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User:YTangC/沙盒/The West Wind (painting)

维基百科，自由的百科全书
西风
藝術家汤姆·汤姆森
年份1917
媒介帆布油画
尺寸120.7 cm × 137.2 cm（47.5英寸 × 54.0英寸）
收藏地多伦多安大略美术馆

西风（The West Wind）是由加拿大艺术家汤姆·汤姆森于1917年所创作的一幅画作。作为一幅标志性的画作，其中心的松树被描述为“于民族精神中生长，成为我们树木之国中唯一的一棵树”。[1]这幅画创作于汤姆森生命的最后一年，也是他最后的帆布油画之一。这幅画以及其草图均在安大略美术馆展出。

Genesis[编辑]

Sketch for The West Wind, Spring 1916, oil on composite wood-pulp board, 21.4 × 26.8 cm, Art Gallery of Ontario, Toronto

Thomson based The West Wind on an earlier, slightly different sketch he produced in 1916 while working as a park ranger in Algonquin Park.[2] In the finished canvas Thomson moved the pine further to the right, replaced a less defined foreground plane with strongly patterned rock shapes, and removed a dead tree limb from the ground.[1] The location of the subject is uncertain; Thomson's friend Winifred Trainor believed the site represented was Cedar Lake, though Grand Lake, Algonquin Park has also been proposed as the setting.[3]

As in his iconic The Jack Pine, Thomson began the painting with an undercoat of vermilion that he allowed to show through in various places to contrast with the greens, to lend the work a feeling of "vibration" and movement.[4] The pine dominates the composition without obscuring the view into the distance, and is successful as both specific representation and abstract design.[1]

Though not imposing in scale, it is a graceful arabesque decoration, "a magnified bonsai".[1] Thomson's background in design lent his composition an art-nouveau sensibility, for example, "in the way a single tree stands silhouetted against water or the sky like a symbol of romantic solitude".[5] An earlier reviewer noticed the same effect in it and The Jack Pine: "[these] two best-known canvases... are essentially Art Nouveau designs in the flat, the principal motif in each case being a tree drawn in great sinuous curves... Such pictures, are, however, saved from complete stylization by the use of uncompromisingly native subject-matter and of Canadian colours, the glowing colours of autumn."[6]

The title of The West Wind is possibly a reference to the 1819 Percy Bysshe Shelley poem, Ode to the West Wind, especially possible given Thomson's love of poetry,[7] though Thomson's later canvases are typically believed to have only been titled after his death.[8][9]

Pedigree and legacy[编辑]

According to Trainor, Thomson was not satisfied with the picture, fearing that the flat abstract shapes of the foreground rocks and trees were inconsistent with the atmospheric conception of the background.[10] Thomson's colleague J. E. H. MacDonald felt similarly, describing the painting as "faulty and inconsistent."[11][12] Curator Charles Hill has noted that the tension arises due to the trunk of the tree being "unmodulated and outlined in a darker colour" and the foreground rocks being blocked schematically, all while the sky and water "are treated with a feathery touch."[12] Despite these shortcomings, he would still write that the painting surges with an energy due to its boldness and directness.[12] Thomson's other colleague Arthur Lismer would be more positive in his appraisal, writing that the tree in The West Wind was symbolic of the national character — models of resolve against the elements.[10][13] David Silcox has described this painting and The Jack Pine as, "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees,"[14] and, "so majestic and memorable that nearly everyone knows them."[15] Thomson biographer and curator Joan Murray, while initially disliking the painting, wrote that it "is a powerful canvas; resonating with its message of weather and wind, it expressed the divine as some of us imagine it in Canada. This is the sort of tree that would stand at the gates of heaven to open the doors of the kingdom."[16] Thomson's friend and patron Dr. James MacCallum would write that the painting's "inartistic reality makes me tell you that on that occasion the wind was north."[12][17]

Some art historians claim the painting was unfinished at the time of his sudden death by drowning in 1917.[18][19]

The Canadian Club of Toronto donated The West Wind to the recently opened Art Gallery of Toronto (now the Art Gallery of Ontario). Librarian George Locke, a club member, announced the donation in a speech, praising Thomson's accomplishments: "Thomson needs no tablet to commemorate his achievements ... He has left us work that expresses our national life – the forces of the great natural surroundings of this young land."[20]

On the fiftieth anniversary of Thomson's death, the Canadian government honoured him with a series of stamps portraying his works, including The West Wind and The Jack Pine. On 3 May 1990 Canada Post issued 'The West Wind, Tom Thomson, 1917' in the Masterpieces of Canadian art series. The stamp was designed by Pierre-Yves Pelletier based on the large painting in the Art Gallery of Ontario.[21]

In 2015, the Art Gallery of Ontario held an exhibition titled Into the Woods: an Icon Revisited, focusing on the wider social and historical context of Algonquin Park. It stressed that even in Thomson's time, the landscape of Algonquin Park was by no means unspoiled wilderness but had been dramatically reshaped by colonization, industry and wildlife management.[22]

References[编辑]

Citations[编辑]

  1. ^ 1.0 1.1 1.2 1.3 Silcox & Town (2001)，第174頁.
  2. ^ Marcel Granger – Tom Thomson's The West Wind. [2007-05-26]. （原始内容存档于2003-03-30）. 
  3. ^ Murray (1999)，第78頁.
  4. ^ Murray (1996)，第115頁.
  5. ^ Belton (2001)，第41頁.
  6. ^ Reid (1975)，第27頁.
  7. ^ Murray (1999)，第viii, 12頁.
  8. ^ Hill (2002)，第139頁.
  9. ^ Silcox (2015)，第48頁.
  10. ^ 10.0 10.1 Murray (1999)，第114頁.
  11. ^ MacDonald (1921).
  12. ^ 12.0 12.1 12.2 12.3 Hill (2002)，第140頁.
  13. ^ Lismer (1934)，第163-64頁.
  14. ^ Silcox (2006)，第50頁.
  15. ^ Silcox & Town (2017)，第19頁.
  16. ^ Murray (1996)，第120頁.
  17. ^ MacCallum (1921).
  18. ^ Hill (2002)，第139-40頁.
  19. ^ Buchanan (1945)，第12頁.
  20. ^ Cameron (1999).
  21. ^ Canada Post stamp
  22. ^ INTO THE WOODS: AN ICON REVISITED. ago.ca. Art Gallery of Ontario. [2021-09-30]. 

Sources[编辑]

  • Belton, Robert James. Sights of resistance: approaches to Canadian visual culture 1. Calgary: University of Calgary Press. 2001. ISBN 1-55238-011-4. 
  • Buchanan, Donald W. Canadian Painters, from Paul Kane to the Group of Seven. London: Phaidon Press. 1945. 
  • Cameron, Ross D. Tom Thomson, Antimodernism, and the Ideal of Manhood (PDF). Journal of the Canadian Historical Association. 1999, 10 (1): 185–208. doi:10.7202/030513ar 可免费查阅. 
  • Hill, Charles. Tom Thomson, Painter. Reid, Dennis (编). Tom Thomson. Toronto: Douglas & McIntyre. 2002: 111–143. 
  • Lismer, Arthur. The West Wind. McMaster Monthly. January 1934, 43 (4): 163–64. 
  • MacCallum, J. M. "J. M. MacCallum to Eric Brown" (21 October 1921) [Letter]. MacCallum Collector's file. Ottawa: National Gallery of Canada Archives.
  • MacDonald, J. E. H. "J. E. H. MacDonald to Eric Brown" (14 October 1921) [Letter]. MacCallum Collector's file. Ottawa: National Gallery of Canada Archives.
  • Murray, Joan. Confessions of a Curator: Adventures in Canadian Art. Toronto: Dundurn Press. 1996. ISBN 978-1-55002-238-4. OCLC 35880538. 
  • ———. Tom Thomson: Trees. Toronto: McArthur & Company Publishing. 1999. ISBN 978-1-55278-092-3. OCLC 44573461. 
  • Reid, Dennis. Tom Thomson: The Jack Pine: Masterpieces in the National Gallery of Canada (No. 5). Ottawa: National Gallery of Canada. 1975. 
  • Silcox, David P; Town, Harold. Tom Thomson: The Silence and the Storm 4th. Toronto: Firefly Books. 2001. ISBN 978-1-55297-550-3. OCLC 51163375. 
  • Silcox, David P. The Group of Seven and Tom Thomson. Richmond Hill: Firefly Books. 2006. ISBN 978-1-55407-154-8. 
  • ———. Tom Thomson: Life and Work. Toronto: Art Canada Institute. 2015. ISBN 978-1487100759. 
  • Silcox, David P.; Town, Harold. The Silence and the Storm Revised, Expanded. Toronto: McClelland and Stewart. 2017. ISBN 978-1443442343. 

External links[编辑]

Template:Tom Thomson Template:Group of Seven

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