Emily Carr (1871-1945) traveled to remote regions for inspiration for her art, vibrantly chronicling the rich culture of Northwest indigenous people and the dense forest of the West Coast. Carr's spiritually infused work was controversial in its day; today she is considered a master of the style. This book reflects more than a decade of meticulous research and includes reproductions of over 200 paintings, charcoals, and drawings, as well as extensive quotes from the artist, who was also a writer.
This book traces Emily Carr's trajectory from her life in Victoria, where she struggled to receive acceptance, to her status as one of Canada's most influential painters.
Recounts the life and career of an early twentieth-century Canadian painter noted for her depictions of the landscape of the Pacific Coast, many of which featured totem poles and other Native elements, and discusses her paintings
I put him in a tin and weighted it with a stone and hid it under a skunk cabbage. , very far up the stream, though it had not seemed a long way at all, when our big sister came around the bend behind us.
Vancouver, Toronto: Douglas & McIntyre Ltd., 1987. Carr, Emily. Fresh String. Two Addresses by Emily Carr. Toronto. Clarke, Irwin & Company Ltd., 1972. Carr, Emily. Growing Pains. An Autobiography. Toronto: Irwin Publishing Inc., 1946.
This book reminds us of what a joyous experience art can be, and can serve as an inspiration to children who love to look at the world and try to reflect its beauty in their own creations.
The book won the 1941 Governor General's Award. The original, unpublished title for the book was "Stories in Cedar". Carr instead chose "Klee Wyck", a nickname given to her by the First Nations people of Ucluelet. It means 'Laughing One'.
Published in conjunction with the exhibition at Dulwich Picture Gallery on November 1, 2014-March 8, 2015 and Art Gallery of Ontario on April 11-July 12, 2015.
Unsettling Encounters radically re-examines Emily Carr's achievement in representing Native life on the Northwest Coast, and her goals and achievements in representing Native villages and totem poles in her paintings...
" "The 40 full-colour paintings chosen for this book from the collection of the Vancouver Art Gallery are among Emily Carr's most popular, and they are accompanied by short quotations from her writing.
For many women, she is a heroine because of her tenacity and creative brilliance. She lives on, the complete if problematical feminist model, in the delectable self-portraits that pepper the pages of this collection.