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Emily Carr an Introduction to Her Life and Art

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Canadian artist and author (1871-1945)

Emily Carr
EmilyCarr.png

Undated photo of Carr
Born (1871-12-13)Dec xiii, 1871

Victoria, British Columbia, Canada
Died March ii, 1945(1945-03-02) (aged 73)

Victoria, British Columbia, Canada
Didactics San Francisco Art Institute
Westminster Schoolhouse of Fine art
Académie Colarossi
Known for Painting (The Indian Church, Big Raven), writing (Klee Wyck)
Motility Modernism, Post-Impressionism, Expressionism

Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist and author who was inspired by the Indigenous peoples of the Pacific Northwest Coast.[ane] Ane of the painters in Canada to adopt a Modernist and Post-Impressionist fashion,[2] Carr did not receive widespread recognition for her piece of work until she changed her subject matter from Aboriginal themes to landscapes — forest scenes in particular, evoking primeval grandeur.[i] Equally a writer Carr was i of the earliest chroniclers of life in British Columbia. The Canadian Encyclopedia describes her every bit a "Canadian icon".[three]

Early life [edit]

Born in Victoria, British Columbia, in 1871,[iv] the twelvemonth British Columbia joined Canada, Emily Carr was the second-youngest of nine children born to English parents Richard and Emily (Saunders) Carr.[5] [6] The Carr home was on Birdcage Walk (now Authorities Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself.

The Carr children were raised on English tradition. Her father believed it was sensible to live on Vancouver Island, a colony of Peachy Britain, where he could practice English customs and continue his British citizenship. The family habitation was made upward in lavish English fashion, with high ceilings, ornate moldings, and a parlor.[vii] Carr was taught in the Presbyterian tradition, with Sun forenoon prayers and evening Bible readings. Her father called on one child per calendar week to recite the sermon, and Emily consistently had trouble reciting it.[8]

Carr's mother died in 1886, and her father died in 1888.[9] Her oldest sister Edith Carr became the guardian of the residuum of the children.[10]

Carr's begetter encouraged her artistic inclinations, but it was just 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 likewise visited the Nootka Indian mission at Ucluelet on the west coast of Vancouver Island in 1898.[9] She traveled also to a rural fine art colony in St Ives, Cornwall, returning to British Columbia in 1905. Carr took a teaching position in Vancouver at the 'Ladies Fine 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 form, and the students began to boycott her courses.[11]

First works on Indigenous people [edit]

In 1898, at historic period 27, Carr fabricated the commencement of several sketching and painting trips to Aboriginal villages.[12] She stayed in a village near Ucluelet on the westward coast of Vancouver Isle, home to the Nuu-chah-nulth people, then commonly known to English-speaking people as 'Nootka'.[12] Carr recalled that her time in Ucluelet fabricated "a lasting impression on me". Her interest in Indigenous life was reinforced by a trip to Alaska nine years subsequently with her sister Alice.[12] In 1912, Carr took a sketching trip to First Nations' villages in Haida Gwaii, the Upper Skeena River, and Alert Bay.[9] Fifty-fifty though Carr left the villages of the Pacific Northwest, the bear on of the people stayed with her. Carr adopted the Indigenous proper name Klee Wyck and she also chose it as the championship of one of her works of writings.[13]

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.[xiv] In the lecture, she said "every pole shown in my collection has been studied from its ain actual reality..."

Work in France [edit]

Determined to further her noesis of the historic period'southward 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 Harry Gibb with a letter of introduction.[15] Upon viewing his work, she and her sister were shocked and intrigued[16] by his employ of distortion and vibrant color; she wrote: "Mr Gibb's landscapes and nonetheless life delighted me — brilliant, luscious, clean. Confronting the distortion of his nudes I felt revolt."[15] Carr'southward written report with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant color palette rather than standing with the pastel colors of her earlier British training.[17]

Emily Carr, Breton church, oil on canvas, 1906

Carr was greatly influenced by the Mail-Impressionists and the Fauvists she met and studied with in France. Subsequently returning dwelling house in 1912, she organized an exhibition in her studio of seventy watercolors and oils representative of her time at that place. She was the get-go artist to innovate Fauvism to Vancouver.[18]

Render to Canada [edit]

In March 1912 Carr opened a studio at 1465 Due west Broadway in Vancouver. When locals failed to support her radical new style, bold color palette and lack of particular, she airtight the studio and returned to Victoria.[19] In the summertime of 1912, Carr once again traveled north, to Haida Gwaii and the Skeena River, where she documented the art of the Haida, Gitxsan and Tsimshian. At Cumshewa, a Haida hamlet on Moresby Island, she wrote:

Cumshewa seems always to baste, e'er to exist blurred with mist, its foliage always to hang moisture-heavy ... these potent young trees ... grew upwards circular the battered one-time 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. Emily Carr, Klee Wyck.

Carr painted a carved raven, which she later developed equally her iconic painting Big Raven. Tanoo, some other painting inspired by piece of work gathered on this trip, depicts three totems earlier house fronts at the village of the same proper noun. On her return to the south, Carr organized an exhibit of some of this work. She gave a detailed lecture almost the Aboriginal villages that she had visited, which concluded with her mission statement:

I glory in our wonderful west and I promise to leave behind me some of the relics of its beginning archaic greatness. These things should be to us Canadians what the ancient Briton'due south relics are to the English. Only a few more years and they volition exist gone forever into silent nothingness and I would gather my collection together before they are forever past.[20]

While there was some positive reaction to her work, even in the new 'French' mode,[21] Carr perceived that Vancouver's reaction to her work and new style was not positive enough to support her career. She recounted equally much in her book Growing Pains. She was adamant to surrender teaching and working in Vancouver, and in 1913 she returned to Victoria, where several of her sisters still lived.[xv]

During the next 15 years, Carr did petty painting. She ran a boarding house known as the 'House of All Sorts'. Information technology was the namesake and provided source cloth for her later book. With her fiscal circumstances straitened and her life in Victoria circumscribed, Carr painted a few works in this catamenia fatigued from local scenes: the cliffs at Dallas Road, the trees in Buoy Hill Park. Her own assessment of the period was that she had ceased to paint, which was not strictly truthful, although "[a]rt had ceased to be the primary drive of her life."[22]

Emily Carr, Kitwancool, 1928

Growing recognition [edit]

Over fourth dimension Carr'southward piece of work came to the attention of several influential and supportive people, including Marius Barbeau, a prominent ethnologist at the National Museum in Ottawa. Barbeau in turn persuaded Eric Dark-brown, Director of Canada's National Gallery, to visit Carr in 1927.[23] Dark-brown invited Carr to exhibit her piece of 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.[24] The showroom, which also included works past Edwin Holgate and A.Y. Jackson, traveled to Toronto and Montreal.

Carr continued to travel throughout the tardily 1920s and 1930s away from Victoria. Her last trip north was in the summer of 1928, when she visited the Nass and Skeena rivers, as well equally Haida Gwaii, formerly known equally the Queen Charlotte Islands. She also travelled to Friendly Cove and the northeast coast of Vancouver Island, so to Lillooet in 1933. Recognition of her work grew steadily, and her work was exhibited in London, Paris, Washington, DC, and Amsterdam, also as major Canadian cities.[25] Carr held her first solo evidence in eastern Canada in 1935 at the Women's Art Association of Canada gallery in Toronto.[26]

Clan with the Group of Seven [edit]

Carr's The Indian Church building, 1929. Lawren Harris bought the painting and showcased it in his home. He considered it Carr's best work.

It was at the exhibition on West Declension Aboriginal fine art at the National Gallery in 1927 that Carr offset met members of the Group of 7, at that fourth dimension Canada's nearly recognized mod painters.[9] Lawren Harris of the Grouping became a particularly important support: "Y'all are one of usa," he told Carr, welcoming her into the ranks of Canada'due south leading modernists. The encounter ended the artistic isolation of Carr's previous 15 years, leading to one of her almost prolific periods, and the creation of many of her most notable works. Through her all-encompassing correspondence with Harris, Carr also became enlightened of and studied Northern European symbolism.[27]

Carr'southward artistic direction was influenced by the Group, and by Lawren Harris in particular, non only by his work, but also by his belief in Theosophy.[9] Carr struggled to reconcile this with her own conception of God.[28] Carr'southward "distrust for institutional religion" pervades much of her art.[29] She became influenced past Theosophic thought, similar 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 establishment. She painted raw landscapes found in the Canadian wilderness, mystically animated by a greater spirit.[29]

Influence of the Pacific Northwest school [edit]

In 1924 and 1925, Carr exhibited at the 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 avant-garde course in her studio. Working with Tobey, Carr furthered her understanding of modern art, experimenting with Tobey'southward methods of full-on abstraction and Cubism, but she was reluctant to follow Tobey beyond the legacy of Cubism.[27] [30] [31]

I was not ready for abstraction. I clung to earth and her dear shapes, her density, her herbage, her juice. I wanted her book and I wanted to hear her throb.[32]

Although Carr expressed reluctance most 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 adept Postal service-Impressionist style in favour of creating highly stylized and bathetic geometric forms.[30]

Focus shift and late life [edit]

Carr suffered a middle set on 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 heart attack.[33] With her ability to travel curtailed, Carr's focus shifted from her painting to her writing. The editorial assistance of Carr'southward friend Ira Dilworth, a professor of English, enabled Carr to see her own first book, Klee Wyck, published in 1941.[nine] Carr was awarded the Governor-Full general's Award for non-fiction the same twelvemonth for the work.[34] [35]

Paintings from Carr'southward concluding decade reveal her growing anxiety about the environmental impact of manufacture on British Columbia's mural. Her piece of work from this fourth dimension reflected her growing business 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 purple forestscapes that lured European and American tourists to the West Declension to reveal instead the bear upon of deforestation."[36]

Emily Carr suffered her final middle attack and died on March ii, 1945, at the James Bay Inn in her hometown of Victoria, British Columbia, shortly before she was to have been awarded an honorary doctorate past the Academy of British Columbia.[37] Carr is buried at Ross Bay Cemetery.

Work [edit]

Painting [edit]

To a higher place the Gravel Pit, 1937

Carr is remembered primarily for her painting. She was i of the offset artists to endeavor to capture the spirit of Canada in a mod 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, subsequently, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies".[3] She composite 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 advisedly distilled in her imagination".[three]

At the California School of Design in San Francisco, Carr participated in art classes which were focused on a diversity of artistic styles. Many of Carr's art professors were trained in the Beaux Arts tradition in Paris, French republic. Though she took classes in drawing, portraiture, still life, landscape painting, and flower painting, Carr preferred to paint landscapes.[38]

Carr is known for her paintings of Offset Nations villages and Pacific Northwest Indian totems, only Maria Tippett explains that Carr's rare depictions of the forests of British Columbia from within brand her work unique.[39] Carr synthetic a new agreement of Cascadia. This understanding includes a new approach to the presentation of native people and Canadian landscapes.[forty]

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. Subsequently Carr was exposed to these types of images, her paintings reflected these images of female parent and kid in Native carvings.[38]

Her painting can be divided into several distinct phases: her early on work, before her studies in Paris; her early paintings under the Fauvist influence of her time in Paris; a post-impressionist middle period[22] before her see with the Group of Seven; and her later, formal period, nether the mail service-cubist influences of Lawren Harris and American artist and friend, Marker Tobey.[41] Carr used charcoal and watercolor for her sketches, and later, firm paint thinned with gasoline on manila paper.[42] The greatest part of her mature work was oil on canvas or, when money was scarce, oil on paper.

On November 28, 2013, 1 of Carr's paintings, The Crazy Stair (The Crooked Staircase), sold for $three.39 million at a Toronto art auction.[43] Equally of the auction, it is a record price for a painting by a Canadian female artist.

Writing [edit]

Carr is likewise 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),[xv] Intermission (1953), The Eye of a Peacock (1953), and Hundreds and Thousands (1966). Some of these books are autobiographical and reveal Carr as an achieved writer. Criticisms have been fabricated of her dramatized short stories as many readers look them to exist historically accurate.[44]

Recognition [edit]

Carr'due south life itself made her a "Canadian icon", according to the Canadian Encyclopedia. As well as existence "an artist of stunning originality and strength", she was an exceptionally late bloomer, starting the piece of 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 social club, and working mostly in seclusion away from major art centers, thus making her "a darling of the women'southward motility" (see Georgia O'Keeffe, whom she met in 1930 in New York City).[three] Emily Carr brought the north to the south; the westward to the e; glimpses of the aboriginal culture of the Indigenous peoples of the Americas to the most newly arrived Europeans on the continent. However, information technology should exist recognized that art historians who write about Carr in depth often respond to their item points of view: Feminist studies (Sharyn R. Udall, 2000), Offset 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).[45]

In 1952, works by Emily Carr forth with those of David Milne, Goodridge Roberts and Alfred Pellan represented Canada at the Venice Biennale. [46]

On February 12, 1971 Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by William Rueter based on Carr'due south Big Raven (1931), held by the Vancouver Art Gallery.[47] On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed past Pierre-Yves Pelletier based on Forest, British Columbia (1931–1932), also from the Vancouver Art Gallery drove.[48]

In 2014–2015, the Dulwich Picture Gallery in south London hosted a solo exhibition, the first fourth dimension such prove was held in U.k..[49] 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 Westward Coast explored this aspect of Carr`southward work in detail.[50]

Minor planet 5688 Kleewyck is named after her.[51]

Institutions named for Carr [edit]

Emily Carr's gravestone, Ross Bay cemetery

  • Emily Carr Firm in Victoria, British Columbia[52]
  • Emily Carr University of Art and Design in Vancouver, British Columbia[53]
  • Emily Carr Public Library in Victoria, British Columbia[54]
  • Emily Carr Secondary School in Woodbridge, Ontario[ citation needed ]
  • Emily Carr Uncomplicated School in Vancouver, British Columbia[55]
  • Emily Carr Eye School in Ottawa, Ontario[56]
  • Emily Carr public schools in London,[57] Toronto,[58] and Oakville, Ontario[59]
  • In 1994, the Working Group for Planetary System Nomenclature of the International Astronomical Matrimony adopted the name Carr for a crater on Venus. The Carr crater has an estimate diameter of 31.nine kilometers.[60]
  • Emily Carr Inlet, an arm of Chapple Inlet on the N Coast of British Columbia[61]

Biographies [edit]

A consummate illustrated artist's biography of Emily Carr emphasising both her life and the evolution of her art is Emily Carr: A biography by Maria Tippett, Oxford University Press, 1979 (ISBN 9780887847561). Tippett'due south biography won the Governor General's Laurels for English-linguistic communication non-fiction in 1979.[62]

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, also every bit factually recounting incidents that may not take 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.[63] [64]

Athenaeum [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 Fine art Collection, and a wealth of archival documents in held in the fonds of Carr'southward friends. There is an Emily Carr fonds at Library and Athenaeum Canada.[65] The archival reference number is R1969, former archival reference number MG30-D215.[66] The fonds covers the date range 1891 to 1991. It consists of 1.764 meters of textual records, ten photographs, i print, 7 drawings. A number of the records have been digitized and are available online.[67] Library and Archives Canada also holds a number of other fonds containing material that bear upon Emily Carr and her artistic works.

Meet also [edit]

  • Modern art

References [edit]

  1. ^ a b Morra, Linda M. (2005). "Canadian Art According to Emily Carr". Canadian Literature. 185: 43–57. ISSN 0008-4360. Archived from the original on February iii, 2017. Retrieved March 19, 2017.
  2. ^ Lamoureux (2006)
  3. ^ a b c d Canadian Encyclopedia
  4. ^ Phaidon Editors (2019). Smashing women artists. Phaidon Press. p. 88. ISBN978-0-7148-7877-5.
  5. ^ BC Heritage
  6. ^ Vancouver Art Gallery
  7. ^ Braid (2000), p. 13.
  8. ^ Braid (2000), pp. 15–sixteen.
  9. ^ a b c d east f Kirkwood, Walker, Stephanie. This adult female in particular : contexts for the biographical image of Emily Carr. James, William Closson. Waterloo, Ontario. ISBN978-0-88920-565-nine. OCLC 923765615.
  10. ^ "Siblings of Emily Carr". web.archive.org. May 26, 2013. Archived from the original on October 29, 2019. Retrieved March 10, 2019.
  11. ^ Complect (2000), pp. 55–56.
  12. ^ a b c Tippett, Maria (1979). Emily Carr: A Biography. Toronto: Oxford University Printing. pp. 49–fifty.
  13. ^ Stewart, Janice (2005). "Cultural Appropriations and Identificatory Practices in Emily Carr's "Indian Stories"". Frontiers: A Journal of Women Studies. 26 (two): 59–72. doi:x.1353/fro.2005.0030. ISSN 0160-9009. JSTOR 4137396. S2CID 143814184.
  14. ^ "Emily Carr". Art Canada Institute - Institut de l'art canadien . Retrieved February 28, 2022.
  15. ^ a b c d Carr (2005)
  16. ^ Braid (2000), pp. 61–63.
  17. ^ Braid (2000), p. 66.
  18. ^ Baldissera (2015), p. 9.
  19. ^ Vancouver Art Gallery, Early totems Archived July 2, 2015, at the Wayback Auto
  20. ^ Shadbolt (1979), p. 38.
  21. ^ Shadbolt (1990), p. 40.
  22. ^ a b Shadbolt (1990), p. 42.
  23. ^ Shadbolt (1990), p. 52.
  24. ^ Shadbolt (1990), p. 53.
  25. ^ Breuer & Dodd (1984)
  26. ^ Holmlund & Youngberg (2003)
  27. ^ a b Vancouver Art Gallery, Artistic Context Archived July 18, 2012, at the Wayback Machine
  28. ^ Shadbolt (1990), p. 58.
  29. ^ a b Walker (1996), p. 114.
  30. ^ a b Vancouver Art Gallery, Modernism and Belatedly Totems Archived July eighteen, 2012, at the Wayback Machine
  31. ^ Appelhof (1988)
  32. ^ Carr (2005), p. 457.
  33. ^ Vancouver Fine art Gallery, Chronology Archived July xviii, 2012, at the Wayback Auto
  34. ^ National Historic Person
  35. ^ Governor General's Award
  36. ^ Baldissera (2015), p. 36.
  37. ^ Shadbolt (1990), p. 182.
  38. ^ a b Moray, Gerta (1999). ""T'Other Emily:" Emily Carr, the Modernistic Adult female Artist and Dilemmas of Gender". RACAR: Revue d'fine art canadienne / Canadian Art Review. 26 (1/2): 73–90. doi:10.7202/1071551ar. ISSN 0315-9906. JSTOR 42630612.
  39. ^ Tippett, Maria (1974). "Emily Carr's Forest". Journal of Forest History. 18 (iv): 133–137. doi:x.2307/3983325. ISSN 0094-5080. JSTOR 3983325. S2CID 163289654.
  40. ^ Thacker, Robert (1999). "Being on the Northwest Coast: Emily Carr, Cascadian". The Pacific Northwest Quarterly. 90 (4): 182–190. ISSN 0030-8803. JSTOR 40492516.
  41. ^ Shadbolt (1990), p. 70.
  42. ^ Vancouver Art Gallery, Technical Practices Archived July xviii, 2012, at the Wayback Auto
  43. ^ Slaughter (November 28, 2013)
  44. ^ Parkinson, Edward John (1988). READING AND WRITING EMILY CARR (PDF). Hamilton, Ontario: McMaster. Retrieved March 28, 2021.
  45. ^ Lacroix, Laurier (2010). "Writing fine art history in the Twentieth Century". The Visual Arts in Canada in the Twentieth Century. Canada: Oxford. p. 419. Retrieved Nov 24, 2020.
  46. ^ Venice Biennale
  47. ^ Canada Post Stamp (1971)
  48. ^ Canada Mail Stamp (1991)
  49. ^ "First European solo show of i of Canada's best-loved artists" (Printing release). Dulwich Film Gallery. Archived from the original on Dec 15, 2018. Retrieved December 11, 2018.
  50. ^ "Emily Carr: Fresh Seeing French Modernism and the Due west Coast/". royalbcmuseum.bc.ca. Purple BC Museum. Retrieved November 18, 2021.
  51. ^ (5688) Kleewyck In: Dictionary of Modest Planet Names. Springer. 2003. doi:10.1007/978-three-540-29925-7_5383. ISBN978-3-540-29925-7.
  52. ^ Emily Carr House. Canadian Register of Historic Places. Retrieved November 13, 2011.
  53. ^ "Emily Carr, the Artist". Emily Carr Academy of Art + Design. June 19, 2015. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  54. ^ "Emily Carr Branch". Greater Victoria Public Library. Archived from the original on December 15, 2018. Retrieved December 11, 2018.
  55. ^ "Almost U.s.a.". Emily Carr Elementary School. Vancouver School Board. Archived from the original on December fifteen, 2018. Retrieved December 11, 2018.
  56. ^ "Our Schoolhouse". Emily Carr MS. Ottawa–Carleton District School Board. Archived from the original on December 15, 2018. Retrieved Dec 11, 2018.
  57. ^ "Emily Carr – The Creative person". Emily Carr Public School. Thames Valley District School Board. Oct 4, 2018. Archived from the original on December xv, 2018. Retrieved Dec 11, 2018.
  58. ^ "School History". Emily Carr Public School. Toronto District School Board. Archived from the original on December fifteen, 2018. Retrieved December eleven, 2018.
  59. ^ "Schoolhouse Information". Emily Carr PS. Halton Commune School Board. Archived from the original on December 15, 2018. Retrieved December eleven, 2018.
  60. ^ Planetary Gazetteer
  61. ^ "Emily Carr Inlet". BC Geographical Names.
  62. ^ "Writing Other Lives". Times Colonist. November eighteen, 2007. Archived from the original on December 15, 2018. Retrieved December xi, 2018 – via PressReader.
  63. ^ Vreeland (2004)
  64. ^ The 2011 unpublished thesis,"Canadian Artist Emily Carr: A Psychoanalytic Portrait," by Phyllis Marie Jensen, PhD, was accustomed by the International School of Analytic Psychology in Zurich.
  65. ^ "Finding aid to Emily Carr fonds at Library and Archives Canada" (PDF) . Retrieved July 31, 2020.
  66. ^ "Emily Carr fonds description at Library and Archives Canada". Retrieved July 31, 2020.
  67. ^ "Emily Carr fonds at Heritage Canada". Retrieved July 31, 2020.

Sources [edit]

  • Appelhof, Ruth Stevens (1988). The Expressionist Mural: North American Modernist Painting, 1920–1947. Birmingham Museum of Art. p. 60. ISBN978-0-295-96691-5.
  • "Large Raven". Canadian Postal Archives Database. February 12, 1971. Archived from the original on Jan 1, 2013. Retrieved July 22, 2015.
  • Baldissera, Lisa (2015). Emily Carr: Life & Work (PDF). Art Canada Institute. ISBN978-one-4871-0044-five. Archived from the original (PDF) on October 7, 2015.
  • Complect, Kate (2000). Emily Carr: Rebel Artist. Toronto, Ontario: XYZ Éditeur. ISBN978-0-9683601-6-3.
  • Breuer, Michael; Dodd, Kerry Stonemason (1984). Sunlight in the Shadows: The Mural of Emily Carr. Toronto: Oxford University Press. p. 8. ISBN978-0-19-540464-7.
  • Carr, Emily (2005). Growing Pains: the Autobiography of Emily Carr (print ed.). Vancouver, British Columbia: Douglas & McIntyre. p. 430. ISBN1-55365-083-two. .
  • "Carr, Emily National Historic Person". Directory of Federal Heritage Designations. Parks Canada. March 15, 2012. Archived from the original on October 17, 2015. Retrieved October 2, 2013.
  • "Carr on Venus". Gazetteer of Planetary Nomenclature. Flagstaff, Arizona: International Astronomical Union (IAU) Working Group for Planetary System Nomenclature (WGPSN). October i, 2006. Retrieved July 22, 2015.
  • "Emily Carr: A Biographical Sketch". Vancouver Art Gallery . Retrieved Apr 21, 2010.
  • "Emily's Siblings". Emily Carr: At Habitation and at Piece of work. BC Heritage Branch, Province of British Columbia. Archived from the original on May 26, 2013. Retrieved February 18, 2013.
  • "Woods". Canadian Postal Archives Database. May 7, 1991. Archived from the original on Jan one, 2013. Retrieved July 22, 2015.
  • "Governor General's Literary Awards". Canada Council for the Arts. Government of Canada. Archived from the original on October iv, 2013. Retrieved August half dozen, 2013.
  • Holmlund, Mona; Youngberg, Gail (2003). Inspiring Women: A Celebration of Herstory. Coteau Books. p. 216. ISBN978-1-55050-204-6.
  • Lamoureux, Johanne (2006). "The Other French Modernity of Emily Carr". In Thom, Charles C.; Hill, Ian MacEwan (eds.). Emily Carr: New Perspectives on a Canadian Icon. Douglas & McIntyre. pp. 43–61. ISBN978-ane-55365-173-4. .
  • Shadbolt, Doris (1979). The Art of Emily Carr. Toronto, Ontario: Douglas & McIntyre and Clarke, Irwin & Company.
  • Shadbolt, Doris (1990). Emily Carr. Vancouver, British Columbia: Douglas & McIntyre. ISBN0-295-97003-0.
  • Shadbolt (June 23, 2013). "Emily Carr". Canadian Encyclopedia. Historica Canada. Retrieved July 21, 2015.
  • Slaughter, Graham (Nov 28, 2013). "Emily Carr painting sells for $3 meg at Toronto auction". Toronto Star . Retrieved July 21, 2015.
  • "Past Canadian Exhibitions". National Gallery of Canada at the Venice Biennale. National Gallery of Canada. Archived from the original on October thirteen, 2013. Retrieved October 12, 2013.
  • Vreeland, Susan (Feb 2004). The Wood Lover. Viking Press. ISBN978-0-670-03267-9.
  • Walker, Stephanie Kirkwood (1996). This Woman in Particular: Contexts for the Biographical Image of Emily Carr. Waterloo, Ontario: Wilfrid Laurier University Press. ISBN978-0-88920-263-iv.

Further reading [edit]

  • Bogart, Jo Ellen (2003), Emily Carr: At the Edge of the Globe, Maxwell Newhouse, ISBN0-88776-640-4
  • Carr, Emily (2006), Hundreds and Thousands: The Journals of Emily Carr, Douglas & McIntyre, ISBN978-1-55365-172-7
  • Crean, Susan (2001). The Laughing One:A Journey to Emily Carr. Toronto: HarperCollins Flamingo. ISBN978-0-00-200062-8 . Retrieved May 9, 2020.
  • Francis, Daniel (1992). The Imaginary Indian: The Paradigm of the Indian in Canadian Civilisation. Armory Pulp Printing. ISBN9781551524252 . Retrieved October 21, 2020.
  • Hughes, Mary Jo (2010). Emily Carr: On the Edge of Nowhere. Victoria, B.C.: Art Gallery of Greater Victoria. Retrieved June 19, 2021.
  • Klerks, Cat (2003), Emily Carr: The Incredible Life and Adventures of a Due west Coast Artist, Distance Pub, ISBNi-55153-996-9
  • Marchessault, Jovette (1992). The magnificent voyage of Emily Carr. Vancouver: Talonbooks. ISBN978-0-88922-314-one . Retrieved May 10, 2020.
  • Milroy (ed.), Sarah; Dejardin (ed.), Ian (2014). From the Forest to the Sea: Emily Carr in British Columbia. Toronto and London, England; Fredericton, N. B.: Art Gallery of Ontario and Dulwich Picture Gallery; Goose Lane Editions. Retrieved June 19, 2021.
  • Moray, Greta (2015). "Emily Carr and the Visionary British Columbia Landscape". Embracing Canada: Landscapes from Krieghoff to the Grouping of Seven. Ian G. Thom (ed.). Vancouver and London, Eng.: Vancouver Art Gallery and Black Dog Publishing. pp. 167ff. Retrieved May 20, 2021.
  • Moray, Gerta (2006). Unsettling encounters : First Nations imagery in the art of Emily Carr. Seattle: University of Washington Press. ISBN0-295-98608-5 . Retrieved May 10, 2020.
  • Newlands, Anne (1996). Emily Carr : an introduction to her life and art. Willowdale: Firefly Books Ltd. ISBN1-55209-045-0 . Retrieved May 10, 2020. .
  • Orford, Emily-Jane Hills. (2008). "The Creative Spirit: Stories of 20th Century Artists". Ottawa: Baico Publishing. ISBN 978-1-897449-eighteen-ix
  • Pearson, Ballad (1954). Emily Carr every bit I Knew Her. Toronto: Clark Irwin. ISBN1-77151-174-v.
  • Reid, Dennis. (1988). A Concise History of Canadian Painting 2d Edition. Toronto: Oxford University Press. ISBN 0-19-540663-X
  • Thom, Ian; Loma, Charles (eds.) (2006). Emily Carr: New Perspectives on a Canadian Icon. Douglas & McIntyre. ISBNi-55365-173-1.
  • Tippett, Maria (1979). Emily Carr: A Biography. Toronto: Toronto : Oxford University Press. ISBN0-nineteen-540314-2 . Retrieved May x, 2020.
  • Udall, Sharyn Rohlfsen (2001). Carr, O'Keeffe, Kahlo : places of their own. New Oasis: Yale Academy Press. ISBN978-0-300-09186-ane . Retrieved May x, 2020.
  • Watanabe, Kiriko; Span, Kathryn (2019). Emily Carr: Fresh Seeing—French Modernism and the West Coast. Whistler, B. C.: Audain Art Museum. Retrieved June 19, 2021.

External links [edit]

  • Works by Emily Carr at Faded Page (Canada)
  • Emily Carr Business firm
  • Detailed Biography of Emily Carr
  • The full text of some of Emily Carr's books is available from Project Gutenberg of Australia.
  • A virtual exhibit on the life of Emily Carr
  • National Motion-picture show Board of Canada short film for kids on Emily Carr
  • Gallery of Carr's paintings
  • Emily Carr, The Canadian Encyclopedia

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Source: https://en.wikipedia.org/wiki/Emily_Carr

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