TT-126- Preliminary Draft
Location is typically vital if one wishes to appreciate the motivation of the artist. Tom Thomson left behind no clues except for his art. Tracking the location of his paintings a century later is not for the faint of heart. The changing forest alters its character in far less time and often hides the timeless rocky landforms. Even boots on the ground and paddles in the water might not be able to confidently locate THE place. The Thomson experts never stop trying though.Such is the case with "Early Spring in Cauchon Lake, Spring 1916". The title is specific only because Lawren Harris was with Tom when he created this work. Harris was also responsible for sorting through the stack of panels salvaged from Thomson's Shack. He and J.E.H MacDonald had taken on the challenge of trying to construct the original catalogue raisonné of Thomson's art in the spring of 1918. They had also planned to pull out the best work and use those panels to illustrate the genius of their friend.
Early Spring in Cauchon Lake, Alternate title: Algonquin Waterfall, Spring 1916, Oil on wood, 8 3/8 x 10 1/2 in. (21.2 x 26.7 cm), Tom's Paint Box size, 1916.57 |
"Now, thoughts on the sketch itself. If the sketch is indeed spring, it appears that there is still some rotten ice on the water between the foreground and the hill. The white stuff on the hill could be interpreted as remnants of snow or maybe bits of ice from meltwater re-freezing.Spruce trees on the hill are plausible. Budding hardwoods - maybe. Some of the foreground verticals are red, like some of the bushes that like to grow next to the water. It does appear that there are red something or others on the small saplings/bushes in the foreground - maple flowers maybe? Almost impossible to tell. It doesn't look as though the non-conifer vegetation is on the hill, just in the foreground."
"The really tricky bit is the background. One could interpret it perhaps as a red sky, though it is awfully dark and monotone for that explanation. Possibly the actual background was all dark vegetation, and he used the contrasting colour to give the hill some form. The whole sketch is relatively dark, and a background of solid conifers would have made it much less interesting. Perhaps he thought he would do something different with it later. Perhaps he wasn't quite finished when he had to return to camp. We can speculate, but, as usual, it remains a mystery. Anyway, it is a striking work."
I could not resist including the musings regarding the channel of open water in front of the cliff. If the cliff was facing southward, the sun heating the rocks would be sufficient to explain that open water. A northern exposure would require a current. Without a definitive painting location, one can't be certain.
As mentioned previously, Harris was fishing with Thomson when this painting was completed. Harris added some details that he remembered from the experience on the back (verso) of the panel when he and MacDonald were sorting through Thomson's works in the Studio Building after he passed. Apparently, they felt that this plein air panel was "1st class". I recall seeing this painting up close and personal and quite concur with their evaluation.
Inscription recto:- l.r., estate stamp
Inscription verso:
- c., estate stamp;
- in graphite, Petawawa (crossed out) Cauchon Lake;
- in graphite (Lawren Harris?) Early Spring. / Background is a high hill covered / with budding hardwood & a few spruce.;
- in graphite, lst class; in ink,
- Property of Harkness; in graphite, 100 M. Thomson
- McMichael Canadian Art Collection, Kleinburg (1972.4)
Provenance:
- Estate of the artist
- Elizabeth Thomson Harkness, Annan and Owen Sound
- Margaret Thomson Tweedale, Toronto
- Mr. and Mrs. Ernest Smith, Winnipeg
- Private collection, Toronto
- McMichael Canadian Art Collection, Kleinburg (1972.4). Anonymous gift, 1972
This painting went to Thomson’s eldest sister upon his passing. Elizabeth's husband was Thomas “Tom” J. Harkness who was appointed by the Thomson family to look after the affairs of Tom’s estate. T. J. and Elizabeth lived in Annan, Ontario, just east of Owen Sound. From Elizabeth, aka "Mrs. Harkness", the painting went to Tom's youngest sister Margaret and then into private collections before being anonymously gifted to the McMichael Canadian Art Collection where I first saw it - nose to nose.
Many interesting stories can be discovered with boots on the ground, open minds and good science. History can be rediscovered and brought to life. I continue to learn from the Thomson experts who have become my friends over the years!