full text]
  • "The West Wind" by Tom Thomson
    "THE WEST WIND" BY TOM THOMSON (1877-1917) by CAROLYN WYNNE MACHARDY B.A., University of Alberta, 1972 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (The Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1978 (c) Carolyn Wynne MacHardy, 1978 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree 'that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1WS Date ABSTRACT This thesis discusses Tom Thomson's (1877-1917) last and perhaps most famous canvas, The West Wind. Chapter One considers the facts concerning the paint• ing and its sketch and reviews the various hypotheses advanced concerning the dating of the two works and the site from which the sketch was done. In the absence of any specific documents concerning The West Wind, it is necessary to refer to the testimonies of friends and acquaintances of Thomson, and occasionally to those of people whose interest in Thomson prompted them to individual research and speculation. It also outlines the history of both the sketch and the canvas following the death of Thomson in 1917 and problems concerning the title by which the canvas is known.
    [Show full text]
  • Humour & National Identity in Canadian Contemporary Art: Diana
    Humour & National Identity in Canadian Contemporary Art: Diana Thorneycroft, Simon Hughes & BGL Samantha Henman A Thesis In The Department of Art History Presented in Partial Fulfillment of the Requirements For the Degree of Master of Art (Art History) at Concordia University Montreal, Québec, Canada April 2014 © Samantha Henman, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Samantha Henman Entitled: Humour & National Identity in Canadian Contemporary Art: Diana Thorneycroft, Simon Hughes & BGL and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _______________________________ Chair _______________________________ Examiner Dr. Cynthia Hammond _______________________________ Examiner Dr. Alice Ming Wai Jim _______________________________ Supervisor Dr. Johanne Sloan Approved by _____________________________________________________ Dr. Kristina Huneault, Graduate Program Director ____________ 2014 ____________________________________ Catherine Wild, Dean of Faculty of Fine Arts ABSTRACT Humour & National Identity in Canadian Contemporary Art: Diana Thorneycroft, Simon Hughes and BGL Samantha Henman This thesis explores the use of humour as a means to negotiate themes of identity in some contemporary Canadian art by Diana Thorneycroft, Simon Hughes, and BGL. To ground this exploration of humour as a theme this thesis looks at humour theory and specifies three different discourses of humour which appear to recur frequently within the practices of the artists chosen: incongruity theory, national humour, and irony. As a context for this discussion, the broader topic of contemporary art and humour is addressed. This thesis then looks at the individual artistic practices as case studies.
    [Show full text]
  • Tom Thomson and the Group of Seven
    Tom Thomson and the Group of Seven In the early decades of the twentieth century, circumstances brought together several artists who explored and fell in love with the varied landscapes of Canada. Collectively, they agreed that the country’s magnificent wilderness regions needed to be recorded in a painting style that captured the untouched beauty of the landscapes that inspired them. Today, these artists have become the most famous amongst Canadian artists and, indeed, have become national icons. In their early careers many of the artists who would later form the Group of Seven were employed at commercial design firms. It was while working at Toronto-based design firm Grip Ltd. that Tom Thomson, J.E.H. MacDonald, Arthur Lismer, Frederick Varley, Frank Johnston and Franklin Carmichael first met and discovered their common artistic interests. The artists began taking weekend sketching trips together and would often gather at Toronto’s Arts and Letters Club to socialize and discuss new directions for Canadian art. Their focus on the Canadian landscape as the subject for their art reflected an increasingly nationalistic sentiment within a deep-rooted love for the natural environment of Canada. The Group’s intention was to produce work in a style that broke with European traditions in art. Their bright and bold use of paint and colour seemed a suitable complement to the aggressive expansion that the country was experiencing at the outset of the 1920s. Before the end of the decade, this new and distinctive painting style was supported by the National Gallery of Canada and gained an enthusiastic audience amongst the general public as well.
    [Show full text]
  • The Painter Who Uses a Camera: an Analysis of the Photographs of Frank “Franz” Johnston PROVIDING a COMPREHENSIVE CATALOGUE
    The Painter Who Uses A Camera: An Analysis of the Photographs of Frank “Franz” Johnston PROVIDING A COMPREHENSIVE CATALOGUE FOR THE COLLECTION HOUSED AT THE ARCHIVE OF MODERN CONFLICT by! Cassandra L. Zeppieri, BFA in Photography, Ryerson University, 2009 A thesis presented to Ryerson University in partial fulfillment of the! requirements for the degree of! Master of Arts! in the program of! Film and Photography Preservation and Collections Management Toronto, Ontario, Canada, 2015 © Cassandra L. Zeppieri 2015 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. Cassandra L. Zeppieri ii ABSTRACT Master of Arts, 2015 Cassandra L. Zeppieri Film and Photography Preservation and Collections Management Ryerson University This thesis analyzes the archive of Frank “Franz” Johnston, a prolific Canadian painter and founding member of the Group of Seven. Johnston, known predominantly to the public as a painter, was also an amateur photographer who used photography as visual aids for his paintings. Johnston’s production and use of photography was extensive, yet it has been relatively ignored until recently.
    [Show full text]
  • The Best of Canada's Most Celebrated Landscape Artists
    The Best of Canada’s most celebrated landscape artists The Textured Collection Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com Available in 2 different styles and 4 sizes UdUnder g lass, i ncl ldudes HdHand‐tttextured . colour‐coordinated double mats. No glass, available in two sizes Available in two sizes Finished size: 24” X 28” To order this style please add “T” following the image code Finished size: 34” X 38” PRICE CODE “E” To order this style please add “G” following the image code PRICE CODE “AK” Finished size: 12” X 14” To order this style please add “T” following the image code PRICE CODE “AP” Finished size: 20” X 21” To order this style please add “G” TO ORDER following the image code PRICE CODE “C” EXAMPLE: Autumn Orillia by Franklin Carmichael FC‐02‐G Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com ARTIST PAGE # A. J. CASSON 1 C FRANKLIN CARMICHAEL 9 EMILY CARR 12 O CLARENCE GAGNON 14 N LAWREN HARRIS 17 A. Y. JACKSON 23 T FRANZ JOHNSTON 25 E ARTHUR LISMER 25 N JEHMACDONALDJ. E. H. MACDONALD 26 TOM THOMSON 28 T FREDERICK VARLEY 37 S Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com A. J. CASSON A. J. Casson’s friendship with Franklin Carmichael, an original member of the Group of Seven, proved to be the catalyst of C'Casson's career. AkdtAsked to become a member of the Group in 1926 to replace Frank Johnston who had resigned, Casson went on to become known as a painter of Ontario, as was Carmichael.
    [Show full text]