Emily Carr, born in Victoria, British Columbia, in 1871, stands as one of Canada's most iconic artists and writers. Her work, deeply rooted in the landscapes and Indigenous cultures of the Pacific Northwest, has left an indelible mark on Canadian art history. Carr's journey as an artist was both challenging and groundbreaking, marked by her relentless pursuit of artistic expression and her profound connection to the natural world.
Early Life and Artistic Beginnings
Emily Carr was born into a family of English heritage. Her father, Richard H. Carr, was a lively Kentish man with a deep appreciation for aesthetics, which he passed on to Emily. Unfortunately, both of her parents died before she turned fourteen, leaving her and her siblings under the care of their eldest sister. Emily, known for her rebellious spirit, soon persuaded the family guardian to allow her to study art in San Francisco. She attended the California School of Art, now known as the Mark Hopkins Institute of Art, from 1891 to 1893.
After her studies, Carr returned to Victoria, where she set up a studio in a renovated barn behind the family home. It was during this period that she first visited Ucluelet on Vancouver Island and began sketching an Indigenous village. Although she was not consciously seeking Indigenous motifs at that time, this experience planted the seeds for what would later become a central theme in her work.
Studies in England and the Influence of European Art
Carr's artistic ambitions took her to England in 1899, where she studied at various institutions, including the Westminster School of Art in London and the Meadows Studio in Bushey. During her time in England, she faced health challenges that required an 18-month convalescence at the East Anglia Sanatorium, an experience that inspired her book Pause. Despite these challenges, Carr continued to develop her skills and broaden her artistic horizons, studying landscape painting and drawing inspiration from the English countryside.
Her European studies continued in 1910 when she traveled to France, where she was introduced to the vibrant art scene in Paris. Carr studied at the Colarossi Academy and later under Harry Gibb, who encouraged her to embrace individuality and originality in her work. It was in France that Carr's style began to evolve, influenced by the Fauvist movement's bright colors and bold forms. Her work was even exhibited at the Salon d'Automne, marking a significant achievement in her early career.
Return to Canada and the Struggles of an Artist
Upon her return to Canada in 1912, Carr held an exhibition in Vancouver that showcased her French-influenced paintings. However, her new style was met with resistance, and she struggled to find acceptance in the conservative art community. Despite the rejection, Carr remained committed to her artistic vision, continuing to paint Indigenous villages and totems with a newfound intensity and brightness.
Financial difficulties forced Carr to take on various jobs, including teaching art, running a boarding house, and even raising Old English bobtail sheepdogs. During this time, she also began making pottery decorated with Indigenous designs, which became popular with tourists. However, these activities kept her away from painting for nearly 15 years.
Recognition and Connection with the Group of Seven
Carr's fortunes began to change in 1921 when Marius Barbeau, an ethnologist with a keen interest in Indigenous art, brought her work to the attention of Eric Brown, the director of the National Gallery of Canada. This connection eventually led to Carr's inclusion in the West Coast Indian Art exhibit organized by the National Gallery in 1927. Her work was well received, and she was introduced to members of the Group of Seven, a collective of Canadian landscape painters.
Lawren Harris, a prominent member of the Group of Seven, became a significant influence on Carr, encouraging her to explore new artistic directions. Under his mentorship, Carr developed a more dramatic and expressive style, capturing the spiritual essence of the British Columbia forests in works such as Blunden Harbour (1928-30), Indian Church (c. 1930), and Big Raven (1931). Harris's influence also prompted Carr to move beyond Indigenous motifs, leading her to focus on the natural landscapes that surrounded her.
Literary Achievements and Later Years
In the latter part of her life, as her health began to decline, Carr turned to writing. Encouraged by her friend Ira Dilworth, who later became her literary executor, Carr published several books, including Klee Wyck (1941), which won the Governor General's Award for non-fiction. Her writings, like her paintings, were deeply reflective of her love for the Pacific Coast and her experiences as an artist.
Emily Carr passed away in 1945 at the age of 74, leaving behind a legacy that continues to inspire generations of artists and writers. Her contributions to Canadian art have been recognized through numerous exhibitions, awards, and honors, including a posthumous honorary degree from the University of British Columbia.
Legacy and Impact
Today, Emily Carr is celebrated not only for her pioneering role in Canadian art but also for her unique voice in capturing the spirit of the Pacific Northwest. Her work is represented in major galleries across Canada, including the Vancouver Art Gallery, the Art Gallery of Ontario, and the National Gallery of Canada, as well as in numerous private collections. Carr's ability to convey the majesty of the natural world and her deep respect for Indigenous cultures have made her one of Canada's most beloved and influential artists.
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