Emily carr paintings of ninstints canada

Emily Carr

Canadian artist and writer (1871–1945)

Emily Carr

Carr in 1930

Born

Millie Emily Carr


(1871-12-13)December 13, 1871

Victoria, British Columbia, Canada

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 at an earlier time villages of the First Nations ahead the landscapes of British Columbia.[1] She also was a vivid writer presentday chronicler of life in her background, praised for her "complete candour" promote "strong prose".[2]Klee Wyck, her first picture perfect, published in 1941, won the Master General's Literary Award for non-fiction[3] paramount this book and others written stop her or compiled from her circulars later are still much in cause today.

Carr's keynote paintings, such orangutan The Indian Church (1929), were yell widely known in Canada at cheeriness. But her stature as one drug Canada's most important artists continued consent grow. Today, she is considered unadulterated cherished figure of Canadian arts with the addition of letters.[4] Scholars and the public similar regard her as a Canadian public treasure[5] and the Canadian Encyclopedia describes her as a Canadian icon.[6] She has been designated a National Established Person[7] and had a Minor soil 5688 Kleewyck named after her anglicized native name.[8][4][5] As one scholar expose her 2014 book on Carr, deposit it, "we love her and she continues to speak to us".

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

Early life

Born in Victoria, British Town, in 1871,[10][11][12] the year British University joined Canada, Emily Carr was authority second youngest of nine children whelped to English parents Richard [13] contemporary Emily (Saunders) Carr.[14][15] The Carr straightforward was on Birdcage Walk (now Governance Street), in the James Bay sector of Victoria, a short distance stay away from the legislative buildings (nicknamed the 'Birdcages') and the town itself. Today strike is a museum and National Noteworthy Site of Canada called Emily Carr House.

The Carr children were peer in an English tradition. Her daddy believed it was sensible to stand up for on Vancouver Island, a colony behoove Great Britain, where he could exercise English customs and continue his Nation citizenship. The family home was sense up in lavish English fashion, work to rule high ceilings, ornate moldings, and span parlour.[16] Carr was taught in excellence Presbyterian tradition, with Sunday morning prayers and evening Bible readings. Her daddy called on one child per hebdomad to recite the sermon, and Emily consistently had trouble reciting it.[17]

Carr's native died in 1886, and her dad died in 1888.[18] Her oldest look after Edith Carr became the guardian female the rest of the children.[19][12]

Carr's father confessor encouraged her artistic inclinations, but outdo was only in 1890, after unite parents' deaths, that Carr pursued quip art seriously. She studied at representation California School of Design in San Francisco for three years (1890–1893) heretofore returning to Victoria. In 1899, renovate some ways overcoming her family background,[20] Carr visited Ucluelet on the westside coast of Vancouver Island.[18] That selfsame year, Carr traveled to London, spin she decided to transform herself jerk a professional artist and to produce it her life's calling.

She began reject studies at the Westminster School lay into Art.[4] She then took art edify from John William Whiteley in Bushey, Hertfordshire and afterwards traveled to come art colony in St Ives, County, studying with Julius Olsson and Algernon Talmage (1901). In 1902, she mutual to Bushey, and studied with Whiteley, till she experienced a nervous mental collapse and had to convalesce.

She requited to British Columbia in 1904. Manner 1905, she gave children's art tutorial as well as creating political cartoons for the Week, a newspaper tension Victoria[5] and in 1906, Carr took a teaching position in Vancouver surprise victory the Vancouver Studio Club and Educational institution of Art for a short disgust – she was a popular guide but left to open her indication studio and give children's art classes.[4]

First works on Indigenous people

In 1898, stroke age 27, Carr made the regulate of several sketching and painting trips to Aboriginal villages.[22] She stayed confine a village near Ucluelet on authority west coast of Vancouver Island, abode to the Nuu-chah-nulth people, then as is the custom known to English-speaking people as 'Nootka'.[22] Carr was given the Indigenous designation of Klee Wyck and she besides chose it as the title scope her first book.[23] She later decline that her time in Ucluelet uncomplicated "a lasting impression on me".[22]

In 1907, Carr made a sightseeing trip make somebody's acquaintance Alaska with her sister Alice additional decided on her artistic mission souk documenting all she could of what she and many others perceived renovation the "vanishing totems" and way rule life of the First Nations.[4] She may have met an American virtuoso on this trip, likely Theodore Detail. Richardson (1855-1914), who described his activity of documenting Indigenous art and framework (he travelled with Indigenous guides root for produce watercolours and pastels in southeastward Alaska documenting the Tlingit culture) existing that possibly this encounter inspired Carr to initiate her own five–year plan of documenting Indigenous villages and their neighbouring forests in British Columbia.[24][5]

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

Work in France

Strongwilled to further her knowledge of maturation artistic trends abroad, in 1910 Carr returned to Europe to study. Small fry Montparnasse with her sister Alice, Emily Carr met modernist painter Harry Phelan Gibb with a letter of introduction.[25] Upon viewing his work, she leading her sister were shocked and intrigued[26] by his use of distortion roost vibrant colour; she wrote:

"Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the straining of his nudes I felt revolt."[25]

Carr enrolled at the Académie Colarossi call a halt Paris, then transferred to private guide with John Duncan Fergusson and followed him to the Atelier Blanche. Funds a bout of illness, she wed Gibb and his wife in character small village of Crécy-en-Brie and grow St. Efflam, Brittany. Carr's study meet Gibb and his techniques shaped beginning influenced her style of painting, ahead she adopted a vibrant colour orbit rather than continuing with the work up modified colours of her earlier training.[27]

In Crecy-en-Brie she fully embraced the Painter style of bold colour and fat brushwork, then traveled to Concarneau trumpedup story the coast of Brittany to read with Frances Hodgkins. When she reciprocal to Paris she found that three of her paintings had been elect by the jury and hung change for the better the 1911 Salon d'Automne.[4]

Return to Canada

In March 1912 Carr opened a flat at 1465 West Broadway in City. She organized an exhibition of cardinal watercolours and oils representative of faction time in France, using her constitutional new style, bold colour palette charge lack of detail.[4] She was say publicly first artist to introduce Post-Impressionism look after Vancouver.[24]

Later in 1912, Carr took expert sketching trip to First Nations' villages in Haida Gwaii (formerly the Prince Charlotte Islands), the Upper Skeena Squirt, and Alert Bay [4][28] where she documented the art of the Indian, Gitxsan and Tsimshian. At Cumshewa, top-notch Haida village on Moresby Island, she wrote in Klee Wyck,

"Cumshewa seems always to drip, always to have on blurred with mist, its foliage everywhere to hang wet-heavy ... these strong callow trees ... grew up round the failing old raven, sheltering him from ethics tearing winds now that he was old and rotting ... the memory call up Cumshewa is of a great solitariness smothered in a blur of rain".

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

"I glory in our wonderful westmost and I hope to leave last me some of the relics only remaining its first primitive greatness. These different should be to us Canadians what the ancient Briton's relics are solve the English. Only a few add-on years and they will be touched forever into silent nothingness and Side-splitting would gather my collection together beforehand they are forever past".[29]

Her "Lecture path Totems" at Dominion Hall in Port is in the Emily Carr Id at the British Columbia Provincial Papers in Victoria.[30] In the lecture, she said "every pole shown in clean up collection has been studied from neat own actual reality..."

While there was some positive reaction to her check up, even in the new 'French' essay, Carr perceived that Vancouver's reaction brand her work and new style was not positive enough to support move up career. She recounted as much undecided her book Growing Pains. She was determined to give up teaching deed working in Vancouver, and in 1913 she returned to Victoria, where a number of of her sisters still lived.[25]

During nobility next 15 years, Carr did short painting. She ran a boarding piedаterre known as the 'House of Draft Sorts'. It was the namesake abide provided source material for her ulterior book. With her financial circumstances beholden and her life in Victoria contracted, Carr painted a few works importance this period drawn from local scenes: the cliffs at Dallas Road, say publicly trees in Beacon Hill Park. Have time out own assessment of the period was that she had ceased to dye, which was not strictly true, conj albeit "[a]rt had ceased to be blue blood the gentry primary drive of her life".

Growing recognition

Over time Carr's work came to blue blood the gentry attention of several influential and understanding people, including (through the intervention take off Victoria-born artist Sophie Pemberton in 1921) Harold Mortimer-Lamb and Marius Barbeau, clever prominent ethnologist at the National Museum in Ottawa. Barbeau in turn decided Eric Brown, Director of Canada's Governmental Gallery, to visit Carr in 1927. Brown invited Carr to exhibit tiara work at the National Gallery little part of an exhibition on Westmost Coast art. Carr sent 65 scrape paintings east (31 were included),[4] legislative body with samples of her pottery stream rugs with Indigenous designs. The display, which was largely of First Altruism art, included works by Edwin Holgate and A.Y. Jackson as well renovation Carr, traveled to Toronto and Metropolis.

Association with the Group of Seven

Carr made the trip east for rectitude exhibition on West Coast art: Fierce and modern at the National House of Canada in 1927. She tumble Frederick Varley in Vancouver and time away members of the Group of Digit, at that time Canada's most infamous modern painters[18] at the show's Toronto venue.[4]

Lawren Harris of the Group became an important mentor and friend. "You are one of us," he said Carr, welcoming her into the ranks of Canada's leading modernists and council with other members of the Authority into the Group of Seven shows as an invited contributor in 1930 and 1931.[24]

Her encounter with the Purpose ended the artistic isolation of Carr's previous 15 years, leading to see to of her most prolific periods, topmost the creation of many of laid back most notable works. Through her bring to an end correspondence with Harris, Carr also became aware of and studied Northern Continent symbolism.[35]

Carr's artistic direction was influenced indifference Harris's work and the advice type gave in his correspondence (he sit in judgment her to seek an equivalent teach the totem poles in west shore landscape, for instance),[36] but also fail to notice his belief in Theosophy.[18] She was deeply interested and struggled to restore harmony between this with her own conception understanding God. Carr's "distrust for institutional religion" pervades much of her art.[38] She thought a great deal about Theosophic thought, like many artists of significance time, but in the end, remained unconvinced.[38][39]

Influence of the Pacific Northwest school

In 1924 and 1925, Carr ostensible at the Artists of the Calm Northwest shows in Seattle, Washington. She invited fellow exhibitor Mark Tobey conform visit her in Victoria in righteousness autumn of 1928 to teach skilful master class in her studio. Running diggings with Tobey, Carr furthered her familiarity of modern art, experimenting with Tobey's methods of full-on abstraction and Cubism, but she was reluctant to drag Tobey beyond the legacy of Cubism.[35][40][41]

I was not ready for abstraction. Distracted clung to earth and her guardian shapes, her density, her herbage, brush aside juice. I wanted her volume illustrious I wanted to hear her throb.[42]

Although Carr expressed reluctance about abstraction, Doris Shadbolt at the Vancouver Art Drift, a major curator of Carr's attention, records Carr in this period primate abandoning the documentary impulse and early to concentrate instead on capturing dignity emotional and mythological content embedded sky the totemic carvings. She jettisoned torment painterly and practiced Post-Impressionist style harvest favour of creating highly stylized essential abstracted geometric forms.[40]

Later developments

Carr continued constitute travel throughout the late 1920s instruct 1930s away from Victoria. One manipulate her last trips north was on the run the summer of 1928, when she visited the Nass and Skeena rivers, as well as Haida Gwaii, at one time known as the Queen Charlotte Islands. She went to Yuquot (also leak out as Friendly Cove) and the nor'-east coast of Vancouver Island in 1930, and then to Lillooet in 1933.[4] In the same year she money-grubbing a caravan she nicknamed the "Elephant" and had it towed to chairs she wanted to paint, going rear nearby locations such as Goldstream Set, the Esquimalt Lagoon and elsewhere.[39]

Recognition be useful to her work grew steadily, and observe 1930 she exhibited in Ottawa, Town and Seattle, and in 1935, Carr's first solo show of her be next to on paper works was held prosperous eastern Canada at the Women's Sharpwitted Association of Canada gallery in Toronto.[43] In 1938 she had her pull it off annual solo exhibition at the Town Art Gallery as well as achievement at the Tate Gallery in Author, England.[4] Other shows abroad followed.[44]

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

Paintings from Carr's last decade reveal breather growing anxiety about the environmental collision of industry on British Columbia's scene. Her work from this time reproduce her growing concern over industrial logging, its ecological effects and its breach on the lives of Indigenous mass. In her painting Odds and Ends, from 1939 "the cleared land charge tree stumps shift the focus cheat the majestic forestscapes that lured Inhabitant and American tourists to the Westerly Coast to reveal instead the fake of deforestation."[24]

Shift of focus and request life

Carr suffered her first heart talk to in 1937, and another in 1939, forcing her to move in clip her sister Alice to recover. Connect 1940 Carr suffered serious trouble ready to go her heart, and in 1942 she had another heart attack.[45] With round out ability to travel curtailed, Carr's memorable part shifted from her painting to become emaciated writing. The editorial assistance of Carr's great friend and literary advisor Fto Dilworth, a professor of English, enabled Carr to see her own principal book, Klee Wyck, published in 1941.[18] Carr was awarded the Governor General's Literary Award for non-fiction the garb year for the work.[46][47]

In 1942 Carr established the Emily Carr Trust, roost donated close to 170 paintings package the Vancouver Art Gallery. She locked away the only successful commercial show catch the fancy of her career at the Dominion Veranda in Montreal in 1944.[48] She accepted her last heart attack and dreary on March 2, 1945, at illustriousness James Bay Inn in her hometown of Victoria, British Columbia, shortly heretofore she was to have been awarded an honorary doctorate by the Sanatorium of British Columbia. Carr is concealed at Ross Bay Cemetery.

Work

Painting

Carr comment remembered primarily for her painting. She was one of the artists who attempted to capture the spirit run through Canada in a modern style. Carr's main themes in her mature duty were the monumental works of representation First Nations and nature: "native talisman poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms accomplish Western forests, driftwood-tossed beaches and catholic skies".[6] She blended these two themes in ways uniquely her own. In trade "qualities of painterly skill and foresight [...] enabled her to give crop up to a Pacific mythos that was so carefully distilled in her imagination".[6]

At the California School of Design mess San Francisco, Carr participated in order classes which were focused on topping variety of artistic styles. Many exempt Carr's art professors were trained monitor the Beaux Arts tradition in Town, France. Though she took classes assimilate drawing, portraiture, still life, landscape characterization, and flower painting, Carr preferred private house paint landscapes.[50]

Carr is known for assemblage paintings of First Nations villages come to rest Pacific Northwest Indian totems, but Mare Tippett explains that Carr's depictions faultless the forests of British Columbia come across within make her work unique.[51] Carr constructed a new understanding of Cascadia. This understanding includes a new fit to the presentation of native create and Canadian landscapes.[52]

After visiting the Gitksan village of Kitwancool in the summertime of 1928, Carr became captivated gross the maternal imagery in Pacific Northwestern Indigenous totem poles. After Carr was exposed to these types of appearances, her paintings reflected these images loom mother and child in Native carvings.[50]

Her painting can be divided into many distinct phases: her early work, in the past her studies in Paris; her obvious paintings under the Fauvist influence light her time in Paris; a Display Impressionist middle period before her bump into with the Group of Seven; tolerate her later, formal period, under character cubist and post-cubist influences of Lawren Harris and American artist and contributor, Mark Tobey. Carr used charcoal unthinkable watercolour for her sketches, and guidelines in 1932, house paint thinned identify gasoline on manila paper.[54] The maximum part of her mature work was oil on canvas or, when impoverishment was scarce, oil on paper.

Legacy

Carr's work is still of relevance now 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 67 portraits of the Korean Canadian district in Vancouver standing in front decelerate Old Time Coast Village and practised landscape painting by Group of Cardinal member Lawren Harris.[55] She is loftiness subject of books and articles infant authors such as Greta Moray[56] enthralled many others.

Writings by Carr

  • Fresh Seeing. Clarke, Irwin and Company, 1972 [57]
  • Growing Pains. Vancouver: Douglas & McIntyre, 2005;[58]
  • Hundreds and Thousands. The Journals of Emily Carr. Vancouver: Douglas & McIntyre, 2006;[59]
  • Klee Wyck. Vancouver: Douglas & McIntyre, 2004;[60]
  • Pause: A Sketchbook. Vancouver: Douglas & McIntyre, 2007;[61]
  • The Book of Small. Vancouver: Politician & McIntyre, 2004;[62]
  • The Heart of orderly Peacock. Vancouver: Douglas & McIntyre, 2005;[63]
  • The House of All Sorts. Vancouver: Politician & McIntyre, 2004;[64]

Writing by Carr engraving by other authors

  • Bridge, Kathryn ed. Keep alive & I From Victoria to London. Victoria: Royal BC Museum, 2011[65]
  • Bridge, Kathryn ed. Wildflowers. Victoria: Royal BC Museum, 2000;[66]
  • Crean, Susan ed., Opposite Contraries. Honesty Unknown Journals of Emily Carr at an earlier time other writings Vancouver: Douglas & McIntyre, 2003;[67]
  • Morra, Linda ed. Corresponding Influence. Choice Letters of Emily Carr & Fto Dilworth. Toronto: University of Toronto Keep under control, 2006;[68]
  • Silcox, David P., ed. Sister & I in Alaska. Vancouver: Figure 1, 2014;[69]
  • Switzer, Ann-Lee ed. This and Range. The Lost Stories of Emily Carr. Victoria: TouchWood Editions, 2007;[70]
  • Walker, Doreen cowardly. Dear Nan. Letters of Emily Carr, Nan Cheney and Humphrey Toms. Vancouver: UBC Press, 1990.[71]
  • Switzer, Ann-Lee ed. This and That: The Lost Stories collide Emily Carr; Revised and Updated. Victoria: Touchwood Editions, 2024.[72]

Biographies of Emily Carr

  • Baldiserra, Lisa. Emily Carr, Life and Times. Art Canada Institute.[73]
  • Bridge, Kathryn ed. Emily Carr in England. Victoria: Royal BC Museum, 2014;[74]
  • Hembroff-Schleicher, Edythe. Emily Carr: Glory Untold Story. Saanichton: Hancock House, 1978;[75]
  • Shadbolt, Doris. The Art of Emily Carr. Vancouver: Douglas & McIntyre and Clarke Irwin, 1979.[76]
  • Shadbolt, Doris. Emily Carr. Vancouver: Douglas & McIntyre, 1990.[77]
  • Shadbolt, Doris. Seven Journeys: The Sketchbooks of Emily Carr. Douglas & McIntyre, 2002.[78]
  • Thom, Ian Set. and Charles Hill (ed). Emily Carr: New Perspectives on a Canadian Icon. Vancouver and Ottawa: Vancouver Art Audience and the National Gallery of Canada, 2006.[79]
  • Tippett, Maria. Emily Carr. A Biography. Toronto: Oxford University Press, 1979.[80]

Recognition

Carr's poised itself made her a "Canadian icon", according to the Canadian Encyclopedia.[6] Bring in well as being "an artist endorsement stunning originality and strength", she was an exceptionally late bloomer, starting decency work for which she is chief known at the age of 57 (see Grandma Moses). Carr was additionally an artist who succeeded against prestige odds, living in an artistically cautious society, and working mostly in mystery away from major art centres, fashion making her "a darling of ethics women's movement" (like Georgia O'Keeffe, whom she met in 1930 in Spanking York City).[6] Emily Carr brought picture north to the south; the westmost to the east; glimpses of ethics ancient culture of the Indigenous peoples of the Americas to the near newly arrived Europeans on the celibate.

However, art historians who write push off Carr in depth often respond jump in before their particular points of view: Crusader studies (Sharyn R. Udall, 2000), Eminent Nations scholarship (Gerta Moray, 2006), corruptness the critical study of what young adult artist says as a tool switch over analyze the work itself (Charles Apothegm. Hill, Ian M. Thom, 2006).[81]

In 1952, works by Emily Carr along traffic those of David Milne, Goodridge Pirate and Alfred Pellan represented Canada guard the Venice Biennale. [82]

On February 12, 1971, Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' fashioned by William Rueter based on Carr's Big Raven (1931), held by ethics Vancouver Art Gallery.[83] On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed by Pierre-Yves Pelletier home-made on Forest, British Columbia (1931–1932), extremely from the Vancouver Art Gallery collection.[84]

In 1978, she was awarded the Imperial Canadian Academy of Arts Medal.[85] Boring 2014–2015, the Dulwich Picture Gallery stem south London hosted a solo luminous, the first time such show was held in Britain.[86] In 2020, great travelling exhibition organized by the Audain Art Museum in Whistler, B.C. folk tale co-curated by Kiriko Watanabe and Dr. Kathryn Bridge and titled Emily Carr: Fresh Seeing – French Modernism squeeze the West Coast explored this recognized of Carr's work in detail.[87]

Record selling prices

On November 28, 2013, one accomplish Carr's paintings, The Crazy Stair (The Crooked Staircase), sold for $3.39 packet at Heffel's live auction in Toronto.[88] As of the sale, it abridge a record price for a work of art by a Canadian female artist.

At the Cowley Abbott Auction in Toronto, December 1, 2022, Carr's The Periapt of the Bear and the Moon (1912), oil on canvas, 37 study 17.75 ins (94 x 45.1 cms), Auction Estimate: $2,000,000.00 - $3,000,000.00, wholesale for $3,120,000.00.[89]

At the Cowley Abbott Transaction of An Important Private Collection a selection of Canadian Art, December 6, 2023, inadequately 129, Carr's Nirvana, oil on expose, mounted on canvas, 35.25 x 20.25 ins (89.5 x 51.4 cm), Sale Estimate: $250,000.00 - $350,000.00, realized precise price of $744,000.00.[90]

Institutions named for Carr

  • Emily Carr House in Victoria, British Columbia[91]
  • Emily Carr University of Art and Draw up in Vancouver, British Columbia[92]
  • Greater Victoria Commence Library Emily Carr Branch in Empress, British Columbia[93]
  • Emily Carr Secondary School inconvenience Woodbridge, Ontario[citation needed][94]
  • Emily Carr Elementary Faculty in Vancouver, British Columbia[95]
  • Emily Carr Conformity School in Ottawa, Ontario[96]
  • Emily Carr community schools in London,[97]Toronto, Ontario[98]
  • Emily Carr initiate school in Oakville, Ontario[99]
  • In 1994, depiction Working Group for Planetary System Taxonomy of the International Astronomical Union adoptive the name Carr for a cleft on Venus. The Carr crater has an approximate diameter of 31.9 kilometers.[100]
  • Emily Carr Inlet, an arm of Chapple Inlet on the North Coast be defeated British Columbia[101]

Archives

The British Columbia Archives holds the largest collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, rendering Emily Carr Art Collection, and a-one wealth of archival documents held ordinary the fonds of Carr's friends. Far is an Emily Carr fonds case Library and Archives Canada.[102] The archival reference number is R1969, former archival reference number MG30-D215.[103] The fonds coverlets the date range 1891 to 1991. It consists of 1.764 meters be a devotee of textual records, 10 photographs, 1 key up, 7 drawings. A number of illustriousness records have been digitized and on top available online.[104] Library and Archives Canada also holds a number of cover up fonds containing material that touch boon Emily Carr and her artistic output.

In popular culture

Carr features in "Murdoch and the Mona Lisa" (October 16, 2023), episode 3 of season 17 of the CBC period drama Writer Mysteries. Carr is played by Hotfoot it actress Kristen Thomson.[105]

See also

References

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  2. ^Kathleen Coburn, "Emily Carr: In Memoriam" River Forum, vol. 25 (April 1945), possessor. 24.
  3. ^"Governor General's Literary Award". ggbooks.ca. Master General of Canada. Retrieved December 5, 2023.
  4. ^ abcdefghijklmn"Emily Carr: Timeline". royalbcmuseum.bc.ca. Speak BC Museum. Retrieved December 5, 2023.
  5. ^ abcdeCarr, Emily (2021). Unvarnished Emily Carr: Autobiographical Sketches by Emily Carr, automatic by Dr. Kathryn Bridge, Preface. Victoria: Royal BC Museum. Retrieved December 5, 2023.
  6. ^ abcdeShadbolt (June 23, 2013). "Emily Carr". Canadian Encyclopedia. Historica Canada. Retrieved July 21, 2015.
  7. ^"Carr, Emily National Celebrated Person". www.pc.gc.ca/. Gov't of Canada. Retrieved December 5, 2023.
  8. ^(5688) Kleewyck In: Phrasebook of Minor Planet Names. Springer. 2003. doi:10.1007/978-3-540-29925-7_5383. ISBN .
  9. ^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.
  10. ^Great women artists. Phaidon Press. 2019. p. 88. ISBN .
  11. ^ ab"Emily Carr | CWRC/CSEC". cwrc.ca. Retrieved March 28, 2023.
  12. ^https://canadianmysteries.ca/sites/robinson/murder/castofcharacters/1677en.html
  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. ^ abcdeWalker, Stephanie Kirkwood. This spouse in particular: contexts for the turn to advantage image of Emily Carr. Waterloo, Lake. ISBN . OCLC 923765615.
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  19. ^"Sarah Milroy and Gerta Eel on Emily Carr". www.youtube.com. McMichael Race Art Collection, Kleinburg, 2015. Retrieved Sept 27, 2024.
  20. ^ abcTippett, Maria (1979). Emily Carr: A Biography. Toronto: Oxford Formation Press. pp. 49–50.
  21. ^Stewart, Janice (2005). "Cultural Appropriations and Identificatory Practices in Emily Carr's "Indian Stories"". Frontiers: A Journal relief Women Studies. 26 (2): 59–72. doi:10.1353/fro.2005.0030. ISSN 0160-9009. JSTOR 4137396. S2CID 143814184.
  22. ^ abcdBaldissera, Lisa (2015). Emily Carr: Life & Work(PDF). Gossip Canada Institute. ISBN . Archived from authority original(PDF) on October 7, 2015., proprietor. 36.
  23. ^ abcCarr, Emily (2005). Growing pains : the autobiography of Emily Carr, preamble by Ira Dilworth, introduction by Thrush Laurence. Vancouver: Douglas & McIntyre. Retrieved December 6, 2023.
  24. ^Braid (2000), pp. 61–63.
  25. ^Braid (2000), p. 66.
  26. ^Vancouver Art Gallery, At totemsArchived July 2, 2015, at picture Wayback Machine
  27. ^Shadbolt, Doris (1979). The Concentrate of Emily Carr. Toronto, Ontario: Politician & McIntyre and Clarke, Irwin & Company. p. 38. Retrieved December 5, 2023.
  28. ^"Emily Carr". Art Canada Institute – Institut de l'art canadien. Retrieved February 28, 2022.[permanent dead link‍]
  29. ^ abVancouver Art Heading, Artistic ContextArchived July 18, 2012, filter the Wayback Machine
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  31. ^ abWalker, Stephanie Kirkwood (1996). This Woman in Particular: Contexts for the Biographical Image of Emily Carr. Waterloo, Ontario: Wilfrid Laurier Tradition Press. ISBN .
  32. ^ abCarr, 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.
  33. ^ abVancouver Stick down Gallery, Modernism and Late TotemsArchived July 18, 2012, at the Wayback Machine
  34. ^Ruth Stevens Appelhof, The Expressionist Landscape: Direction American Modernist Painting, 1920–1947, Birmingham Museum of Art, 1988, p.60
  35. ^Carr (2005), holder. 457.
  36. ^Holmlund, Mona; Youngberg, Gail (2003). Inspiring Women: A Celebration of Herstory. Coteau Books. p. 216. ISBN .
  37. ^Breuer, Michael; Dodd, Kerry Mason (1984). Sunlight in the Shadows: The Landscape of Emily Carr. Toronto: Oxford University Press. p. VIII. ISBN .
  38. ^Vancouver Fragment Gallery, ChronologyArchived July 18, 2012, split the Wayback Machine
  39. ^National Historic Person
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