Emily Carr has become one of Canada’s most well-known painters and writers. She was born on December 13, 1871 in Victoria, British Columbia and was orphaned in 1888 when her father’s death followed two years after her mother’s. From an early age, Emily’s life had been intertwined with the study, teaching and production of the visual arts as she tr
aveled to the United States, England and France, in addition to various places in her native British Columbia, working on her artwork. It was in St. Ives that Carr developed an appreciation for trees as the focus of her pieces. This lead to her perceptions of the forests of British Columbia to become her most famous pieces of artwork, although it was viewed as an unusual topic for a landscape painter of her time. In 1907, she visited Alert Bay where she decided to make it her mission to record the culture of the Native Peoples of British Columbia, such as the Kwakiutl who gathered there. In 1912, she went on a six-week journey to various villages of the Kwakiutl tribe and it was at this time that she became consumed with recording what she saw as the vanishing ways of traditional Native life and her most ambitious trip to native villages in 1928 confirmed the disappearance of many old totem poles. In 1927, C
arr met with the Group of Seven. They were a group of painters from Eastern Canada who had faced the same type of ridicule as Carr by expressing the strong emotions they felt for their Canadian landscape with a touch of the style of the Impressionist. “Emily had been putting the ideas of the Group into operation before the Group existed.” Amid a number of heart attacks, Carr was able to put on a number of successful solo art exhibitions in Toronto, Vancouver, and Montreal before she died of a heart attack on March 2nd, 1945.
For more information see:
Gowers, Ruth. Emily Carr. New York: Berg Publishers Limited, 1987.
aveled to the United States, England and France, in addition to various places in her native British Columbia, working on her artwork. It was in St. Ives that Carr developed an appreciation for trees as the focus of her pieces. This lead to her perceptions of the forests of British Columbia to become her most famous pieces of artwork, although it was viewed as an unusual topic for a landscape painter of her time. In 1907, she visited Alert Bay where she decided to make it her mission to record the culture of the Native Peoples of British Columbia, such as the Kwakiutl who gathered there. In 1912, she went on a six-week journey to various villages of the Kwakiutl tribe and it was at this time that she became consumed with recording what she saw as the vanishing ways of traditional Native life and her most ambitious trip to native villages in 1928 confirmed the disappearance of many old totem poles. In 1927, C
arr met with the Group of Seven. They were a group of painters from Eastern Canada who had faced the same type of ridicule as Carr by expressing the strong emotions they felt for their Canadian landscape with a touch of the style of the Impressionist. “Emily had been putting the ideas of the Group into operation before the Group existed.” Amid a number of heart attacks, Carr was able to put on a number of successful solo art exhibitions in Toronto, Vancouver, and Montreal before she died of a heart attack on March 2nd, 1945.For more information see:
Gowers, Ruth. Emily Carr. New York: Berg Publishers Limited, 1987.
Images taken from: http://www.emilycarr.com/
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