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Tom Thomson's Paintings Are Frequently Reproduced As Icons of Canadian Nationalism

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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. They are by now thoroughly layered over in generations of nationalist gloss. But Thomson himself is a legendary figure in Canadian culture. A mythology of Tom Thomson was produced by members of the nationalist intelligentsia just after his tragic death in 19 17. This idea played upon many existing ideas of Canadian national identity, including the notion of Canada's wild and northern essence. The inter-war period was a particutar fecund moment in Canadian nationalism. This exuberant nationalisrn underlay much of the Thomson mythology. However, this mythology was also informed by sentiments of antimodernisrn. As much as the Thomson mythology presented a figure celebrating the development of Canadian art and the Canadian nation, it expressed a certain anxiety about the various and dynamic conditions of modemity. Antimodemists yearned for the simple life and a more meaningful existence, and many of them thought they saw this in the figure of Tom Thomson. At a time when men's roles and attributes were being redefined, some of the cultural producers represented Thomson as an exemplar of true manhood. Those who created the Thomson legend, then, looked backwards to a supposedly simpler time as much as they welcomed and fostered Canada's commercial, industrial, and political deveIopment. Fundamentally, however, they created an idea of Tom Thomson that supported, rather than challenged, many of the existing hierarchies and structures of Canadian society. iii ACKNOWLEDGEMENTS Many people have contributed to the cornpletion of this project; many more than there is room here to thank. First of all, I must acknowledge my considerable debt to my supervisor, lan McKay. His graduate course opened new worlds of inquiry to me, and his leamed and patient supervision has been instrumental in the realization of this study. With his help, 1 have becorne a better historian. A number of people have helped in the realization of this project. Lynda Jessup shared her knowledge of this field and freely offered her advice and support in the early stages of research. The staff of the National Gallery of Canada, its archives and library - especially, Cyndie Campbell, Cheryl Gagnon, and Marie Primeau-Maurice - were helpfut afmost beyond belief, and make that a wonderful place for a academic to work. 1 must also thank Liana Radvak at the Art Gallery of Ontario for her help with their files. Without the support and friendship of a great many friends and colleagues - too many to list here - in the Department of History, the completion of this project may never have corne. They have supported me through highs and lows, and taught me the meaning of collegiality. Mike Dawson, Lara Campbell, and Martina Hardwick suffered through earlier drafts, and 1 thank them for their comments and suggestions. 1 must finally thank al1 the members of my family, who have, in turn, emotionally and financially supported me in my work. Most of all, 1 must thank Maureen for her support through the many trials along this road. Her patience, understanding, and support are gifts 1 will never be able to repay. TABLEOF CONTENTS i i iii iv v vi PROLOGUE:LIFE OF THE ARTIST........................................................................................... 1 CHAPTERONE: THE AGE OF THOMSON:ANTIMODERNISM, NATIONALISM AND CULTURALLEADERSHIP IN EARLYTWENTIETH-CENTURY ENGLISH-SPEAKMGCANADA ................................................................................... CHAPTERTWO: PORTRAIT OF THE ARTISTAS A YOUNGMYTH: 1917-1935 ........................ CHAPTERTHREE: A MAN FOR MOST SEASONS: THOMSONIN THE CANADIAN WILDERNESS............................................................. CHAPTERFOUR: A MAN FOR ALLCANADIANS: DIFFUSMG THE THOMSONMYTHOLOGY: 1930- 1947.. ............................................................... APPENDIXONE: THE ARTS CLUB, MONTREAL.CATALOGUE OF AN EXHIBITION OF PAINTINGSBYTHE LATE TOMTHOMSON, MRCH 2 TOWRCH~~,1919 ................... APPENDIXTWO: ARTMUSEUM OF TORONTO.CATALOGUE OFA ME~IORIALEXHIBITION OF PAINTINGSBY TOMTHOMSON, AND OF A COLLECT~ONOF JAPANESECOLOUR PR.lhrTS, LOANEDBY SIREDM~D WALKER, FEBRUARY 13 TO 29, 1920 ..................... AGT Art Ga1 lery of Toronto (after 1 926) ALC Arts and Letters Club, Toronto AMT Art Museum of Toronto (until 1926) CBC Canadian Broadcasting Corporation CWMF Canadian War Mernorials Fund NAC National Archives of Canada NACSB National Advisory CounciI on School Broadcasting NGC National Gallery of Canada OSA Ontario Society of Artists RCA Royal Canadian Academy YCL Young Canada Listens radio series Table 1 : CBC Series 'Further Adventures in Canadian Painting' for Series Ending 12 April 1946. Total Number of Orders for Sets of Reproductions, and Total Number of Sets Ordered and Mailed, by Province ... .. ... .... .. .. .. .. .. .. .... .. .. ... 142 PROLOGUE:LIFE AND AFTERLIFE OF THE ARTIST Every experience of Thomson's from childhood added something to his equipment. His knowledge, his assurance, his integrity were as important as a medium and a technique. Blodwen ~avies' In NationaI Drearns: Myth, Mernory, and Canadian History, historian Daniel Francis tumed his iconociastic eye, in 1997, to a variety of Canadian mythoIogies. His chapter, 'The Myth of the Canoe,' punctured some of the painters-in-the-wilderness tales of those legendary Canadian artists, the Group of Seven. His debunking of the Group-of-myth was clear, well developed, thorough, and, ultimately, convincingS2Yet revealingly, Tom Thomson escaped Francis's efforts to bring these legends back into reality. A legendary idea of Thomson persisted in his account: His style, with its audacious use of vivid colour and blunt brush strokes, was seen to embody the raw energy of the northem landscape. Al1 the better that he was self-taught and completely ignorant of modern painting. The others considered him the prototype of what the new Canadian artist should be: an untutored genius whose art sprang from an intuitive understanding of the land. The others al1 came from cities, but Thomson was a country boy, raised on a fann near Georgian Bay where he leamed to handle a paddle, a hunting rifle and a fishing rod with equal facility.' Here, the Thomson mythology remained intact after al1 these years. The legend of Thomson had been created 70 and 80 years earlier, shortly after his death in 1917. It is the story of a man who gained intirnate knowledge of the Canadian wilderness. It is the story of a Canadian backwoodsman, who had partaken of the wildemess lifestyle since childhood, who had unparalleIed outdoors ski11 and ability, and who supported himself as a ranger l Blodwen Davies, Tom Thomson: The Story of a Man who Looked for Beauty and for Truth in the Wilderness, [1935] rev. ed. (Vancouver: Mitchell Press, 1967), 9. Daniel Francis, National Dreams: Myth, Mernory, and Canadian History (Vancouver: Arsenal Press, 1997), Chapter Six, 129-1 5 1. Francis, National Dreams, 1 37- 13 8. and guide in Algonquin Park. Thomson's thorough understanding of the wild, the myth has it, enabled him to render in paint and board and canvas the raw essence of the Canadian experience in landscape paintings of northem Ontario's Canadian Shield. The Thomson legend tells the story of an untutored, self-taught painter who was ignorant of any formal style, school or technique, especially any which had corne from the European Salons. Unheralded and unsupported in his time, he simply experimented and created techniques to suit his purpose. He led into the Canadian wilderness a collection of artists who would become the Group of Seven. The myth notes that, like many heroes, Thomson was talf, handsome, solitary, quiet, reserved, stoic and virile. The tale ends with a death that remains a mysteiy.* In 1986, Joan Murray described the qualities that [flixe[d] him in the Canadian imagination. It is his link to the cold pure North, to the great drearning
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