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{{Use mdy dates|date=December 2022}}
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{{Infobox artist
{{Infobox artist
| image = EmilyCarr.png
| name = Emily Carr
| caption = Carr in 1888
| image = Emily Carr (I0007935).jpg
| birth_name = Millie Emily Carr
| caption = Carr in 1930
| birth_name = Millie Emily Carr
| birth_date = {{birth date|1871|12|13}}
| birth_date = {{birth date|1871|12|13}}
| birth_place = [[Victoria, British Columbia]], Canada
| birth_place = [[Victoria, British Columbia]], Canada
| death_date = {{death date and age|1945|03|02|1871|12|13}}
| death_date = {{death date and age|1945|03|02|1871|12|13}}
| death_place = Victoria, British Columbia, Canada
| death_place = Victoria, British Columbia, Canada
| field = Painting (''[[The Indian Church (painting)|The Indian Church]]'', ''Big Raven''), writing (''[[Klee Wyck]]'')
| resting_place = [[Ross Bay Cemetery]], Victoria, British Columbia
| training = {{ubl|[[San Francisco Art Institute]]|[[Westminster School of Art]]| [[Académie Colarossi]]}}
| education = {{ubl|[[San Francisco Art Institute]]|[[Westminster School of Art]]| [[Académie Colarossi]]}}
| movement = [[Modernism]], [[Post-Impressionism]], [[Expressionism]]
| works =
| known_for = Painting, writing
| notable_works = {{ubl|[[The Indian Church (painting)|The Indian Church]]|Big Raven|[[Klee Wyck]]}}
| patrons =
| style = [[Post-Impressionism]]
| influenced by =
| movement = [[Group of Seven (artists)|Group of Seven]] (associated)
| influenced =
| awards =
}}
}}

'''Emily Carr''' (or '''M. Emily Carr''' as she sometimes signed her work)<ref>{{cite web |title=M. Emily Carr |url=http://sim-publishing.com/bca/carrme.htm |website=sim-publishing.com |publisher=Sim Publishing Co. |access-date=August 28, 2022}}</ref> (December 13, 1871 – March 2, 1945) was a Canadian artist and writer who was inspired by the [[Indigenous peoples of the Pacific Northwest Coast]].<ref name=":1">{{Cite journal|last=Morra|first=Linda M.|year=2005|title=Canadian Art According to Emily Carr|url=https://canlit.ca/full-issue/?issue=185|journal=Canadian Literature|volume=185|pages=43–57|issn=0008-4360|access-date=March 19, 2017|archive-url=https://web.archive.org/web/20170203165323/https://canlit.ca/full-issue/?issue=185|archive-date=February 3, 2017|url-status=live}}</ref> One of the first [[Canadian art|painters in Canada]] to adopt a [[Modernism|Modernist]] and [[Post-Impressionism|Post-Impressionist]] style,<ref>[[#Lamoureux2006|Lamoureux (2006)]]</ref> Carr did not receive widespread recognition for her 1929 work, ''[[The Indian Church (painting)|The Indian Church]]'' (retitled in 2018 by its holding museum to ''Church at Yuquot Village''), which is now her best known, until she changed her subject matter from Aboriginal themes to landscapes — forest scenes in particular, evoking primeval grandeur in [[British Columbia]].<ref name=":1" /> As a writer Carr was one of the earliest chroniclers of life in her surroundings. ''[[The Canadian Encyclopedia]]'' describes her as a Canadian icon.<ref name=CanEncy>[[#CanEncyclopedia|Canadian Encyclopedia]]</ref>
'''Emily Carr''' (December 13, 1871 – March 2, 1945) was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of [[British Columbia]].<ref name=":1">{{Cite journal|last=Morra|first=Linda M.|year=2005|title=Canadian Art According to Emily Carr|url=https://canlit.ca/full-issue/?issue=185|journal=Canadian Literature|volume=185|pages=43–57|issn=0008-4360|access-date=March 19, 2017|archive-url=https://web.archive.org/web/20170203165323/https://canlit.ca/full-issue/?issue=185|archive-date=February 3, 2017|url-status=live}}</ref> She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose".<ref>Kathleen Coburn, "Emily Carr: In Memoriam" Canadian Forum, vol. 25 (April 1945), p. 24.</ref> ''[[Klee Wyck]]'', her first book, published in 1941, won the [[Governor General's Literary Award]] for non-fiction<ref>{{cite web |title=Governor General's Literary Award |url=https://ggbooks.ca/past-winners-and-finalists |website=ggbooks.ca |publisher=Governor General of Canada |access-date=5 December 2023}}</ref> and this book and others written by her or compiled from her writings later are still much in demand today.

Carr's keynote paintings, such as ''[[The Indian Church (painting)|The Indian Church]]'' (1929), were not widely known in Canada at first. But her stature as one of Canada's most important artists continued to grow. Today, she is considered a cherished figure of Canadian arts and letters.<ref name="timeline " >{{cite web |title=Emily Carr: Timeline |url=https://royalbcmuseum.bc.ca/visit/exhibitions/online-exhibitions/emily-carr-timeline |website=royalbcmuseum.bc.ca |publisher=Royal BC Museum |access-date=5 December 2023}}</ref> Scholars and the public alike regard her as a Canadian national treasure<ref name="unvarnished " >{{cite book |last1=Carr |first1=Emily |title=Unvarnished Emily Carr: Autobiographical Sketches by Emily Carr, edited by Dr. Kathryn Bridge, Preface|date=2021 |publisher=Royal BC Museum |location=Victoria|url=https://library.gallery.ca/search~S1?/tunvarnished/tunvarnished/1%2C2%2C2%2CB/frameset&FF=tunvarnished+autobiographical+sketches+by+emily+carr&1%2C1%2C |access-date=5 December 2023}}</ref> and the ''[[Canadian Encyclopedia]]'' describes her as a Canadian icon.<ref name=CanEncy>{{Cite encyclopedia |last=Shadbolt |title=Emily Carr |encyclopedia=Canadian Encyclopedia |publisher=Historica Canada |url=https://www.thecanadianencyclopedia.ca/en/article/emily-carr |date=June 23, 2013 |access-date=July 21, 2015 }}</ref> She has been designated a [[National Historic Person]]<ref>{{cite web |title=Carr, Emily National Historic Person |url=https://www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=942 |website=www.pc.gc.ca/ |publisher=Gov't of Canada |access-date=5 December 2023}}</ref> and had a Minor planet [[5688 Kleewyck]] named after her anglicized native name.<ref name="springer " >{{cite book|title=(5688) Kleewyck In: Dictionary of Minor Planet Names |publisher=Springer |date=2003 |isbn=978-3-540-29925-7 |doi=10.1007/978-3-540-29925-7_5383}}</ref><ref name="timeline " /><ref name="unvarnished " /> As one scholar in her 2014 book on Carr, put it, "we love her and she continues to speak to us".{{sfnp|Bridge|2014|p=8}}

Emily Carr lived most of her life in the city in which she was born and died, [[Victoria, British Columbia]].


== Early life ==
== Early life ==
[[File:Emily Carr House.JPG|thumb|[[Emily Carr House]], Government Street, Victoria – now a Cultural Heritage Site]]
[[File:Emily Carr House.JPG|thumb|[[Emily Carr House]], 207 Government Street, Victoria – now a National Historic Site of Canada and a museum]]
Born in [[Victoria, British Columbia]], in 1871,<ref>{{Cite journal |last=MacKenzie |first=Lily Iona |date=July 3, 2019 |title=Emily Carr: An Artist's Evolution: December 13, 1871 – March 2, 1945 |url=https://www.tandfonline.com/doi/full/10.1080/19342039.2019.1637187 |journal=Jung Journal |language=en |volume=13 |issue=3 |pages=119–134 |doi=10.1080/19342039.2019.1637187 |s2cid=203303364 |issn=1934-2039}}</ref><ref>{{cite book |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0-7148-7877-5 |page=88}}</ref><ref name=":3">{{Cite web |title=Emily Carr {{!}} CWRC/CSEC |url=https://cwrc.ca/islandora/object/ceww:6f31f468-f23a-4f90-a898-4fb25c43cfe0 |access-date=2023-03-28 |website=cwrc.ca}}</ref> the year British Columbia joined Canada, Emily Carr was the second-youngest of nine children born to English parents Richard and Emily (Saunders) Carr.<ref>[[#BCHeritage|BC Heritage]]</ref><ref name="sketch">[[#VancouverArtGallery|Vancouver Art Gallery]]</ref> The Carr home was on Birdcage Walk (now Government Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself.
Born in [[Victoria, British Columbia]], in 1871,<ref>{{Cite journal |last=MacKenzie |first=Lily Iona |date=July 3, 2019 |title=Emily Carr: An Artist's Evolution: December 13, 1871 – March 2, 1945 |url=https://www.tandfonline.com/doi/full/10.1080/19342039.2019.1637187 |journal=Jung Journal |language=en |volume=13 |issue=3 |pages=119–134 |doi=10.1080/19342039.2019.1637187 |s2cid=203303364 |issn=1934-2039}}</ref><ref>{{cite book |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0-7148-7877-5 |page=88}}</ref><ref name=":3">{{Cite web |title=Emily Carr {{!}} CWRC/CSEC |url=https://cwrc.ca/islandora/object/ceww:6f31f468-f23a-4f90-a898-4fb25c43cfe0 |access-date=2023-03-28 |website=cwrc.ca}}</ref> the year British Columbia joined Canada, Emily Carr was the second youngest of nine children born to English parents Richard and Emily (Saunders) Carr.<ref>[[#BCHeritage|BC Heritage]]</ref><ref name="sketch">[[#VancouverArtGallery|Vancouver Art Gallery]]</ref> The Carr home was on Birdcage Walk (now Government Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself. Today it is a museum and [[National Historic Site of Canada]] called [[Emily Carr House]].


The Carr children were raised on English tradition. Her father believed it was sensible to live on [[Vancouver Island]], a colony of Great Britain, where he could practice English customs and continue his British citizenship. The family home was made up in lavish English fashion, with high ceilings, ornate moldings, and a parlour.<ref>[[#Braid2000|Braid (2000)]], p. 13.</ref> Carr was taught in the [[Presbyterianism|Presbyterian]] tradition, with Sunday morning prayers and evening Bible readings. Her father called on one child per week to recite the sermon, and Emily consistently had trouble reciting it.<ref>[[#Braid2000|Braid (2000)]], pp. 15–16.</ref>
The Carr children were raised in an English tradition. Her father believed it was sensible to live on [[Vancouver Island]], a colony of Great Britain, where he could practice English customs and continue his British citizenship. The family home was made up in lavish English fashion, with high ceilings, ornate moldings, and a parlour.<ref>Kate Braid, Emily Carr: Rebel Artist, Toronto, Ontario, XYZ Éditeur, 2000, p. 13</ref> Carr was taught in the [[Presbyterianism|Presbyterian]] tradition, with Sunday morning prayers and evening Bible readings. Her father called on one child per week to recite the sermon, and Emily consistently had trouble reciting it.<ref>[[#Braid2000|Braid (2000)]], pp. 15–16.</ref>


Carr's mother died in 1886, and her father died in 1888.<ref name=":2">{{Cite book|title=This woman in particular: contexts for the biographical image of Emily Carr|last=Kirkwood|first=Walker, Stephanie |isbn=978-0-88920-565-9|location=Waterloo, Ontario|oclc=923765615}}</ref> Her oldest sister [[Edith Carr]] became the guardian of the rest of the children.<ref>{{Cite web|url=http://bcheritage.ca/emilycarrhomework/family/siblings.htm|title=Emily's Siblings |date=May 26, 2013|website=BC Heritage |access-date=March 10, 2019|archive-url=https://web.archive.org/web/20130526035404/http://bcheritage.ca/emilycarrhomework/family/siblings.htm|archive-date=May 26, 2013|url-status=live}}</ref><ref name=":3" />
Carr's mother died in 1886, and her father died in 1888.<ref name=":2">{{Cite book |title=This woman in particular: contexts for the biographical image of Emily Carr |last=Walker |first=Stephanie Kirkwood |isbn=978-0-88920-565-9 |location=Waterloo, Ontario |oclc=923765615}}</ref> Her oldest sister [[Edith Carr]] became the guardian of the rest of the children.<ref>{{Cite web|url=http://bcheritage.ca/emilycarrhomework/family/siblings.htm|title=Emily's Siblings |date=May 26, 2013|website=BC Heritage |access-date=March 10, 2019|archive-url=https://web.archive.org/web/20130526035404/http://bcheritage.ca/emilycarrhomework/family/siblings.htm|archive-date=May 26, 2013|url-status=live}}</ref><ref name=":3" />


Carr's father encouraged her artistic inclinations, but it was only in 1890, after her parents' deaths, that Carr pursued her art seriously. She studied at the [[San Francisco Art Institute]] for two years (1890–92) before returning to Victoria. In 1899 Carr traveled to London, where she studied at the [[Westminster School of Art]]. Carr also visited the Nootka Indian mission at Ucluelet on the west coast of Vancouver Island in 1898.<ref name=":2" /> She traveled also to a rural art colony in [[St Ives, Cornwall]], returning to British Columbia in 1905. Carr took a teaching position in [[Vancouver]] at the 'Ladies Art Club' that she held for no longer than a month she was unpopular amongst her students due to her rude behavior of smoking and cursing at them in class, and the students began to boycott her courses.<ref>[[#Braid2000|Braid (2000)]], pp. 55–56.</ref>
Carr's father encouraged her artistic inclinations, but it was only in 1890, after her parents' deaths, that Carr pursued her art seriously. She studied at the [[California School of Design]] in San Francisco for three years (1890–1893) before returning to Victoria. In 1899, in some ways overcoming her family background,<ref>{{cite web |title=Sarah Milroy and Gerta Moray on Emily Carr |url=https://www.youtube.com/watch?v=Jbo0ho08nC8 |website=www.youtube.com |publisher=McMichael Canadian Art Collection, Kleinburg, 2015 |access-date=27 September 2024}}</ref> Carr visited [[Ucluelet]] on the west coast of Vancouver Island.<ref name=":2" /> That same year, Carr traveled to London, where she decided to transform herself into a professional artist and to make it her life's calling.{{sfnp|Bridge|2014|p=9}}

She began her studies at the [[Westminster School of Art]].<ref name="timeline " /> She then took art classes from John William Whiteley in [[Bushey, Hertfordshire]] and afterwards traveled to an art colony in [[St Ives, Cornwall]], studying with [[Albert Julius Olsson| Julius Olsson]] and [[Algernon Talmage]] (1901). In 1902, she returned to Bushey, and studied with Whiteley, till she experienced a [[nervous breakdown]] and had to convalesce.

She returned to British Columbia in 1904. In 1905, she gave children's art classes as well as creating political cartoons for the ''Week'', a newspaper in Victoria<ref name="unvarnished " /> and in 1906, Carr took a teaching position in [[Vancouver]] at the Vancouver Studio Club and School of Art for a short time – she was a popular teacher but left to open her own studio and give children's art classes.<ref name="timeline " />


== First works on Indigenous people ==
== First works on Indigenous people ==
In 1898, at age 27, Carr made the first of several sketching and painting trips to Aboriginal villages.<ref name=":0">{{Cite book|title=Emily Carr: A Biography|last=Tippett|first=Maria|publisher=Oxford University Press|year=1979|location=Toronto|pages=49–50}}</ref> She stayed in a village near [[Ucluelet]] on the west coast of [[Vancouver Island]], home to the [[Nuu-chah-nulth people]], then commonly known to English-speaking people as 'Nootka'.<ref name=":0" /> Carr was given the Indigenous name of ''[[Klee Wyck]]'' and she also chose it as the title of her first book.<ref>{{Cite journal|last=Stewart|first=Janice|date=2005|title=Cultural Appropriations and Identificatory Practices in Emily Carr's "Indian Stories"|journal=Frontiers: A Journal of Women Studies|volume=26|issue=2|pages=59–72|doi=10.1353/fro.2005.0030|jstor=4137396|s2cid=143814184|issn=0160-9009}}</ref> She later recalled that her time in Ucluelet made "a lasting impression on me".<ref name=":0" />


In 1907, Carr made a sightseeing trip to Alaska with her sister Alice and decided on her artistic mission of documenting all she could of what she and many others perceived as the "vanishing totems" and way of life of the First Nations.<ref name="timeline " /> She may have met an American artist on this trip, likely Theodore J. Richardson (1855-1914), who described his project of documenting Indigenous art and architecture (he travelled with Indigenous guides to produce watercolours and pastels in southeast Alaska documenting the Tlingit culture) and that possibly this encounter inspired Carr to initiate her own five–year project of documenting Indigenous villages and their neighbouring forests in British Columbia.<ref name="Baldissera " /><ref name="unvarnished " />
In 1898, at age 27, Carr made the first of several sketching and painting trips to Aboriginal villages.<ref name=":0">{{Cite book|title=Emily Carr: A Biography|last=Tippett|first=Maria|publisher=Oxford University Press|year=1979|location=Toronto|pages=49–50}}</ref> She stayed in a village near [[Ucluelet]] on the west coast of [[Vancouver Island]], home to the [[Nuu-chah-nulth people]], then commonly known to English-speaking people as 'Nootka'.<ref name=":0" /> Carr recalled that her time in Ucluelet made "a lasting impression on me". Her interest in Indigenous life was reinforced by a trip to [[Alaska]] nine years later with her sister Alice.<ref name=":0" /> In 1912, Carr took a sketching trip to First Nations' villages in Haida Gwaii, the Upper Skeena River, and Alert Bay.<ref name=":2" /> Even though Carr left the villages of the Pacific Northwest, the impact of the people stayed with her. Carr adopted the Indigenous name ''Klee Wyck'' and she also chose it as the title of one of her works of writings.<ref>{{Cite journal|last=Stewart|first=Janice|date=2005|title=Cultural Appropriations and Identificatory Practices in Emily Carr's "Indian Stories"|journal=Frontiers: A Journal of Women Studies|volume=26|issue=2|pages=59–72|doi=10.1353/fro.2005.0030|jstor=4137396|s2cid=143814184|issn=0160-9009}}</ref>

From 1908 to 1910 she made several trips to First Nations communities to record art and villages.<ref name="unvarnished " />


In 1913, Carr held a large exhibition of her work of First Nations villages and poles in their original setting. Her "Lecture on Totems" at Dominion Hall in Vancouver is in the Emily Carr Papers at the BC Archives in Victoria.<ref>{{Cite web |title=Emily Carr |url=https://www.aci-iac.ca/https://www.aci-iac.ca/art-books/emily-carr/biography |access-date=February 28, 2022 |website=Art Canada Institute – Institut de l'art canadien |language=en}}</ref> In the lecture, she said "every pole shown in my collection has been studied from its own actual reality..."
== Work in France ==
== Work in France ==
Determined to further her knowledge of the age's evolving artistic trends, in 1910 Carr returned to Europe to study at the [[Académie Colarossi]] in Paris. In [[Montparnasse]] with her sister Alice, Emily Carr met modernist painter [[Phelan Gibb|Harry Gibb]] with a letter of introduction.<ref name="growing">[[#Carr2005|Carr (2005)]]</ref> Upon viewing his work, she and her sister were shocked and intrigued<ref>[[#Braid2000|Braid (2000)]], pp. 61–63.</ref> by his use of distortion and vibrant colour; she wrote: "Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the distortion of his nudes I felt revolt."<ref name="growing" /> Carr's study with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant colour palette rather than continuing with the pastel colours of her earlier British training.<ref>[[#Braid2000|Braid (2000)]], p. 66.</ref>
Determined to further her knowledge of evolving artistic trends abroad, in 1910 Carr returned to Europe to study. In [[Montparnasse]] with her sister Alice, Emily Carr met modernist painter [[Phelan Gibb|Harry Phelan Gibb]] with a letter of introduction.<ref name="growing">{{cite book |last1=Carr |first1=Emily |title=Growing pains : the autobiography of Emily Carr, foreword by Ira Dilworth, introduction by Robin Laurence |date=2005 |publisher=Douglas & McIntyre |location=Vancouver |url=https://library.gallery.ca/search~S1?/tgrowing+pains/tgrowing+pains/1%2C3%2C7%2CB/frameset&FF=tgrowing+pains+the+autobiography+of+emily+carr&4%2C%2C4 |access-date=6 December 2023}}</ref> Upon viewing his work, she and her sister were shocked and intrigued<ref>[[#Braid2000|Braid (2000)]], pp. 61–63.</ref> by his use of distortion and vibrant colour; she wrote:<blockquote>"Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the distortion of his nudes I felt revolt."<ref name="growing" /></blockquote>

[[File:Breton church Emily Carr 1906.jpeg|thumb|Emily Carr, ''Breton church'', oil on canvas, 1906]] Carr was greatly influenced by the [[Post-Impressionism|Post-Impressionists]] and the [[Fauvists]] she met and studied with in France. After returning home in 1912, she organized an exhibition in her studio of seventy watercolours and oils representative of her time there. She was the first artist to introduce Fauvism to Vancouver.<ref>[[#Baldissera2015|Baldissera (2015)]], p. 9.</ref>
Carr enrolled at the [[Académie Colarossi]] in Paris, then transferred to private lessons with [[John Duncan Fergusson]] and followed him to the Atelier Blanche. After a bout of illness, she joined Gibb and his wife in the small village of Crécy-en-Brie and then St. Efflam, Brittany. Carr's study with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant colour palette rather than continuing with the more modified colours of her earlier training.<ref>[[#Braid2000|Braid (2000)]], p. 66.</ref>
[[File:Breton church Emily Carr 1906.jpeg|thumb|Emily Carr, ''Breton church'', oil on canvas, 1906]]
In Crecy-en-Brie she fully embraced the Fauve style of bold colour and broad brushwork, then traveled to [[Concarneau]] on the coast of Brittany to study with [[Frances Hodgkins]]. When she returned to Paris she found that two of her paintings had been selected by the jury and hung in the 1911 [[Salon d'Automne]].<ref name="timeline " />


== Return to Canada ==
== Return to Canada ==
[[File:Emily Carr (I0007935).jpg|thumb|Emily Carr, 1930]]
[[File:Emily Carr (I0007935).jpg|thumb|Emily Carr, 1930]]
In March 1912 Carr opened a studio at 1465 West Broadway in Vancouver. When locals failed to support her radical new style, bold colour palette and lack of detail, she closed the studio and returned to Victoria.<ref>[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/early_totems.php Early totems] {{Webarchive|url=https://web.archive.org/web/20150702114728/http://www.museevirtuel.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/early_totems.php |date=July 2, 2015 }}</ref>
In March 1912 Carr opened a studio at 1465 West Broadway in Vancouver. She organized an exhibition of seventy watercolours and oils representative of her time in France, using her radical new style, bold colour palette and lack of detail.<ref name="timeline " /> She was the first artist to introduce [[Post-Impressionism]] to Vancouver.<ref name="Baldissera " />
In the summer of 1912, Carr again traveled north, to [[Haida Gwaii]] and the [[Skeena River]], where she documented the art of the [[Haida people|Haida]], [[Gitxsan]] and [[Tsimshian]]. At [[Cumshewa, British Columbia|Cumshewa]], a Haida village on [[Moresby Island]], she wrote:
{{quote|Cumshewa seems always to drip, always to be blurred with mist, its foliage always to hang wet-heavy&nbsp;... these strong young trees&nbsp;... grew up round the dilapidated old raven, sheltering him from the tearing winds now that he was old and rotting&nbsp;... the memory of Cumshewa is of a great lonesomeness smothered in a blur of rain. Emily Carr, ''Klee Wyck''.}}


Later in 1912, Carr took a sketching trip to First Nations' villages in [[Haida Gwaii]] (formerly the Queen Charlotte Islands), the Upper Skeena River, and Alert Bay <ref name="timeline " /><ref>[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/early_totems.php Early totems] {{Webarchive|url=https://web.archive.org/web/20150702114728/http://www.museevirtuel.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/early_totems.php |date=July 2, 2015 }}</ref> where she documented the art of the [[Haida people|Haida]], [[Gitxsan]] and [[Tsimshian]]. At [[Cumshewa, British Columbia|Cumshewa]], a Haida village on [[Moresby Island]], she wrote in ''[[Klee Wyck]]'',
Carr painted a carved raven, which she later developed as her iconic painting ''Big Raven''. ''Tanoo'', another painting inspired by work gathered on this trip, depicts three [[Totem pole|totems]] before house fronts at the village of the same name. On her return to the south, Carr organized an exhibit of some of this work. She gave a detailed lecture about the Aboriginal villages that she had visited, which ended with her mission statement:
<blockquote>"Cumshewa seems always to drip, always to be blurred with mist, its foliage always to hang wet-heavy&nbsp;... these strong young trees&nbsp;... grew up round the dilapidated old raven, sheltering him from the tearing winds now that he was old and rotting&nbsp;... the memory of Cumshewa is of a great lonesomeness smothered in a blur of rain".</blockquote>
{{quote|I glory in our wonderful west and I hope to leave behind me some of the relics of its first primitive greatness. These things should be to us Canadians what the ancient Briton's relics are to the English. Only a few more years and they will be gone forever into silent nothingness and I would gather my collection together before they are forever past.<ref>[[#Shadbolt1979|Shadbolt (1979)]], p. 38.</ref>}}


Carr painted a carved raven, which she later developed as her iconic painting ''Big Raven''. ''Tanoo'', another painting inspired by work gathered on this trip, depicts three totems before house fronts at the village of the same name. On her return to the south, Carr organized a large exhibition of some of this work. She gave a detailed public talk titled "Lecture on Totem Poles" about the Aboriginal villages that she had visited, which ended with her mission statement:
While there was some positive reaction to her work, even in the new 'French' style,<ref>[[#Shadbolt1990|Shadbolt (1990)]], p. 40.</ref> Carr perceived that Vancouver's reaction to her work and new style was not positive enough to support her career. She recounted as much in her book ''Growing Pains''. She was determined to give up teaching and working in Vancouver, and in 1913 she returned to Victoria, where several of her sisters still lived.<ref name="growing" />


<blockquote>"I glory in our wonderful west and I hope to leave behind me some of the relics of its first primitive greatness. These things should be to us Canadians what the ancient Briton's relics are to the English. Only a few more years and they will be gone forever into silent nothingness and I would gather my collection together before they are forever past".<ref>{{cite book |last=Shadbolt |first=Doris |title=The Art of Emily Carr |location=Toronto, Ontario |publisher=Douglas & McIntyre and Clarke, Irwin & Company |date=1979 |page=38|url=https://library.gallery.ca/search~S1?/ashadbolt%2C+d/ashadbolt+d/1%2C2%2C63%2CB/frameset&FF=ashadbolt+doris+1918+2003&4%2C%2C60 |access-date=5 December 2023}}</ref></blockquote>
During the next 15 years, Carr did little painting. She ran a boarding house known as the 'House of All Sorts'. It was the namesake and provided source material for her later book. With her financial circumstances straitened and her life in Victoria circumscribed, Carr painted a few works in this period drawn from local scenes: the cliffs at Dallas Road, the trees in [[Beacon Hill Park]]. Her own assessment of the period was that she had ceased to paint, which was not strictly true, although "[a]rt had ceased to be the primary drive of her life."<ref name="Shadbolt, p. 42">[[#Shadbolt1990|Shadbolt (1990)]], p. 42.</ref>

Her "Lecture on Totems" at Dominion Hall in Vancouver is in the Emily Carr Papers at the [[British Columbia Provincial Archives]] in Victoria.<ref>{{Cite web |title=Emily Carr |url=https://www.aci-iac.ca/https://www.aci-iac.ca/art-books/emily-carr/biography |access-date=February 28, 2022 |website=Art Canada Institute – Institut de l'art canadien |language=en }}{{Dead link|date=April 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> In the lecture, she said "every pole shown in my collection has been studied from its own actual reality..."

While there was some positive reaction to her work, even in the new 'French' style,{{sfnp|Shadbolt|1990|p=40}} Carr perceived that Vancouver's reaction to her work and new style was not positive enough to support her career. She recounted as much in her book ''Growing Pains''. She was determined to give up teaching and working in Vancouver, and in 1913 she returned to Victoria, where several of her sisters still lived.<ref name="growing" />

During the next 15 years, Carr did little painting. She ran a boarding house known as the 'House of All Sorts'. It was the namesake and provided source material for her later book. With her financial circumstances straitened and her life in Victoria circumscribed, Carr painted a few works in this period drawn from local scenes: the cliffs at Dallas Road, the trees in [[Beacon Hill Park]]. Her own assessment of the period was that she had ceased to paint, which was not strictly true, although "[a]rt had ceased to be the primary drive of her life".{{sfnp|Shadbolt|1990|p=42}}


[[File:Emily Carr 1928 Kitwancool.png|thumb|upright|Emily Carr, ''Kitwancool'', 1928]]
[[File:Emily Carr 1928 Kitwancool.png|thumb|upright|Emily Carr, ''Kitwancool'', 1928]]


== Growing recognition ==
== Growing recognition ==
Over time Carr's work came to the attention of several influential and supportive people, including [[Marius Barbeau]], a prominent ethnologist at the [[National Museum of Canada|National Museum]] in [[Ottawa]]. Barbeau in turn persuaded Eric Brown, Director of Canada's [[National Gallery of Canada|National Gallery]], to visit Carr in 1927.<ref>[[#Shadbolt1990|Shadbolt (1990)]], p. 52.</ref> Brown invited Carr to exhibit her work at the National Gallery as part of an exhibition on West Coast Aboriginal art. Carr sent 26 oil paintings east, along with samples of her pottery and rugs with Indigenous designs.<ref name="Shadbolt, p. 53">[[#Shadbolt1990|Shadbolt (1990)]], p. 53.</ref> The exhibit, which also included works by [[Edwin Holgate]] and [[A.Y. Jackson]], traveled to [[Toronto]] and Montreal.
Over time Carr's work came to the attention of several influential and supportive people, including (through the intervention of Victoria-born artist [[Sophie Pemberton]] in 1921) [[Harold Mortimer-Lamb]] and [[Marius Barbeau]], a prominent ethnologist at the [[National Gallery of Canada|National Museum]] in [[Ottawa]]. Barbeau in turn persuaded [[Eric Brown (museum director)|Eric Brown]], Director of Canada's [[National Gallery of Canada|National Gallery]], to visit Carr in 1927.{{sfnp|Shadbolt|1990|p=52}} Brown invited Carr to exhibit her work at the National Gallery as part of an exhibition on West Coast art. Carr sent 65 oil paintings east (31 were included),<ref name="timeline " /> along with samples of her pottery and rugs with Indigenous designs.{{sfnp|Shadbolt|1990|p=53}} The exhibition, which was largely of First Nations art, included works by [[Edwin Holgate]] and [[A.Y. Jackson]] as well as Carr, traveled to Toronto and Montreal.

Carr continued to travel throughout the late 1920s and 1930s away from Victoria. Her last trip north was in the summer of 1928, when she visited the [[Nass River|Nass]] and [[Skeena River|Skeena]] rivers, as well as [[Haida Gwaii]], formerly known as the Queen Charlotte Islands. She also travelled to [[Friendly Cove]] and the northeast coast of Vancouver Island, and then to [[Lillooet, British Columbia|Lillooet]] in 1933. Recognition of her work grew steadily, and her work was exhibited in London, Paris, Washington, DC, and Amsterdam, as well as major Canadian cities.<ref name="Breuer">[[#BreuerDodd1984|Breuer & Dodd (1984)]]</ref> Carr held her first solo show in eastern Canada in 1935 at the [[Women's Art Association of Canada]] gallery in Toronto.<ref>[[#HolmlundYoungberg2003|Holmlund & Youngberg (2003)]]</ref>


== Association with the Group of Seven ==
== Association with the Group of Seven ==
[[File:Emily Carr Indian Church.jpg|thumb|upright|Carr's ''[[The Indian Church (painting)|The Indian Church]]'', 1929. Lawren Harris bought the painting and showcased it in his home. He considered it Carr's best work.]]
[[File:Emily Carr Indian Church.jpg|thumb|upright|Carr's ''[[The Indian Church (painting)|The Indian Church]]'', 1929. Lawren Harris bought the painting and showcased it in his home. He considered it Carr's best work. It was controversially retitled in 2018 by the [[Art Gallery of Ontario]] to ''Church at Yuquot Village'']]
It was at the exhibition on West Coast Aboriginal art at the National Gallery in 1927 that Carr first met members of the [[Group of Seven (artists)|Group of Seven]], at that time Canada's most recognized modern painters.<ref name=":2" /> [[Lawren Harris]] of the Group became a particularly important support: "You are one of us," he told Carr, welcoming her into the ranks of Canada's leading modernists. The encounter ended the artistic isolation of Carr's previous 15 years, leading to one of her most prolific periods, and the creation of many of her most notable works. Through her extensive correspondence with Harris, Carr also became aware of and studied Northern European symbolism.<ref name="context">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/artistic_context.php Artistic Context] {{Webarchive|url=https://web.archive.org/web/20120718190651/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/artistic_context.php |date=July 18, 2012 }}</ref>


Carr made the trip east for the exhibition on ''West Coast art: Native and modern'' at the [[National Gallery of Canada]] in 1927. She met [[Frederick Varley]] in Vancouver and other members of the [[Group of Seven (artists)|Group of Seven]], at that time Canada's most recognized modern painters<ref name=":2" /> at the show's Toronto venue.<ref name="timeline " />
Carr's artistic direction was influenced by the Group, and by [[Lawren Harris]] in particular, not only by his work, but also by his belief in [[Theosophy (Blavatskian)|Theosophy]].<ref name=":2" /> Carr struggled to reconcile this with her own conception of God.<ref>[[#Shadbolt1990|Shadbolt (1990)]], p. 58.</ref> Carr's "distrust for institutional religion" pervades much of her art.<ref name="Walker">[[#Walker1996|Walker (1996)]], p. 114.</ref> She became influenced by Theosophic thought, like many artists of the time, and began to form a new vision of God as nature. She led a spiritual way of life, rejecting the Church and the religious institution. She painted raw landscapes found in the Canadian wilderness, mystically animated by a greater spirit.<ref name="Walker" />

[[Lawren Harris]] of the Group became an important mentor and friend. "You are one of us," he told Carr, welcoming her into the ranks of Canada's leading modernists and along with other members of the Group into the Group of Seven shows as an invited contributor in 1930 and 1931.<ref name="Baldissera" />

Her encounter with the Group ended the artistic isolation of Carr's previous 15 years, leading to one of her most prolific periods, and the creation of many of her most notable works. Through her extensive correspondence with Harris, Carr also became aware of and studied Northern European symbolism.<ref name="context">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/artistic_context.php Artistic Context] {{Webarchive|url=https://web.archive.org/web/20120718190651/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/artistic_context.php |date=July 18, 2012 }}</ref>

Carr's artistic direction was influenced by Harris's work and the advice he gave in his correspondence (he told her to seek an equivalent for the totem poles in west coast landscape, for instance),<ref>{{cite web |title=Emily Carr: To the Totem Forests Introduction |url=https://www.emilycarr.org/totems/exintro.htm |website=www.emilycarr.org |publisher=AGGV |access-date=7 January 2024}}</ref> but also by his belief in [[Theosophy (Blavatskian)|Theosophy]].<ref name=":2" /> She was deeply interested and struggled to reconcile this with her own conception of God.{{sfnp|Shadbolt|1990|p=58}} Carr's "distrust for institutional religion" pervades much of her art.<ref name="Walker" /> She thought a great deal about Theosophic thought, like many artists of the time, but in the end, remained unconvinced.<ref name="Walker" >{{cite book |last=Walker |first=Stephanie Kirkwood |title=This Woman in Particular: Contexts for the Biographical Image of Emily Carr |location=Waterloo, Ontario |publisher=Wilfrid Laurier University Press |date=1996 |isbn=978-0-88920-263-4 }}</ref><ref name="bridge, 2021 ">{{cite book |last1=Carr |first1=Emily |title=Unvarnished Emily Carr: Autobiographical Sketches by Emily Carr edited by Dr. Kathryn Bridge|date=2021 |publisher=Royal BC Museum |location=Victoria, BC |page=113|url=https://library.gallery.ca/search~S1?/tunvarnished/tunvarnished/1%2C2%2C2%2CB/frameset&FF=tunvarnished+autobiographical+sketches+by+emily+carr&1%2C1%2C |access-date=10 December 2023}}</ref>


== Influence of the Pacific Northwest school ==
== Influence of the Pacific Northwest school ==
In 1924 and 1925, Carr exhibited at the [[Northwest School (art)|Artists of the Pacific Northwest]] shows in [[Seattle, Washington]]. Fellow exhibitor [[Mark Tobey]] came to visit her in Victoria in the autumn of 1928 to teach an advanced course in her studio. Working with Tobey, Carr furthered her understanding of modern art, experimenting with Tobey's methods of full-on [[Abstract art|abstraction]] and [[Cubism]], but she was reluctant to follow Tobey beyond the legacy of Cubism.<ref name="context" /><ref name="lateTotems">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/modernism.php Modernism and Late Totems] {{Webarchive|url=https://web.archive.org/web/20120718190433/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/modernism.php |date=July 18, 2012 }}</ref><ref>[[#Appelhof1988|Appelhof (1988)]]</ref> {{quote|I was not ready for abstraction. I clung to earth and her dear shapes, her density, her herbage, her juice. I wanted her volume and I wanted to hear her throb.<ref>[[#Carr2005|Carr (2005)]], p. 457.</ref>}}
In 1924 and 1925, Carr exhibited at the [[Northwest School (art)|Artists of the Pacific Northwest]] shows in [[Seattle, Washington]]. She invited fellow exhibitor [[Mark Tobey]] to visit her in Victoria in the autumn of 1928 to teach a master class in her studio. Working with Tobey, Carr furthered her understanding of modern art, experimenting with Tobey's methods of full-on [[Abstract art|abstraction]] and [[Cubism]], but she was reluctant to follow Tobey beyond the legacy of Cubism.<ref name="context" /><ref name="lateTotems">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/modernism.php Modernism and Late Totems] {{Webarchive|url=https://web.archive.org/web/20120718190433/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/modernism.php |date=July 18, 2012 }}</ref><ref>Ruth Stevens Appelhof, The Expressionist Landscape: North American Modernist Painting, 1920–1947, Birmingham Museum of Art, 1988, p.60</ref> {{blockquote|I was not ready for abstraction. I clung to earth and her dear shapes, her density, her herbage, her juice. I wanted her volume and I wanted to hear her throb.<ref>[[#Carr2005|Carr (2005)]], p. 457.</ref>}}


Although Carr expressed reluctance about abstraction, the [[Vancouver Art Gallery]], a major curator of Carr's work, records Carr in this period as abandoning the documentary impulse and starting to concentrate instead on capturing the emotional and mythological content embedded in the totemic carvings. She jettisoned her painterly and practiced Post-Impressionist style in favour of creating highly stylized and abstracted geometric forms.<ref name="lateTotems" />
Although Carr expressed reluctance about abstraction, [[Doris Shadbolt]] at the [[Vancouver Art Gallery]], a major curator of Carr's work, records Carr in this period as abandoning the documentary impulse and starting to concentrate instead on capturing the emotional and mythological content embedded in the totemic carvings. She jettisoned her painterly and practiced [[Post-Impressionist]] style in favour of creating highly stylized and abstracted geometric forms.<ref name="lateTotems" />


== Focus shift and late life ==
== Later developments ==
[[File:Emily Carr (1939) Odds and Ends.jpg|thumb|''Odds and Ends'', 1939]]
[[File:Emily Carr (1939) Odds and Ends.jpg|thumb|''Odds and Ends'', 1939]]
Carr continued to travel throughout the late 1920s and 1930s away from Victoria. One of her last trips north was in the summer of 1928, when she visited the [[Nass River|Nass]] and [[Skeena River|Skeena]] rivers, as well as [[Haida Gwaii]], formerly known as the Queen Charlotte Islands. She went to [[Yuquot]] (also known as [[Friendly Cove]]) and the northeast coast of Vancouver Island in 1930, and then to [[Lillooet, British Columbia|Lillooet]] in 1933.<ref name="timeline " /> In the same year she bought a caravan she nicknamed the "Elephant" and had it towed to places she wanted to paint, going to nearby locations such as Goldstream Flats, the Esquimalt Lagoon and elsewhere.<ref name="bridge, 2021 " />
Carr suffered a heart attack in 1937, and another in 1939, forcing her to move in with her sister Alice to recover. In 1940 Carr suffered a serious stroke, and in 1942 she had another stroke. (can you believe it?)<ref name="Chronology">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/chronology.php Chronology] {{Webarchive|url=https://web.archive.org/web/20120718190656/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/chronology.php |date=July 18, 2012 }}</ref> With her ability to travel curtailed, Carr's focus shifted from her painting to her writing. The editorial assistance of Carr's friend Ira Dilworth, a professor of English, enabled Carr to see her own first book, ''[[Klee Wyck]]'', published in 1941.<ref name=":2" /> Carr was awarded the [[Governor-General's Award]] for non-fiction the same year for the work.<ref>[[#NationalHistoricPerson|National Historic Person]]</ref><ref>[[#GGawards|Governor General's Award]]</ref>

Recognition of her work grew steadily, and in 1930 she exhibited in Ottawa, Victoria and Seattle, and in 1935, Carr's first solo show of her oil on paper works was held in eastern Canada at the [[Women's Art Association of Canada]] gallery in Toronto.<ref>{{cite book|last1=Holmlund|first1=Mona|last2=Youngberg|first2=Gail|ref=HolmlundYoungberg2003|title=Inspiring Women: A Celebration of Herstory|page=216|url=https://books.google.com/books?id=XhHUzUwJtA4C&pg=PA216|year=2003|publisher=Coteau Books|isbn=978-1-55050-204-6}}</ref>
In 1938 she had her first annual solo exhibition at the [[Vancouver Art Gallery]] as well as success at the [[Tate Gallery]] in London, England.<ref name="timeline " /> Other shows abroad followed.<ref name="Breuer">{{cite book |last1=Breuer |first1=Michael |last2=Dodd |first2=Kerry Mason |title=Sunlight in the Shadows: The Landscape of Emily Carr |location=Toronto |publisher=Oxford University Press |date=1984 |page=VIII |isbn=978-0-19-540464-7 |ref=BreuerDodd1984}}</ref>

She began to meet other artists. In 1930, for instance, Carr travelled to New York and met [[Georgia O'Keeffe]].<ref name="timeline " /> In 1933, she was a founding member of the [[Canadian Group of Painters]].<ref name="timeline " />

Paintings from Carr's last decade reveal her growing anxiety about the environmental impact of industry on British Columbia's landscape. Her work from this time reflected her growing concern over industrial logging, its ecological effects and its encroachment on the lives of Indigenous people. In her painting ''Odds and Ends'', from 1939 "the cleared land and tree stumps shift the focus from the majestic forestscapes that lured European and American tourists to the West Coast to reveal instead the impact of deforestation."<ref name="Baldissera " >{{cite book|last=Baldissera|first=Lisa|title=Emily Carr: Life & Work|url=http://www.aci-iac.ca/content/art-books/26/Art-Canada-Institute_Emily-Carr.pdf|year=2015|publisher=Art Canada Institute|isbn=978-1-4871-0044-5|archive-url=https://web.archive.org/web/20151007034619/http://www.aci-iac.ca/content/art-books/26/Art-Canada-Institute_Emily-Carr.pdf|archive-date=October 7, 2015}}, p. 36.</ref>


== Shift of focus and late life ==
Paintings from Carr's last decade reveal her growing anxiety about the environmental impact of industry on British Columbia's landscape. Her work from this time reflected her growing concern over industrial logging, its ecological effects and its encroachment on the lives of Indigenous people. In her painting ''Odds and Ends'', from 1939 "the cleared land and tree stumps shift the focus from the majestic forestscapes that lured European and American tourists to the West Coast to reveal instead the impact of deforestation."<ref>[[#Baldissera2015|Baldissera (2015)]], p. 36.</ref>
Carr suffered her first heart attack in 1937, and another in 1939, forcing her to move in with her sister Alice to recover. In 1940 Carr suffered serious trouble with her heart, and in 1942 she had another heart attack.<ref name="Chronology">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/chronology.php Chronology] {{Webarchive|url=https://web.archive.org/web/20120718190656/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/chronology.php |date=July 18, 2012 }}</ref> With her ability to travel curtailed, Carr's focus shifted from her painting to her writing. The editorial assistance of Carr's great friend and literary advisor Ira Dilworth,{{sfnp|Bridge|2014|p=9}} a professor of English, enabled Carr to see her own first book, ''[[Klee Wyck]]'', published in 1941.<ref name=":2" /> Carr was awarded the [[Governor General's Literary Award]] for non-fiction the same year for the work.<ref>[[#NationalHistoricPerson|National Historic Person]]</ref><ref>[[#GGawards|Governor General's Award]]</ref>


Emily Carr suffered her last heart attack and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria, British Columbia, shortly before she was to have been awarded an honorary doctorate by the [[University of British Columbia]].<ref>[[#Shadbolt1990|Shadbolt (1990)]], p. 182.</ref> Carr is buried at [[Ross Bay Cemetery]].
In 1942 Carr established the Emily Carr Trust, and donated close to 170 paintings to the Vancouver Art Gallery. She had the only successful commercial show of her career at the Dominion Gallery in Montreal in 1944.<ref>{{cite book |last1=Thom |first1=Ian M. |title=Emily Carr Collected |date=2013 |publisher=Douglas & McIntyre and Vancouver Art Gallery |location=Vancouver |isbn=978-1-77100-080-2 |page=13|url=https://library.gallery.ca/search/a?a |access-date=12 April 2024}}</ref> She suffered her last heart attack and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria, British Columbia, shortly before she was to have been awarded an honorary doctorate by the [[University of British Columbia]].{{sfnp|Shadbolt|1990|p=182}} Carr is buried at [[Ross Bay Cemetery]].


== Work ==
== Work ==
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[[File:Emily Carr - Among the Firs 139A.jpg|thumb|''Among the Firs'', c. 1931, [[Glenbow Museum]], Calgary]]
[[File:Emily Carr - Among the Firs 139A.jpg|thumb|''Among the Firs'', c. 1931, [[Glenbow Museum]], Calgary]]
[[File:Above the Gravel Pit by Emily Carr, 1937, oil on canvas.jpg|thumb|''Above the Gravel Pit'', 1937]]
[[File:Above the Gravel Pit by Emily Carr, 1937, oil on canvas.jpg|thumb|''Above the Gravel Pit'', 1937]]
Carr is remembered primarily for her painting. She was one of the first artists to attempt to capture the spirit of Canada in a modern style. Carr's main themes in her mature work were natives and nature: "native totem poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies".<ref name=CanEncy /> She blended these two themes in ways uniquely her own. Her "qualities of painterly skill and vision [...] enabled her to give form to a Pacific mythos that was so carefully distilled in her imagination".<ref name=CanEncy />
Carr is remembered primarily for her painting. She was one of the artists who attempted to capture the spirit of Canada in a modern style. Carr's main themes in her mature work were the monumental works of the First Nations and nature: "native totem poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies".<ref name=CanEncy /> She blended these two themes in ways uniquely her own. Her "qualities of painterly skill and vision [...] enabled her to give form to a Pacific mythos that was so carefully distilled in her imagination".<ref name=CanEncy />


At the California School of Design in San Francisco, Carr participated in art classes which were focused on a variety of artistic styles. Many of Carr's art professors were trained in the Beaux Arts tradition in [[Paris]], France. Though she took classes in drawing, [[portrait]]ure, [[still life]], [[landscape painting]], and flower painting, Carr preferred to paint landscapes.<ref name="Moray 1999 73–90">{{Cite journal|last=Moray|first=Gerta|date=1999|title="T'Other Emily:" Emily Carr, the Modern Woman Artist and Dilemmas of Gender|journal=RACAR: Revue d'art canadienne / Canadian Art Review|volume=26|issue=1/2|pages=73–90|doi=10.7202/1071551ar|jstor=42630612|issn=0315-9906|doi-access=free}}</ref>
At the [[California School of Design]] in San Francisco, Carr participated in art classes which were focused on a variety of artistic styles. Many of Carr's art professors were trained in the Beaux Arts tradition in [[Paris]], France. Though she took classes in drawing, [[portrait]]ure, [[still life]], [[landscape painting]], and flower painting, Carr preferred to paint landscapes.<ref name="Moray 1999 73–90">{{Cite journal|last=Moray|first=Gerta|date=1999|title="T'Other Emily:" Emily Carr, the Modern Woman Artist and Dilemmas of Gender|journal=RACAR: Revue d'art canadienne / Canadian Art Review|volume=26|issue=1/2|pages=73–90|doi=10.7202/1071551ar|jstor=42630612|issn=0315-9906|doi-access=free}}</ref>


Carr is known for her paintings of [[First Nations in Canada|First Nations]] villages and Pacific Northwest Indian totems, but [[Maria Tippett]] explains that Carr's rare depictions of the forests of British Columbia from within make her work unique.<ref>{{Cite journal|last=Tippett|first=Maria|date=1974|title=Emily Carr's Forest|journal=Journal of Forest History|volume=18|issue=4|pages=133–137|doi=10.2307/3983325|jstor=3983325|s2cid=163289654|issn=0094-5080}}</ref> Carr constructed a new understanding of [[Cascadia (independence movement)|Cascadia]]. This understanding includes a new approach to the presentation of native people and Canadian landscapes.<ref>{{Cite journal|last=Thacker|first=Robert|date=1999|title=Being on the Northwest Coast: Emily Carr, Cascadian|journal=The Pacific Northwest Quarterly|volume=90|issue=4|pages=182–190|jstor=40492516|issn=0030-8803}}</ref>
Carr is known for her paintings of [[First Nations in Canada|First Nations]] villages and Pacific Northwest Indian totems, but [[Maria Tippett]] explains that Carr's depictions of the forests of British Columbia from within make her work unique.<ref>{{Cite journal|last=Tippett|first=Maria|date=1974|title=Emily Carr's Forest|journal=Journal of Forest History|volume=18|issue=4|pages=133–137|doi=10.2307/3983325|jstor=3983325|s2cid=163289654|issn=0094-5080}}</ref> Carr constructed a new understanding of [[Cascadia (independence movement)|Cascadia]]. This understanding includes a new approach to the presentation of native people and Canadian landscapes.<ref>{{Cite journal|last=Thacker|first=Robert|date=1999|title=Being on the Northwest Coast: Emily Carr, Cascadian|journal=The Pacific Northwest Quarterly|volume=90|issue=4|pages=182–190|jstor=40492516|issn=0030-8803}}</ref>


After visiting the Gitksan village of Kitwancool in the summer of 1928, Carr became captivated by the maternal imagery in [[Pacific Northwest]] Indigenous [[totem pole]]s. After Carr was exposed to these types of images, her paintings reflected these images of [[mother]] and child in Native carvings.<ref name="Moray 1999 73–90"/>
After visiting the Gitksan village of Kitwancool in the summer of 1928, Carr became captivated by the maternal imagery in [[Pacific Northwest]] Indigenous [[totem pole]]s. After Carr was exposed to these types of images, her paintings reflected these images of [[mother]] and child in Native carvings.<ref name="Moray 1999 73–90"/>


Her painting can be divided into several distinct phases: her early work, before her studies in Paris; her early paintings under the Fauvist influence of her time in Paris; a post-impressionist middle period<ref name="Shadbolt, p. 42" /> before her encounter with the Group of Seven; and her later, formal period, under the post-cubist influences of [[Lawren Harris]] and American artist and friend, [[Mark Tobey]].<ref>[[#Shadbolt1990|Shadbolt (1990)]], p. 70.</ref> Carr used charcoal and watercolour for her sketches, and later, house paint thinned with gasoline on manila paper.<ref name="technical">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/technical_practices.php Technical Practices] {{Webarchive|url=https://web.archive.org/web/20120718190438/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/technical_practices.php |date=July 18, 2012 }}</ref> The greatest part of her mature work was oil on canvas or, when money was scarce, oil on paper.
Her painting can be divided into several distinct phases: her early work, before her studies in Paris; her early paintings under the Fauvist influence of her time in Paris; a [[Post Impressionism|Post Impressionist]] middle period{{sfnp|Shadbolt|1990|p=42}} before her encounter with the Group of Seven; and her later, formal period, under the cubist and post-cubist influences of [[Lawren Harris]] and American artist and friend, [[Mark Tobey]].{{sfnp|Shadbolt|1990|p=70}} Carr used charcoal and watercolour for her sketches, and beginning in 1932, house paint thinned with gasoline on manila paper.<ref name="technical">[[#VancouverArtGallery|Vancouver Art Gallery]], [http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/technical_practices.php Technical Practices] {{Webarchive|url=https://web.archive.org/web/20120718190438/http://www.museevirtuel-virtualmuseum.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/technical_practices.php |date=July 18, 2012 }}</ref> The greatest part of her mature work was oil on canvas or, when money was scarce, oil on paper.


== Legacy ==
On November 28, 2013, one of Carr's paintings, ''The Crazy Stair (The Crooked Staircase)'', sold for $3.39 million at Heffel’s live auction in Toronto.<ref>[[#Slaughter2013|Slaughter (November 28, 2013)]]</ref> As of the sale, it is a record price for a painting by a [[Canadians|Canadian]] female artist.
Carr's work is still of relevance today to contemporary artists. Her painting ''Old Time Coast Village'' (1929–30) is referred to in Korean Canadian artist [[Jin-me Yoon]]'s ''A Group of Sixty-Seven'' (1996). The work is composed of sixty-seven portraits of the Korean Canadian community in Vancouver standing in front of ''Old Time Coast Village'' and a landscape painting by Group of Seven member [[Lawren Harris]].<ref>{{Cite book |last=Tiampo |first=Ming |url=https://www.aci-iac.ca/art-books/jin-me-yoon/key-works/a-group-of-sixty-seven/ |title=Jin-me Yoon: Life & Work |publisher=Art Canada Institute |year=2022 |isbn=978-1-4871-0297-5 |location=Toronto |language=English}}</ref> She is the subject of books and articles by authors such as [[Greta Moray]]<ref name="ubc " >{{cite web |title=Authors |url=https://www.ubcpress.ca/unsettling-encounters |website=www.ubcpress.ca |publisher=UBC Press |access-date=8 September 2024}}</ref> and many others.


== Writings by Carr ==
Carr's painting ''Old Time Coast Village'' (1929–30) is referenced in Korean Canadian artist [[Jin-me Yoon]]'s ''A Group of Sixty-Seven'' (1996). The work is composed of sixty-seven portraits of the Korean Canadian community in Vancouver standing in front of ''Old Time Coast Village'' and a landscape painting by Group of Seven member Lawren S. Harris.<ref>{{Cite book |last=Tiampo |first=Ming |url=https://www.aci-iac.ca/art-books/jin-me-yoon/key-works/a-group-of-sixty-seven/ |title=Jin-me Yoon: Life & Work |publisher=Art Canada Institute |year=2022 |isbn=978-1-4871-0297-5 |location=Toronto |language=English}}</ref>
*''Fresh Seeing''. Clarke, Irwin and Company, 1972 <ref>{{cite book |last1=Carr |first1=Emily |title=Fresh Seeing |date=1972 |publisher=Clarke, Irwin and Company |location=Toronto|url=https://library.gallery.ca/search~S1?/tfresh+seeing/tfresh+seeing/1%2C2%2C3%2CB/frameset&FF=tfresh+seeing+two+addresses+by+emily+carr&1%2C%2C2 |access-date=4 December 2023}}</ref>
*''Growing Pains''. Vancouver: Douglas & McIntyre, 2005;<ref>{{cite book |last1=Carr |first1=Emily |title=Growing Pains |date=2005 |publisher=Douglas & McIntyre |location=Vancouver|url= https://library.gallery.ca/search~S1?/acarr%2C+emily/acarr+emily/1%2C1%2C171%2CB/frameset&FF=acarr+emily+1871+1945&100%2C%2C171 |access-date=4 December 2023}}</ref>
*''Hundreds and Thousands. The Journals of Emily Carr''. Vancouver: Douglas & McIntyre, 2006;<ref>{{citation |last1 = Carr |first1 =Emily |year =2006 |title =Hundreds and Thousands: The Journals of Emily Carr |url = https://books.google.com/books?id=0UVA0KJcvtEC&q=Emily%20Carr&pg=PP1|publisher=Douglas & McIntyre |isbn= 978-1-55365-172-7}}</ref>
*''[[Klee Wyck]]''. Vancouver: Douglas & McIntyre, 2004;<ref>{{cite book |last1=Carr |first1=Emily |title=Klee Wyck |date=2004 |publisher=Douglas & McIntyre |location=Vancouver|url= https://library.gallery.ca/search~S1?/acarr%2C+emily/acarr+emily/1%2C1%2C171%2CB/frameset&FF=acarr+emily+1871+1945&124%2C%2C171 |access-date=4 December 2023}}</ref>
*''Pause: A Sketchbook''. Vancouver: Douglas & McIntyre, 2007;<ref>{{cite book |last1=Carr |first1=Emily |title=Pause: A Sketchbook |date=2007 |publisher=Douglas & McIntyre |location=Vancouver|url= https://library.gallery.ca/search~S1?/acarr%2C+emily/acarr+emily/1%2C1%2C171%2CB/frameset&FF=acarr+emily+1871+1945&147%2C%2C171 |access-date=4 December 2023}}</ref>
*''The Book of Small''. Vancouver: Douglas & McIntyre, 2004;<ref>{{cite book |last1=Carr |first1=Emily |title=The Book of Small |date=2004 |publisher=Douglas & McIntyre |location=Vancouver|url= https://library.gallery.ca/search~S1?/acarr%2C+emily/acarr+emily/1%2C1%2C171%2CB/frameset&FF=acarr+emily+1871+1945&12%2C%2C171 |access-date=4 December 2023}}</ref>
*''The Heart of a Peacock''. Vancouver: Douglas & McIntyre, 2005;<ref>{{cite book |last1=Carr |first1=Emily |title=The Heart of a Peacock |date=2005 |publisher=Douglas & McIntyre |location=Vancouver|url= https://library.gallery.ca/search~S1?/acarr%2C+emily/acarr+emily/1%2C1%2C171%2CB/frameset&FF=acarr+emily+1871+1945&105%2C%2C171 |access-date=4 December 2023}}</ref>
*''The House of All Sorts''. Vancouver: Douglas & McIntyre, 2004;<ref>{{cite book |last1=Carr |first1=Emily |title=The House of All Sorts |date=2004 |publisher=Douglas & McIntyre |location=Vancouver|url= https://library.gallery.ca/search~S1?/acarr%2C+emily/acarr+emily/1%2C1%2C171%2CB/frameset&FF=acarr+emily+1871+1945&111%2C%2C171 |access-date=4 December 2023}}</ref>


=== Writing ===
== Writing by Carr edited by other authors ==
* Bridge, Kathryn ed. Sister & I ''From Victoria to London''. Victoria: Royal BC Museum, 2011<ref>{{cite book |last1=Carr |first1=Emily |title=Sister and I from Victoria to London|editor-last=Bridge |editor-first=Kathryn|date=2011 |publisher=Royal BC Museum |location=Victoria, BC|url=https://ago.ent.sirsidynix.net/client/en_GB/agolibrary/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:108767/one?qu=emily+carr%2C+sister+and+i+from-victoria+to+london&te=ILS&lm=EXCLUDERARE |access-date= 4 December 2023}}</ref>
Carr is also remembered for her writing, largely about her native friends. In addition to ''[[Klee Wyck]]'', Carr wrote ''The Book of Small'' (1942), ''The House of All Sorts'' (1944), and, published posthumously, ''Growing Pains'' (1946),<ref name="growing" /> ''Pause'' (1953), ''The Heart of a Peacock'' (1953), and ''Hundreds and Thousands'' (1966). Some of these books are autobiographical and reveal Carr as an accomplished writer. Criticisms have been made of her dramatized short stories as many readers expect them to be historically accurate.<ref>{{cite book |last1=Parkinson |first1=Edward John |title=READING AND WRITING EMILY CARR |date=1988 |publisher=McMaster |location=Hamilton, Ontario |url=https://macsphere.mcmaster.ca/bitstream/11375/11239/1/fulltext.pdf |access-date=March 28, 2021}}</ref>
* Bridge, Kathryn ed. ''Wildflowers''. Victoria: Royal BC Museum, 2000;<ref>{{cite book |last1=Carr |first1=Emily |title=Wildflowers |date=2006 |publisher=Royal BC Museum |location=Victoria, BC |url=https://ago.ent.sirsidynix.net/client/en_GB/agolibrary/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:108875/ada?qu=kathryn+bridge&d=ent%3A%2F%2FSD_ILS%2F0%2FSD_ILS%3A108875%7EILS%7E2&te=ILS&lm=EXCLUDERARE |access-date=4 December 2023}}</ref>
* Crean, Susan ed., ''Opposite Contraries. The Unknown Journals of Emily Carr and other writings'' Vancouver: Douglas & McIntyre, 2003;<ref>{{cite book |title=Opposite Contraries. The Unknown Journals of Emily Carr and other writings|date= 2003|publisher=Douglas & McIntyre|location= Vancouver |url=https://library.gallery.ca/search~S1?/acrean%2C+s/acrean+s/1%2C1%2C7%2CB/frameset&FF=acrean+susan+1945&4%2C%2C7 |access-date=4 December 2023}}</ref>
* Morra, Linda ed. ''Corresponding Influence. Selected Letters of Emily Carr & Ira Dilworth''. Toronto: University of Toronto Press, 2006;<ref>{{cite book |title=Corresponding Influence. Selected Letters of Emily Carr & Ira Dilworth |date=2006 |publisher=University of Toronto Press |location=Toronto |url=https://library.gallery.ca/search~S1?/amorra%2C+linda/amorra+linda/1%2C1%2C2%2CB/frameset&FF=amorra+linda+m&2%2C%2C2 |access-date=4 December 2023}}</ref>
* Silcox, David P., ed. ''Sister & I in Alaska''. Vancouver: Figure 1, 2014;<ref>{{cite book |title=Sister & I in Alaska |date=2014 |publisher=Figure 1 |location=Vancouver |url=https://ago.ent.sirsidynix.net/client/en_GB/agolibrary/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:108766/one?qu=cARR%2C+eMILY+SISTER+AND+i+IN+ALASKA&te=ILS&lm=EXCLUDERARE |access-date=4 December 2023}}</ref>
*Switzer, Ann-Lee ed. ''This and That. The Lost Stories of Emily Carr''. Victoria: TouchWood Editions, 2007;<ref>{{cite book |title=This and That. The Lost Stories of Emily Carr |date=2007 |publisher=TouchWood Editions |location=Victoria, BC |url=https://library.gallery.ca/search~S1?/aCARR%2C+EMILY%2C+tHIS+AND+THAT/acarr+emily+this+and+that/-3%2C0%2C0%2CB/frameset&FF=acarr+emily+1871+1945&157%2C%2C171/indexsort=- |access-date=4 December 2023}}</ref>
*Walker, Doreen ed. ''Dear Nan. Letters of Emily Carr, Nan Cheney and Humphrey Toms''. Vancouver: UBC Press, 1990.<ref>{{cite book |title=Letters of Emily Carr, Nan Cheney and Humphrey Toms. |date=1990 |publisher=UBC Press |location= Vancouver|url=https://library.gallery.ca/search~S1?/dCheney%2C+Nan%2C+1897-1985/dcheney+nan+1897+1985/-3%2C-1%2C0%2CB/frameset&FF=dcheney+nan+1897+1985&1%2C1%2C |access-date=4 December 2023}}</ref>
*Switzer, Ann-Lee ed. [https://49thshelf.com/Books/T/This-and-That3 ''This and That: The Lost Stories of Emily Carr; Revised and Updated'']. Victoria: Touchwood Editions, 2024.<ref>{{cite book |title=This and That. The Lost Stories of Emily Carr; Revised and Updated |date=2024 |publisher=TouchWood Editions |location=Victoria, BC |url=https://49thshelf.com/Books/T/This-and-That3}}</ref>

== Biographies of Emily Carr ==
* Baldiserra, Lisa. ''Emily Carr, Life and Times''. Art Canada Institute.<ref>{{cite book |last1=Baldisera |first1=Lisa |title=Emily Carr: Life and Work |publisher=Art Institute |url=https://www.aci-iac.ca/art-books/emily-carr/ |access-date=18 December 2023}}</ref>
* Bridge, Kathryn ed. ''Emily Carr in England''. Victoria: Royal BC Museum, 2014;<ref>{{cite book |title=Emily Carr in England |date=2014 |publisher=Royal BC Museum |location=Victoria, BC |url=https://library.gallery.ca/search~S1?/abridge%2C+kathryn/abridge+kathryn/1%2C1%2C6%2CB/frameset&FF=abridge+kathryn&1%2C%2C6 |access-date=4 December 2023}}</ref>
* Hembroff-Schleicher, Edythe. ''Emily Carr: The Untold Story''. Saanichton: Hancock House, 1978;<ref>{{cite book |last1=Hembroff-Schleicher |first1=Edythe |title=Emily Carr: The Untold Story |date=1978 |publisher=Hancock House |location=Saanichton |url=https://library.gallery.ca/search~S1?/aHembroff-Schleicher%2C+Edythe.+Emily+Carr%3A+The+Untold+Story./ahembroff+schleicher+edythe+emily+carr+the+untold+story/-3%2C0%2C0%2CB/frameset&FF=ahembroff+schleicher+edythe+1906+1994&2%2C%2C5/indexsort=- |access-date=4 December 2023}}</ref>
* Shadbolt, Doris. ''The Art of Emily Carr''. Vancouver: Douglas & McIntyre and Clarke Irwin, 1979.<ref>{{cite book |last1=Shadbolt |first1=Doris |title=The Art of Emily Carr |date=1979 |publisher=Douglas & McIntyre and Clarke Irwin |location=Vancouver |url=https://library.gallery.ca/search~S1?/ashadbolt%2C+d/ashadbolt+d/1%2C2%2C63%2CB/frameset&FF=ashadbolt+doris+1918+2003&8%2C%2C60 |access-date=18 December 2023}}</ref>
* Shadbolt, Doris. ''Emily Carr''. Vancouver: Douglas & McIntyre, 1990.<ref>{{cite book |last1=Shadbolt |first1=Doris |title=Emily Carr |date=1990 |publisher=Vancouver Art Gallery |location=Vancouver |url=https://library.gallery.ca/search~S1?/temily+carr/temily+carr/1%2C102%2C146%2CB/frameset&FF=temily+carr&7%2C%2C20 |access-date=18 December 2023 |ref=none}}</ref>
* Shadbolt, Doris. ''Seven Journeys: The Sketchbooks of Emily Carr''. Douglas & McIntyre, 2002.<ref>{{cite book |last1=Shadbolt |first1=Doris |title=Seven Journeys: The Sketchbooks of Emily Carr |date=2002 |publisher=Douglas & McIntyre |url=https://library.gallery.ca/search~S1?/ashadbolt%2C+d/ashadbolt+d/1%2C2%2C63%2CB/frameset&FF=ashadbolt+doris+1918+2003&52%2C%2C60}}</ref>
* Thom, Ian M. and Charles Hill (ed). ''Emily Carr: New Perspectives on a Canadian Icon''. Vancouver and Ottawa: Vancouver Art Gallery and the National Gallery of Canada, 2006.<ref>{{cite web |title=Emily Carr: New Perspectives on a Canadian Icon |url=https://library.gallery.ca/search~S1?/tEmily+Carr%3A+New+Perspectives+on+a+Canadian+Icon/temily+carr+new+perspectives+on+a+canadian+icon/1%2C1%2C2%2CB/frameset&FF=temily+carr+new+perspectives+on+a+canadian+icon&1%2C%2C2 |website=library.gallery.ca |publisher=Vancouver Art Gallery and the National Gallery of Canada |access-date=18 December 2023}}</ref>
* Tippett, Maria. ''Emily Carr. A Biography''. Toronto: Oxford University Press, 1979.<ref>{{cite book |last1=Tippett |first1=Maria |title=Emily Carr. A Biography |date=1979 |publisher=Oxford University Press |location=Toronto |url=https://library.gallery.ca/search~S1?/aTippett%2C+Maria.+Emily+Carr.+A+Biography/atippett+maria+emily+carr+a+biography/-3%2C0%2C0%2CB/frameset&FF=atippett+maria+1944&12%2C%2C34/indexsort=- |access-date=4 December 2023}}</ref>


== Recognition ==
== Recognition ==
[[File:Blunden harbour totems Emily Carr.jpeg|thumb|left|upright|''Blunden Harbour'', 1930, [[National Gallery of Canada]]]]
[[File:Blunden harbour totems Emily Carr.jpeg|thumb|left|upright|''Blunden Harbour'', 1930, [[National Gallery of Canada]]]]


Carr's life itself made her a "Canadian icon", according to the ''[[Canadian Encyclopedia]]''. As well as being "an artist of stunning originality and strength", she was an exceptionally [[late bloomer]], starting the work for which she is best known at the age of 57 (see [[Grandma Moses]]). Carr was also an artist who succeeded against the odds, living in an artistically unadventurous society, and working mostly in seclusion away from major art centres, thus making her "a darling of the women's movement" (see [[Georgia O'Keeffe]], whom she met in 1930 in [[New York City]]).<ref name=CanEncy /> Emily Carr brought the north to the south; the west to the east; glimpses of the ancient culture of the Indigenous peoples of the Americas to the most newly arrived Europeans on the continent. However, it should be recognized that art historians who write about Carr in depth often respond to their particular points of view: Feminist studies (Sharyn R. Udall, 2000), First Nations scholarship (Gerta Moray, 2006), or the critical study of what an artist says as a tool to analyze the work itself (Charles C. Hill, Ian Thom, 2006).<ref>{{cite book |last1=Lacroix |first1=Laurier |title="Writing art history in the Twentieth Century". The Visual Arts in Canada in the Twentieth Century|pages=419 |date=2010 |publisher=Oxford |location=Canada |url=https://search.library.utoronto.ca/search?N=0&Ntx=mode+matchallpartial&Nu=p_work_normalized&Np=1&Ntt=visual%20arts%20in%20canada%3A%20twentieth%20century&Ntk=Anywhere |access-date=November 24, 2020}}</ref>
Carr's life itself made her a "Canadian icon", according to the ''[[Canadian Encyclopedia]]''.<ref name=CanEncy /> As well as being "an artist of stunning originality and strength", she was an exceptionally [[late bloomer]], starting the work for which she is best known at the age of 57 (see [[Grandma Moses]]). Carr was also an artist who succeeded against the odds, living in an artistically unadventurous society, and working mostly in seclusion away from major art centres, thus making her "a darling of the women's movement" (like [[Georgia O'Keeffe]], whom she met in 1930 in [[New York City]]).<ref name=CanEncy /> Emily Carr brought the north to the south; the west to the east; glimpses of the ancient culture of the Indigenous peoples of the Americas to the most newly arrived Europeans on the continent.
However, art historians who write about Carr in depth often respond to their particular points of view: Feminist studies (Sharyn R. Udall, 2000), First Nations scholarship (Gerta Moray, 2006), or the critical study of what an artist says as a tool to analyze the work itself ([[Charles C. Hill]], [[Ian M. Thom]], 2006).<ref>{{cite book |last1=Lacroix |first1=Laurier |title="Writing art history in the Twentieth Century". The Visual Arts in Canada in the Twentieth Century|pages=419 |date=2010 |publisher=Oxford |location=Canada |url=https://search.library.utoronto.ca/search?N=0&Ntx=mode+matchallpartial&Nu=p_work_normalized&Np=1&Ntt=visual%20arts%20in%20canada%3A%20twentieth%20century&Ntk=Anywhere |access-date=November 24, 2020}}</ref>


In 1952, works by Emily Carr along with those of [[David Milne (artist)|David Milne]], [[Goodridge Roberts]] and [[Alfred Pellan]] represented Canada at the [[Venice Biennale]].
In 1952, works by Emily Carr along with those of [[David Milne (artist)|David Milne]], [[Goodridge Roberts]] and [[Alfred Pellan]] represented Canada at the [[Venice Biennale]].
<ref name=NGC_Venice>{{cite web |title=Past Canadian Exhibitions |work=National Gallery of Canada at the Venice Biennale |url=http://www.gallery.ca/venice/80.htm |publisher=National Gallery of Canada |access-date=October 12, 2013 |ref=VeniceBiennale |archive-url=https://web.archive.org/web/20131013125245/http://www.gallery.ca/venice/80.htm |archive-date=October 13, 2013 }}</ref>
<ref name=NGC_Venice>[[#VeniceBiennale|Venice Biennale]]</ref>


[[File:Emily Carr Canada stamp 1971.jpg|thumb|1971 Canada stamp honoring Emily Carr]]On February 12, 1971, Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by [[William Rueter]] based on Carr's ''Big Raven'' (1931), held by the Vancouver Art Gallery.<ref>[[#CanadaPost Stamp1971|Canada Post Stamp (1971)]]</ref> On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed by Pierre-Yves Pelletier based on ''Forest, British Columbia'' (1931–1932), also from the Vancouver Art Gallery collection.<ref>[[#CanadaPostStamp1991|Canada Post Stamp (1991)]]</ref>
[[File:Emily Carr Canada stamp 1971.jpg|thumb|1971 Canada stamp honoring Emily Carr, based on her painting ''Big Raven'']]On February 12, 1971, Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by [[William Rueter]] based on Carr's ''Big Raven'' (1931), held by the [[Vancouver Art Gallery]].<ref>{{cite web |title=Big Raven |website=Canadian Postal Archives Database |url=http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(artist.A790,C790.)+Or+(null.B742.)&l=50&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=28&f=G&Sect1=STMP |archive-url=https://archive.today/20130101004217/http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(artist.A790,C790.)+Or+(null.B742.)&l=50&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=28&f=G&Sect1=STMP |archive-date=January 1, 2013 |date=February 12, 1971 |access-date=July 22, 2015 }}</ref> On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed by Pierre-Yves Pelletier based on ''Forest, British Columbia'' (1931–1932), also from the Vancouver Art Gallery collection.<ref>{{cite web |title=Forest |website=Canadian Postal Archives Database |url=http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(art.TITP.)+Or+(art.TITI.+And+null.B742.)&l=20&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=7&f=G&Sect1=STMP |archive-url=https://archive.today/20130101185226/http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(art.TITP.)+Or+(art.TITI.+And+null.B742.)&l=20&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=7&f=G&Sect1=STMP |archive-date=January 1, 2013 |date=May 7, 1991 |access-date=July 22, 2015 |ref=CanadaPostStamp1991 }}</ref>


In 1978, she was awarded the [[Royal Canadian Academy of Arts]] Medal.<ref>{{cite book |last1=McMann |first1=Evelyn |title=Royal Canadian Academy of Arts |date=1981 |publisher=University of Toronto Press|location=Toronto|url= http://library.gallery.ca/search~S1?/aMcMann/amcmann/1%2C2%2C11%2CB/frameset&FF=amcmann+evelyn+de+r+evelyn+de+rostaing+1913+1999&8%2C%2C10|access-date=June 2, 2022}}</ref> In 2014–2015, the [[Dulwich Picture Gallery]] in south London hosted a solo exhibition, the first time such show was held in Britain.<ref>{{Cite press release |url=https://www.dulwichpicturegallery.org.uk/about/press-media/press-releases/first-european-solo-show-of-one-of-canadas-best-loved-artists/ |title=First European solo show of one of Canada's best-loved artists |publisher=Dulwich Picture Gallery |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215223611/https://www.dulwichpicturegallery.org.uk/about/press-media/press-releases/first-european-solo-show-of-one-of-canadas-best-loved-artists/ |archive-date=December 15, 2018 |url-status=live }}</ref> In 2020, a travelling exhibition organized by the [[Audain Art Museum]] in Whistler, B.C. and co-curated by Kiriko Watanabe and Dr. Kathryn Bridge and titled ''Emily Carr: Fresh Seeing – French Modernism and the West Coast'' explored this aspect of Carr`s work in detail.<ref>{{cite web |title=Emily Carr: Fresh Seeing French Modernism and the West Coast/ |url=https://royalbcmuseum.bc.ca/visit/exhibitions/emily-carr-fresh-seeing-french-modernism-and-west-coast/emily-carr-fresh-seeing-french-modernism-and-the-west-coast |website=royalbcmuseum.bc.ca|publisher=Royal BC Museum |access-date=November 18, 2021}}</ref>
In 1978, she was awarded the [[Royal Canadian Academy of Arts]] Medal.<ref>{{cite book |last1=McMann |first1=Evelyn |title=Royal Canadian Academy of Arts |date=1981 |publisher=University of Toronto Press |location=Toronto |url=http://library.gallery.ca/search~S1?/aMcMann/amcmann/1%2C2%2C11%2CB/frameset&FF=amcmann+evelyn+de+r+evelyn+de+rostaing+1913+1999&8%2C%2C10 |access-date=June 2, 2022 |archive-date=October 11, 2022 |archive-url=https://web.archive.org/web/20221011123753/http://library.gallery.ca/search~S1?/aMcMann/amcmann/1,2,11,B/frameset&FF=amcmann+evelyn+de+r+evelyn+de+rostaing+1913+1999&8,,10 |url-status=dead }}</ref> In 2014–2015, the [[Dulwich Picture Gallery]] in south London hosted a solo exhibition, the first time such show was held in Britain.<ref>{{Cite press release |url=https://www.dulwichpicturegallery.org.uk/about/press-media/press-releases/first-european-solo-show-of-one-of-canadas-best-loved-artists/ |title=First European solo show of one of Canada's best-loved artists |publisher=Dulwich Picture Gallery |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215223611/https://www.dulwichpicturegallery.org.uk/about/press-media/press-releases/first-european-solo-show-of-one-of-canadas-best-loved-artists/ |archive-date=December 15, 2018 |url-status=live }}</ref> In 2020, a travelling exhibition organized by the [[Audain Art Museum]] in Whistler, B.C. and co-curated by Kiriko Watanabe and Dr. [[Kathryn Bridge]] and titled ''Emily Carr: Fresh Seeing – French Modernism and the West Coast'' explored this aspect of Carr's work in detail.<ref>{{cite web |title=Emily Carr: Fresh Seeing French Modernism and the West Coast/ |url=https://royalbcmuseum.bc.ca/visit/exhibitions/emily-carr-fresh-seeing-french-modernism-and-west-coast/emily-carr-fresh-seeing-french-modernism-and-the-west-coast |website=royalbcmuseum.bc.ca |publisher=Royal BC Museum |access-date=November 18, 2021 }}{{Dead link|date=April 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

Carr has been designated as an Historic Person in the Directory of Federal Heritage Designations.<ref>{{Cite web |url=http://www.pc.gc.ca/apps/dfhd/default_eng.aspx |title=Directory of Federal Heritage Designations |website=Parks Canada |access-date=May 29, 2022}}</ref>
Minor planet [[5688 Kleewyck]] is named after her.<ref>{{cite book|title=(5688) Kleewyck In: Dictionary of Minor Planet Names |publisher=Springer |date=2003 |isbn=978-3-540-29925-7 |doi=10.1007/978-3-540-29925-7_5383}}</ref>


==Record sale prices==
==Record sale prices==
On November 28, 2013, one of Carr's paintings, ''The Crazy Stair (The Crooked Staircase)'', sold for $3.39 million at [[Heffel Gallery|Heffel]]'s live auction in Toronto.<ref>{{cite news |last=Slaughter |first=Graham |title=Emily Carr painting sells for $3 million at Toronto auction |work=[[Toronto Star]] |url=https://www.thestar.com/life/2013/11/28/rare_emily_carr_painting_sells_for_29_million.html |date=November 28, 2013 |access-date=July 21, 2015 |ref=Slaughter2013 }}</ref> As of the sale, it is a record price for a painting by a [[Canadians|Canadian]] female artist.
At the Cowley Abbott auction in Toronto, December 1, 2022, Carr's ''The Totem of the Bear and the Moon'' (1912), oil on canvas, 37 x 17.75 ins (94 x 45.1 cms), Auction Estimate: $2,000,000.00 - $3,000,000.00, sold for $3,120,000.00.<ref>{{cite web |title=Highlights |url=https://cowleyabbott.ca/highlights/1220 |website=cowleyabbott.ca |publisher=Cowley Abbott Auction |access-date=8 January 2023}}</ref>

At the [[Cowley Abbott Canadian Art Auctioneers|Cowley Abbott Auction]] in Toronto, December 1, 2022, Carr's ''The Totem of the Bear and the Moon'' (1912), oil on canvas, 37 x 17.75 ins (94 x 45.1 cms), Auction Estimate: $2,000,000.00 - $3,000,000.00, sold for $3,120,000.00.<ref>{{cite web |title=Highlights |url=https://cowleyabbott.ca/highlights/1220 |website=cowleyabbott.ca |publisher=Cowley Abbott Auction |access-date=8 January 2023}}</ref>

At the Cowley Abbott Auction of An Important Private Collection of Canadian Art, December 6, 2023, lot 129, Carr's ''Nirvana'', oil on paper, mounted on canvas, 35.25 x 20.25 ins (89.5 x 51.4 cm), Auction Estimate: $250,000.00 - $350,000.00, realized a price of $744,000.00.<ref>{{cite web |title=Works |url=https://cowleyabbott.ca/artwork/AW44282 |website=cowleyabbott.ca |publisher=Cowley Abbott Auction |access-date=7 December 2023}}</ref>


== Institutions named for Carr ==
== Institutions named for Carr ==
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* [[Emily Carr House]] in [[Victoria, British Columbia]]<ref>{{CRHP|10705|Emily Carr House|November 13, 2011}}</ref>
* [[Emily Carr House]] in [[Victoria, British Columbia]]<ref>{{CRHP|10705|Emily Carr House|November 13, 2011}}</ref>
* [[Emily Carr University of Art and Design]] in [[Vancouver]], British Columbia<ref>{{Cite web |url=https://www.ecuad.ca/about/at-a-glance/emily-carr-the-artist |title=Emily Carr, the Artist |website=Emily Carr University of Art + Design |language=en |access-date=December 11, 2018 |date=June 19, 2015 |archive-url=https://web.archive.org/web/20181215180127/https://www.ecuad.ca/about/at-a-glance/emily-carr-the-artist |archive-date=December 15, 2018 |url-status=live }}</ref>
* [[Emily Carr University of Art and Design]] in [[Vancouver]], British Columbia<ref>{{Cite web |url=https://www.ecuad.ca/about/at-a-glance/emily-carr-the-artist |title=Emily Carr, the Artist |website=Emily Carr University of Art + Design |language=en |access-date=December 11, 2018 |date=June 19, 2015 |archive-url=https://web.archive.org/web/20181215180127/https://www.ecuad.ca/about/at-a-glance/emily-carr-the-artist |archive-date=December 15, 2018 |url-status=live }}</ref>
* Emily Carr Public Library in Victoria, British Columbia<ref>{{Cite web |url=https://www.gvpl.ca/branches-hours/emily-carr-branch/ |title=Emily Carr Branch |publisher=Greater Victoria Public Library |language=en-US |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215173539/https://www.gvpl.ca/branches-hours/emily-carr-branch/ |archive-date=December 15, 2018 |url-status=live }}</ref>
* [[Greater Victoria Public Library]] Emily Carr Branch in Victoria, British Columbia<ref>{{Cite web |url=https://www.gvpl.ca/branches-hours/emily-carr-branch/ |title=Emily Carr Branch |publisher=Greater Victoria Public Library |language=en-US |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215173539/https://www.gvpl.ca/branches-hours/emily-carr-branch/ |archive-date=December 15, 2018 |url-status=live }}</ref>
* [[Emily Carr Secondary School]] in [[Woodbridge, Ontario]]{{citation needed|date=December 2018}}<!--to prove that this is named after the artist and not some other Emily Carr-->
* [[Emily Carr Secondary School]] in [[Woodbridge, Ontario]]{{citation needed|date=December 2018}}<ref>{{Cite web |title=Emily Carr Secondary School |url=http://www.yrdsb.ca/schools/emilycarr.ss/Pages/default.aspx |access-date=August 19, 2024}}</ref><!--to prove that this is named after the artist and not some other Emily Carr-->
* [[Emily Carr Elementary School]] in [[Vancouver]], British Columbia<ref>{{Cite web |url=http://go.vsb.bc.ca/schools/carr/About/Pages/default.aspx |title=About Us |website=Emily Carr Elementary School |publisher=Vancouver School Board |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215174925/http://go.vsb.bc.ca/schools/carr/About/Pages/default.aspx |archive-date=December 15, 2018 }}</ref>
* [[Emily Carr Elementary School]] in [[Vancouver]], British Columbia<ref>{{Cite web |url=http://go.vsb.bc.ca/schools/carr/About/Pages/default.aspx |title=About Us |website=Emily Carr Elementary School |publisher=Vancouver School Board |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215174925/http://go.vsb.bc.ca/schools/carr/About/Pages/default.aspx |archive-date=December 15, 2018 }}</ref>
* Emily Carr Middle School in [[Ottawa]], Ontario<ref>{{Cite web |url=https://emilycarrms.ocdsb.ca/our_school |title=Our School |website=Emily Carr MS |publisher=Ottawa–Carleton District School Board |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215172543/https://emilycarrms.ocdsb.ca/our_school |archive-date=December 15, 2018 |url-status=live }}</ref>
* Emily Carr Middle School in [[Ottawa]], Ontario<ref>{{Cite web |url=https://emilycarrms.ocdsb.ca/our_school |title=Our School |website=Emily Carr MS |publisher=Ottawa–Carleton District School Board |access-date=December 11, 2018 |archive-url=https://web.archive.org/web/20181215172543/https://emilycarrms.ocdsb.ca/our_school |archive-date=December 15, 2018 |url-status=live }}</ref>
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* In 1994, the Working Group for Planetary System Nomenclature of the [[International Astronomical Union]] adopted the name Carr for a crater on [[Venus]]. The Carr crater has an approximate diameter of 31.9 kilometers.<ref>[[#Gazetteer|Planetary Gazetteer]]</ref>
* In 1994, the Working Group for Planetary System Nomenclature of the [[International Astronomical Union]] adopted the name Carr for a crater on [[Venus]]. The Carr crater has an approximate diameter of 31.9 kilometers.<ref>[[#Gazetteer|Planetary Gazetteer]]</ref>
* Emily Carr Inlet, an arm of Chapple Inlet on the [[British Columbia Coast|North Coast of British Columbia]]<ref>{{Cite bcgnis|id=28127 |title=Emily Carr Inlet}}</ref>
* Emily Carr Inlet, an arm of Chapple Inlet on the [[British Columbia Coast|North Coast of British Columbia]]<ref>{{Cite bcgnis|id=28127 |title=Emily Carr Inlet}}</ref>

== Biographies ==
A complete illustrated artist's biography of Emily Carr emphasising both her life and the development of her art is ''Emily Carr: A biography'' by [[Maria Tippett]], Oxford University Press, 1979 ({{ISBN|9780887847561}}). Tippett's biography won the [[Governor General's Award for English-language non-fiction]] in 1979.<ref>{{cite news |url=https://www.pressreader.com/canada/times-colonist/20071118/282346855458924 |title=Writing Other Lives |work=[[Times Colonist]] |date=November 18, 2007 |access-date=December 11, 2018 |via=PressReader |archive-url=https://web.archive.org/web/20181215173710/https://www.pressreader.com/canada/times-colonist/20071118/282346855458924 |archive-date=December 15, 2018 |url-status=live }}</ref>

Several biographies have been published of Carr's life with unsubstantiated speculations. Novelist [[Susan Vreeland]]'s 2004 ''The Forest Lover'' brings in characters that did not exist in Carr's life, as well as factually recounting incidents that may not have happened. The book is a novelisation, not biography, based on events from Carr's life, using Emily Carr as the main character/protagonist and altering some characters and chronology for the purpose of pacing. Each part of the novel is introduced by a reproduction of a Carr painting.<ref>[[#Vreeland2004|Vreeland (2004)]]</ref><ref>The 2011 unpublished thesis,"Canadian Artist Emily Carr: A Psychoanalytic Portrait," by Phyllis Marie Jensen, PhD, was accepted by the International School of Analytic Psychology in Zurich.</ref>


== Archives ==
== Archives ==
The [[British Columbia Archives]] holds the largest collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, the Emily Carr Art Collection, and a wealth of archival documents in held in the fonds of Carr's friends. There is an Emily Carr fonds at [[Library and Archives Canada]].<ref>{{Cite web|title=Finding aid to Emily Carr fonds at Library and Archives Canada|url=http://data2.collectionscanada.ca/pdf/pdf001/p000000942.pdf|access-date=July 31, 2020}}</ref> The archival reference number is R1969, former archival reference number MG30-D215.<ref>{{Cite web|title=Emily Carr fonds description at Library and Archives Canada|url=https://collectionscanada.gc.ca/pam_archives/index.php?fuseaction=genitem.displayItem&rec_nbr=105394&lang=eng&rec_nbr_list=105394,192430,200400,4013928,200625,207013,206195,201125,5282977,102321|access-date=July 31, 2020}}</ref> The fonds covers the date range 1891 to 1991. It consists of 1.764 meters of textual records, 10 photographs, 1 print, 7 drawings. A number of the records have been digitized and are available online.<ref>{{Cite web|title=Emily Carr fonds at Heritage Canada|url=http://heritage.canadiana.ca/view/oocihm.lac_mikan_105394?usrlang=en|access-date=July 31, 2020}}</ref> Library and Archives Canada also holds a number of other fonds containing material that touch on Emily Carr and her artistic works.
The [[British Columbia Archives]] holds the largest collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, the Emily Carr Art Collection, and a wealth of archival documents held in the fonds of Carr's friends. There is an Emily Carr fonds at [[Library and Archives Canada]].<ref>{{Cite web|title=Finding aid to Emily Carr fonds at Library and Archives Canada|url=http://data2.collectionscanada.ca/pdf/pdf001/p000000942.pdf|access-date=July 31, 2020}}</ref> The archival reference number is R1969, former archival reference number MG30-D215.<ref>{{Cite web|title=Emily Carr fonds description at Library and Archives Canada|url=https://collectionscanada.gc.ca/pam_archives/index.php?fuseaction=genitem.displayItem&rec_nbr=105394&lang=eng&rec_nbr_list=105394,192430,200400,4013928,200625,207013,206195,201125,5282977,102321|access-date=July 31, 2020}}{{Dead link|date=November 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> The fonds covers the date range 1891 to 1991. It consists of 1.764 meters of textual records, 10 photographs, 1 print, 7 drawings. A number of the records have been digitized and are available online.<ref>{{Cite web|title=Emily Carr fonds at Heritage Canada|url=http://heritage.canadiana.ca/view/oocihm.lac_mikan_105394?usrlang=en|access-date=July 31, 2020}}</ref> Library and Archives Canada also holds a number of other fonds containing material that touch on Emily Carr and her artistic works.


== See also ==
== See also ==
* [[Modern art]]
* [[Modern art]]
* [[List of Canadian artists]]


== References ==
== References ==
{{reflist|20em}}
{{reflist|20em}}


== Sources ==
===Cited sources===
* {{cite book |last1=Bridge |first1=Kathryn Anne |title=Emily Carr in England |date=2014 |publisher=Royal BC Museum |location=Victoria, Canada |isbn=9780772667700}}
{{refbegin}}
* {{cite book |last=Appelhof |first=Ruth Stevens |title=The Expressionist Landscape: North American Modernist Painting, 1920–1947 |publisher=Birmingham Museum of Art |date=1988 |page=60 |isbn=978-0-295-96691-5 |ref=Appelhof1988}}
* {{cite book |last1=Shadbolt |first1=Doris |title=Emily Carr |date=1990 |publisher=Douglas & McIntyre |location=Vancouver |isbn=9780295970035}}
* {{cite web |title=Big Raven |website=Canadian Postal Archives Database |url=http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(artist.A790,C790.)+Or+(null.B742.)&l=50&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=28&f=G&Sect1=STMP |archive-url=https://archive.today/20130101004217/http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(artist.A790,C790.)+Or+(null.B742.)&l=50&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=28&f=G&Sect1=STMP |archive-date=January 1, 2013 |date=February 12, 1971 |access-date=July 22, 2015 |ref=CanadaPost Stamp1971 }}
* {{cite book|last=Baldissera|first=Lisa|ref=Baldissera2015|title=Emily Carr: Life & Work|url=http://www.aci-iac.ca/content/art-books/26/Art-Canada-Institute_Emily-Carr.pdf|year=2015|publisher=Art Canada Institute|isbn=978-1-4871-0044-5|archive-url=https://web.archive.org/web/20151007034619/http://www.aci-iac.ca/content/art-books/26/Art-Canada-Institute_Emily-Carr.pdf|archive-date=October 7, 2015}}
* {{cite book |last=Braid |first=Kate |author-link=Kate Braid |title=Emily Carr: Rebel Artist |location=Toronto, Ontario |publisher=XYZ Éditeur |date=2000 |isbn=978-0-9683601-6-3 |ref=Braid2000 |url=https://archive.org/details/emilycarrrebelar0000brai }}
* {{cite book |last1=Breuer |first1=Michael |last2=Dodd |first2=Kerry Mason |title=Sunlight in the Shadows: The Landscape of Emily Carr |location=Toronto |publisher=Oxford University Press |date=1984 |page=VIII |isbn=978-0-19-540464-7 |ref=BreuerDodd1984}}
* {{cite book |last=Carr |first=Emily |url={{google books|NwDaofiiefUC|plainurl=yes}} |title=Growing Pains: the Autobiography of Emily Carr |publisher=Douglas & McIntyre |location=Vancouver, British Columbia |date=2005 |page=430 |edition=print |isbn=1-55365-083-2 |ref=Carr2005}}.
* {{cite web |title=Carr, Emily National Historic Person |url=http://www.pc.gc.ca/rech-srch/clic-click.aspx?/cgi-bin/MsmGo.exe?grab_id=0&page_id=29314&query=emily%20carr&hiword=CARRE%20CARRER%20CARRES%20CARRIE%20CARRION%20CARRON%20CARRS%20CARRY%20EMIL%20EMILE%20EMILIA%20EMILIAN%20EMILIE%20EMILIO%20EMILLY%20EMILYS%20carr%20emily%20 |website=Directory of Federal Heritage Designations |publisher=Parks Canada |date=March 15, 2012 |ref=NationalHistoricPerson |access-date=October 2, 2013 |archive-url=https://web.archive.org/web/20151017234956/http://www.pc.gc.ca/rech-srch/clic-click.aspx?%2Fcgi-bin%2FMsmGo.exe%3Fgrab_id=0&page_id=29314&query=emily%20carr&hiword=CARRE%20CARRER%20CARRES%20CARRIE%20CARRION%20CARRON%20CARRS%20CARRY%20EMIL%20EMILE%20EMILIA%20EMILIAN%20EMILIE%20EMILIO%20EMILLY%20EMILYS%20carr%20emily%20 |archive-date=October 17, 2015 }}
* {{cite web |title=Carr on Venus |url=http://planetarynames.wr.usgs.gov/Feature/1028 |website=Gazetteer of Planetary Nomenclature |publisher=[[International Astronomical Union]] (IAU) Working Group for Planetary System Nomenclature (WGPSN) |location=Flagstaff, Arizona |date=October 1, 2006 |access-date=July 22, 2015 |ref=Gazetteer}}
* {{cite web |title=Emily Carr: A Biographical Sketch |url=http://www.museevirtuel.ca/sgc-cms/expositions-exhibitions/emily_carr/en/about/index.php |website=Vancouver Art Gallery |access-date=April 21, 2010 |ref=VancouverArtGallery}}
* {{cite web|title=Emily's Siblings |website=Emily Carr: At Home and at Work |publisher=BC Heritage Branch, Province of British Columbia |url=http://bcheritage.ca/emilycarrhomework/family/siblings.htm |access-date=February 18, 2013 |ref=BCHeritage |archive-url=https://web.archive.org/web/20130526035404/http://bcheritage.ca/emilycarrhomework/family/siblings.htm |archive-date=May 26, 2013 }}
* {{cite web |title=Forest |website=Canadian Postal Archives Database |url=http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(art.TITP.)+Or+(art.TITI.+And+null.B742.)&l=20&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=7&f=G&Sect1=STMP |archive-url=https://archive.today/20130101185226/http://data4.collectionscanada.gc.ca/netacgi/nph-brs?s1=(art.TITP.)+Or+(art.TITI.+And+null.B742.)&l=20&d=STMP&p=1&u=http://www.collectionscanada.gc.ca/archivianet/02011702_e.html&r=7&f=G&Sect1=STMP |archive-date=January 1, 2013 |date=May 7, 1991 |access-date=July 22, 2015 |ref=CanadaPostStamp1991 }}
* {{cite web|title=Governor General's Literary Awards |url=http://ggbooks.canadacouncil.ca/en/about-apropos/archives/1941/winners |website=Canada Council for the Arts |publisher=Government of Canada |access-date=August 6, 2013 |ref=GGawards |archive-url=https://web.archive.org/web/20131004232222/http://ggbooks.canadacouncil.ca/en/about-apropos/archives/1941/winners |archive-date=October 4, 2013 }}
* {{cite book |last1=Holmlund|first1=Mona|last2=Youngberg|first2=Gail|ref=HolmlundYoungberg2003 |title=Inspiring Women: A Celebration of Herstory|page=216 |url=https://books.google.com/books?id=XhHUzUwJtA4C&pg=PA216 |year=2003|publisher=Coteau Books|isbn=978-1-55050-204-6}}
* {{cite book |last=Lamoureux |first=Johanne |chapter=The Other French Modernity of Emily Carr |editor-last1=Thom |editor-first1=Charles C. |editor-last2=Hill |editor-first2=Ian MacEwan |title=Emily Carr: New Perspectives on a Canadian Icon |publisher=Douglas & McIntyre |date=2006 |isbn=978-1-55365-173-4 |pages=43–61 |ref=Lamoureux2006|title-link=Canadians }}.
* {{cite book |last=Shadbolt |first=Doris |title=The Art of Emily Carr |location=Toronto, Ontario |publisher=Douglas & McIntyre and Clarke, Irwin & Company |date=1979 |ref=Shadbolt1979}}
* {{cite book |last=Shadbolt |first=Doris |title=Emily Carr |location=Vancouver, British Columbia |publisher=Douglas & McIntyre |date=1990 |isbn=0-295-97003-0 |ref=Shadbolt1990 |url=https://archive.org/details/emilycarr00dori }}
* {{Cite encyclopedia |last=Shadbolt |title=Emily Carr |encyclopedia=Canadian Encyclopedia |publisher=Historica Canada |url=https://www.thecanadianencyclopedia.ca/en/article/emily-carr |date=June 23, 2013 |access-date=July 21, 2015 |ref=CanEncyclopedia}}
* {{cite news |last=Slaughter |first=Graham |title=Emily Carr painting sells for $3 million at Toronto auction |work=[[Toronto Star]] |url=https://www.thestar.com/life/2013/11/28/rare_emily_carr_painting_sells_for_29_million.html |date=November 28, 2013 |access-date=July 21, 2015 |ref=Slaughter2013}}
* {{cite web|title=Past Canadian Exhibitions |work=National Gallery of Canada at the Venice Biennale |url=http://www.gallery.ca/venice/80.htm |publisher=National Gallery of Canada |access-date=October 12, 2013 |ref=VeniceBiennale |archive-url=https://web.archive.org/web/20131013125245/http://www.gallery.ca/venice/80.htm |archive-date=October 13, 2013 }}
* {{cite book |last=Vreeland |first=Susan |title=The Forest Lover |publisher=[[Viking Press]] |date=February 2004 |isbn=978-0-670-03267-9 |ref=Vreeland2004 |url=https://archive.org/details/forestlover00vree_0 }}
* {{cite book |last=Walker |first=Stephanie Kirkwood |title=This Woman in Particular: Contexts for the Biographical Image of Emily Carr |location=Waterloo, Ontario |publisher=Wilfrid Laurier University Press |date=1996 |isbn=978-0-88920-263-4 |ref=Walker1996}}
{{refend}}


== Further reading ==
== Further reading ==
{{refbegin}}
{{refbegin}}
*{{cite book |last1=Hill |first1=Charles C. |last2=Lamoureaux|first2=Johanne|last3=Thom|first3=Ian M.|title=Emily Carr New Perspectives on a Canadian Icon |date=2006 |publisher=Douglas & Mcintyre |location=Vancouver |url=https://library.gallery.ca/search~S1?/ahill%2C+charles+C./ahill+charles+c/1%2C1%2C97%2CB/frameset&FF=ahill+charles+c+1945&26%2C%2C97 |access-date=4 December 2023}}
* {{citation |last =Bogart |first =Jo Ellen |author-link=Jo Ellen Bogart |year =2003 |title = Emily Carr: At the Edge of the World|url =https://books.google.com/books?id=UqDjAiuELRUC&q=Emily%20Carr&pg=PP1 |publisher=Maxwell Newhouse |isbn= 0-88776-640-4}}
*{{cite book |last1=Berdjis-Kamraanpour|first1= Hedye|title=Understanding Emily Carr: A Look at the Fashioning of an Autonomous Self |date=2018 |publisher= McGill University, unpublished thesis|location=l |url=https://escholarship.mcgill.ca/concern/theses/pc289m20h |access-date=4 December 2023}}
* {{citation |last = Carr |first =Emily |year =2006 |title =Hundreds and Thousands: The Journals of Emily Carr |url = https://books.google.com/books?id=0UVA0KJcvtEC&q=Emily%20Carr&pg=PP1|publisher=Douglas & McIntyre |isbn= 978-1-55365-172-7}}
* {{cite book |last1=Crean |first1=Susan |title=The Laughing One:A Journey to Emily Carr |date=2001 |publisher=HarperCollins Flamingo |location=Toronto |isbn=978-0-00-200062-8 |url=https://search.library.utoronto.ca/details?4357873&uuid=3d179deb-5f66-4800-8e7d-188188c86966 |access-date=May 9, 2020}}
*{{cite book |last1=Burns |first1=Flora Hamilton |title="Emily Carr". M. Q. Innis, ed. Clear Spirit-Twenty Canadian Women and Their Times |date=1966 |publisher=University of Toronto Press |location=Toronto |url=https://utorontopress.com/9780802062093/the-clear-spirit |access-date=4 December 2023}}
*Coburn, Kathleen. "Emily Carr: In Memoriam", The Canadian Forum, vol. 25 (April 1945): 24.
* {{cite book |last1=Francis |first1=Daniel |title=The Imaginary Indian: The Image of the Indian in Canadian Culture. |date=1992|publisher=Arsenal Pulp Press |isbn=9781551524252|url= https://search.library.utoronto.ca/search?N=0&Ntx=mode+matchallpartial&Nu=p_work_normalized&Np=1&Ntt=Daniel%20Francis.%20The%20Imaginary%20Indian%3A%20The%20Image%20of%20the%20Indian%20in%20Canadian%20Culture.&Ntk=Anywhere|access-date=October 21, 2020}}
** {{cite web |title=Canadian Forum periodical on microfilm |url=https://ago.ent.sirsidynix.net/client/en_GB/agolibrary/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:82285/ada?qu=canadian+forum+%28periodical%29&d=ent%3A%2F%2FSD_ILS%2F0%2FSD_ILS%3A82285%7EILS%7E4&te=ILS&lm=EXCLUDERARE |website=ago.ent.sirsidynix.net |publisher=Art Gallery of Ontario |access-date=5 December 2023}}
* {{cite book |last1=Hayter-Menzies |first1=Grant |title=Woo, The Monkey Who Inspired Emily Carr: A Biography. |date=2019|publisher=Douglas & McIntyre |isbn=9781771622141|url= https://librarysearch.library.utoronto.ca/discovery/fulldisplay?docid=alma991106554486806196&context=L&vid=01UTORONTO_INST:UTORONTO&lang=en&search_scope=UTL_AND_CI&adaptor=Local%20Search%20Engine&tab=Everything&query=any,contains,Grant%20Hayter-Menzies&offset=0|access-date=December 23, 2022}}
* {{cite book |last1=Hughes |first1=Mary Jo |title=Emily Carr: On the Edge of Nowhere |date=2010 |publisher=Art Gallery of Greater Victoria |location=Victoria, B.C.|url=https://librarysearch.library.utoronto.ca/discovery/fulldisplay?docid=alma991106306457106196&context=L&vid=01UTORONTO_INST:UTORONTO&lang=en&search_scope=UTL_AND_CI&adaptor=Local%20Search%20Engine&tab=Everything&query=any,contains,Emily%20Carr:%20On%20the%20Edge%20of%20Nowhere&offset=0 |access-date=June 19, 2021}}
*{{cite book |last1=Moray |first1=Gerta |title=Unsettling Encounters: First Nations Imagery in the Art of Emily Carr |date=2006 |publisher=UBC Press |location=Vancouver |url=https://library.gallery.ca/search~S1?/aMoray%2C+Gerta./amoray+gerta/1%2C1%2C15%2CB/frameset&FF=amoray+gerta&14%2C%2C15 |access-date=4 December 2023}}
*{{cite book |last1=Watanabe |first1=Kiriko |last2=Bridge|first2=Kathryn|title=Emily Carr: Fresh Seeing – French Modernism and the West Coast |date=2019 |publisher=Emily Carr: Fresh Seeing – French Modernism and the West Coast. |location=Vancouver |url=https://ago.ent.sirsidynix.net/client/en_GB/agolibrary/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:130051/one?qu=Watanabe%2C+Kiriko&te=ILS&lm=EXCLUDERARE |access-date=4 December 2023}}
* {{citation |last = Klerks |first =Cat |year =2003 |title = Emily Carr: The Incredible Life and Adventures of a West Coast Artist
|url =https://books.google.com/books?id=fy37w1Gfqh0C&q=Emily%20Carr&pg=PP1 |publisher=Altitude Pub |isbn=1-55153-996-9 }}
* {{cite book |last1=Marchessault |first1=Jovette |title=The magnificent voyage of Emily Carr |date=1992 |publisher=Talonbooks |location=Vancouver |isbn=978-0-88922-314-1|url=https://search.library.utoronto.ca/details?329697&uuid=5e5a533c-6b35-4856-81bf-fe4dcabdb879 |access-date=May 10, 2020}}
* {{cite book |editor-last=Milroy |editor-first=Sarah |editor-last2=Dejardin |editor-first2=Ian|title=From the Forest to the Sea: Emily Carr in British Columbia |date=2014 |publisher=Art Gallery of Ontario and Dulwich Picture Gallery; Goose Lane Editions |location=Toronto and London, England; Fredericton, N. B.|url=https://librarysearch.library.utoronto.ca/discovery/search?query=any,contains,From%20the%20Forest%20to%20the%20Sea:%20Emily%20Carr%20in%20British%20Columbia&tab=Everything&search_scope=UTL_AND_CI&vid=01UTORONTO_INST:UTORONTO&offset=0 |access-date=June 19, 2021}}
* {{cite book |last1=Moray |first1=Greta |chapter=Emily Carr and the Visionary British Columbia Landscape |title=Embracing Canada: Landscapes from Krieghoff to the Group of Seven |date=2015 |publisher=Vancouver Art Gallery and Black Dog Publishing |editor=Ian M. Thom |location=Vancouver and London, Eng. |pages=167ff|url=https://librarysearch.library.utoronto.ca/discovery/search?query=any,contains,Embracing%20Canada:%20Landscapes%20from%20Krieghoff%20to%20the%20Group%20of%20Seven.&tab=LibraryCatalog&search_scope=UTL&vid=01UTORONTO_INST:UTORONTO&offset=0 |access-date=May 20, 2021}}
* {{cite book |last1=Moray |first1=Gerta |title=Unsettling encounters: First Nations imagery in the art of Emily Carr |date=2006 |publisher=University of Washington Press |location=Seattle |isbn=0-295-98608-5 |url=https://search.library.utoronto.ca/details?5836556&uuid=54edaa82-8d76-4118-91c5-b0f38d4d5f32 |access-date=May 10, 2020}}
* {{cite book |last1=Newlands |first1=Anne |title=Emily Carr: an introduction to her life and art |date=1996 |publisher=Firefly Books Ltd |location=Willowdale |isbn=1-55209-045-0 |url=https://search.library.utoronto.ca/details?664462&uuid=834796f2-e67b-4471-8143-40ab86890ca6 |access-date=May 10, 2020}}.
*{{cite web |last1=O'Brian |first1=John |last2=Alexander|first2=David|title=Gasoline, Oil, and Paper: The 1930s Oil-on-Paper Paintings of Emily Carr |publisher=Mendel Art Gallery, 1995|url=http://library.gallery.ca/search~S1?/aO%27Brian%2C+J/aobrian+j/1%2C1%2C35%2CB/frameset&FF=aobrian+john+1944&19%2C%2C35 |access-date=October 13, 2022}}
* Orford, Emily-Jane Hills. (2008). "The Creative Spirit: Stories of 20th Century Artists". Ottawa: Baico Publishing. {{ISBN|978-1-897449-18-9}}
* {{cite book |last1=Pearson |first1=Carol |title=Emily Carr as I Knew Her |date=1954 |publisher=Clark Irwin |location=Toronto|isbn=1-77151-174-5|url=https://search.library.utoronto.ca/details?3721208&uuid=b9ec5f5f-5c67-4ebb-9444-728a34502913}}
* Reid, Dennis. (1988). ''A Concise History of Canadian Painting'' 2nd Edition. Toronto: Oxford University Press. {{ISBN|0-19-540663-X}}
* {{cite book |editor-last=Thom |editor-first=Ian |editor-last2=Hill |editor-first2=Charles |title=Emily Carr: New Perspectives on a Canadian Icon |date=2006 |publisher=Douglas & McIntyre |isbn=1-55365-173-1}}
* {{cite book |last1=Tippett |first1=Maria |title=Emily Carr: A Biography |date=1979 |publisher=Toronto : Oxford University Press |location=Toronto |isbn=0-19-540314-2 |url=https://search.library.utoronto.ca/details?4063343&uuid=8f1f9953-4efe-4127-bfa7-dc6adef8c100 |access-date=May 10, 2020}}
* {{cite book |last1=Tippett |first1=Maria |title="The Life of the Trees": Emily Carr's Forest. Made in British Columbia |date=2015 |publisher=Harbour Publishing|url=https://library.gallery.ca/search~S1?/aTippett/atippett/1%2C1%2C34%2CB/frameset&FF=atippett+maria+1944&22%2C%2C34 |access-date=23 September 2023}}
* {{cite book |last1=Udall |first1=Sharyn Rohlfsen |title=Carr, O'Keeffe, Kahlo: places of their own |date=2001 |publisher=Yale University Press |location=New Haven |isbn=978-0-300-09186-1 |url=https://search.library.utoronto.ca/details?4070207&uuid=3aa279ec-488c-4876-a36d-55f1f45ff751 |access-date=May 10, 2020}}
* {{cite book |last1=Watanabe |first1=Kiriko |last2=Bridge|first2=Kathryn|title=Emily Carr: Fresh Seeing—French Modernism and the West Coast |date=2019 |publisher=Audain Art Museum |location=Whistler, B. C.|url=https://librarysearch.library.utoronto.ca/discovery/search?query=any,contains,%20Emily%20Carr:%20Fresh%20Seeing%E2%80%94French%20Modernism%20and%20the%20West%20Coast.%20B.%20C&tab=Everything&search_scope=UTL_AND_CI&vid=01UTORONTO_INST:UTORONTO&offset=0 |access-date=June 19, 2021}}
{{refend}}
{{refend}}


== External links ==
== External links ==
{{Commons category|Emily Carr}}
{{Commons category|Emily Carr}}
* https://royalbcmuseum.bc.ca/visit/exhibitions/online-exhibitions/emily-carr-timeline
* {{FadedPage|id=Carr, Emily|name=Emily Carr|author=yes}}
* https://royalbcmuseum.bc.ca/visit/exhibitions/emily-carr-fresh-seeing-french-modernism-and-west-coast
* [http://www.emilycarr.com/ Emily Carr House]
* https://artsandculture.google.com/partner/royal-bc-museum?hl=en
* [http://www.arthistoryarchive.com/arthistory/canadian/Emily-Carr.html Detailed Biography of Emily Carr]
* The full text of some of Emily Carr's books is available from [http://gutenberg.net.au/ Project Gutenberg of Australia].
* [http://www.emilycarr.ca/ A virtual exhibit on the life of Emily Carr]
* [http://www.nfb.ca/trouverunfilm/fichefilm.php?id=53227&v=h&lg=en&exp= National Film Board of Canada short film for kids on Emily Carr]
* [http://www.museumsyndicate.com/artist.php?artist=684 Gallery of Carr's paintings]
* [http://www.thecanadianencyclopedia.ca/en/article/emily-carr/ Emily Carr], ''[[The Canadian Encyclopedia]]''


{{Commons category}}
{{Group of Seven}}
{{Group of Seven}}
{{ACArt}}
{{Governor General's English non-fiction|state=collapsed}}


{{Governor General's English non-fiction|state=collapsed}}
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Latest revision as of 22:23, 10 December 2024

Emily Carr
Carr in 1930
Born
Millie Emily Carr

(1871-12-13)December 13, 1871
DiedMarch 2, 1945(1945-03-02) (aged 73)
Victoria, British Columbia, Canada
Resting placeRoss Bay Cemetery, Victoria, British Columbia
Education
Known forPainting, writing
Notable work
StylePost-Impressionism
MovementGroup of Seven (associated)

Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of British Columbia.[1] She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose".[2] Klee Wyck, her first book, published in 1941, won the Governor General's Literary Award for non-fiction[3] and this book and others written by her or compiled from her writings later are still much in demand today.

Carr's keynote paintings, such as The Indian Church (1929), were not widely known in Canada at first. But her stature as one of Canada's most important artists continued to grow. Today, she is considered a cherished figure of Canadian arts and letters.[4] Scholars and the public alike regard her as a Canadian national treasure[5] and the Canadian Encyclopedia describes her as a Canadian icon.[6] She has been designated a National Historic Person[7] and had a Minor planet 5688 Kleewyck named after her anglicized native name.[8][4][5] As one scholar in her 2014 book on Carr, put it, "we love her and she continues to speak to us".[9]

Emily Carr lived most of her life in the city in which she was born and died, Victoria, British Columbia.

Early life

[edit]
Emily Carr House, 207 Government Street, Victoria – now a National Historic Site of Canada and a museum

Born in Victoria, British Columbia, in 1871,[10][11][12] the year British Columbia joined Canada, Emily Carr was the second youngest of nine children born to English parents Richard and Emily (Saunders) Carr.[13][14] The Carr home was on Birdcage Walk (now Government Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself. Today it is a museum and National Historic Site of Canada called Emily Carr House.

The Carr children were raised in an English tradition. Her father believed it was sensible to live on Vancouver Island, a colony of Great Britain, where he could practice English customs and continue his British citizenship. The family home was made up in lavish English fashion, with high ceilings, ornate moldings, and a parlour.[15] Carr was taught in the Presbyterian tradition, with Sunday morning prayers and evening Bible readings. Her father called on one child per week to recite the sermon, and Emily consistently had trouble reciting it.[16]

Carr's mother died in 1886, and her father died in 1888.[17] Her oldest sister Edith Carr became the guardian of the rest of the children.[18][12]

Carr's father encouraged her artistic inclinations, but it was only in 1890, after her parents' deaths, that Carr pursued her art seriously. She studied at the California School of Design in San Francisco for three years (1890–1893) before returning to Victoria. In 1899, in some ways overcoming her family background,[19] Carr visited Ucluelet on the west coast of Vancouver Island.[17] That same year, Carr traveled to London, where she decided to transform herself into a professional artist and to make it her life's calling.[20]

She began her studies at the Westminster School of Art.[4] She then took art classes from John William Whiteley in Bushey, Hertfordshire and afterwards traveled to an art colony in St Ives, Cornwall, studying with Julius Olsson and Algernon Talmage (1901). In 1902, she returned to Bushey, and studied with Whiteley, till she experienced a nervous breakdown and had to convalesce.

She returned to British Columbia in 1904. In 1905, she gave children's art classes as well as creating political cartoons for the Week, a newspaper in Victoria[5] and in 1906, Carr took a teaching position in Vancouver at the Vancouver Studio Club and School of Art for a short time – she was a popular teacher but left to open her own studio and give children's art classes.[4]

First works on Indigenous people

[edit]

In 1898, at age 27, Carr made the first of several sketching and painting trips to Aboriginal villages.[21] She stayed in a village near Ucluelet on the west coast of Vancouver Island, home to the Nuu-chah-nulth people, then commonly known to English-speaking people as 'Nootka'.[21] Carr was given the Indigenous name of Klee Wyck and she also chose it as the title of her first book.[22] She later recalled that her time in Ucluelet made "a lasting impression on me".[21]

In 1907, Carr made a sightseeing trip to Alaska with her sister Alice and decided on her artistic mission of documenting all she could of what she and many others perceived as the "vanishing totems" and way of life of the First Nations.[4] She may have met an American artist on this trip, likely Theodore J. Richardson (1855-1914), who described his project of documenting Indigenous art and architecture (he travelled with Indigenous guides to produce watercolours and pastels in southeast Alaska documenting the Tlingit culture) and that possibly this encounter inspired Carr to initiate her own five–year project of documenting Indigenous villages and their neighbouring forests in British Columbia.[23][5]

From 1908 to 1910 she made several trips to First Nations communities to record art and villages.[5]

Work in France

[edit]

Determined to further her knowledge of evolving artistic trends abroad, in 1910 Carr returned to Europe to study. In Montparnasse with her sister Alice, Emily Carr met modernist painter Harry Phelan Gibb with a letter of introduction.[24] Upon viewing his work, she and her sister were shocked and intrigued[25] by his use of distortion and vibrant colour; she wrote:

"Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the distortion of his nudes I felt revolt."[24]

Carr enrolled at the Académie Colarossi in Paris, then transferred to private lessons with John Duncan Fergusson and followed him to the Atelier Blanche. After a bout of illness, she joined Gibb and his wife in the small village of Crécy-en-Brie and then St. Efflam, Brittany. Carr's study with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant colour palette rather than continuing with the more modified colours of her earlier training.[26]

Emily Carr, Breton church, oil on canvas, 1906

In Crecy-en-Brie she fully embraced the Fauve style of bold colour and broad brushwork, then traveled to Concarneau on the coast of Brittany to study with Frances Hodgkins. When she returned to Paris she found that two of her paintings had been selected by the jury and hung in the 1911 Salon d'Automne.[4]

Return to Canada

[edit]
Emily Carr, 1930

In March 1912 Carr opened a studio at 1465 West Broadway in Vancouver. She organized an exhibition of seventy watercolours and oils representative of her time in France, using her radical new style, bold colour palette and lack of detail.[4] She was the first artist to introduce Post-Impressionism to Vancouver.[23]

Later in 1912, Carr took a sketching trip to First Nations' villages in Haida Gwaii (formerly the Queen Charlotte Islands), the Upper Skeena River, and Alert Bay [4][27] where she documented the art of the Haida, Gitxsan and Tsimshian. At Cumshewa, a Haida village on Moresby Island, she wrote in Klee Wyck,

"Cumshewa seems always to drip, always to be blurred with mist, its foliage always to hang wet-heavy ... these strong young trees ... grew up round the dilapidated old raven, sheltering him from the tearing winds now that he was old and rotting ... the memory of Cumshewa is of a great lonesomeness smothered in a blur of rain".

Carr painted a carved raven, which she later developed as her iconic painting Big Raven. Tanoo, another painting inspired by work gathered on this trip, depicts three totems before house fronts at the village of the same name. On her return to the south, Carr organized a large exhibition of some of this work. She gave a detailed public talk titled "Lecture on Totem Poles" about the Aboriginal villages that she had visited, which ended with her mission statement:

"I glory in our wonderful west and I hope to leave behind me some of the relics of its first primitive greatness. These things should be to us Canadians what the ancient Briton's relics are to the English. Only a few more years and they will be gone forever into silent nothingness and I would gather my collection together before they are forever past".[28]

Her "Lecture on Totems" at Dominion Hall in Vancouver is in the Emily Carr Papers at the British Columbia Provincial Archives in Victoria.[29] In the lecture, she said "every pole shown in my collection has been studied from its own actual reality..."

While there was some positive reaction to her work, even in the new 'French' style,[30] Carr perceived that Vancouver's reaction to her work and new style was not positive enough to support her career. She recounted as much in her book Growing Pains. She was determined to give up teaching and working in Vancouver, and in 1913 she returned to Victoria, where several of her sisters still lived.[24]

During the next 15 years, Carr did little painting. She ran a boarding house known as the 'House of All Sorts'. It was the namesake and provided source material for her later book. With her financial circumstances straitened and her life in Victoria circumscribed, Carr painted a few works in this period drawn from local scenes: the cliffs at Dallas Road, the trees in Beacon Hill Park. Her own assessment of the period was that she had ceased to paint, which was not strictly true, although "[a]rt had ceased to be the primary drive of her life".[31]

Emily Carr, Kitwancool, 1928

Growing recognition

[edit]

Over time Carr's work came to the attention of several influential and supportive people, including (through the intervention of Victoria-born artist Sophie Pemberton in 1921) Harold Mortimer-Lamb and Marius Barbeau, a prominent ethnologist at the National Museum in Ottawa. Barbeau in turn persuaded Eric Brown, Director of Canada's National Gallery, to visit Carr in 1927.[32] Brown invited Carr to exhibit her work at the National Gallery as part of an exhibition on West Coast art. Carr sent 65 oil paintings east (31 were included),[4] along with samples of her pottery and rugs with Indigenous designs.[33] The exhibition, which was largely of First Nations art, included works by Edwin Holgate and A.Y. Jackson as well as Carr, traveled to Toronto and Montreal.

Association with the Group of Seven

[edit]
Carr's The Indian Church, 1929. Lawren Harris bought the painting and showcased it in his home. He considered it Carr's best work. It was controversially retitled in 2018 by the Art Gallery of Ontario to Church at Yuquot Village

Carr made the trip east for the exhibition on West Coast art: Native and modern at the National Gallery of Canada in 1927. She met Frederick Varley in Vancouver and other members of the Group of Seven, at that time Canada's most recognized modern painters[17] at the show's Toronto venue.[4]

Lawren Harris of the Group became an important mentor and friend. "You are one of us," he told Carr, welcoming her into the ranks of Canada's leading modernists and along with other members of the Group into the Group of Seven shows as an invited contributor in 1930 and 1931.[23]

Her encounter with the Group ended the artistic isolation of Carr's previous 15 years, leading to one of her most prolific periods, and the creation of many of her most notable works. Through her extensive correspondence with Harris, Carr also became aware of and studied Northern European symbolism.[34]

Carr's artistic direction was influenced by Harris's work and the advice he gave in his correspondence (he told her to seek an equivalent for the totem poles in west coast landscape, for instance),[35] but also by his belief in Theosophy.[17] She was deeply interested and struggled to reconcile this with her own conception of God.[36] Carr's "distrust for institutional religion" pervades much of her art.[37] She thought a great deal about Theosophic thought, like many artists of the time, but in the end, remained unconvinced.[37][38]

Influence of the Pacific Northwest school

[edit]

In 1924 and 1925, Carr exhibited at the Artists of the Pacific Northwest shows in Seattle, Washington. She invited fellow exhibitor Mark Tobey to visit her in Victoria in the autumn of 1928 to teach a master class in her studio. Working with Tobey, Carr furthered her understanding of modern art, experimenting with Tobey's methods of full-on abstraction and Cubism, but she was reluctant to follow Tobey beyond the legacy of Cubism.[34][39][40]

I was not ready for abstraction. I clung to earth and her dear shapes, her density, her herbage, her juice. I wanted her volume and I wanted to hear her throb.[41]

Although Carr expressed reluctance about abstraction, Doris Shadbolt at the Vancouver Art Gallery, a major curator of Carr's work, records Carr in this period as abandoning the documentary impulse and starting to concentrate instead on capturing the emotional and mythological content embedded in the totemic carvings. She jettisoned her painterly and practiced Post-Impressionist style in favour of creating highly stylized and abstracted geometric forms.[39]

Later developments

[edit]
Odds and Ends, 1939

Carr continued to travel throughout the late 1920s and 1930s away from Victoria. One of her last trips north was in the summer of 1928, when she visited the Nass and Skeena rivers, as well as Haida Gwaii, formerly known as the Queen Charlotte Islands. She went to Yuquot (also known as Friendly Cove) and the northeast coast of Vancouver Island in 1930, and then to Lillooet in 1933.[4] In the same year she bought a caravan she nicknamed the "Elephant" and had it towed to places she wanted to paint, going to nearby locations such as Goldstream Flats, the Esquimalt Lagoon and elsewhere.[38]

Recognition of her work grew steadily, and in 1930 she exhibited in Ottawa, Victoria and Seattle, and in 1935, Carr's first solo show of her oil on paper works was held in eastern Canada at the Women's Art Association of Canada gallery in Toronto.[42] In 1938 she had her first annual solo exhibition at the Vancouver Art Gallery as well as success at the Tate Gallery in London, England.[4] Other shows abroad followed.[43]

She began to meet other artists. In 1930, for instance, Carr travelled to New York and met Georgia O'Keeffe.[4] In 1933, she was a founding member of the Canadian Group of Painters.[4]

Paintings from Carr's last decade reveal her growing anxiety about the environmental impact of industry on British Columbia's landscape. Her work from this time reflected her growing concern over industrial logging, its ecological effects and its encroachment on the lives of Indigenous people. In her painting Odds and Ends, from 1939 "the cleared land and tree stumps shift the focus from the majestic forestscapes that lured European and American tourists to the West Coast to reveal instead the impact of deforestation."[23]

Shift of focus and late life

[edit]

Carr suffered her first heart attack in 1937, and another in 1939, forcing her to move in with her sister Alice to recover. In 1940 Carr suffered serious trouble with her heart, and in 1942 she had another heart attack.[44] With her ability to travel curtailed, Carr's focus shifted from her painting to her writing. The editorial assistance of Carr's great friend and literary advisor Ira Dilworth,[20] a professor of English, enabled Carr to see her own first book, Klee Wyck, published in 1941.[17] Carr was awarded the Governor General's Literary Award for non-fiction the same year for the work.[45][46]

In 1942 Carr established the Emily Carr Trust, and donated close to 170 paintings to the Vancouver Art Gallery. She had the only successful commercial show of her career at the Dominion Gallery in Montreal in 1944.[47] She suffered her last heart attack and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria, British Columbia, shortly before she was to have been awarded an honorary doctorate by the University of British Columbia.[48] Carr is buried at Ross Bay Cemetery.

Work

[edit]

Painting

[edit]
Autumn in France, 1911. National Gallery of Canada
Among the Firs, c. 1931, Glenbow Museum, Calgary
Above the Gravel Pit, 1937

Carr is remembered primarily for her painting. She was one of the artists who attempted to capture the spirit of Canada in a modern style. Carr's main themes in her mature work were the monumental works of the First Nations and nature: "native totem poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies".[6] She blended these two themes in ways uniquely her own. Her "qualities of painterly skill and vision [...] enabled her to give form to a Pacific mythos that was so carefully distilled in her imagination".[6]

At the California School of Design in San Francisco, Carr participated in art classes which were focused on a variety of artistic styles. Many of Carr's art professors were trained in the Beaux Arts tradition in Paris, France. Though she took classes in drawing, portraiture, still life, landscape painting, and flower painting, Carr preferred to paint landscapes.[49]

Carr is known for her paintings of First Nations villages and Pacific Northwest Indian totems, but Maria Tippett explains that Carr's depictions of the forests of British Columbia from within make her work unique.[50] Carr constructed a new understanding of Cascadia. This understanding includes a new approach to the presentation of native people and Canadian landscapes.[51]

After visiting the Gitksan village of Kitwancool in the summer of 1928, Carr became captivated by the maternal imagery in Pacific Northwest Indigenous totem poles. After Carr was exposed to these types of images, her paintings reflected these images of mother and child in Native carvings.[49]

Her painting can be divided into several distinct phases: her early work, before her studies in Paris; her early paintings under the Fauvist influence of her time in Paris; a Post Impressionist middle period[31] before her encounter with the Group of Seven; and her later, formal period, under the cubist and post-cubist influences of Lawren Harris and American artist and friend, Mark Tobey.[52] Carr used charcoal and watercolour for her sketches, and beginning in 1932, house paint thinned with gasoline on manila paper.[53] The greatest part of her mature work was oil on canvas or, when money was scarce, oil on paper.

Legacy

[edit]

Carr's work is still of relevance today to contemporary artists. Her painting Old Time Coast Village (1929–30) is referred to in Korean Canadian artist Jin-me Yoon's A Group of Sixty-Seven (1996). The work is composed of sixty-seven portraits of the Korean Canadian community in Vancouver standing in front of Old Time Coast Village and a landscape painting by Group of Seven member Lawren Harris.[54] She is the subject of books and articles by authors such as Greta Moray[55] and many others.

Writings by Carr

[edit]
  • Fresh Seeing. Clarke, Irwin and Company, 1972 [56]
  • Growing Pains. Vancouver: Douglas & McIntyre, 2005;[57]
  • Hundreds and Thousands. The Journals of Emily Carr. Vancouver: Douglas & McIntyre, 2006;[58]
  • Klee Wyck. Vancouver: Douglas & McIntyre, 2004;[59]
  • Pause: A Sketchbook. Vancouver: Douglas & McIntyre, 2007;[60]
  • The Book of Small. Vancouver: Douglas & McIntyre, 2004;[61]
  • The Heart of a Peacock. Vancouver: Douglas & McIntyre, 2005;[62]
  • The House of All Sorts. Vancouver: Douglas & McIntyre, 2004;[63]

Writing by Carr edited by other authors

[edit]
  • Bridge, Kathryn ed. Sister & I From Victoria to London. Victoria: Royal BC Museum, 2011[64]
  • Bridge, Kathryn ed. Wildflowers. Victoria: Royal BC Museum, 2000;[65]
  • Crean, Susan ed., Opposite Contraries. The Unknown Journals of Emily Carr and other writings Vancouver: Douglas & McIntyre, 2003;[66]
  • Morra, Linda ed. Corresponding Influence. Selected Letters of Emily Carr & Ira Dilworth. Toronto: University of Toronto Press, 2006;[67]
  • Silcox, David P., ed. Sister & I in Alaska. Vancouver: Figure 1, 2014;[68]
  • Switzer, Ann-Lee ed. This and That. The Lost Stories of Emily Carr. Victoria: TouchWood Editions, 2007;[69]
  • Walker, Doreen ed. Dear Nan. Letters of Emily Carr, Nan Cheney and Humphrey Toms. Vancouver: UBC Press, 1990.[70]
  • Switzer, Ann-Lee ed. This and That: The Lost Stories of Emily Carr; Revised and Updated. Victoria: Touchwood Editions, 2024.[71]

Biographies of Emily Carr

[edit]
  • Baldiserra, Lisa. Emily Carr, Life and Times. Art Canada Institute.[72]
  • Bridge, Kathryn ed. Emily Carr in England. Victoria: Royal BC Museum, 2014;[73]
  • Hembroff-Schleicher, Edythe. Emily Carr: The Untold Story. Saanichton: Hancock House, 1978;[74]
  • Shadbolt, Doris. The Art of Emily Carr. Vancouver: Douglas & McIntyre and Clarke Irwin, 1979.[75]
  • Shadbolt, Doris. Emily Carr. Vancouver: Douglas & McIntyre, 1990.[76]
  • Shadbolt, Doris. Seven Journeys: The Sketchbooks of Emily Carr. Douglas & McIntyre, 2002.[77]
  • Thom, Ian M. and Charles Hill (ed). Emily Carr: New Perspectives on a Canadian Icon. Vancouver and Ottawa: Vancouver Art Gallery and the National Gallery of Canada, 2006.[78]
  • Tippett, Maria. Emily Carr. A Biography. Toronto: Oxford University Press, 1979.[79]

Recognition

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Blunden Harbour, 1930, National Gallery of Canada

Carr's life itself made her a "Canadian icon", according to the Canadian Encyclopedia.[6] As well as being "an artist of stunning originality and strength", she was an exceptionally late bloomer, starting the work for which she is best known at the age of 57 (see Grandma Moses). Carr was also an artist who succeeded against the odds, living in an artistically unadventurous society, and working mostly in seclusion away from major art centres, thus making her "a darling of the women's movement" (like Georgia O'Keeffe, whom she met in 1930 in New York City).[6] Emily Carr brought the north to the south; the west to the east; glimpses of the ancient culture of the Indigenous peoples of the Americas to the most newly arrived Europeans on the continent.

However, art historians who write about Carr in depth often respond to their particular points of view: Feminist studies (Sharyn R. Udall, 2000), First Nations scholarship (Gerta Moray, 2006), or the critical study of what an artist says as a tool to analyze the work itself (Charles C. Hill, Ian M. Thom, 2006).[80]

In 1952, works by Emily Carr along with those of David Milne, Goodridge Roberts and Alfred Pellan represented Canada at the Venice Biennale. [81]

1971 Canada stamp honoring Emily Carr, based on her painting Big Raven

On February 12, 1971, Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by William Rueter based on Carr's Big Raven (1931), held by the Vancouver Art Gallery.[82] On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed by Pierre-Yves Pelletier based on Forest, British Columbia (1931–1932), also from the Vancouver Art Gallery collection.[83]

In 1978, she was awarded the Royal Canadian Academy of Arts Medal.[84] In 2014–2015, the Dulwich Picture Gallery in south London hosted a solo exhibition, the first time such show was held in Britain.[85] In 2020, a travelling exhibition organized by the Audain Art Museum in Whistler, B.C. and co-curated by Kiriko Watanabe and Dr. Kathryn Bridge and titled Emily Carr: Fresh Seeing – French Modernism and the West Coast explored this aspect of Carr's work in detail.[86]

Record sale prices

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On November 28, 2013, one of Carr's paintings, The Crazy Stair (The Crooked Staircase), sold for $3.39 million at Heffel's live auction in Toronto.[87] As of the sale, it is a record price for a painting by a Canadian female artist.

At the Cowley Abbott Auction in Toronto, December 1, 2022, Carr's The Totem of the Bear and the Moon (1912), oil on canvas, 37 x 17.75 ins (94 x 45.1 cms), Auction Estimate: $2,000,000.00 - $3,000,000.00, sold for $3,120,000.00.[88]

At the Cowley Abbott Auction of An Important Private Collection of Canadian Art, December 6, 2023, lot 129, Carr's Nirvana, oil on paper, mounted on canvas, 35.25 x 20.25 ins (89.5 x 51.4 cm), Auction Estimate: $250,000.00 - $350,000.00, realized a price of $744,000.00.[89]

Institutions named for Carr

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Emily Carr's gravestone, Ross Bay cemetery

Archives

[edit]

The British Columbia Archives holds the largest collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, the Emily Carr Art Collection, and a wealth of archival documents held in the fonds of Carr's friends. There is an Emily Carr fonds at Library and Archives Canada.[101] The archival reference number is R1969, former archival reference number MG30-D215.[102] The fonds covers the date range 1891 to 1991. It consists of 1.764 meters of textual records, 10 photographs, 1 print, 7 drawings. A number of the records have been digitized and are available online.[103] Library and Archives Canada also holds a number of other fonds containing material that touch on Emily Carr and her artistic works.

See also

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References

[edit]
  1. ^ Morra, Linda M. (2005). "Canadian Art According to Emily Carr". Canadian Literature. 185: 43–57. ISSN 0008-4360. Archived from the original on February 3, 2017. Retrieved March 19, 2017.
  2. ^ Kathleen Coburn, "Emily Carr: In Memoriam" Canadian Forum, vol. 25 (April 1945), p. 24.
  3. ^ "Governor General's Literary Award". ggbooks.ca. Governor General of Canada. Retrieved December 5, 2023.
  4. ^ a b c d e f g h i j k l m n "Emily Carr: Timeline". royalbcmuseum.bc.ca. Royal BC Museum. Retrieved December 5, 2023.
  5. ^ a b c d e Carr, Emily (2021). Unvarnished Emily Carr: Autobiographical Sketches by Emily Carr, edited by Dr. Kathryn Bridge, Preface. Victoria: Royal BC Museum. Retrieved December 5, 2023.
  6. ^ a b c d e Shadbolt (June 23, 2013). "Emily Carr". Canadian Encyclopedia. Historica Canada. Retrieved July 21, 2015.
  7. ^ "Carr, Emily National Historic Person". www.pc.gc.ca/. Gov't of Canada. Retrieved December 5, 2023.
  8. ^ (5688) Kleewyck In: Dictionary of Minor Planet Names. Springer. 2003. doi:10.1007/978-3-540-29925-7_5383. ISBN 978-3-540-29925-7.
  9. ^ Bridge (2014), p. 8.
  10. ^ MacKenzie, Lily Iona (July 3, 2019). "Emily Carr: An Artist's Evolution: December 13, 1871 – March 2, 1945". Jung Journal. 13 (3): 119–134. doi:10.1080/19342039.2019.1637187. ISSN 1934-2039. S2CID 203303364.
  11. ^ Great women artists. Phaidon Press. 2019. p. 88. ISBN 978-0-7148-7877-5.
  12. ^ a b "Emily Carr | CWRC/CSEC". cwrc.ca. Retrieved March 28, 2023.
  13. ^ BC Heritage
  14. ^ Vancouver Art Gallery
  15. ^ Kate Braid, Emily Carr: Rebel Artist, Toronto, Ontario, XYZ Éditeur, 2000, p. 13
  16. ^ Braid (2000), pp. 15–16.
  17. ^ a b c d e Walker, Stephanie Kirkwood. This woman in particular: contexts for the biographical image of Emily Carr. Waterloo, Ontario. ISBN 978-0-88920-565-9. OCLC 923765615.
  18. ^ "Emily's Siblings". BC Heritage. May 26, 2013. Archived from the original on May 26, 2013. Retrieved March 10, 2019.
  19. ^ "Sarah Milroy and Gerta Moray on Emily Carr". www.youtube.com. McMichael Canadian Art Collection, Kleinburg, 2015. Retrieved September 27, 2024.
  20. ^ a b Bridge (2014), p. 9.
  21. ^ a b c Tippett, Maria (1979). Emily Carr: A Biography. Toronto: Oxford University Press. pp. 49–50.
  22. ^ Stewart, Janice (2005). "Cultural Appropriations and Identificatory Practices in Emily Carr's "Indian Stories"". Frontiers: A Journal of Women Studies. 26 (2): 59–72. doi:10.1353/fro.2005.0030. ISSN 0160-9009. JSTOR 4137396. S2CID 143814184.
  23. ^ a b c d Baldissera, Lisa (2015). Emily Carr: Life & Work (PDF). Art Canada Institute. ISBN 978-1-4871-0044-5. Archived from the original (PDF) on October 7, 2015., p. 36.
  24. ^ a b c Carr, Emily (2005). Growing pains : the autobiography of Emily Carr, foreword by Ira Dilworth, introduction by Robin Laurence. Vancouver: Douglas & McIntyre. Retrieved December 6, 2023.
  25. ^ Braid (2000), pp. 61–63.
  26. ^ Braid (2000), p. 66.
  27. ^ Vancouver Art Gallery, Early totems Archived July 2, 2015, at the Wayback Machine
  28. ^ Shadbolt, Doris (1979). The Art of Emily Carr. Toronto, Ontario: Douglas & McIntyre and Clarke, Irwin & Company. p. 38. Retrieved December 5, 2023.
  29. ^ "Emily Carr". Art Canada Institute – Institut de l'art canadien. Retrieved February 28, 2022.[permanent dead link]
  30. ^ Shadbolt (1990), p. 40.
  31. ^ a b Shadbolt (1990), p. 42.
  32. ^ Shadbolt (1990), p. 52.
  33. ^ Shadbolt (1990), p. 53.
  34. ^ a b Vancouver Art Gallery, Artistic Context Archived July 18, 2012, at the Wayback Machine
  35. ^ "Emily Carr: To the Totem Forests Introduction". www.emilycarr.org. AGGV. Retrieved January 7, 2024.
  36. ^ Shadbolt (1990), p. 58.
  37. ^ a b Walker, Stephanie Kirkwood (1996). This Woman in Particular: Contexts for the Biographical Image of Emily Carr. Waterloo, Ontario: Wilfrid Laurier University Press. ISBN 978-0-88920-263-4.
  38. ^ a b Carr, Emily (2021). Unvarnished Emily Carr: Autobiographical Sketches by Emily Carr edited by Dr. Kathryn Bridge. Victoria, BC: Royal BC Museum. p. 113. Retrieved December 10, 2023.
  39. ^ a b Vancouver Art Gallery, Modernism and Late Totems Archived July 18, 2012, at the Wayback Machine
  40. ^ Ruth Stevens Appelhof, The Expressionist Landscape: North American Modernist Painting, 1920–1947, Birmingham Museum of Art, 1988, p.60
  41. ^ Carr (2005), p. 457.
  42. ^ Holmlund, Mona; Youngberg, Gail (2003). Inspiring Women: A Celebration of Herstory. Coteau Books. p. 216. ISBN 978-1-55050-204-6.
  43. ^ Breuer, Michael; Dodd, Kerry Mason (1984). Sunlight in the Shadows: The Landscape of Emily Carr. Toronto: Oxford University Press. p. VIII. ISBN 978-0-19-540464-7.
  44. ^ Vancouver Art Gallery, Chronology Archived July 18, 2012, at the Wayback Machine
  45. ^ National Historic Person
  46. ^ Governor General's Award
  47. ^ Thom, Ian M. (2013). Emily Carr Collected. Vancouver: Douglas & McIntyre and Vancouver Art Gallery. p. 13. ISBN 978-1-77100-080-2. Retrieved April 12, 2024.
  48. ^ Shadbolt (1990), p. 182.
  49. ^ a b Moray, Gerta (1999). ""T'Other Emily:" Emily Carr, the Modern Woman Artist and Dilemmas of Gender". RACAR: Revue d'art canadienne / Canadian Art Review. 26 (1/2): 73–90. doi:10.7202/1071551ar. ISSN 0315-9906. JSTOR 42630612.
  50. ^ Tippett, Maria (1974). "Emily Carr's Forest". Journal of Forest History. 18 (4): 133–137. doi:10.2307/3983325. ISSN 0094-5080. JSTOR 3983325. S2CID 163289654.
  51. ^ Thacker, Robert (1999). "Being on the Northwest Coast: Emily Carr, Cascadian". The Pacific Northwest Quarterly. 90 (4): 182–190. ISSN 0030-8803. JSTOR 40492516.
  52. ^ Shadbolt (1990), p. 70.
  53. ^ Vancouver Art Gallery, Technical Practices Archived July 18, 2012, at the Wayback Machine
  54. ^ Tiampo, Ming (2022). Jin-me Yoon: Life & Work. Toronto: Art Canada Institute. ISBN 978-1-4871-0297-5.
  55. ^ "Authors". www.ubcpress.ca. UBC Press. Retrieved September 8, 2024.
  56. ^ Carr, Emily (1972). Fresh Seeing. Toronto: Clarke, Irwin and Company. Retrieved December 4, 2023.
  57. ^ Carr, Emily (2005). Growing Pains. Vancouver: Douglas & McIntyre. Retrieved December 4, 2023.
  58. ^ Carr, Emily (2006), Hundreds and Thousands: The Journals of Emily Carr, Douglas & McIntyre, ISBN 978-1-55365-172-7
  59. ^ Carr, Emily (2004). Klee Wyck. Vancouver: Douglas & McIntyre. Retrieved December 4, 2023.
  60. ^ Carr, Emily (2007). Pause: A Sketchbook. Vancouver: Douglas & McIntyre. Retrieved December 4, 2023.
  61. ^ Carr, Emily (2004). The Book of Small. Vancouver: Douglas & McIntyre. Retrieved December 4, 2023.
  62. ^ Carr, Emily (2005). The Heart of a Peacock. Vancouver: Douglas & McIntyre. Retrieved December 4, 2023.
  63. ^ Carr, Emily (2004). The House of All Sorts. Vancouver: Douglas & McIntyre. Retrieved December 4, 2023.
  64. ^ Carr, Emily (2011). Bridge, Kathryn (ed.). Sister and I from Victoria to London. Victoria, BC: Royal BC Museum. Retrieved December 4, 2023.
  65. ^ Carr, Emily (2006). Wildflowers. Victoria, BC: Royal BC Museum. Retrieved December 4, 2023.
  66. ^ Opposite Contraries. The Unknown Journals of Emily Carr and other writings. Vancouver: Douglas & McIntyre. 2003. Retrieved December 4, 2023.
  67. ^ Corresponding Influence. Selected Letters of Emily Carr & Ira Dilworth. Toronto: University of Toronto Press. 2006. Retrieved December 4, 2023.
  68. ^ Sister & I in Alaska. Vancouver: Figure 1. 2014. Retrieved December 4, 2023.
  69. ^ This and That. The Lost Stories of Emily Carr. Victoria, BC: TouchWood Editions. 2007. Retrieved December 4, 2023.
  70. ^ Letters of Emily Carr, Nan Cheney and Humphrey Toms. Vancouver: UBC Press. 1990. Retrieved December 4, 2023.
  71. ^ This and That. The Lost Stories of Emily Carr; Revised and Updated. Victoria, BC: TouchWood Editions. 2024.
  72. ^ Baldisera, Lisa. Emily Carr: Life and Work. Art Institute. Retrieved December 18, 2023.
  73. ^ Emily Carr in England. Victoria, BC: Royal BC Museum. 2014. Retrieved December 4, 2023.
  74. ^ Hembroff-Schleicher, Edythe (1978). Emily Carr: The Untold Story. Saanichton: Hancock House. Retrieved December 4, 2023.
  75. ^ Shadbolt, Doris (1979). The Art of Emily Carr. Vancouver: Douglas & McIntyre and Clarke Irwin. Retrieved December 18, 2023.
  76. ^ Shadbolt, Doris (1990). Emily Carr. Vancouver: Vancouver Art Gallery. Retrieved December 18, 2023.
  77. ^ Shadbolt, Doris (2002). Seven Journeys: The Sketchbooks of Emily Carr. Douglas & McIntyre.
  78. ^ "Emily Carr: New Perspectives on a Canadian Icon". library.gallery.ca. Vancouver Art Gallery and the National Gallery of Canada. Retrieved December 18, 2023.
  79. ^ Tippett, Maria (1979). Emily Carr. A Biography. Toronto: Oxford University Press. Retrieved December 4, 2023.
  80. ^ Lacroix, Laurier (2010). "Writing art history in the Twentieth Century". The Visual Arts in Canada in the Twentieth Century. Canada: Oxford. p. 419. Retrieved November 24, 2020.
  81. ^ "Past Canadian Exhibitions". National Gallery of Canada at the Venice Biennale. National Gallery of Canada. Archived from the original on October 13, 2013. Retrieved October 12, 2013.
  82. ^ "Big Raven". Canadian Postal Archives Database. February 12, 1971. Archived from the original on January 1, 2013. Retrieved July 22, 2015.
  83. ^ "Forest". Canadian Postal Archives Database. May 7, 1991. Archived from the original on January 1, 2013. Retrieved July 22, 2015.
  84. ^ McMann, Evelyn (1981). Royal Canadian Academy of Arts. Toronto: University of Toronto Press. Archived from the original on October 11, 2022. Retrieved June 2, 2022.
  85. ^ "First European solo show of one of Canada's best-loved artists" (Press release). Dulwich Picture Gallery. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  86. ^ "Emily Carr: Fresh Seeing French Modernism and the West Coast/". royalbcmuseum.bc.ca. Royal BC Museum. Retrieved November 18, 2021.[permanent dead link]
  87. ^ Slaughter, Graham (November 28, 2013). "Emily Carr painting sells for $3 million at Toronto auction". Toronto Star. Retrieved July 21, 2015.
  88. ^ "Highlights". cowleyabbott.ca. Cowley Abbott Auction. Retrieved January 8, 2023.
  89. ^ "Works". cowleyabbott.ca. Cowley Abbott Auction. Retrieved December 7, 2023.
  90. ^ Emily Carr House. Canadian Register of Historic Places. Retrieved November 13, 2011.
  91. ^ "Emily Carr, the Artist". Emily Carr University of Art + Design. June 19, 2015. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  92. ^ "Emily Carr Branch". Greater Victoria Public Library. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  93. ^ "Emily Carr Secondary School". Retrieved August 19, 2024.
  94. ^ "About Us". Emily Carr Elementary School. Vancouver School Board. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  95. ^ "Our School". Emily Carr MS. Ottawa–Carleton District School Board. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  96. ^ "Emily Carr – The Artist". Emily Carr Public School. Thames Valley District School Board. October 4, 2018. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  97. ^ "School History". Emily Carr Public School. Toronto District School Board. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  98. ^ "School Information". Emily Carr PS. Halton District School Board. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  99. ^ Planetary Gazetteer
  100. ^ "Emily Carr Inlet". BC Geographical Names.
  101. ^ "Finding aid to Emily Carr fonds at Library and Archives Canada" (PDF). Retrieved July 31, 2020.
  102. ^ "Emily Carr fonds description at Library and Archives Canada". Retrieved July 31, 2020.[permanent dead link]
  103. ^ "Emily Carr fonds at Heritage Canada". Retrieved July 31, 2020.

Cited sources

[edit]
  • Bridge, Kathryn Anne (2014). Emily Carr in England. Victoria, Canada: Royal BC Museum. ISBN 9780772667700.
  • Shadbolt, Doris (1990). Emily Carr. Vancouver: Douglas & McIntyre. ISBN 9780295970035.

Further reading

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[edit]