受影響: Lawren Harris,安德烈·德朗,保羅·高更,Post-Impressionism
影響: Jessica Stockholder
老師: Lawren Harris,Harry Phelan Gibb,Algernon Talmage
朋友: Albert Julius Olsson
1899年，卡爾去英國在倫敦的威斯敏斯特藝術學院學習。在英國，她與圣艾夫斯學校的藝術家Julius Olsson和Algernon Talmage結交并工作。當她回到加拿大時，卡爾建立了自己的職業藝術家。她在溫哥華女子藝術俱樂部當老師，在那里，由于吸煙習慣和詛咒，她在學生中極不受歡迎，這最終導致她辭職。在和夏洛特女王群島和上斯基納河的許多印度村莊幽會之后，卡爾于1910年再次去了歐洲，在巴黎的Acad&mie Colarossi學習。她還從Harry Phelan Gibb的私人課，影響她的調色板，添加了更鮮艷的顏色。她還受到法國后印象派和野獸派的影響，1912年返回加拿大后，她展出了70幅“法國時期”的油畫和水彩畫，顯示了這些影響。然而，她大膽的新風格并未受到加拿大人的贊賞。在接下來的15年里，Carr畫得不多。她經營著一個寄宿舍，參加了一個短篇小說寫作課程，在舊金山做了一些不同的工作，比如為圣弗朗西斯酒店做裝飾畫，為西方婦女周刊畫卡通畫。1927，卡爾出席了加拿大國家美術博物館西海岸土著藝術展。在那里，她會見了Lawren Harris和其他七人的成員，在加拿大最著名的現代畫家在那個時候。他們獨特的加拿大藝術給她留下了深刻的印象，并引發了她創作生涯中最豐富的時期。在過去的十年里，她掌握了土著居民日常生活、傳統和文化的場景。以勞倫·哈里斯為導師，卡爾開始繪畫大膽的、幾乎是幻覺的畫布，許多人用它來辨認她——設置在森林深處或被遺棄的土著村莊遺址上的土著圖騰柱的畫。
Artist :Emily Carr
Additional Name :Emily Carr
Born : Victoria, British Columbia, Canada
Died : Victoria, British Columbia, Canada
Art Movement :Post-Impressionism,Modernism
Influenced by :lawren-harris,andre-derain,paul-gauguin,artists-by-art-movement/post-impressionism
Influenced on :jessica-stockholder
Friends and Co-workers :albert-julius-olsson
Art institution :Académie de La Palette, Paris, France,Académie Colarossi, Paris, France,San Francisco Art Institute (SFAI), San Francisco, CA, US,Westminster School of Art, London, UK
Emily Carr is considered to be a major Canadian artist for her depiction of the landscapes of Pacific Northwest and its aboriginal culture. Being one of the pioneers of Modernist and Post-Impressionist styles of painting in Canada, she was not recognized until late in her life.
Carr was born in Victoria, British Columbia in 1871. Her inclination to art was duly encouraged by her father, Richard Carr, a wholesale merchant. After the death of both her parents in 1890, she started to pursue art seriously, and studied at the San Francisco Art Institute for two years. At the age of 26, Carr visited a small village near Ucluelet located on the western coast of the Vancouver Island. There she sketched the lives of the Nootka people, indigenous to the land. Her interest in the lifestyle of Indian people was promoted by her trip to Alaska, where she spent days sketching the daily activities of the villagers.
In 1899, Carr went to the UK to study at the Westminster School of Art in London. In England she befriended and worked with Julius Olsson and Algernon Talmage, artists of the St. Ives School. By the time she returned to Canada, Carr established herself as a professional artist. She worked as a teacher at the Ladies Art Club in Vancouver, where she was highly unpopular among the students due to her smoking habits and cursing, that eventually led her to resign from her job.
After her tryst with many Indian villages in the Queen Charlotte Islands and the Upper Skeena River, Carr once again went to Europe in 1910, to study at the Académie Colarossi in Paris. She also took private lessons from Harry Phelan Gibb who influenced her palette adding there more vibrant colors. She was also influenced by French Post-Impressionism and Fauvism, and, after returning back to Canada in 1912, she exhibited 70 oils and watercolors of her “french period”, showing those influences. However, her bold new style was not appreciated by Canadians.
During the next 15 years, Carr did not paint much. She run a boarding house, took a short-story writing course, and spent some time in San Francisco doing different jobs, like painting decorations for the St. Francis Hotel and drawing cartoons for Western Woman’s Weekly. In 1927 Carr attended an exhibition of West Coast Aboriginal art in National Gallery of Canada. There she met Lawren Harris and other members of the Group of Seven, the most recognized modern painters in Canada at that time. Their distinctively Canadian art impressed her greatly, and triggered the most prolific period of her creative career. Throughout the decade, she mastered the scenes from the daily lives, traditions and culture of the indigenous Americans. With Lawren Harris as her mentor, Carr began to paint bold, almost hallucinatory canvases with which many people identify her - paintings of Aboriginal totem poles set in deep forest locations or the sites of abandoned Indigenous villages.
After a year or two Carr left Aboriginal subjects to devote herself to nature themes. From 1928 on, critical recognition and exposure in exhibitions of more than regional significance, like the National Gallery of Canada and the American Federation of Artists in Washington, D.C., began to come her way. There was even the occasional sale, though never enough to improve her financial situation. In full mastery of her talents and with deepening vision, she continued to produce a great body of paintings freely expressive of the large rhythms of Western forests, driftwood-tossed beaches and expansive skies, like Indian Church (1929), Loggers’ Culls (1935), and Heart of the Forest (1935).
In 1937, Carr suffered her first heart attack, which marked the beginning of a decline in her health and a lessening of the energy required for painting. Artworks from her last decade, like Odds and Ends (1939), reveal her growing anxiety about the environmental impact of industry on British Columbia's landscape and on the lives of Indigenous people. Carr died in 1945 of a heart attack. More than half a century after her death, she has become a Canadian icon. Her long preoccupation with the Indigenous culture of the Canadian west coast coincided with the beginnings of a rising tide of awareness and confident self-identification on the part of Aboriginal people who had for some time been considered part of a moribund culture. In the same way, her passionate involvement with nature and its portrayal coincided with a growing popular awareness of environmental issues and an accompanying sense of loss associated with the disappearance of "nature" in our own day. And the fact that she was a woman fighting the overwhelming obstacles that faced women of her day to become an artist of stunning originality and strength has made her a favorite of the women's movement.