Emily Carr's Late Works Confront Industrialization and Environmental Destruction
Emily Carr's last pieces from the late 1930s highlight her worries about the environmental consequences of industrial logging in Canada. Born in 1871 in Victoria, British Columbia, she pursued her studies in San Francisco, London, and Paris, drawing inspiration from Impressionism and Fauvism. A pivotal trip to Alaska in 1907 deepened her connection with Indigenous cultures and the Canadian wilderness. In 1927, she was invited by Eric Brown, director of the National Gallery of Canada, to participate in a significant West Coast art exhibition, linking her to the Group of Seven. Her painting "Odds and Ends," created in 1938-1939, illustrates a devastated landscape, while her writings condemn tree cutting as horrific. Carr passed away in 1945, leaving behind a legacy that intertwines art with ecological awareness.
Key facts
- Emily Carr was born in 1871 in Victoria, British Columbia.
- She studied in San Francisco, London, and Paris, influenced by Impressionist, Post-Impressionist, and Fauvist art.
- A 1907 trip to Alaska inspired her interest in environmental issues and Indigenous cultures.
- In 1927, Eric Brown, director of the National Gallery of Canada, invited her to exhibit with the Group of Seven.
- Carr rejected organized religion, viewing nature as divine.
- Her late works, like "Odds and Ends" (1938-1939), address industrial logging's impact on forests.
- Forestry covers 26.5% of Canada's land area.
- Carr died in 1945, with her artworks held in institutions like the Art Gallery of Greater Victoria and Vancouver Art Gallery.
Entities
Artists
- Emily Carr
- Eric Brown
- Emma Marris
Institutions
- National Gallery of Canada
- Art Gallery of Greater Victoria
- Vancouver Art Gallery
- Group of Seven
- New York Times
- Fridays for Future
Locations
- Victoria
- British Columbia
- Canada
- San Francisco
- London
- Paris
- Alaska
- Northwest Coast
- Ottawa
- Vancouver