Provenance:
Estate of the Artist
Elizabeth Thomson Harkness, Annan and Owen Sound
Margaret Thomson Tweedale, Toronto
Fraser Thomson, Seattle and Outremont, Quebec
Ina (Mrs. Fraser) Thomson, Seattle, by descent
Acquired by the present Private Collection, 1971

Exhibited:
“An Exhibition of Paintings by the late Tom Thomson”, The Arts Club, Montreal, travelling to the Art Association of Montreal, 1 March‒12 April, 1919, no. 16
“The Art of Tom Thomson,” Art Gallery of Ontario, Toronto; travelling to Norman MacKenzie Art Gallery, Regina; Winnipeg Art Gallery; Montreal Museum of Fine Arts; Confederation Art Gallery and Museum, Charlottetown, 30 October‒4 September, 1972, no. 101 “Collector’s Canada: Selections from a Toronto Private Collection”, Art Gallery of Ontario, Toronto; travelling to Musée du Québec, Quebec City; Vancouver Art Gallery; Mendel Art Gallery, Saskatoon, 14 May 1988‒7 May 1989, no. 56
“Painting Canada: Tom Thomson and the Group of Seven”, Dulwich Picture Gallery, London; travelling to National Museum of Art, Architecture and Design, Oslo; Groninger Museum, Groningen, The Netherlands; McMichael Canadian Art Collection, Kleinburg, 19 October 2011‒28 October 2012, no. 29
“Embracing Canada: Landscapes from Krieghoff to the Group of Seven”, Vancouver Art Gallery; travelling to the Glenbow Museum, Calgary; Art Gallery of Hamilton, 30 October 2015‒25 September 2016
“Pop Up Museum”, Canadian Friends of the Israel Museum, 9 August 2017
“Collectors’ Treasures”, Galerie Eric Klinkhoff, Montreal, 19 October‒2 November 2019, no. 53
“Tom Thomson (Annual Loan Exhibition)”, Galerie Eric Klinkhoff, Montreal, 5‒19 November 2022, no. 19

Literature:
Fraser Thomson, Letter to Blodwen Davies, 19 May, 1930, Blodwen Davies Collection, C-4579, Library and Archives Canada, Ottawa Joan Murray, “The Art of Tom Thomson”, Toronto, 1971, reproduced page 85
Harold Town and David P. Silcox, “Tom Thomson: The Silence and the Storm,” Toronto, 1977, reproduced page 160; 2017 edition, reproduced page 154
Dennis Reid, “Collector’s Canada: Selections from a Toronto Private Collection”, Toronto, 1988, no. 56, reproduced page 58
Joan Murray, “Tom Thomson: Trees”, Toronto, 1999, pages 88-89, reproduced page 89
Ian C. Dejardin, “Painting Canada: Tom Thomson and the Group of Seven”, London, 2011, reproduced page 96
Ian Dejardin and Sarah Milroy, “Painting Canada: Tom Thomson and the Group of Seven”, London, 2011, reproduced page 96
Ian Thom, et al., “Embracing Canada: Landscapes from Krieghoff to the Group of Seven”, Vancouver/London, 2015, reproduced page 136 Joan Murray, “Tom Thomson Catalogue Raisonné” (2016

 inventory number 1916.86 (accessed on 22 January 2023)
“Tom Thomson (Annual Loan Exhibition)”, Galerie Eric Klinkhoff, Montreal, 2022, no. 19, reproduced page 22

Exploring Tom Thomson’s Masterpiece: "Ragged Oaks"

"Ragged Oaks" by Tom Thomson Tom Thomson’s painting "Ragged Oaks" showcases the vibrant beauty of nature through the depiction of two majestic oak trees. This artwork is a prime example of Thomson’s ability to capture the essence of the Canadian landscape. In this detailed exploration, we delve into the elements that make "Ragged Oaks" a standout piece, reflecting Thomson's unique artistic vision

"Ragged Oaks" radiates with life and color. The oak tree trunks are central to the painting, surrounded by a stunning array of autumn leaves. On one side, brilliant orange foliage and bush are balanced by bright leaves on the other, creating a scene full of vitality. Thomson’s use of color is masterful: lighter blues complement purples, while oranges and yellows blend seamlessly with crème, crimson reds, and mossy greens. The interplay of greys and blacks adds depth and stability, enveloping the scene in a harmonious force field. This vibrant color palette ensures that the location bursts with life and energy.

"Ragged Oaks" exemplifies his love for asymmetrical compositions. The painting’s balance comes from the off-centre placement of the oaks and the varied distribution of foliage and colors. This approach can be seen throughout his work, where elements like waterfalls, trees, and clouds are strategically positioned to avoid symmetrical monotony, instead offering a dynamic and naturalistic feel.

Created in 1916, "Ragged Oaks" is one of Thomson’s premier forest studies. This year, often considered his golden period, saw him produce numerous sketches and paintings, including notable works like "The Jack Pine" and "The West Wind". During this time, Thomson explored various tree configurations, capturing pines, birches, poplars, spruce, maple, and tamarack in their seasonal splendor. The oak trees in "Ragged Oaks" were particularly special to Thomson, adding a unique element to his extensive collection of tree studies.

Fraser Thomson, Tom’s youngest brother and a painter himself, described "Ragged Oaks" in 1930 as featuring: “A Cobalt blue sky with two ragged oak trees a little off centre with two patches of foliage in glowing color with foreground in green, brown, purple manner with blue and yellow—a real painting”. This vivid description underscores the painting’s dynamic color and composition.

"Ragged Oaks" dates back to 1916, as noted by an inscription on the back of the painting. Thomson created this piece after taking a job as a fire ranger at Grand Lake in Algonquin Park. Following an adventurous canoe trip with a friend, Thomson was inspired by the oak trees he encountered in the southern parts of the park, a region known for its deciduous forests.

The painting was acquired by its current owners during a visit to Seattle in 1971, where they purchased it from Fraser Thomson’s family. Since then, they have cherished "Ragged Oaks" for its effervescent beauty and vibrant portrayal of nature. Today, it remains one of the few privately owned Thomson paintings, continuing to provide joy and inspiration to its owners.

Tom Thomson’s "Ragged Oaks" stands as a testament to his extraordinary ability to capture the essence of the natural world. Its vibrant colors, dynamic composition, and historical significance make it a quintessential example of Thomson’s work. For art enthusiasts and collectors alike, "Ragged Oaks" represents a remarkable piece of Canada’s artistic heritage.

Tom Thomson: A Pioneer of Canadian Art

Tom Thomson was born on August 5, 1877, in Claremont, Ontario. Growing up in a rural environment, he developed a profound connection to the natural world, which later became the cornerstone of his artistic career. In his early years, Thomson worked various jobs, including as a graphic designer, which helped him hone his skills and artistic sensibilities

Thomson's journey as a painter began in earnest when he joined the Grip Ltd. design firm in Toronto in 1908. It was here that he met several future members of the Group of Seven, including J.E.H. MacDonald and Arthur Lismer. Encouraged by his peers, Thomson began to explore painting more seriously, often venturing into the wilderness to capture the raw beauty of the Canadian landscape. Thomson's style is characterized by bold use of color, expressive brushstrokes, and a deep sense of place. His works often depict the rugged and untamed aspects of nature, from dense forests to serene lakes, reflecting his deep reverence for the natural environment

Thomson’s most productive period was during the 1910s. During this time, he produced some of his most famous works, including "The Jack Pine" and "The West Wind." These paintings are celebrated for their vibrant color palettes and dynamic compositions, capturing the spirit of the Canadian wilderness in a way that resonated deeply with viewers. "The Jack Pine," for instance, showcases Thomson's ability to transform a simple tree into a powerful symbol of endurance and resilience. Similarly, "The West Wind" captures the movement and energy of the natural world, with its sweeping brushstrokes and vivid colors.

Despite his relatively short career, Thomson had a profound impact on Canadian art. His approach to landscape painting, which emphasized personal expression and emotional resonance, helped pave the way for the Group of Seven, a collective of artists who sought to develop a distinctly Canadian style of art. The Group of Seven, inspired by Thomson's work, went on to become one of the most influential movements in Canadian art history.

Thomson's life was tragically cut short in 1917 when he died under mysterious circumstances while canoeing in Algonquin Park. His death remains a subject of speculation and intrigue, adding to the mystique surrounding his life and work. Despite his untimely death, Thomson's influence continued to grow posthumously, with his works gaining increasing recognition and admiration.

His paintings are held in high regard, not only for their artistic merit but also for their ability to capture the essence of the Canadian landscape. Thomson’s work continues to inspire artists and art lovers alike, serving as a testament to his enduring legacy.