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The elements of this language—its shapes, lines, colours, tones, and textures—are used in various ways to produce sensations of volume, space, movement, and light…. History at your fingertips. Sign up here to see what happened On This Day , every day in your inbox! By signing up, you agree to our Privacy Notice.

Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. More About. Articles from Britannica Encyclopedias for elementary and high school students. In Carr made a six-week painting trip to fifteen First Nations villages along the British Columbia coast.

After exhibiting the results in Vancouver, Carr settled in Victoria, where she lived by renting out rooms, growing fruit, breeding dogs, and, later, making pottery and rugs decorated with Native designs to sell to tourists. The exhibition included thirty-one of her paintings, as well as pottery and rugs.

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She came east for the opening, and in Toronto met members of the Group of Seven, beginning a lifelong correspondence with Lawren Harris. After the success of this trip, Carr returned to Victoria and began the most prolific period of her career. She painted Aboriginal subjects until , then took as her principal themes the trees and forests of British Columbia and the coastal skies.

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In she suffered a heart attack and devoted much of her time to writing. Predictably, Emily soon turned her cold shoulder to the Group of Seven one by one. She wrote in her journal that for years she had been at the mercy of the East; "Now they are far away and I stand alone on my perfectly good feet," and from now on she would "push with my own power, look with my own eyes. Her two surviving sisters, Lizzie and Alice, who for years had remained indifferent to her art, began to show a genuine interest. She gave many showings in her studio, where, if she wished a visitor to stay, she would lower a chair from the ceiling using a rope and pulley.

In the summer of , Emily travelled to Lillooet and Pemberton. Her art was reaching its best. She left her Hill Home apartment for a cottage, where at first she felt very lonely. In she wrote, "I seem to be enveloped in a dull ache composed of tiredness, homesickness, and loneliness Lizzie died and Emily herself had a heart attack in early News of her illness and critical financial position prompted Eric Brown to arrange to purchase eight of the paintings. She could now pay her hospital bills; suddenly she had supporters everywhere.

Emily Carr

Emily had become virtually an invalid. Angina and cardiac asthma where now added to all her other health problems: stiff knees, rheumatic hip, partial deafness, weight problems and others.

She exhibited frequently in , including a solo exhibit at the Toronto Art Gallery, and her work was compared favourably with even that of Vincent van Gogh. In the fall of , several of her paintings were featured by the National Gallery at a showing in London called "A Century of Canadian Art. She belongs to no school. Her inspiration is derived from within herself.

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Living among the moist mountains and giant pines of British Columbia, a country climatically different from the rest of Canada, she has had to invent a new set of conventions, a personal style of her own. Where the Eastern Canadians have been content to stylize the outward pageantry of the landscape, she has symbolized its inner meaning and in doing so has, as it were, humanized it. The next triumph was in Vancouver, where in the fall of the Vancouver Art Gallery exhibited twenty-nine of her forest scenes.

Eleven of them sold. After so many years of neglect, the Gallery wanted Emily, now past sixty-five and in poor health. She continued to work too hard and suffered a slight stroke in the spring of , but was back in the woods at her rented cottage by summer. Between and , she made four sketching trips.

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The quality of her work, however, was worsening and this caused her to become discouraged. Indian Church, painted on one of her trips to Nootka Island, depicts a one-room church all but engulfed by a primeval forest. A fragile symbol of faith in the form of a white building is set against a towering green tapestry of forest. It is a poetic vision of a forest at night with the dark tree forms and a faint light glowing from an opening in the central conical tree.

The mood is inviting yet fearful, with an almighty spirit strongly implied in the vast forest. Blunden Harbour is an excellent portrayal of the spirit of the totem poles which project feelings of mystical proportions. The powerful, inscrutable figures of the poles against the harmony of the sky, water and hills face the unknown in a timeless confrontation. Carr is now recognized also as a remarkable Western Canadian writer. Her diaries, entitled Hundreds and Thousands and published twenty years after her death, made it clear that her desire to express herself in words came early.

She was always attracted to writing. When she was a student she would make up little rhymes about her friends and illustrate them with pen-and-ink drawings. In her sketch sack, when she was leaving for field trips, she always carried a notebook. She used an interesting technique, "wording," as a means of clarifying her thoughts before painting. She insisted that it was the handling of thoughts, rather than the handling of paint, which overwhelmed her.

In her notebook she explained to herself why she wanted to paint a particular subject: what attracted her to it, and what meaning in the subject she was trying to express. She found that this system -- an articulation in words, as well as in colour and form -- gave her a double approach to her subjects which she found helpful.

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Her approach to painting and to writing was similar. In writing, she stuck to two guiding principles; first, to get to the point as directly as possible, and second, never to use a big word where a little one would do. She was persuaded, correctly as it turned Out, that while her mechanics and spelling were poor that if she were "ultra-honest, ultra-true, some deep realizing of life" would overcome other writing deficiencies.

She spoke many times in her diaries of the difficulties she had to overcome in writing. The whole difficulty seems to be getting the thoughts clear enough, making them stand still long enough to be fitted with words and paint. They are so elusive, like wild birds singing above your head, twittering close beside you, chortling in front of you, but gone the moment you can put out a hand.

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If you ever do catch hold of a piece of thought it breaks away leaving the piece in your hand just to aggravate you. Sincerity and honesty are closely related characteristics of her writing.

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She believed that an artist must speak clearly to people in terms of her own actual experience, enriched with the spirit and the soul. You will have to experiment Her written words are the equivalent of the brisk, sure brush strokes and splashes of dramatic, strong colours which are so characteristic of her canvases. Writing was both less physically difficult than painting and less likely to lead to criticism because she originally wrote with no thought of publishing.

When her health prevented trips to the forests, Emily turned to writing with zest. Her next book, The House of All Sorts, presented a bitter picture of her life as a boarding-house manager, when she struggled to make ends meet and tried to cope with the petty details of running a boarding house. Maria Tippett notes that most of her writing was done between the ages of sixty-three and seventy-one: "[Her stories] have in common many characteristics -- crotchetiness, alienation, exaggeration and sentimentality -- that had always been part of her personality but had become more pronounced in her old age.

Emily makes the reader share not only the things she loved but her dislikes -- the thoughtlessness of tenants, the hypocrisy of the English, the cruelty of her sisters -- all of which she was able to treat comically. Finally, she reveals herself in her stories: her morality, her sentimentality, her prejudices, her love of nature, even her meanness and the childlike side of her character, all are present. The recognition of Carr as a writer came even before her full acceptance as a painter. Klee Wyck, made up of sketches written at various times when she penetrated forests and visited Indian villages on the British Columbia coast, was a great success.

It meant "Laughing One" and was given to her not because, in the words of Ira Dilworth, "she laughed a great deal -- as she herself would say, there is not much of a giggle in her. But her laughter in Ucluelet went out to meet the Indians, taking the place of words, forming a bond between them. Both Macmillan and Ryerson presses initially rejected Klee Wyck for publication, but Ira Dilworth, the regional director of the CBC in Vancouver, was so impressed by her stories that he broadcast some of them in The first printing, dedicated to her Indian friend Sophie Frank, sold out. Congratulatory letters arrived at the gathering from many people, including the B.