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Edited by Art Gallery of Ontario chief curator Dennis Reid, Tom Thomson has at its heart a major exhibition jointly organized by the National Gallery of Canada and the AGO. All 140 of the paintings assembled for the show are reproduced chronologically and in glorious colour, while a series of insightful essays, an exhaustive bibliography, and transcriptions of Thomson's surviving letters ensure that the beautifully produced volume stands alone as a definitive monograph. The roots of the artist's style are traced to the international Arts & Crafts movement, which dominated Toronto's design circles in the 1910s. A.Y. Jackson joked about Thomson's interest in more avant-garde trends in 1914, when he wrote, "Tom is doing some good work. Very different from last year's stuff. He shows decided cubistical tendencies and I may have to use a restraining influence on him." Thomson took up serious landscape painting after meeting the Group of Seven's future founding members while working in the art department of the Grip graphics agency, but quickly came to see weekend forays into cottage country as trips to "north Rosedale." By quitting his day job to take on precarious employment as a fishing guide and park ranger, Thomson earned the envy and respect of his city-bound cohorts. When he died shortly after the massacre of Canadian troops at Vimy Ridge, the Canadian public was primed to embrace local heroes and desperate for a national identity. Tom Thomson's legend helped fill that void.
In addition to the colour prints, Tom Thomson also presents more than 100 images reproduced in black and white, including numerous maps and some of Thomson's own photographs, among them shots of timber clear-cuts that suggest Thomson had a more sophisticated view of the natural world--and man's impact--than is generally recognized. By detailing the artist's early exposure to the lumber industry during his childhood near Owen Sound, Ontario, his subsequent training in graphic arts, including on-the-job experience as a photo-engraver following his mastery of copperplate lettering at business college in Seattle, Washington, and his success as a commercial illustrator, Tom Thomson goes a long way toward debunking some of the central myths about this Canadian icon. In the process, Thomson is revealed as a far more fascinating character than the stereotype allowed. --Deirdre Hanna --This text refers to an out of print or unavailable edition of this title.
Review
"The art book of the year...a triumph of publishing" (Sun Times 20100816)
"Tom Thomson is one of the first major multi-authored books on this subject, and it has a critical edge that has been missing in the mostly celebratory, decorative works that have come before." " (Globe & Mail )
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Most helpful customer reviews
5.0 out of 5 stars
Thomson exhibition catalogue and essays,
This review is from: Tom Thomson (Paperback)
This exhibition catalogue is the most definitive collection so far of Thomson works, complemented by several fine essays by Thomson experts.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
5.0 out of 5 stars (2 customer reviews) 12 of 12 people found the following review helpful
5.0 out of 5 stars
Sumptuous,
By Benjamin - Published on Amazon.com
This review is from: Tom Thomson (Hardcover)
A catalogue Tom Thomson's work produced as part of an exhibition organised by the National gallery of Canada and the Art Gallery of Toronto in 2002/2003. The first part of the book is taken up with six comprehensive essays, illustrated throughout, which between them map Tom Thomson's development as a person and an artist, what influenced him, his travels, and the techniques he employed to produce his work. Following the colour plates is a section of Thomson's letters, and illustrated chronology, extensive notes pertaining to the essays, a very extensive bibliography and an exhibition history.The plates occupy pages 153 to 297; the images are reproduced singling on the page along with the paintings title, date, medium, size, and source. While visually beautifully presented, they are generally small relative to the page size, occupying about only one third of the total page area, sometimes up to half the page area, and very occasionally larger. It would appear that the aim has been to reproduce the paintings in such a way as to give an indication of their relative size; large paintings reproduced larger, the smaller ones smaller. A commendable idea except one cannot help but feel as if one is losing out somewhere. However at least the sensible large format of the book, slightly over square, accommodates the landscape proportions of the paintings, and the excellent photography captures very well the rich texture of the paint surface. Interestingly most of the paintings are shown without a frame, that is with the raw edges of the painting showing. There are 140 colour plates plus 100 black and white photographs illustrating the essays and other sections. It is without doubt a sumptuously produced volume, from the appealing matt finish cover with its tasteful silver embossed lettering on front, spine and back, to the quality stock used throughout: a heavy-weight buff colour for the pages of text at the front and back, and matt art paper for the plates. There is no question about the work contained herein, with their rich intensity of colour and powerful brush strokes superbly captured on the page - a valuable addition to any art lovers library.
5.0 out of 5 stars
Best book ever!,
By John Berry - Published on Amazon.com
This review is from: Tom Thomson (Hardcover)
If you are a serious art collector/fan, and love the Group of 7, you will absolutely love this book. Beautiful design, great reproductions, excellent insight with the written word, all around excellent in every way. Tom Thomson would be proud, or embarrased by such a review of his work. Stunning.
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