Emily Carr A Canadian Artist and Writer and A Canadian Icon
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Emily Carr (December 13, 1871 — March 2, 1945) was a Canadian artist and writer heavily inspired by the indigenous peoples of the Pacific Northwest Coast. One of the first painters in Canada to adopt a modernist and post-impressionist painting style, Carr did not receive widespread recognition for her work until later in her life. As she matured, the subject matter of her painting shifted from aboriginal themes to landscapes, and in particular, forest scenes. As a writer, Carr was one of the earliest chroniclers of life in British Columbia. The Canadian Encyclopedia describes her as a “Canadian icon”.

In 1898 Carr made the first of several sketching and painting trips to aboriginal villages, visiting Ucluelet on the west coast of Vancouver Island, home to the Nuu-chah-nulth people, then commonly known to English speaking people as ‘Nootka’. While on holiday in Alaska with her sister Alice in 1907, Carr again came into contact with indigenous peoples in remote villages and determined to use her art to document the sculptural and artistic legacy of the aboriginal people she encountered there.

In the summer of 1912, Carr again traveled north, to the Queen Charlotte Islands and the Skeena River, where she documented the art of the Haida, Gitxsan and Tsimshian. At Cumshewa, a Haida village on Moresby Island, Carr painted a carved raven that she later turned into her iconic painting Big Raven. Tanoo, another painting inspired by work gathered on this trip, depicts three totems before house fronts at the village of the same name. On her return to the south, Carr organized an exhibit of some of this work, and delivered a detailed lecture about the aboriginal villages that she had visited which ended with her mission statement: “I glory in our wonderful west and I hope to leave behind me some of the relics of its first primitive greatness. These things should be to us Canadians what the ancient Briton’s relics are to the English. Only a few more years and they will be gone forever into silent nothingness and I would gather my collection together before they are forever past.”

The Association with the Group of Seven; It was at the exhibition on West Coast aboriginal art at the National Gallery in 1927 that Carr first met members of the Group of Seven, at that time Canada’s most recognized modern painters. Lawren Harris of the Group became a particularly important support: “You are one of us,” he told Carr, welcoming her into the ranks of Canada’s leading modernists.” The encounter ended the artistic isolation of Carr’s previous 15 years leading to one of the most prolific period,and the creation of many of her most recognizable works. Through her extensive correspondence with Harris, Carr also became aware of and studied northern European symbolism.

Emily Carr brought the north to the south; the west to the east; glimpses of the ancient culture of the indigenous peoples of the Americas to the most newly arrived Europeans on the continent.