Tom Thomson's Hot Summer Moonlight Summer 1915

Tom Thomson's "Hot Summer Moonlight Summer 1915" was a challenge. The terrain did not line up! Try as I might... I was unable to convince myself of the location of this painting. 

Hot Summer Moonlight Summer 1915
Oil on wood panel 8 7/16 x 10 1/2 in. (21.4 x 26.7 cm)
Tom's Paint Box Size

All of the investigations into his art revealed that Tom did not make stuff up! He painted almost exactly what he saw which makes Creative Scene Investigation possible in the first place. It is impossible to analyze fantasy. At this point, my Thomson friend came to the rescue and knew exactly where "Hot Summer Moonlight " was painted. That information changed everything!

Let's start with the location, which is essential to establish if Creative Scene Investigation (CSI) is to be credible. My Thomson friend took the following picture and provided the details that established the site as an identical match for Tom's plein air vista. Tom may have been on the porch of the Out-Side In or on the shore of Grand Lake just to the east. Note that Tom Thomson actually painted the sign that hung above the porch of the ranger cabin where he would stay with Ed Godin, his fellow fire ranger during the summer of 1916. That sign is included in the accompanying picture. 

The following graphic matches the terrain features included in Thomson's painting with the elevations of a topographical map. Tom's view toward the south-southwest is between the two red arrows. The various hills are matched by number and text to the specific topographical features. 

This revelation of location did change everything! The original Thomson catalogue raisonné was incorrect in some critical information.  "Hot Summer Moonlight" was painted in 1916 from Achray probably just after he reported to work on May 1st to be a fire ranger for that summer.  

Professor Dwight from the University of Toronto spent time at the U of T Forestry Camp at Achray in the 1920s and 1930s.  He heard about Tom Thomson from some of the old-timers. Professor Dwight was told that Tom had originally lived in the ranger cabin to the west of where the stone headquarters building now stands. That ranger cabin is long gone but its location is included in the following graphic. My Thomson friend also found an image of that ranger cabin which can be seen in the Algonquin Park Archives at  https://algonquinpark.catalogaccess.com/photos/6004. 

As recorded in Ottelyn Addison's 'Algonquin Story',  fire rangers hired for the summer were expected to report for duty on May 1st. (Recall that Ottelyn Addison (1908-1997) was the daughter of Ranger Mark Robinson, Tom Thomson's friend at Canoe Lake.) Presumably, Thomson was at Achray on Grand Lake by then and staying in the ranger cabin mentioned above. Ed Godin, Tom's fellow fire ranger later told Blodwen Davies, Canadian journalist and historian that Tom moved into the Out Side In on about the first of June. The fire ranger job ran till September 30, though might be extended if the risk of fires was still high. 

There are no detailed records of Tom's travels with Ed Godin while he was a fire ranger. Apparently, the summer of 1916 was hot and dry but fortunately, there were relatively few fires in Algonquin Park. Tom and Ed Godin did follow the log drive down the Petawawa in the early summer when the water levels were high (hence sketches like Bateaux, Sandbank with Logs, etc.).  They could have gone all the way to Petawawa and taken the train back to Achray, or else turned around at the confluence of the Petawawa and what is now the Barron River and paddled back to Achray. No one knows for certain. 

Tom and Ed probably paddled around the lakes in the area, walked the trails, and climbed some of the higher hills to look for smoke in the distance.  They could not have travelled very far except by water. There were no fire towers in Algonquin Park in 1916 - those towers would be built starting in the 1920s. 

Tom is reported to have made regular trips to the Basin Lake Depot to pick up and drop off the mail.  One account says he went weekly, but given the distance (about 5 km) and the fact that he would have had to walk most of the way there and back, my Thomson friend is not sure it was that frequent.  Traces of the road still exist, but the journey would have been all on foot from the shore of Grand Lake to Basin Lake. One of the rangers suggested at some time that they should be provided with a horse to make the journey a little easier, but that didn't happen.

As Tom wrote to Dr. James MacCallum on October 4th (presumably 1916):

"Have done very little sketching this summer as I find that the two jobs don't fit in. It would be great for two artists or whatever you call us but the natives can't see what we paint for. A photo would be great but the painted things are awful. When we are travelling two go together one for the canoe and the other the pack and there's no place for a sketch outfit when your fireranging.

We are not fired yet but I am hoping to be put off right away."

The bottom line is that Tom did not paint as much as he would have liked! He might have found thirty minutes in his working day to complete a plein air weather observation at almost any time during the summer of 1916. 

In any event, there was no lasting harm done. Tom included enough clues in his painting that the catalogue raisonné entry for  "Hot Summer Moonlight" can be fixed. The following results from the Creative Scene Investigation will describe how...

The clincher is that Tom had to be looking southward in order to observe the gibbous moon. The moon is the most important clue in this observation of nature. The right side of the waxing gibbous moon was illuminated on that evening - as it is for all observers in the northern hemisphere. 

It is probable that given the above constraints, this painting may have been completed as early as  May 11th, 1916. This is my personal favourite estimate although it does conflict with the official title. The fire-ranging job would have just been getting started and Tom was still kind of on his own in the ranger cabin.

As well, plein air painting during a hot and buggy evening in the summer is typically not fun. The mosquitoes and black flies would be in a feeding frenzy on any exposed flesh making it challenging to get into and stay within the artistic zone. Tom did not own a modern insect suit. On July 7, 1917, the day before he died, a letter to Dr. James MacCallum  describes Tom's feelings about biting bugs:

"The weather has been wet and cold all spring and the flies and mosquitos much worse than I have seen them any year and the fly dope doesnt have any effect on them."

Tom did not like blood from bug bites dripping down his nose any more than I do. In any case, spare time in the summer was better-spent fishing. Just my opinion of course.

The first quarter waxing moon comes every month and it could have been a hot summer night when Tom painted this weather observation. Again, without some first-hand evidence from Tom, no one can be certain. 

Now back to the science... Recall that the  Moon traces a similar path through the sky as the Sun although the Moon can wander by up to 5 degrees relative to the Sun's track. An angle of 5 degrees can be approximated by the width of the three central fingers on your outstretched hand. 

The following graphic depicts the "ecliptic" which is the plane containing the sun and the planets. The major planets in our solar system stay within just 3 degrees of the ecliptic. Mercury is the exception with its orbit inclined to the ecliptic by 7 degrees.

                The planets are not to scale and the graphic is purely intended to illustrate the
concept of the ecliptic. The real scale is astronomical… so to speak.

The planets are all roughly aligned on a plane, with some orbits varying slightly above and below the plane. Astronomers believe this is because of how the solar system was formed. A large ball of spinning gas and dust must eventually compress by its own gravity and momentum into a quasi-flat disc. The most compressed material in the center eventually formed the sun, while other clumps further out gathered up more and more material in one place until they each formed a planet. The moon orbits the Earth within this ecliptic plane. Newtonian physics explains how the ecliptic formed and there is no need to invoke Einstein.

Another view of the phases of the moon within this ecliptic includes the positioning of the moon relative to the Earth and the Sun (the light rays emanating from the top of the above graphic). The double-headed white arrow indicates the orientation during which Tom painted his observation. The moon orbits the Earth which rotates daily on its tilted axis. The motions of the moon and the sun viewed from our location on a spinning globe are very confusing - we are non-inertial observers! The geometry is much simpler from the perspective of the ecliptic.  I find this particular graphic very illuminating... The moon phases displayed are as viewed from the northern hemisphere.

The following graphic illustrates the elevation of the sun as viewed from Achray looking southward for important times of the year. The sun is highest in the sky for the summer solstice - reaching almost 70 degrees! The solar elevations are the lowest at the winter solstice. The solar elevations must lie somewhere between these two extremes during the rest of the year. I have included the solar elevation for May 11th, as an illustration, to indicate what I propose as the probable solar and moon elevations for this particular painting. 

The approximation is that the moon follows a similar path as the sun. In Tom's weather observation, the moon is not quite as high as might be expected for the summer solstice - which is a consideration that May 11th is my preferred date. The evidence is admittedly far from conclusive though as sometimes the moon appears to stray far from the path of the sun.

Classic corona
around the moon

There was also a corona just visible around the moon through a break in the clouds. The Corona is described in more detail in "Tom Thomson's Moonlight".  The corona was subtle here and not a feature of this painting.  

The sun had set and the night was dark when Tom completed this observation. Tom was observing astronomical twilight in which the "sky illumination is so faint that most casual observers would regard the sky as fully dark".  In mid-latitudes, astronomical twilight can last about 1/2 hour after sunset from spring through fall but up to an hour near the summer solstice. As a result, Tom's southerly springtime view would have been observed at least 1/2 hour after sunset.  For a May painting session, these estimates suggest 9 pm as a good time for painting "Hot Summer Moonlight". But the story does not end there... there was lots of weather to paint!

Tom was probably inspired by the weather as much as by the moon. In fact, the sky was overcast and Tom was fortunate to view the moon at all between breaks in the cloud. 

As mentioned in the above graphic, the cloud types and structures are associated with the anticyclonic companion of a significant warm conveyor belt. The orientation of the swells even correspond to those in the following graphic with Tom located at the yellow star. 

Four swells of altostratus (the fourth in the upper right corner) reveal that the centre of the storm was still far to the southwest. Troughs in those swell gravity waves provided the breaks in the cloud cover that allowed Tom to view the moon. There was no indication of smaller-scale wind gravity waves superimposed on those swells - it was dark after all! If Tom had paused to watch the clouds move, he should have seen them drifting slowly to the left (eastward). Weather diagnosis is much easier when viewing the actual clouds and their relative motions!

The small and uniform ice crystals of the thin overcast cirrostratus cloud created the iridescence that also caught Tom's eye. Diffraction is responsible for these pastel colours when the light source is within 40 degrees (but most intense when within 10 degrees) behind the small and uniform scatterers. Iridescence was also described in "Tom Thomson's Rocky Shore and Sky Summer 1915" and is not just a daytime phenomenon.  

These weather clues allow us to place Thomson within the Conveyor Belt Conceptual Model below. Tom would have been very near the yellow star in that graphic looking toward the south-southwest. 

The cold conveyor belt (CCB) of the Conveyor Belt Conceptual Model is the final chapter of this weather story. If I had been able to paint with Tom that evening, the weather diagnosis would have been easier and conclusive. Unfortunately, the painting does not reveal the direction of the wind that was generating the very significant wave action. The wind that Tom painted was the cold conveyor belt as depicted by the low-level blue arrow beneath the warm conveyor belt in the above graphic.  It is described in some detail in "Weather Lessons for Everyone from the Cold Conveyor Belt Wizard". 

Briefly, if easterly winds were churning up the night-time waves that Tom observed, the approaching storm was strong and approaching slowly - a lot of weather was on the way and it would be wise to hunker down. If southwesterly winds were driving the waves, the approaching system was weaker than average and in a hurry to arrive and pass east of Grand Lake - no significant impact was expected.

 Either weather option was possible and we do not know what actually did occur. Note that the overall west-east orientation of Grand Lake results in the funnelling of the synoptic scale wind - westerly and easterly winds are encouraged by the terrain. A significant southwesterly wind would still be possible over the east basin of Grand Lake given the long fetch but that is not what Tom observed. 

           Wonderful friends and supporters of Tom Thomson          

This is another one of those panels from the stack of Thomson's paintings retrieved from the Shack. In the spring of 1918 Lawren Harris and J.E.H. MacDonald had a mountainous task to sort through Tom's efforts of the previous three years. The warm colours of the sunlight reflected from the face of the moon must have reminded them of a hot summer evening and thus that name was selected. 

The appreciation of art is a personal experience and everyone is different and sees something unique - as it should be. Far from critical, I admire the dedication of Tom's friends and applaud their efforts even when they might be flawed.

I saw something different than either Lawren or Jim. I realized that Tom was awake and at his paint box on the shoreline because the weather was unusual. The wind was significant even at 9 pm in the evening!  The sound of the waves and the whitecaps would have provided the soundtrack for the nocturnal plein air experience. The moon was up and provided some light to paint by - but not much. There was no light at all when the altostratus drifted in to block the face of the moon. But there were no biting bugs in mid-May. The insects (which are crucial and beneficial for nature) would be released soon enough in murderous hordes during the third week of May. Simply, Tom was intrigued and had to record the weather that was blowing in the wind. 

In addition, I saw the science and that allowed the unravelling of the details that Tom included in his weather observation. Tom might have made the task a bit easier by leaving a few notes explaining his motivation and inspiration. But that is okay - he was in a rush to absorb and record every experience of his life surrounded by nature in the Algonquin wilderness.

Inscription verso: 

• u.c., estate stamp;
• u.c., in ink on label, James MacCallum / (in graphite) Moonlight - Hot Summer Night; 
• u.r., in graphite, on label, T.89; 
• c.r., in graphite, Hot Summer / Moonlight; 
• l.r., in black, upside down, 23; 
• b.c., in graphite, H. Mortimer Lamb / 503 Drummond Bldg. / Montreal National Gallery of Canada, Ottawa (4648) 

Provenance:

• Estate of the artist 
• Dr. J.M. MacCallum, Toronto 
• National Gallery of Canada, Ottawa (4648). Bequest of Dr. J.M. MacCallum, Toronto, 1944

The beauty of the science and the meteorology in this weather observation is inspirational. Tom painted a waxing quarter gibbous moon around 9 pm - it might have been May 11th, 1916. There was a lot of wind but no biting bugs. Life was good!

Neither of the following images of "Hot Summer Moonlight" can be accurate. One might be too yellow while the other could be excessively green which highlights the corona. The actual painting in the National Gallery of Canada must certainly look different than either image. I was there and nose to nose with this painting but I forget which image might be closer to reality. 

As Tom wrote to Dr. MacCallum on October 6th, 1914, from Canoe Lake Station:

"the best I can do does not do the place much justice in the way of beauty."

The best that a professional photographer using modern equipment can do also does not do justice to Tom's art. One needs to see the real thing and feel the brushwork in the gallery... 

Dr. MacCallum also appreciated this nocturnal painting and included it within his compilation of Thomson's work. That collection was a bequest to the people of Canada in 1944. We all benefit from Dr. MacCallum's generosity and appreciation of fine and unique art. As an interesting aside, A.Y. Jackson asserted that MacCallum didn’t know much about art and was "limited to finding animal shapes in Thomson’s paintings." In any event, Dr. MacCallum knew what he liked and that is enough just to appreciate art.  

The contributions of my Thomson friend were essential in locating this weather observation on Grand Lake. The insightful editorial observations also made this a much better post. Thank you, my friend!

Warmest regards and keep your paddle in the water,

Phil Chadwick

PS: Tom Thomson Was A Weatherman - Summary As of Now contains all of the entries to date. 

PSS: Should you wish to have Creative Scene Investigation applied to one of Thomson's works that I have not yet included in this Blog, please let me know. It may already be completed but not yet posted. In any event, I will move your request to the top of the list. If you made it this far, thanks for reading! There is a lot of science in this small panel and I wanted to cover most of it...

PSSS: Thank you for making it this far! If this post assists others in discovering the wonders of the moon, where to find it in the night sky and what that means, then the effort spent putting this together is paid in full. 

Tom Thomson's Rocky Shore and Sky Summer 1915

Harris and MacDonald planned to sort through Tom's art from the Shack, make comments on the back and distribute what they felt were the best examples of his genius.  This painting is another from that tall pile and displays the distinctive "TT Estate Stamp" on the bottom, front left corner. Some of the paint has since flaked off the wooden panel. Sad, but the story behind this painting is still intact.

Rocky Shore and Sky Summer 1915
Oil on composite wood-pulp board 8 1/2 x 10 7/16 in.
(21.6 x 26.5 cm)
Tom's paint box size. 

Location is the starting point for most Creative Scene Investigations. It certainly helped knowing that Tom did not travel far in the spring of 1915. Most of his painting locations were not far from Mowat Lodge and three square meals a day. The pile of rock in the front left of the painting would be recognizable today if the forest had not grown back to the shoreline. I do not recall seeing that particular knob of Canadian Shield on my paddles but it is certain to still be there. No worries though, the profile of Hayhurst Point and the eastern shore of Canoe Lake are sufficient to brand the vista. 

The weather and the colours were what really attracted Thomson to record this scene. With the easterly viewing angle established, the weather makes sense. The sky was full of large and developing cumulus with a few bands of higher altostratus. It takes time for such cumulus to be generated, so this weather situation was midday at the earliest. The morning would have been sunny and effective at heating up the ground, passing that energy into the hot air balloons that would become the cumulus clouds. The cloud faces were well-illuminated from the south. 

The southerly low-level winds shaping the vigorous cumulus clouds also indicate warm air being advected over Canoe Lake. Tom was likely located within the warm sector of the weather pattern but well to the east of the main band of weather preceding the cold front. 

The stable altostratus bands with cloudy gravity wave crests and clear areas in between as the troughs suggest a thin layer of moisture in an elevated stable layer. These swells would parallel the deformation zone. The location of these characteristic clouds must be the anticyclonic companion of the warm conveyor belt. Note that swells in the cyclonic companion are typically hidden within the thicker layers of moisture found in that rising area of the warm conveyor belt. 

The following graphic summarizes and explains Tom's location within the Conveyor Belt Conceptual Model. The deformation zone and multiple, parallel altostratus swells confirm the anticyclonic companion of the warm conveyor belt as the probable location for Tom's weather observation.

 It would have been a most pleasant plein air experience. I also suspect that there were no biting bugs and that this painting was a late spring experience before Tom turned his attention to fishing. 

Thomson was faithful to the exact shapes of the terrain and the clouds as described above. He did not labour the brush strokes in making those observations while still ensuring that they were accurate. However, it was the iridescence which probably caught his eye. The iridescence is the pastel colours viewed from the edges of the clouds. 

The sun is within perhaps 10 degrees of the iridescent clouds in  
the photo of the diffraction. Tom did not include the sun in his  
painting but it had to be above and to the right of his panel. 

Iridescence is the result of diffraction – a phenomenon that occurs when small water droplets or small ice crystals scatter the sun's light. This common phenomenon is most often observed in mid and high altocumulus or cirrus clouds. The pastel colours are very vivid and haphazardly arranged. Very uniform, small water droplets or small ice crystals individually scattering light through diffraction produce the strongest iridescence.  Larger ice crystals do not produce iridescence. Diffraction was explained in great detail in "Tom Thomson's Moonlight". 

The colours are brighter and more intense if the light source is within 10 degrees of the sun but can extend up to 40 degrees.

The iridescent cumulus clouds with uniform, very small cloud particles on their outer edges confirm that the cumulus clouds were young and vigorously developing while Tom painted. Larger cloud particles are characteristic of older and less robust clouds. This fact allows us to further conclude that the cumulus clouds were just starting to grow as a result of daytime heating. The sun was also within 40 degrees of the central portion of the sketch. These constraints require Tom to be looking toward the sun before solar noon. Tom did not include the sun in his weather observation but it must have been just above and to the right of his field of view.

Inscription recto: 

• l.l., estate stamp Inscription verso: 
• u.c., in graphite, Red Filter; 
• u.r., in graphite, NG National Gallery of Canada, Ottawa (1536) 

Provenance: 

• Estate of the artist 
• National Gallery of Canada, Ottawa (1536). Purchased 1918

There is so much science and nature yet to be discovered in the art of Tom Thomson. Thank you for reading and perhaps together we might preserve the wild places that remain. Tom would have liked that!

Warmest regards and keep your paddle in the water,

Phil Chadwick

PS: Tom Thomson Was A Weatherman - Summary As of Now contains all of the entries to date. 

PSS: Should you wish to have Creative Scene Investigation applied to one of Thomson's works that I have not yet included in this Blog, please let me know. It may already be completed but not yet posted. In any event, I will move your request to the top of the list. If you made it this far, thanks for reading! 

Tom Thomson's Ragged Pine 1916

My Thomson friend wrote: 

"There is another Tom Thomson sketch I would like you to take a look at some time - "Ragged Pine" from the spring of 1916."

There was abundant science and nature to be found in the bold brush strokes of "Ragged Pine" so I readily agreed to my Thomson friend's request.  The Creative Scene Investigation was fun and fruitful. Please read on... You might be surprised!

This is possibly the most misdiagnosed and misunderstood painting in Tom Thomson's Catalogue Raisonné. As a consequence, "Ragged Pine 1916" is also vastly underappreciated. The plein air panel is a rough and ready observation of a turbulent nature. There are no polished brush strokes - only stabs and jabs of colour and the roughest outline of shapes. So what is the real story? 

Ragged Pine Alternate title: Jack Pine and Lake,
Spring 1916
Oil on wood panel 8 7/16 x 10 1/2 in. (21.5 x 26.7 cm)
Tom's Paint Box Size

Location is always an excellent place to start in Creative Scene Investigation. My Thomson friend is a terrific resource in this regard and is extremely knowledgeable regarding the travels of Tom Thomson and his artist friends especially in 1916. 

A historical map is required to set the stage. The circled area in the wilderness of northern Algonquin is where the story of the "Ragged Pine 1916" unfolds. The tale of the "West Wind" also gets entangled. "Industrial Civilization" has dramatically altered the landscape in the last century but that is another story I will save for another blog. 

Tom Thomson made a stop in Huntsville at the home of Winifred Trainor in mid-March 1916.  Tom was on his way to Algonquin Park.  He stayed at Canoe Lake until mid-April, then joined Lawren Harris, Lawren’s cousin Chester Harris, and Dr. MacCallum on the Cauchon Lakes for a fishing trip during the last two weeks of April. Thomson and Lawren Harris also took the opportunity to do some painting, and Thomson’s “Ragged Pine 1916” was certainly painted during this time.  At the end of the month, Thomson headed to Achray on Grand Lake to work for the summer as a fire ranger while the other three returned to Toronto.  Lawren Harris received his commission in the militia at Camp Borden on May 5, 1916. Harris was appointed to the 10th Royal Grenadiers as a lieutenant on 12 June.  

Trains were the way to travel through the Algonquin wilderness in the early 1900s - there were no roads. All of Thomson's friends could have easily reached Daventry (the yellow star) quite directly by train. After the adventure and after sketching both the "Ragged Pine" and the "West Wind", Thomson could have easily travelled from the Daventry to report to Achray for his fire ranger job. 

Note that Cedar Lake is mentioned on the above map near Brent. Brent is on the north shore of Cedar Lake just 10 miles to the southeast of Daventry; most of the lake is southeast of Brent, but there’s plenty of lake to the northwest as well. When the wind is out of the west or northwest, it’s a struggle to paddle up to the top of the lake. Little Cedar Lake (a very small lake) is continuous with and a narrowing of Cedar Lake. 

MacCallum and Chester Harris most likely returned to the city directly by train.  There is some evidence – a couple of sketches by Thomson – suggesting that Thomson and Lawren Harris may have paddled down to Brent before travelling by train from there to their respective destinations. As recorded in Ottelyn Addison's 'Algonquin Story',  fire rangers hired for the summer were expected to report for duty on May 1st, so presumably Thomson was at Achray on Grand Lake by then. The fire ranger job ran till September 30, though might be extended if the risk of fires was still high. 

As my Thomson friend summarizes:

"All of the fishing party probably arrived at the Cauchon Lakes by train, where they could arrange to be dropped off, and also picked up at the end of their outing.  It is unlikely that Thomson paddled there from Canoe Lake as some people suggest.  While that journey is not impossible, it would take several days, and even in late April there could still be ice on many of the lakes and snow on the portages." 

Historical Map showing Daventry and Thomson's possible location for "Ragged Pine 1916" looking south or southwest across Little Cauchon Lake. The yellow star locates Tom on the map and in the inset images. The inset outlined by brown dashed lines is an enlarged portion of the 1921 map. The insert enclosed by white dashed lines approximates the current Google Earth view.  As my Thomson friend observes, "It is tricky to reconcile the old map with the actual landscape.  I suspect some of the differences in the shoreline are a result of the loss of the logging dam at the outlet of Little Cauchon."

The most probable location they could have stayed was the site of a former logging camp on Little Cauchon Lake, now known as Daventry.  The camp dates from between 1910 and 1913 and was possibly also used by crews during the construction of the railway which was completed in 1915. There was a gravel pit not too far away, dating from the railway construction. The buildings were abandoned by 1916, but probably still in good enough shape for the fishing party to use. In any case, there would have been a large cleared space where they could set up tents, regardless of the condition of the abandoned buildings. (link to 1913 image of lumber camp from the Algonquin Park Archives); (link to 1914 image of engineers’ camp from the Algonquin Park Archives)  Algonquin residents who worked for the railway passed on recollections of the logging camp and a cleared area near the track bed where a ranger cabin once stood. The cabin was burnt down and no clues remain as to where exactly it once stood. 

The lumber mill identified on current Algonquin Park maps was a much later construction located close to the water and just to the southeast of Daventry. Thomson probably painted "Ragged Pine" in 1916 from the shore of Little Cauchon Lake just down from the logging camp but not as far to the southeast as the lumber mill. 

Most of the locations of Tom’s sketches completed during that trip could have been accessed by walking along the railway track from the logging camp.  However, his sketch of a person fishing at the falls on Litttle Cauchon Lake is on the opposite side of the lake from the tracks, so they must have had some kind of watercraft.  Possibly Thomson brought his canoe on the train in the baggage car – not a stretch of imagination, since it was still possible to do that at least as late as the 1970s.

      Possible painting location and view for "Ragged Pine 1916"     
 

"Ragged Pine 1916" was possibly painted looking southward across Little Cauchon Lake from the old lumber camp location now known as Daventry. 

My Thomson friend notes: "The skyline directly across from this location is pretty featureless, as in the sketch in question.  A view more to the left would show hills at Laurel Lake, and more to the right would show the hills on Cauchon Lake, both fairly prominent." 

Now for the plein air painting... The prominent trees are not pines at all but black spruce! Black spruce is the most common tree in Ontario, especially the Boreal forest. The black spruce flourishes in pure stands along shorelines and has a shallow root system. Pines generally have a wide-spreading, deep root system that reaches down into the soil- 2 to 3 times the width of the pine's drip line. Red and jack pines may have tap roots, but not always. White pines don’t have actual tap roots. Why is this important? Not all trees are equally prone to being blown done! It is important to know your trees. All will be revealed in time. 

The silhouette of a classic black spruce (middle in the above graphic) is reminiscent of what Thomson viewed and painted. Cones are produced nearly every year and may stay on the branches for up to 30 years typically massed at the top of the tree.  The shoreline at Daventry is low and damp and the perfect habitat for the definitive black spruce with droopy branches. The question should be not if a tall black spruce is likely to blow down but how is a tall, top-heavy, shallowed rooted black spruce on organic soils at the water's edge still standing? For more detailed information about the black spruce visit Natural Resources Canada Fact Sheet 39. By the way, never pitch your tent near a black spruce...

Now for the weather... Although Tom did not include the lightning in this painting, he observed the flank of a thunderstorm - very probably the forward flank downdraft of a supercellular thunderstorm. The quasi-horizontal line across the middle of the painting (not a good compositional move but that is what Tom saw) was the lifted condensation level (LCL) for the air mass. This confirms that the cloud was convective in nature. The turbulent nature and colour of the cloud face strongly suggest it to be a severe thunderstorm as well. Supercellular thunderstorms with separated updraft and downdraft regions are dynamic heat engines that can transform the heat and moisture energy of a spring day into kinetic wind energy - if the wind profile in the atmosphere is supportive. For the aspiring meteorologist, "helicity" is a vital term that can explain the necessary wind dynamics required to generate a supercell. Spring is the season for supercellular thunderstorms in Algonquin Park. Intense supercellular thunderstorms can even be dark brown or olive green in colour!

The shelf cloud at the leading edge of the forward flank downdraft is based at the lifted condensation level (LCL). The forward flank downdraft associated with the area of heavy rain acts like a cold frontal wedge (the blue cold front symbol in the graphic below) that lifts the environmental air to saturation - at the same height above the ground. The height of the LCL (meteorologists use this term frequently so it is often just denoted as the LCL) is closer to the ground in very moist air masses as Tom witnessed. A moist air mass holds a lot of water vapour and heat energy which are essential fuels for supercellular thunderstorms. 

Lines often embedded in the shelf cloud follow the direction of the rising air as shown in the above photo of an actual shelf cloud. The air at the earth's surface is not uniformly warm and moist and subtle differences result in variations in the instability of the lifted parcels when they reach the LCL. These surface disparities result in updrafts of greater and lesser instability apparent as lines in the shelf cloud. Tom did not include these lines in his painting but he was looking through the screen of the black spruce and could not see those lines even if they were present. 

Here is how the weather played out. Imagine a calm, humid and sunny morning in late April. The sun is required to charge the atmosphere with heat energy. A cold front was probably in the process of crossing Lake Huron. The towering cumulonimbus and thunderstorm anvil would have appeared first on the southwest horizon early in the afternoon. Frequent but distant lightning would have been the next clue that a supercellular thunderstorm was approaching. The thunder would have become audible when the storm got within 20 kilometres of the camp.  The shelf cloud might have been around 5 kilometres away when Tom decided to pick up his brushes. The gales and white caps arrived with the gust front when the shelf cloud was nearly overhead. The painting includes the fury of the storm and almost includes the thunder but the shelf cloud was the only definitive clue of the meteorology to be seen in the oils. Tom accurately painted just what he saw!

The subtle "T" in the above graphic denotes the preferred location of a tornado under the updraft region of the supercellular thunderstorm. Conditions with the forward flank downdraft can be severe enough but can get much worse under the underdraft region - the so-called "bear cage" of this type of convection. 

The motion of the supercell thunderstorm itself is added to the storm-relative vectors in the above graphic. Typically Algonquin supercells track northeasterly at speeds of 80 km/h or greater. This velocity vector would augment the southwesterly winds of the forward flank downdraft. The passage of the forward flank downdraft wind would indeed be " a wild rush of southwesterly wind across the lake" as also observed and commented on by Lawren Harris.

The Beaufort Wind Scale applied to the wave action on the lake indicates that the winds were certainly gales (Beaufort Scale 8) and probably higher. Damage from winds typically starts at speeds of 48 knots which is Beaufort Scale 10 Storm Force Winds. Trees get blown over by storm-force winds - especially the common, shallow-rooted black spruce of the Boreal Forest.  

The real story of "Ragged Pine 1916" is that it was actually a beat-up, tall, shallowed-rooted black spruce and not a pine at all. Tom was observing the approach of a severe thunderstorm. The wind speed as revealed by the large white caps on the lake was at least gale-force but probably stronger with wind gusts exceeding 90 km/h. The thunderstorm was still approaching so conditions were about to get much worse. 

Plein air painting conditions would have been far from ideal that afternoon. The lightning would have been frequent with lots of negative strokes but probably intense positively charged flashes as well. The blustery wind would have made it a challenge to control the brushes and hang on to the paint box at the same time. The goal would have been to capture the moment with as few brush strokes as possible. There would neither be the time nor the opportunity to polish the brush strokes or mix colours on the palette. No one has really figured out how to paint "sound" but Tom came close to including the thunder in this ragged sketch!

Here is where the other story and very likely, the truth begins. My Thomson friend mentioned the following:

"It seems possible that this could be the West Wind sketch that MacCallum talked about in his tale of Tom out painting in a storm and having a tree fall on him.  If so, it was probably done on Little Cauchon Lake at a location on the north shore now identified as Daventry.

I have long been suspicious of MacCallum's version of the event. Harris told essentially the same story, but didn't identify the sketch, which seems odd to me. The West Wind sketch, on which the studio painting of the same name was based, doesn't show any sign of trauma or haste in its execution, while Ragged Pine certainly seems to qualify on both counts. If the direction of view is as I speculate, it would be southward across the lake, so a west wind would be blowing from right to left, which is indeed indicated by the whitecaps on the lake in the sketch."

I could not agree more! When I wrote "Tom Thomson's West Wind and the Weather" I was quietly concerned that the Beaufort Scale Number 7 - Near Gales (28–33 knots 32–38 mph 50–61 km/h) would not be nearly enough to knock down a tap-rooted pine - very unlikely indeed. I was troubled as well that the brush strokes should appear so polished and the colours so "pure and clean" while painting under the severe weather conditions that both MacCallum and Harris described. 

Dr. MacCallum's version of the "West Wind" follows - or was he remembering the creation of "Ragged Pine" from more than twenty years before?

“It may interest you to know... that the West Wind was done at Lake Cauchon. Thomson, myself, Lorne [sic] Harris and his cousin Chester were up there. It was blowing very hard and Lorne Harris was painting farther up the shore. The wind blew down the tree of the picture and Harris first thought that Thomson was killed, but he soon sprang up, waved his hand to him and went on painting.”

Letter from Dr. MacCallum to Miss A.L. Beatty, Secretary to the Curator of the Art Gallery of Toronto, dated 14 May 1937. (Library, Art Gallery of Ontario). 

Dr. MacCallum started telling this tale at least as early as 1921 as evidenced by another letter mailed to the director of the Albright Gallery in Buffalo claiming that the West Wind was painted at Cauchon Lake. The content of that letter was very similar and some of the text follows: 

“It may interest you to know that the decorative pine in the foreground was blown down on Thomson just before he had finished the original sketch”, later adding that Harris thought Thomson had been killed, “but he sprang up and continued painting”.

Lawren Harris would not likely have seen MacCallum's personal letters to either the Albright Gallery or the Art Gallery of  Toronto (now the Art Gallery of Ontario, the AGO). Lawren recalled:

“I remember one afternoon in early spring on the shore of one of the Cauchon lakes in Algonquin Park when a dramatic thunderstorm came up. There was a wild rush of wind across the lake and all nature was tossed into a turmoil. Tom and I were in an abandoned lumber shack. When the storm broke Tom looked out, grabbed his sketch box, ran out into the gale, squatted behind a big stump and commenced to paint in a fury. He was one with the storm’s fury, save that his activity, while keyed to a high pitch, was nonetheless controlled. In twenty minutes Tom had caught in living paint the power and drama of storm in the north. Here was symbolized, it came to me, the function of the artist in life: he must accept in deep singleness of purpose the manifestations of life in man and in great nature and transform these into controlled and vital expressions of meaning.”

The Canadian Historical Association, Report of the Annual Meeting, Volume 27 No. 1 1948, The Group of Seven in Canadian History

The story of the "Ragged Pine" is summarized in the above graphic, superimposed on a current Algonquin Park Canoe Routes map. The yellow star locating the painting location is purely a guess on the lakeshore in front of the unknown location of the logging camp mentioned above. The logging camp was probably not far from Daventry Station. Tom would have certainly heard the thunder of the approaching storm and then witnessed the shelf cloud on the southwest horizon. He picked up his paint box as reported by Harris and ran to the shoreline to crouch behind a large stump. Tom painted the shelf, the black spruce and the colour of the cumulonimbus within 15 minutes as the gust front approached. The shelf cloud was overhead when the tree blew down in front of him. A few more stabs of paint and the observation of the tree and weather were done. 

Tom had to be near the shore as indicated in his sketch and thus west of the railway tracks. The black line on the map is the portage to Loxley Lake – some portages follow old tote roads/winter roads from logging days, so this portage might possibly have been associated with the logging camp. But as my Thomson friend asserts, we will never know for certain.  

My Thomson friend continues:

"I think we can make a case that there is really no conflict between MacCallum’s and Harris’s accounts.

MacCallum was quite likely not with Harris and Thomson when they were out painting in the storm, but heard the story later, i.e. back at camp. The wording of his account in the letter does not indicate he had direct experience of the event. Possibly he didn’t see the sketch at the time or didn’t remember it clearly if he had. He acquired the West Wind sketch from Thomson’s estate, and perhaps associated it with the windy day on Little Cauchon if he did not recall the Ragged Pine sketch. His letter to Ms Beatty was a private communication and it is unlikely that Harris would have seen it.

Harris’s account clearly indicates he was on the spot when Tom Thomson did the sketch, and, being an artist himself, he would certainly have been able to recall the image and its expression of the storm’s turbulence. On the basis of that memory, he likely would not have associated it with the West Wind (although he may well have been familiar with at least the studio version of the West Wind)."

As mentioned in "Tom Thomson's West Wind and the Weather", there was great uncertainty about where the sketch for the West Wind was actually painted:

• Apparently, Tom had personally told Winnie Trainor that the sketch had been completed at Cedar Lake in the north of the Park. As mentioned above, Brent is on the north shore of Cedar Lake just 10 miles to the southeast of Daventry. Travelling upstream from Brent, Cedar Lake narrows and one passes through Little Cedar Lake into the current Aura Lee Lake (formerly known as Laurel in 1916). A 345-metre portage takes you into the current Laurel (formerly Aura Lee in 1916). A 130-metre portage then takes you into Little Cauchon Lake. Winnie's story regarding the painting of the sketch for the "West Wind" on Cedar Lake would be consistent with the fishing trip that produced "Ragged Pine 1916". 
•  Dr. James MacCallum mentioned Lake Cauchon as the site for the sketch of the West Wind but he may have been referring to the painting "Ragged Pine 1916" as suggested above. Alternatively, Dr. MacCallum might have been mistaken as to the name of the actual body of water where the sketch of the West Wind was completed. Tom mentioned Cedar Lake to Winnie and Tom would have likely been very accurate with the sparse details that he did happen to share about his art. Confusing the names of the lakes as perhaps MacCallum did would be totally understandable. 
• Ranger Mark Robinson claims that the original sketch for "West Wind" had been completed at Achray on Grand Lake and that Tom had offered the sketch to him. This particular story is quite suspect given that Mark Robinson's military service started in the spring of 1915 and he did not return to Canoe Lake until April of 1917. The opportunity to see the April 1916 sketch for the West Wind and to have Tom gift it to him would have not been possible.

The stories from Harris and MacCallum are essentially the same. Indeed, aside from the mention of the "West Wind", Dr. MacCallum's letters originated with Lawren Harris. Of course, no one will ever know for certain but the evidence does point in the direction suggested.  Thomson was painting "Ragged Pine 1916" during the severe thunderstorm and not the "West Wind" in MacCallum's story. That ragged tree that might have blown down nearly killing Tom was actually a shallow-rooted black spruce and not a pine at all - but only MacCallum mentions a tree falling.

In addition, Harris mentioned that "Tom and I(Harris) were in an abandoned lumber shack" before "the storm broke". We will never know if the group was staying in the lumber shack or whether the shack was different from the logging camp. MacCallum's version says that "Harris was painting farther up the shore" and not in the logging shack during the thunderstorm. Oh my, but there are still some inconsistencies... and we will never know but that is still fine, we were able to discover a lot about the painting anyway. 

In the spring of 1918, Lawren Harris or J.E.H. MacDonald would assign the name "Ragged Pine 1916" to this sketch of a black spruce. They did their best and were certainly swamped by the number of paintings and the lack of any supporting information. The Thomson Estate Stamp was applied to the panel and they thought that was the end of that story. Thankfully Tom painted what he witnessed and the truth can still be revealed more than a century after his untimely passing. Also, thank goodness for the keen eye and unparalleled detective skills of my Thomson friend. 

Inscription recto: 

Tom Thomson's "Ragged Pine 1916" as it would 
have appeared in his paint box.

• l.l., estate stamp

Inscription verso: 

• c., estate stamp; c., in graphite, A; l.r., 670
• McMichael Canadian Art Collection, Kleinburg (1970.1.2)

Provenance:

• Estate of the artist
• Roberts Art Gallery, Toronto
• R.A. Laidlaw, Toronto
• McMichael Canadian Art Collection, Kleinburg (1970.1.2). Purchased with funds donated by R.A. Laidlaw, 1969

I find it puzzling that Robert A. Laidlaw, the wealthy friend of Lawren Harris would donate the money to the McMichael Canadian Art Collection in order to purchase this painting from his own collection. The family fortune was made from the "R Laidlaw Lumber Company" which established The Laidlaw Foundation in 1949. The purpose of the Laidlaw Foundation was to provide financial support for charitable, conservation, educational, and cultural organizations in the Ontario region. I am clearly not a tax lawyer and remain somewhat perplexed.  

There is even some more to this story! The Creative Scene Investigation of "Moonlight" revealed that it was most likely painted on the full moon evening of  Tuesday, April 18th, 1916 while Thomson was on the fishing trip with his artist friends. The moonlit weather depicted in that sky was the altocumulus portion of the warm conveyor belt of a strong and slow-moving spring storm. The wave action that Tom recorded could have only been produced by an easterly cold conveyor belt wind of Beaufort Force 5 - 28 to 39 km/h.   Such storms are classic producers of spring supercellular convection - just like that observed in "Ragged Pine 1916". The circumstantial evidence is convincing that this painting was completed during the afternoon of Wednesday, April 19th, 1916. 

A very special thanks to my Thomson friend for sharing this story which I feel is the whole truth. Tom would approve - after all, art is all about making special memories.  An honest observation even made in just twenty minutes can continue to inspire for generations… that is the meaning of art and life. Paint on!

Warmest regards and keep your paddle in the water,

Phil Chadwick

PS: Tom Thomson Was A Weatherman - Summary As of Now contains all of the entries to date. 

PSS: Should you wish to have Creative Scene Investigation applied to one of Thomson's works that I have not yet included in this Blog, please let me know. It may already be completed but not yet posted. In any event, I will move your request to the top of the list. If you made it this far, thanks for reading! 

PSSS: If you made it this far, you deserve something extra. A search of "Canadian Income Tax History" yields some curiously interesting facts. In 1969, when Mr. Laidlaw gave the cash to the McMichael Canadian Art Collection, there would have been the usual sort of income tax deduction for a donation to a registered charity (which no doubt the McMichael was).  Income tax on capital gains (i.e. the difference between what he paid for the painting and what McMichael paid him), did not come into effect until 1972.  Since the sale was made in 1970, Mr. Laidlaw would not have had to pay any income tax on that difference.  

Considering the increase in value of Thomson's works over the years, the personal profit could have been quite a considerable capital gain for Mr. Laidlaw.  Also, since the two transactions were made in different taxation years, there would have been no obvious connection between them. Mr. Laidlaw certainly did very well financially out of that little maneuver.  His tax advisors probably foresaw the upcoming legislation on taxing capital gains, as apparently, the proposed legislation was in the works for quite a while before it was finalized and became law... something politicians would have been certain to widely advertise.

Note that Tom Thomson plein air sketches typically sell for $1.5 million dollars or more in 2023 - and that price is certain to keep going up. Tom never saw a thin dime of the millions made from his art changing hands as a commodity. Some things never change. Tom created art for the love of the natural world... all the rest is simple greed at the expense of nature. Just my honest opinion of course. 

Tom Thomson's Morning, Algonquin Park, Spring 1915

J.E.H. MacDonald and Lawren Harris met in the Studio Building in the spring of 1918. Tom's paintings from the Shack had been stacked in the Studio Building. Harris and MacDonald planned to sort through Tom's art, make comments on the back and distribute what they felt were the best examples of his genius.  "Morning, Algonquin Park, Spring 1915" was another of those panels and displays the distinctive "TT Estate Stamp". I hope they got the timing of "morning correct - I suspect they were right. The only image I have available in order to study this weatherscape is dark with flash glare but the science was still discernible. 'I did not wish any of Tom's weatherscapes to be left
behind or unapreciated ...

Morning, Algonquin Park

Alternate title: Spring, Algonquin Park

Spring 1915

Oil on composite wood-pulp board

8 1/2 x 10 1/2 in. (21.6 x 26.7 cm)

Tom's Paint Box Size

Finding the location of this painting benefited from Tom not travelling far from Mowat Lodge in the spring of 1915. Tom was quite faithful to the cloud structure and the terrain he saw. The following graphic will explain that Tom was looking southwesterly from his favourite campsite or possibly Little Wapoemo Island. 

Comparing the terrain of  ”Morning, Algonquin Park, Spring 1915” with another painting of a similar vista also from 1915 yields some promising comparisons. The goal was to confirm the direction of view from which the illumination of the scene determines the time of day. 

Placing Thomson within the weatherscape was easier than doing so within the terrain despite the poor image. The following graphic details what Thomson's brush strokes were saying.

See Tom Thomson's “A Northern Lake" for an example of the Belt of Venus. 

The following graphic suggests where Tom was located relative to the cold front and the flows within the Conveyor Belt Conceptual Model. The comma head cloud was on the horizon to the west. 

The characteristic gravity wave bands of altostratus clouds offer some more evidence. The descending dry conveyor belt (DCB) actually "pushes" the cold front along. As with all circulations within the Conveyor Belt Conceptual Model, the DCB is comprised of both a cyclonic and an anticyclonic companion as labelled in the following graphic. The cold front is actually the deformation zone associated with the dry conveyor belt! The following graphic comes from my years at COMET in Boulder, Colorado. 

The cyclonic companion actually curls northward and as a result, rises along the isentropic (constant energy) surfaces. Rising air must cool and the gravity waves that are found in almost every flow suddenly become visible as regular bands of cloud. In this case, the wind gravity waves were the bands of altostratus that Tom brushed onto the panel hiding behind the cold frontal, convective cumulus. The black oval on the above graphic locates the cloud that Tom observed. Tom's location is the viewing direction symbol just ahead of the surface cold front. 

The following satellite view of an actual cold front was taken from the days when I was attempting to teach the wonders of the actual atmosphere. I have superimposed Tom's probable location within this satellite view (yellow star) and highlighted some features also included in the above graphics. These art history posts allow me to continue to quietly teach about atmospheric processes. 

I closely examined satellite (and radar) images every day of my 35 years with the Atmospheric Environment Service (and Environment Canada). The goal was to identify the weather concern of the day from within the real-time imagery. The atmosphere taught essential lessons of reality every day in the burgeoning science of remote sensing. Every day at the weather centre was exciting and full of wonder. I frequently used the phrase "Everyone wants to see a tornado before they die - but not just before they die". Remote sensing allows the study of all atmospheric scales without placing yourself in harm's way.

In the late 1970s, the data was low-resolution and restricted to grainy still images of only a small number of selected sensing wavelengths. Multiple hard-copy images were "cartoon flipped" to approximate animation. When VHS cameras came along in the mid-1980s, we started to create videotapes of satellite loops to watch clouds in motion. The tedious process was soon followed by the 286 processor computer chip and animation on the newly arrived computer systems. I may have started with stills but animation was essential to really comprehend the dynamics of the atmospheric processes. The data is of the highest quality in the 2020s and people can see colourful and meaningful remote sensing of the atmosphere up to the minute on their phones. Oh my! (I do not have a phone... still old-school I guess.)

The conclusion is simply that Tom painted the weather and the terrain that he actually witnessed. It must follow that the science shaping those cloud patterns had to be correct as well. It is simply my passion to explain those patterns and the science as best that I can. 

Inscription verso: 

• c., estate stamp; 
• u.l., in graphite, Spring, Algonquin Park; 
• l.c., in black crayon, Sketch #11; 
• l.r., in graphite, No. 44 Mrs. H...; 
• l.l., c., in pen, T-T-17

Provenance:

• Estate of the artist
• Elizabeth Thomson Harkness, Annan and Owen Sound
• Mellors-Laing Gallery, Toronto
• Private collector, Toronto
• Private collection, Toronto, by descent
• Private Collection, Toronto

Remarks: The work shows the burned land with wild cherry bushes blooming.

Each of Tom's siblings received ten works. This one went to Tom's older sister Elizabeth who married Tom Harkness. Mr. Harkness would become the executor of Tom Thomson's estate. 

The nine Thomson children

Warmest regards and keep your paddle in the water,

Phil Chadwick

PS: Tom Thomson Was A Weatherman - Summary As of Now contains all of the entries to date. 

PSS: Should you wish to have Creative Scene Investigation applied to one of Thomson's works that I have not yet included in this Blog, please let me know. It may already be completed but not yet posted. In any event, I will move your request to the top of the list. If you made it this far, thanks for reading!