Paul michael thomas biography of william
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THOMAS, WILLIAM, architect, water-colourist, and engineer; b. c. 1799 in Suffolk, England, son of William Thomas and Ann —; m. 17 Sept. 1826 Martha Tutin in Birmingham, England, and they had four sons and six daughters; d. 26 Dec. 1860 in Toronto.
William Thomas’s significance among his generation of architects in British North America lies not only in the outstanding nature of the work he executed but also in the unique opportunity his career affords of tracing the relationship between his extensive preparation in England and his work in Canada, the latter being more accomplished and much more important relatively. Other architects such as John George Howard*, George Browne*, Frederic William Cumberland*, and Thomas Fuller* arrived when they were much younger than Thomas, with the result that their early work is unknown. Thomas came in his maturity.
Shortly after William’s birth, the family settled at Chalford, Gloucestershire, where his father was innkeeper of the Clothier’s Arms. William and his three brothers all entered the building trades. John, the youngest, was apprenticed to a letter-carver or mason at first, studied briefly under William in the early 1830s, and achieved some success as an architect; he is, however
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William Paul Thomas Pursues Identity, Anonymity in his Blue and Black Portraits
In his 40-painting series “Cyanosis,” William Paul Thomas explores the color theory concept known as "simultaneous contrast" in which the interaction of two colors alters our perception of the image. The collection’s title refers to the medical term for the blueness of skin that results from improperly-oxygenated blood. While the condition generally affects those with paler skin, or with less melanin, the Durham, North Carolina-based artist and educator showcases dozens of Black men and boys experiencing the same phenomenon, though in a more figurative sense.
Thomas’s portraits consist of closely cropped images of the subjects, some with rich blue hues adorning their face, others merely revealing a blue neck or chin in contrast to their warm brown skin tones. The goal of his renderings, Thomas explains, is to underscore the distortion of skin tones while emphasizing each subject’s natural complexion, encouraging the viewer not to consider skin color as happenstance, but as an intentional part of the subject matter. Each subject’s emotional expression, psychology, and individuality are just as important as their skin color.
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William Paul Thomas
Durham, NC
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