Tom Thomson (1877–1917), Autumn's Garland (1915-16), oil on canvas, 122.5 x 132.2 cm, National Gallery of Canada / Musée des beaux-arts du Canada, Ottawa, ON. The Athenaeum.
In the first article of this pair, I showed a selection of some of the finest paintings of autumn trees from the middle of the nineteenth century up to 1894. Here I continue until around 1918. Enjoy even more!
Georges Lacombe (1893-94), Chestnut Gatherers shows ‘mysterious’ woods in Brittany.
John Ferguson Weir (c 1901), East Rock, New Haven shows woods near New Haven, Connecticut, with the prominent ‘trap rock ridge’ of East Rock as their backdrop.
Hans Andersen Brendekilde (1902), Wooded Path in Autumn shows woodland in Denmark, with an open narrative in its figures. Does the woman sitting on the bench know the men in the distance?
Pierre Bonnard (c 1903), The Pont du Carrousel shows this bridge over the River Seine near the Louvre in central Paris, with trees on the bank, lit by dawn/dusk.
Adrian Stokes (1903), Autumn in the Mountains shows the mountains of the South Tyrol, and was painted in freshly prepared egg tempera.
Clarence Gagnon (1908), Brittany Goose Girl shows a stand of poplars in Brittany.
Marsden Hartley (1908), Carnival of Autumn shows forested hills near Lovell, Maine.
Tom Thomson (1915-16), Autumn’s Garland shows a composite view of woods near Toronto, assembled in the studio during the winter from plein air oil sketches.
Egon Schiele (1917), Four Trees is an Expressionist work based on views in Austria, showing four young chestnut trees in the setting sun.
Enrique Simonet (1918), Autumn in the Dehesa shows mixed grazing characteristic of southern and central Spain, with oak trees dominant.
Julian Onderdonk (before 1922), Fall Landscape shows countryside near the artist’s home in San Antonio, Texas.
Thanks, in part, to the advent of modern pigments.