2015年8月6日 星期四

Emily Carr, Detail of the totem pole

Emily Carr (December 13, 1871March 2, 1945) was a Canadian artist and writer.

Death

Emily Carr's gravestone
Emily Carr's gravestone
Emily Carr is interred in the Ross Bay Cemetery in Victoria. Her gravestone inscription reads "Artist and Author / Lover of Nature". Under Canada's copyright laws, Carr's works became public domain at the beginning of 1996, 50 years after her death.

Emily CarrQuotes:

"It is not all bad, this getting old, ripening. After the fruit has got its growth it should juice up and mellow. God forbid I should live long enough to ferment and rot and fall to the ground in a squash."

"Twenty can't be expected to tolerate sixty in all things, and sixty gets bored stiff with twenty's eternal love affairs."

"Life's an awfully lonesome affair. You come into the world alone and you go out of the world alone yet it seems to me you are more alone while living than even going and coming."

Early life and education

She was born in Victoria, British Columbia, and moved to San Francisco in 1890 to study art after the death of her parents. In 1899 she travelled to England to deepen her studies, where she spent time at the Westminster School of Art in London and at various studio schools in Cornwall, Bushey, Hertfordshire, San Francisco, and elsewhere. In 1910 , she spent a year studying art at the Académie Colarossi in Paris and elsewhere in France before moving back to British Columbia permanently the following year.
Odds and Ends, by Emily Carr
Odds and Ends, by Emily Carr

[edit] Artistic influences

Emily Carr was most heavily influenced by the landscape and First Nations cultures of British Columbia, and Alaska. Having visited a mission school beside the Nuu-chah-nulth community of Ucluelet in 1898, in 1908 she was inspired by a visit to Skagway and began to paint the totem poles of the coastal Kwakwaka'wakw, Haida, Tsimshian, Tlingit and other communities, in an attempt to record and learn from as many as possible. In 1913 she was obliged by financial considerations to return permanently to Victoria after a few years in Vancouver, both of which towns were, at that time, conservative artistically. Influenced by styles such as post-impressionism and Fauvism, her work was alien to those around her and remained unknown to and unrecognized by the greater art world for many years. For more than a decade she worked as a potter, dog breeder and boarding house landlady, having given up on her artistic career.
In the 1920s she came into contact with members of the Group of Seven after being invited by the National Gallery of Canada to participate in an exhibition of Canadian West Coast Art, Native and Modern. She traveled to Ontario for this show in 1927, where she met members of the Group, including Lawren Harris, whose support was invaluable. She was invited to submit her works for inclusion in a Group of Seven exhibition, the beginning of her long and valuable association with the Group. They named her 'The Mother of Modern Arts' around five years later.
The Nuu-chah-nulth of Vancouver Island's west coast had nicknamed Carr Klee Wyck, "the laughing one." She gave this name to a book about her experiences with the natives, published in 1941. The book won the Governor General's Award that year.

[edit] Her written work

Her other titles were The Book of Small (1942),The House of All Sorts (1944), Growing Pains (1946), Pause and The Heart of a Peacock (1953), and in 1966, Hundreds and Thousands. They reveal her to be an accomplished writer. Though mostly autobiographical, they have been found to be unreliable as to facts and figures if not in terms of mood and intent.

[edit] Recognition

Emily Carr Institute of Art and Design,

cgTW: Emily Carr Grad Show

- [ Translate this page ]
今天去參觀Emily Carr 的Grad Show...超多人也超多作品的...一開始先看Animation 的作品...發現很多有自己的風格,但是一大堆步是太長就是看不懂...animation 也還好. ...
Emily Carr public library in Victoria, British Columbia, Emily Carr Elementary School in Vancouver, British Columbia, Emily Carr Middle School in Ottawa, Ontario and Emily Carr Public Schools in London and Toronto, Ontario are named after the artist.








'Totem Walk at Sitka' / Emily Carr / Art Gallery of Greater Victoria / 94.55.4 Totem Walk at Sitka
Emily Carr
Art Gallery of Greater Victoria 94.55.4


Emily CARR (1871-1945)
The Nuu-chah-nulth of Vancouver Island's west coast had nicknamed Carr Klee Wyck, "the laughing one." She gave this name to a book about her experiences with the natives, published in 1941. The book won the Governor General's Award that year.


  • The Book of Small (1942)--Text--ZIP
  • The House of All Sorts (1944)--Text--ZIP



The Art of Emily Carr-US-
ISBN:9780888944412 (Paper cover book)
Shadbolt, Doris /Carr, Emily /Publisher:Douglas & McIntyre Ltd Published 2003/05


BookWeb価格: \3,572(税込)
外貨定価:US$ 35.00
円換算額:\3,969 値引額:\397(10% OFF)(税込) (A)




Baker&Taylor

Table of Contents
Preface
Prologue                                           11 (7)
     Artist of the Canadian West Coast
     The Woman Behind Carr's Writing
     The Painting as Autobiography
   The Background                                 18 (6)
     The Victoria Environment
     Home and Family
   Early Accomplishments                          24 (10)
     San Francisco
     England
     Vancouver, Victoria
     Commitment to the Indian Theme
   French Influence                               34 (18)
     Painting in France
     The French Manner Continued in British
     Columbia
     Fifteen Years Dormant
   Carr at the Turning Point                      52 (4)
     The Artist at Age Fifty-Six
     1927 and the Crucial Trip to Eastern
     Canada
   The Mature Years Commence                      56 (14)
     ``Religion and Art Are One''
     Important Influences: Harris and Tobey
     Last Indian Trips
   A Formal Period                                70 (36)
     A Postcubist Reference
     Use of Photographs
     A New Understanding of the Indian's Art
     Shift to the Forests
   Wider Contacts/Technical Changes               106(16)
     A Broader Context
     Developments in Technique
     Charcoal Drawings
     Oil-on-Paper Sketches
   A New Liberation                               122(16)
     ``A Picture Equals a Movement in Space''
     The Challenge of Mountains
   A New Integration                              138(42)
     Painting, The Totality of Experience
     A Measure of Abstraction
   Last Period                                    180(12)
     Return to the Indian Theme
     Portraits
     Last Nature Paintings
 Epilogue                                         192(6)
     A Context of ``Fresh Seeing''
     Carr's ``Real Success''
List of Reproductions and Photographs              198(22)
Reference Notes                                    220(2)
Bibliography                                       222









Detail of the totem pole in the Pitt Rivers Museum, Oxford, from Massett village, Haida Gwaii, North West Canada
Photograph by Malcolm Osman
Copyright © Oxford University Images / Pitt Rivers Museum -- All rights reserved.
This is a Rights Managed image.

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