汤姆汤姆森went missing on Canoe Lake in Algonquin Park on July 8, 1917. His body was recovered on July 16, 1917. To commemorate the centenary of the death of one of Canada’s great national icons, I am posting a blog each day throughout these days of mystery devoted to the painter’s life, art and legacy. The last of nine instalments,在北部河上铸造,指导读者通过汤姆森的一个伟大的画作。渴望愿他生活在加拿大人的心灵,思想和灵魂中。


Where the long river flows
它在我的窗户流动
高大的木材生长的地方
It grows ’round my door
山区遇到天空的地方
和白云飞
Where the long river flows
在我的窗口......
- Gordon Lightfoot.

......哦,我希望我有一条河,我可以滑过......
- Joni Mitchell.

Hope and the future for me are not in lawns and cultivated fields, not in towns and cities, but in the impervious and quaking swamps.
— Henry David Thoreau

......不完美的笔记破坏了音乐的灵魂,所以不完美的颜色破坏了画布的灵魂......
— words attributed to Tom Thomson in a 1930 letter from Ranger Mark Robinson to biographer Blodwen Davies

The standard critical assessment of Tom Thomson’s pictures is that his small boards painted普莱航空在Algonquin公园优于帆布,在多伦多的冬天在工作室里完成并完成。虽然我不一定不同意评估,但由于这么少的大型画作在他的OEVRE中代表了很短的原因,这是倾斜的。过早死亡确定了这一点。

The West Windremains regrettably incomplete. However,北ern RiverThe Jack Pine无疑是伟大的绘画,杰作由任何标准或定义;尽管肮脏的味道和时尚风,因此,尽管犯规,但是在汤姆森的成就的顶点,永远站在坚强和真实。

The West Wind

The West Wind

A great painting opens a unique window onto an artist. I’d like readers to accompany me as I cast my fly/eye over北部河流。Along withThe Jack Pine, it’s not only my favourite Thomson painting; it’s one of my favourite paintings in the long history of art. It’s a painting I adore; a painting I love.

The Jack Pine

The Jack Pine

If北ern River不是很棒的画作,那么我在以前的博客帖子中所说的一切都是hokum或bunkum,称你为止。如果你已经阅读了它们,如果你不承认伟大的伟大,你已经浪费了你的时间北ern River。For everything I’ve said leads to北ern River,我们在汤姆汤森以北找到真正的北北方的图案指南针。

它的标题我s significant. LikeThe West Wind杰克松树,北河不引用特定的地方或特定位置。相反,它是所有北部河流的广义,身份不明的地方,代表性和象征性(无论何种术语'北方'对你意味着)。此外,它体现并反映了一个北方的想法, irrespective of what the painter intended. Great art transcends intention; it’s all about execution, the thing that真的matters.

这幅画让我们提醒我们不仅是指南针的方向,地理位置,地质形成或纬度程度。也是一个想法 - 一种知识,情感,心理和精神构建。

The painting’s title welcomes us to ‘enter’ the picture; it invites us to ‘read’ the picture, metaphorically and symbolically as well as literally. I’m reminded of Robert Frost’sThe Pasture:

我要去清洁牧场;
我只会停下来耙离开
(等待观看水清澈,我可以):
我不再走了。 - 你也来了。

我要出去拿小小牛
That’s standing by the mother. It’s so young,
It totters when she licks it with her tongue.
我不再走了。 - 你也来了。

这幅画开始作为对自然的代表性描绘。这几乎是摄影的。汤姆森在线,颜色,纹理,光线和影子的动态方面令人沮丧。在这些正式的元素中,留下氛围和情绪。但所有伟大的诗歌和图片描绘了通过单词和图像描绘外部性质同时描绘了内心的状态(头脑剪切,感情剪切和灵魂剪切) - 弗罗斯特是什么意思Tree at My Window作为“内在的天气”。这是最后两个斯坦茨:

But tree, I have seen you taken and tossed,
如果你睡了,那么你见过我,
You have seen me when I was taken and swept
而且迷路了。

That day she put our heads together,
命运对她有她的想象力,
你的头很多与外面有关,
Mine with inner, weather.

北ern River呈现一个看法划分症杂耍者和钓鱼者立即识别。就好像我们从一个水路移植到另一个或焦急地接近下一个弯道围绕下一个水跑,跑步或泳池。我在手里用飞杆经历了这一点。

图片建立了观众与自然界之间的亲密关系。这是自然近距离和个人。我们不是观察员从远处看大自然 - 无论是从独木舟那里的山顶或海岸线的山顶的全景。相反,我们是沉浸的参与者in,并封闭经过, 自然。我们在自然的怀抱中被带着

图片传达了触觉,感觉刺激感。我们觉得我们的徒步旅行或涉水的靴子在腐烂的叶子和松针的软森林地板上沉没;通过悬垂分支,闻到群体屏蔽群体阳光的湿度;我们听到昆虫,鸟类,青蛙,甚至是动物的声音。我们在蚊子,黑苍蝇,鹿飞行和血液吸血中的中介,因为我们抓住昆虫驱蚊剂系带来的虫子。

北ern Riveris not conventionally attractive. It lacks the majestic splendour of white pine or jack pine prominent in the other masterworks. These are spruce or tamarack; low-grade swampland trees lacking distinctive sculptural form.

许多评论员已经观察到前景树的装饰套装类似于彩色玻璃窗。他们的眼睛,他们建议艺术Nouveau铁艺或蒂芙尼灯罩。这是汤姆森在这样的照片中经常返回的图片策略In the Northland, Autumn’s Garland, White Birch Grove, Snow in October, Early Spring, Autumn Birches, Northern Landscape, Opulent October, Forest, October阿尔尔基因公园, among others.

但是,我不折扣与教堂或大教堂的联系。我没有尊重汤姆森的宗教信仰或缺乏缺乏。就个人而言,我没有将他视为任何传统意义上的分支的追认或普通教堂。但我确实相信他用精神刷子画的自然。

责备者

我相信他认为阿尔冈奎宾公园的“荒野”神圣,与英国有远见的诗人威廉布莱克宣称,“生活是神圣的每一件事。”这是由他一直密切关注的几本书的支持:izaac沃尔顿的支持垂钓者和Henry David Thoreau’s沃尔登。In different ways, both books reflect a spiritual attitude toward life. He also would have heard about New England Transcendentalism from his artist companions. More significantly, close study of Thomson’s paintings lead inconvertibly to the same conclusion. So, stained glass it is.

沃尔登

这也是我拒绝任何汤姆森犯下自杀的建议的原因。我不是精神科医生,但我相信,有画家曾经变得过令人沮丧的是他自己的生命,它不会在他最爱的地方。

It’s commonplace for people to assert that Vincent van Gogh, that beautifully tortured soul, was mad when he cut off his ear. But read his clear, lucid letters to his brother Theo and you get a picture of a deeply sensitive, yet sane, artist. Similarly, look closely over the boards Thomson painted during his last spring and tell me, truthfully, they reveal an artist losing a battle to despair. The pictures tell a different story.

北ern River记录过渡时间,因为夜间的黑暗让位于新的一天的曙光。前景树标记为暗到光线的阈值,陆地到水生和天线。我们从灌木的黑暗中导致到天空反射和被水折射的光线。我认为梭罗调查了沃尔登池塘的眼睛(或一世)。

Nickadamsstories.

The passage from darkness to light, at once literal and metaphorical, also reminds me of a couple of titles of Ernest Hemingway stories:A Clean, Well-Lighted Place最后的好地方。而且,在环境和情绪中,北ern River带来我最喜欢的海明威的故事 -大河流

尼克亚当斯是一名受损的年轻人,是从业公司的毁灭性荒地的损坏的年轻人。他回到了密歇根州的上半岛,这是一个很好的地方 - 这偶然地说,这在某些地方的阿尔冈奎纳公园。虽然在手中与飞杆和野营装备的独奏钓鱼之旅,但尼克实际上正在寻求再生和救赎 - 水是恢复和更新,治疗和洗礼的象征。

我想得出结论北ern River凭借一些关于伟大的加拿大文学评论家北弗莱的思考,他写了关于汤姆森和七人的。但在进入Frye之前,我想在风景如画,美丽和崇高的方面考虑这幅画,这是一种从第18世纪和19世纪开发的哲学的哲学概念。他们不仅来定义山水画,而是通过文学和艺术表达的自然世界的分类。

我争辩北ern River是所有三个审美概念的大巧融合。

The picturesque, which refers to the charm of discovering landscape in its natural state, is implied by the perspective of the viewer as surrogate canoeist or angler. This is the source of the picture’s serene, peaceful, meditative mood.

美丽 - 传统上引用人性的驯服或统治超过, nature and which I interpret as relationshipbetweenhumanity and nature — is represented by the river which is emblematic of human existence as a journey along the time-space continuum. This encompasses the cycle of life, with its vagaries of mutability and mortality.

The sublime, with its elements of awe and reverence, is represented by the sky as a metaphor of infinity and eternity. Traditionally the sublime provoked a sense of terror in the face of nature at its most dangerous and fearsome, which doesn’t apply here. This is the source of spiritual optimism the picture affirms by imposing a sense of design on the chaos of nature.

In a final touch, the river of historical time is connected to timelessness by the reflecting and refracting sky; hence we have an intimation of the eternal embodied an enacted in the temporal.

I don’t know whether Frye is read much these days. I doubt it. But when I studied literature at university in the 1970s he was a giant, as influential a critic as there was anywhere in the world. And he was ours.

One of his most famously contentious notions, at least in terms of Canadian literature, was thegarrison mentality其中,在构建隐喻墙壁的敌对外面的隐喻墙壁之后,表格响应于“对自然的深处”的回应。Frye认为,这种心态是加拿大身份的不可或缺的,是由于担心景观的空虚,除了其他国家的压迫性,特别是美国的压迫性而引起的。

加拿大作家罗伯逊戴维斯在加拿大人物中识别出类似的压力,但在Jungian术语中表达了加拿大境的耕作和美国升压。

玛格丽特阿特伍德乘坐来自Frye的课程,同时在多伦多大学的本科生,随后探讨了她的地标研究中的驻军心态的概念Survival: A Thematic Guide to Canadian Literature。她的导师通过致电1971年关于加拿大想象力的论文集合来归功于The Bush Garden。阿特伍德在1970年诗歌系列中称为第一个梦幻诗The Journals of Susanna Moodie通过相同的标题。

Journalofsusannamoodie

I mention all of this here, not as a digression, but as a way into北ern River,我解释了驻军心理的反驳,伴随着对敌对宇宙的异化和孤独感。

反而,北ern River是图案的图案布什花园— a garden in the Canadian wilderness.