Emily carr life biography of senator

Canadian artist and writer (1871–1945)

Emily Carr
Carr in 1930
Born	Millie Emily Carr (1871-12-13)December 13, 1871 Victoria, Island Columbia, Canada
Died	March 2, 1945(1945-03-02) (aged 73) Victoria, British Columbia, Canada
Resting place	Ross Roar Cemetery, Victoria, British Columbia
Education
Known for	Painting, writing
Notable work
Style	Post-Impressionism
Movement	Group of Seven (associated)

Emily Carr (December 13, 1871 – Hoof it 2, 1945) was a Crawl artist who was inspired near the monumental art and villages of the First Nations arm the landscapes of British Columbia.^[1] She also was a brilliant writer and chronicler of career in her surroundings, praised broadsheet her "complete candour" and "strong prose".^[2]Klee Wyck, her first unqualified, published in 1941, won authority Governor General's Literary Award subsidize non-fiction^[3] and this book gain others written by her be successful compiled from her writings next are still much in bring about today.

Carr's keynote paintings, specified as The Indian Church (1929), were not widely known form Canada at first. But attend stature as one of Canada's most important artists continued craving grow. Today, she is ostensible a cherished figure of Race arts and letters.^[4] Scholars allow the public alike regard have a lot to do with as a Canadian national treasure^[5] and the Canadian Encyclopedia describes her as a Canadian icon.^[6] She has been designated fine National Historic Person^[7] and locked away a Minor planet 5688 Kleewyck named after her anglicized ferocious name.^[8][4][5] As one scholar set up her 2014 book on Carr, put it, "we love wise and she continues to converse to us".

Emily Carr lived wellnigh of her life in goodness city in which she was born and died, Victoria, Country Columbia.

Early life

Born in Empress, British Columbia, in 1871,^[10][11][12] magnanimity year British Columbia joined Canada, Emily Carr was the in no time at all youngest of nine children intelligent to English parents Richard ^[13] and Emily (Saunders) Carr.^[14][15] Illustriousness Carr home was on Birdcage Walk (now Government Street), hold back the James Bay district regard Victoria, a short distance reject the legislative buildings (nicknamed integrity 'Birdcages') and the town upturn.

Today it is a museum and National Historic Site deserve Canada called Emily Carr Household.

The Carr children were marvellous in an English tradition. Accumulate father believed it was discreet to live on Vancouver Refuge, a colony of Great Kingdom, where he could practice Candidly customs and continue his Nation citizenship.

The family home was made up in lavish Land fashion, with high ceilings, beautiful moldings, and a parlour.^[16] Carr was taught in the Protestant tradition, with Sunday morning prayers and evening Bible readings. Safe father called on one descendant per week to recite prestige sermon, and Emily consistently locked away trouble reciting it.^[17]

Carr's mother epileptic fit in 1886, and her cleric died in 1888.^[18] Her win initially sister Edith Carr became primacy guardian of the rest appreciate the children.^[19][12]

Carr's father encouraged make up for artistic inclinations, but it was only in 1890, after jilt parents' deaths, that Carr pursue her art seriously.

She worked at the California School a mixture of Design in San Francisco ration three years (1890–1893) before cyclical to Victoria. In 1899, efficient some ways overcoming her brotherhood background,^[20] Carr visited Ucluelet overwhelm the west coast of Town Island.^[18] That same year, Carr traveled to London, where she decided to transform herself smash into a professional artist and snip make it her life's calling.

She began her studies at probity Westminster School of Art.^[4] She then took art classes punishment John William Whiteley in Bushey, Hertfordshire and afterwards traveled cap an art colony in Counselor Ives, Cornwall, studying with Julius Olsson and Algernon Talmage (1901).

In 1902, she returned give somebody the job of Bushey, and studied with Whiteley, till she experienced a sensitive breakdown and had to recuperate.

She returned to British River in 1904. In 1905, she gave children's art classes importance well as creating political cartoons for the Week, a journal in Victoria^[5] and in 1906, Carr took a teaching tilt in Vancouver at the Town Studio Club and School emulate Art for a short generation – she was a universal teacher but left to launch her own studio and net children's art classes.^[4]

First works discovery Indigenous people

In 1898, at remove 27, Carr made the prime of several sketching and portrait trips to Aboriginal villages.^[22] She stayed in a village nigh Ucluelet on the west strand of Vancouver Island, home spread the Nuu-chah-nulth people, then usually known to English-speaking people style 'Nootka'.^[22] Carr was given glory Indigenous name of Klee Wyck and she also chose take in as the title of unqualified first book.^[23] She later use a fade that her time in Ucluelet made "a lasting impression tie in with me".^[22]

In 1907, Carr made neat as a pin sightseeing trip to Alaska deal her sister Alice and established on her artistic mission vacation documenting all she could influence what she and many remains perceived as the "vanishing totems" and way of life introduce the First Nations.^[4] She might have met an American organizer on this trip, likely Theodore J.

Richardson (1855-1914), who alleged his project of documenting Local art and architecture (he cosmopolitan with Indigenous guides to become a member watercolours and pastels in southeast Alaska documenting the Tlingit culture) and that possibly this happen upon inspired Carr to initiate round out own five–year project of documenting Indigenous villages and their neighbourhood forests in British Columbia.^[24][5]

From 1908 to 1910 she made diverse trips to First Nations communities to record art and villages.^[5]

Work in France

Determined to also her knowledge of evolving cultured trends abroad, in 1910 Carr returned to Europe to read.

In Montparnasse with her baby Alice, Emily Carr met modernist painter Harry Phelan Gibb go out with a letter of introduction.^[25] Flood in viewing his work, she ahead her sister were shocked final intrigued^[26] by his use several distortion and vibrant colour; she wrote:

"Mr Gibb's landscapes and undertake life delighted me — droll, luscious, clean.

Against the harm of his nudes I change revolt."^[25]

Carr enrolled at the Académie Colarossi in Paris, then transferred to private lessons with Ablutions Duncan Fergusson and followed him to the Atelier Blanche. Back end a bout of illness, she joined Gibb and his bride in the small village get ahead Crécy-en-Brie and then St.

Efflam, Brittany. Carr's study with Gibb and his techniques shaped discipline influenced her style of image, and she adopted a animated colour palette rather than immortal with the more modified standard aspect of her earlier training.^[27]

In Crecy-en-Brie she fully embraced the Fauvist style of bold colour fairy story broad brushwork, then traveled ordain Concarneau on the coast admire Brittany to study with Frances Hodgkins.

When she returned unearthing Paris she found that bend in half of her paintings had back number selected by the jury attend to hung in the 1911 Loll d'Automne.^[4]

Return to Canada

In March 1912 Carr opened a studio presume 1465 West Broadway in Navigator. She organized an exhibition be alarmed about seventy watercolours and oils retailer of her time in Writer, using her radical new category, bold colour palette and deficiency of detail.^[4] She was magnanimity first artist to introduce Post-Impressionism to Vancouver.^[24]

Later in 1912, Carr took a sketching trip nip in the bud First Nations' villages in Indian Gwaii (formerly the Queen City Islands), the Upper Skeena Stream, and Alert Bay ^[4][28] swivel she documented the art characteristic the Haida, Gitxsan and Penutian.

At Cumshewa, a Haida district on Moresby Island, she wrote in Klee Wyck,

"Cumshewa seems always to drip, always involve be blurred with mist, betrayal foliage always to hang wet-heavy ... these strong young trees ... grew up round the dilapidated stow raven, sheltering him from grandeur tearing winds now that unquestionable was old and rotting ...

excellence memory of Cumshewa is make known a great lonesomeness smothered pound a blur of rain".

Carr varnished a carved raven, which she later developed as her iconic painting Big Raven. Tanoo, on the subject of painting inspired by work concentrated on this trip, depicts two totems before house fronts even the village of the garb name.

On her return hold down the south, Carr organized shipshape and bristol fashion large exhibition of some remind you of this work. She gave topping detailed public talk titled "Lecture on Totem Poles" about probity Aboriginal villages that she abstruse visited, which ended with sagacious mission statement:

"I glory leisure pursuit our wonderful west and Rabid hope to leave behind nickname some of the relics remind you of its first primitive greatness.

These things should be to lonely Canadians what the ancient Briton's relics are to the Humanities. Only a few more majority and they will be touch forever into silent nothingness plus I would gather my storehouse together before they are for good and all past".^[29]

Her "Lecture on Totems" unconscious Dominion Hall in Vancouver recapitulate in the Emily Carr Id at the British Columbia Unsophisticated Archives in Victoria.^[30] In goodness lecture, she said "every obstruct shown in my collection has been studied from its beg to be excused actual reality..."

While there was some positive reaction to pretty up work, even in the creative 'French' style, Carr perceived wind Vancouver's reaction to her prepare and new style was call for positive enough to support relax career.

She recounted as even in her book Growing Pains. She was determined to bear up teaching and working tight spot Vancouver, and in 1913 she returned to Victoria, where many of her sisters still lived.^[25]

During the next 15 years, Carr did little painting. She ran a boarding house known similarly the 'House of All Sorts'.

It was the namesake distinguished provided source material for assimilation later book. With her pecuniary circumstances straitened and her being in Victoria circumscribed, Carr finished a few works in that period drawn from local scenes: the cliffs at Dallas Deceased, the trees in Beacon Construction Park. Her own assessment friendly the period was that she had ceased to paint, which was not strictly true, though "[a]rt had ceased to distrust the primary drive of an extra life".

Growing recognition

Over time Carr's uncalled-for came to the attention female several influential and supportive supporters, including (through the intervention long-awaited Victoria-born artist Sophie Pemberton confine 1921) Harold Mortimer-Lamb and Marius Barbeau, a prominent ethnologist move the National Museum in Algonquian.

Barbeau in turn persuaded Eric Brown, Director of Canada's Folk Gallery, to visit Carr bond 1927. Brown invited Carr abide by exhibit her work at depiction National Gallery as part pills an exhibition on West Slither art. Carr sent 65 disappointed paintings east (31 were included),^[4] along with samples of concoct pottery and rugs with Fierce designs.

The exhibition, which was largely of First Nations focus, included works by Edwin Holgate and A.Y. Jackson as chuck as Carr, traveled to Toronto and Montreal.

Association with position Group of Seven

Carr made depiction trip east for the traveling fair on West Coast art: Indigenous and modern at the State Gallery of Canada in 1927.

She met Frederick Varley enclosure Vancouver and other members interrupt the Group of Seven, squabble that time Canada's most stiff modern painters^[18] at the show's Toronto venue.^[4]

Lawren Harris of blue blood the gentry Group became an important guide and friend. "You are rob of us," he told Carr, welcoming her into the ranks of Canada's leading modernists abide along with other members decelerate the Group into the Order of Seven shows as program invited contributor in 1930 become more intense 1931.^[24]

Her encounter with the Assemblage ended the artistic isolation noise Carr's previous 15 years, cover to one of her chief prolific periods, and the whim of many of her uttermost notable works.

Through her put the last touches to correspondence with Harris, Carr besides became aware of and troubled Northern European symbolism.^[35]

Carr's artistic train was influenced by Harris's crack and the advice he gave in his correspondence (he bad her to seek an market price for the totem poles be of advantage to west coast landscape, for instance),^[36] but also by his doctrine in Theosophy.^[18] She was profoundly interested and struggled to harmonize this with her own commencement of God.

Carr's "distrust stick up for institutional religion" pervades much persuade somebody to buy her art.^[38] She thought organized great deal about Theosophic notion, like many artists of integrity time, but in the proposal, remained unconvinced.^[38][39]

Influence of the At peace Northwest school

In 1924 pole 1925, Carr exhibited at character Artists of the Pacific Nor'west shows in Seattle, Washington.

She invited fellow exhibitor Mark Painter to visit her in Town in the autumn of 1928 to teach a master do better than in her studio. Working give up Tobey, Carr furthered her event of modern art, experimenting tally up Tobey's methods of full-on duplication and Cubism, but she was reluctant to follow Tobey forgotten the legacy of Cubism.^[35][40][41]

I was not ready for abstraction.

Farcical clung to earth and discard dear shapes, her density, give someone the boot herbage, her juice. I welcome her volume and I welcome to hear her throb.^[42]

Although Carr expressed reluctance about abstraction, Doris Shadbolt at the Vancouver Consume Gallery, a major curator short vacation Carr's work, records Carr carry this period as abandoning honesty documentary impulse and starting be concentrate instead on capturing representation emotional and mythological content ineradicable in the totemic carvings.

She jettisoned her painterly and able Post-Impressionist style in favour method creating highly stylized and heedless geometric forms.^[40]

Later developments

Carr continued hinder travel throughout the late Decade and 1930s away from Town. One of her last trips north was in the season of 1928, when she visited the Nass and Skeena rivers, as well as Haida Gwaii, formerly known as the Monarch Charlotte Islands.

She went stop with Yuquot (also known as Affable Cove) and the northeast sea-coast of Vancouver Island in 1930, and then to Lillooet row 1933.^[4] In the same collection she bought a caravan she nicknamed the "Elephant" and abstruse it towed to places she wanted to paint, going gap nearby locations such as Goldstream Flats, the Esquimalt Lagoon flourishing elsewhere.^[39]

Recognition of her work grew steadily, and in 1930 she exhibited in Ottawa, Victoria abstruse Seattle, and in 1935, Carr's first solo show of disintegrate oil on paper works was held in eastern Canada close the Women's Art Association look up to Canada gallery in Toronto.^[43] Infringe 1938 she had her labour annual solo exhibition at loftiness Vancouver Art Gallery as famously as success at the Condemn Gallery in London, England.^[4] Harass shows abroad followed.^[44]

She began fulfil meet other artists.

In 1930, for instance, Carr travelled soft-soap New York and met Sakartvelo O'Keeffe.^[4] In 1933, she was a founding member of distinction Canadian Group of Painters.^[4]

Paintings deprive Carr's last decade reveal show growing anxiety about the environmental impact of industry on Land Columbia's landscape.

Her work suffer the loss of this time reflected her immature concern over industrial logging, warmth ecological effects and its desecration on the lives of Feral people. In her painting Odds and Ends, from 1939 "the cleared land and tree stumps shift the focus from illustriousness majestic forestscapes that lured Indweller and American tourists to position West Coast to reveal preferably the impact of deforestation."^[24]

Shift show focus and late life

Carr acceptable her first heart attack management 1937, and another in 1939, forcing her to move response with her sister Alice be acquainted with recover.

In 1940 Carr agreeable serious trouble with her diametrically, and in 1942 she locked away another heart attack.^[45] With amalgam ability to travel curtailed, Carr's focus shifted from her sketch account to her writing. The op-ed article assistance of Carr's great boon companion and literary advisor Ira Dilworth, a professor of English, enabled Carr to see her common first book, Klee Wyck, promulgated in 1941.^[18] Carr was awarded the Governor General's Literary Furnish for non-fiction the same best for the work.^[46][47]

In 1942 Carr established the Emily Carr Commend, and donated close to Cardinal paintings to the Vancouver Sharp Gallery.

She had the lone successful commercial show of accompaniment career at the Dominion Onlookers in Montreal in 1944.^[48] She suffered her last heart assail and died on March 2, 1945, at the James Yell Inn in her hometown flawless Victoria, British Columbia, shortly already she was to have back number awarded an honorary doctorate fail to notice the University of British University.

Carr is buried at Abhorrent Bay Cemetery.

Work

Painting

Carr is unfading primarily for her painting. She was one of the artists who attempted to capture probity spirit of Canada in a-okay modern style. Carr's main themes in her mature work were the monumental works of birth First Nations and nature: "native totem poles set in depressed forest locations or sites lady abandoned native villages" and, following, "the large rhythms of Legend forests, driftwood-tossed beaches and expandable skies".^[6] She blended these match up themes in ways uniquely discard own.

Her "qualities of painterly skill and vision [...] enabled her to give form breathe new life into a Pacific mythos that was so carefully distilled in organized imagination".^[6]

At the California School medium Design in San Francisco, Carr participated in art classes which were focused on a multiplicity of artistic styles.

Many go together with Carr's art professors were hysterical in the Beaux Arts convention in Paris, France. Though she took classes in drawing, painting, still life, landscape painting, existing flower painting, Carr preferred appoint paint landscapes.^[50]

Carr is known rent her paintings of First Offerings villages and Pacific Northwest Asian totems, but Maria Tippett explains that Carr's depictions of righteousness forests of British Columbia strange within make her work unique.^[51] Carr constructed a new contract of Cascadia.

This understanding includes a new approach to ethics presentation of native people professor Canadian landscapes.^[52]

After visiting the Gitksan village of Kitwancool in righteousness summer of 1928, Carr became captivated by the maternal allusion in Pacific Northwest Indigenous obsession poles.

After Carr was uncovered to these types of carbons copy, her paintings reflected these angels of mother and child enhance Native carvings.^[50]

Her painting can substance divided into several distinct phases: her early work, before the brush studies in Paris; her mistimed paintings under the Fauvist way of her time in Paris; a Post Impressionist middle spell before her encounter with honourableness Group of Seven; and become emaciated later, formal period, under magnanimity cubist and post-cubist influences glimpse Lawren Harris and American manager and friend, Mark Tobey.

Carr used charcoal and watercolour endorse her sketches, and beginning quick-witted 1932, house paint thinned recognize gasoline on manila paper.^[54] Honesty greatest part of her fully fledged work was oil on sweep or, when money was unusual, oil on paper.

Legacy

Carr's awl is still of relevance these days to contemporary artists.

Her picture Old Time Coast Village (1929–30) is referred to in Asiatic Canadian artist Jin-me Yoon's A Group of Sixty-Seven (1996). Righteousness work is composed of lxvii portraits of the Korean Hotfoot it community in Vancouver standing pin down front of Old Time Toboggan Village and a landscape characterization by Group of Seven participant Lawren Harris.^[55] She is dignity subject of books and piece of writing by authors such as Greta Moray^[56] and 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 lecture Emily Carr. Vancouver: Douglas & McIntyre, 2006;^[59]
• Klee Wyck.

  Vancouver: Pol & McIntyre, 2004;^[60]

• Pause: A Sketchbook. Vancouver: Douglas & McIntyre, 2007;^[61]
• The Book of Small. Vancouver: Politician & McIntyre, 2004;^[62]
• The Heart aristocratic a Peacock. Vancouver: Douglas & McIntyre, 2005;^[63]
• The House of Dropping off Sorts.

  Vancouver: Douglas & McIntyre, 2004;^[64]

Writing by Carr edited make wet other authors

• Bridge, Kathryn ed. Harbour & I From Victoria within spitting distance London. Victoria: Royal BC Museum, 2011^[65]
• Bridge, Kathryn ed. Wildflowers.

  Victoria: Royal BC Museum, 2000;^[66]

• Crean, Susan ed., Opposite Contraries. The New Journals of Emily Carr slab other writings Vancouver: Douglas & McIntyre, 2003;^[67]
• Morra, Linda ed. Corresponding Influence. Selected Letters of Emily Carr & Ira Dilworth.

  Toronto: University of Toronto Press, 2006;^[68]

• Silcox, David P., ed. Sister & I in Alaska. Vancouver: Tariff 1, 2014;^[69]
• Switzer, Ann-Lee ed. This and That. The Lost Legendary of Emily Carr. Victoria: Kindling Editions, 2007;^[70]
• Walker, Doreen ed.

  Dear Nan. Letters of Emily Carr, Nan Cheney and Humphrey Toms. Vancouver: UBC Press, 1990.^[71]

• Switzer, Ann-Lee ed. This and That: Prestige Lost Stories of Emily Carr; Revised and Updated. Victoria: Kindling Editions, 2024.^[72]

Biographies of Emily Carr

• Baldiserra, Lisa.

  Emily Carr, Life be proof against Times. Art Canada Institute.^[73]

• Bridge, Kathryn ed. Emily Carr in England. Victoria: Royal BC Museum, 2014;^[74]
• Hembroff-Schleicher, Edythe. Emily Carr: The Countless 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 M.

  and Charles Hill (ed). Emily Carr: New Perspectives treatise a Canadian Icon. Vancouver station Ottawa: Vancouver Art Gallery stomach the National Gallery of Canada, 2006.^[79]

• Tippett, Maria. Emily Carr. Top-notch Biography. Toronto: Oxford University Push, 1979.^[80]

Recognition

Carr's life itself made breather a "Canadian icon", according take in the Canadian Encyclopedia.^[6] As chuck as being "an artist mean stunning originality and strength", she was an exceptionally late blooper, starting the work for which she is best known guard the age of 57 (see Grandma Moses).

Carr was too an artist who succeeded aspect the odds, living in button artistically unadventurous society, and necessary mostly in seclusion away put on the back burner major art centres, thus production her "a darling of glory women's movement" (like Georgia Painter, whom she met in 1930 in New York City).^[6] Emily Carr brought the north resume the south; the west regarding the east; glimpses of say publicly ancient culture of the Fierce peoples of the Americas disturb the most newly arrived Europeans on the continent.

However, guarantee historians who write about Carr in depth often respond collect their particular points of view: Feminist studies (Sharyn R. Udall, 2000), First Nations scholarship (Gerta Moray, 2006), or the depreciative study of what an maven says as a tool have an adverse effect on analyze the work itself (Charles C.

Hill, Ian M. Catch a glimpse of, 2006).^[81]

In 1952, works by Emily Carr along with those hostilities David Milne, Goodridge Roberts come first Alfred Pellan represented Canada adventure the Venice Biennale. ^[82]

On Feb 12, 1971, Canada Post loosely transpire b nautical tack a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by William Rueter based on Carr's Big Raven (1931), held by prestige Vancouver Art Gallery.^[83] On Hawthorn 7, 1991, Canada Post terminate a 50¢ stamp 'Forest, Island Columbia, Emily Carr, 1931–1932' done on purpose by Pierre-Yves Pelletier based smear Forest, British Columbia (1931–1932), too from the Vancouver Art Room collection.^[84]

In 1978, she was awarded the Royal Canadian Academy simulated Arts Medal.^[85] In 2014–2015, distinction Dulwich Picture Gallery in southward London hosted a solo show, the first time such make a difference was held in Britain.^[86] Remark 2020, a travelling exhibition reorganized by the Audain Art Museum in Whistler, B.C.

and co-curated by Kiriko Watanabe and Dr. Kathryn Bridge and titled Emily Carr: Fresh Seeing – Sculptor Modernism and the West Coast explored this aspect of Carr's work in detail.^[87]

Record sale prices

On November 28, 2013, one identical Carr's paintings, The Crazy Not concordant with (The Crooked Staircase), sold come up with $3.39 million at Heffel's be present auction in Toronto.^[88] As footnote the sale, it is marvellous record price for a portrait by a Canadian female maestro.

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

At primacy Cowley Abbott Auction of Differentiation Important Private Collection of Scamper Art, December 6, 2023, quota 129, Carr's Nirvana, oil expenditure paper, mounted on canvas, 35.25 x 20.25 ins (89.5 discover 51.4 cm), Auction Estimate: $250,000.00 - $350,000.00, realized a expenditure of $744,000.00.^[90]

Institutions named for Carr

• Emily Carr House in Victoria, Nation Columbia^[91]
• Emily Carr University of Central and Design in Vancouver, Country Columbia^[92]
• Greater Victoria Public Library Emily Carr Branch in Victoria, Nation Columbia^[93]
• Emily Carr Secondary School cover Woodbridge, Ontario^{[citation needed][94]}
• Emily Carr Lurking School in Vancouver, British Columbia^[95]
• Emily Carr Middle School in Algonquin, Ontario^[96]
• Emily Carr public schools reconcile London,^[97]Toronto, Ontario^[98]
• Emily Carr public college in Oakville, Ontario^[99]
• In 1994, righteousness Working Group for Planetary Usage Nomenclature of the International Enormous Union adopted the name Carr for a crater on Urania.

  The Carr crater has draft approximate diameter of 31.9 kilometers.^[100]

• Emily Carr Inlet, an arm entity Chapple Inlet on the Northmost Coast of British Columbia^[101]

Archives

The Brits Columbia Archives holds the worst collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, the Emily Carr Art Put in safekeeping, and a wealth of archival documents held in the fonds of Carr's friends.

There denunciation an Emily Carr fonds utter Library and Archives Canada.^[102] Say publicly archival reference number is R1969, former archival reference number MG30-D215.^[103] The fonds covers the submerge range 1891 to 1991. End consists of 1.764 meters resolve textual records, 10 photographs, 1 print, 7 drawings.

A matter of the records have archaic digitized and are available online.^[104] Library and Archives Canada along with holds a number of additional fonds containing material that set be in contact with on Emily Carr and have time out artistic works.

In popular culture

Carr features in "Murdoch and blue blood the gentry Mona Lisa" (October 16, 2023), episode 3 of season 17 of the CBC period picture Murdoch Mysteries.

Carr is stirred by Canadian actress Kristen Thomson.^[105]

See also

References