The Opening of the Rivers by Thomson

$490.00 USD

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One of a collection of four Tom Thomson elevated prints available, this sketch tells another story of the artists adventures painting Algonquin Provincial Park over 100 years ago.
Please note that unframed prints have a small border since the original is not on a perfectly square support.
Read the story behind the painting >
- Certified Limited Edition of 350 total. 300 North America, 50 Museum
- Printed on premium aluminum panels using the highest quality archival inks
- Re-creation size (HxW): 21.8 x 26.8 cm (8.6 x 10.5")
Choose from three carefully selected frame options, which have been selected to complement the Tom Thomson collection. The museum selected frame represents the era of the original sketches. Choose your frame >
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- Limited Lifetime Warranty

Collections: Museum Collection Limited Edition Textured Prints, National Gallery of Canada

Category: National Gallery of Canada, Thomson

Type: Limited Edition Textured Print

RE-CREATION FRAME CHOICES

Add your own finishing touch to your Thomson re-creation with a choice of three high quality Larson-Juhl frames:

Opening of the Rivers Salon Frame

Salon Frame

Creating an eye catching finish, the museum selected Salon frames are a timeless classic of Larson-Juhl, originally inspired by Louis XVI styles that reflect Thomson's era.

Finish: Gold - Width: 3" - Height: 1 3.8"

Opening of the Rivers Andover Frame

Andover Frame

It's hard to go wrong with Larson-Juhl's Andover moulding range, with its classic antiqued foil finish, and contemporary profile.

Finish: Gold - Width: 2.67" - Height: 1.2"

Opening of the Rivers Zen Frame

Zen Frame

The modern gold finish on Larson-Juhl's Zen molding creates a contemporary profile and a soft, neutral finish with luxurious, gentle hammered details.

Finish: Gold - Width: 1.375" - Height: 2"

Set of 4 Tom Thomsons

THE STORY BEHIND THOMSON'S SKETCH

Tom Thomson prepared this board with a layer of lean, pale ochre paint. Perhaps in response to the weather, he glazed this bright under-layer with a thin, dark oil wash to produce a tone similar to the birch panels he would come to use more frequently the following year. The wash would have made the surface less absorbent, and was still wet at the time the sketch was made, which would have led to fast, fluid painting.

Thomson typically began sketches by setting the principal forms with a thin brush, usually starting with the most complex structural element of the composition, which clearly drew him. After roughing in the tree he would have then began to paint the swollen river, working from the far bank to near, before working up to the edges of the tree, with mostly horizontal brush strokes. Finally, he worked on the far bank and the sky before putting in the foreground and reworking the tree trunk and branches.