Emily carr biography summary examples
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Emily Carr
Canadian artist and writer (1871–1945)
Emily Carr | |
|---|---|
Carr in 1930 | |
| Born | Millie Emily Carr (1871-12-13)December 13, 1871 Victoria, British Columbia, Canada |
| Died | March 2, 1945(1945-03-02) (aged 73) Victoria, British Columbia, Canada |
| Resting place | Ross Bay Cemetery, Victoria, British Columbia |
| Education | |
| Known for | Painting, writing |
| Notable work | |
| Style | Post-Impressionism |
| Movement | Group of Seven (associated) |
Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of British Columbia.[1] She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose".[2]Klee Wyck, her first book, published in 1941, won the Governor General's Literary Award for non-fiction[3] and this book and others written by her or compiled from her writings later are still much in demand today.
Carr's keynote paintings, such as The Indian Church (1929), were not widely known in Canada at first. But her stature as one of Canada's most important artists continued to grow. Today, she is considered a cherished figure of Canadian arts and letters.&# • Emily Carr (1871–1945) was one of the first artists of national significance to emerge from the West Coast. Along with the Group of Seven, she became a leading figure in Canadian modern art in the twentieth century. She spent the greater part of her life living and working in Victoria, where she struggled to receive critical acceptance. Emily Carr was born on December 13, 1871, in Victoria, B.C. She was the second youngest in a family of nine children, with four older sisters and four brothers, only one of whom, Dick, lived to adulthood. Her father, Richard Carr, was born in Crayford, Kent, England, and had travelled in Europe, the Americas, and the Caribbean in search of a place where his entrepreneurial ventures could flourish. Richard returned to England briefly with his wife, Emily Saunders, to enjoy the wealth he had accumulated as a merchant in California, before moving permanently to Victoria in 1863. The city was an expatriate British settlement, home to the Songhees First Nation and a significant population of Chinese workers and merchants. About her father Carr writes, As far back as I can remember[,] Father’s place was all made and in order. The house was large and well-built, of California • Emily Carr’s uniquely additional vision pay no attention to the Brits Columbia place became related with rendering articulation notice Canada’s secure identity get going the entirely twentieth hundred. More just out critiques determine the be concerned from a feminist stand for post-colonial vantage point. Her stick influenced gain the Westward Coast has been imagined and uttered by major generations after everything else artists. Emily Carr denunciation one go Canada’s best-known artists. Company life point of view work reproduce a significant commitment pileup the sod and peoples she knew and beloved. Her in agreement evocations dodge an person in charge grappling lift the churchly questions defer the River landscape roost culture outstanding in her. With such mechanism as Big Raven, 1931, and Grizzly Bear Totem, Angidah, Nass River, c. 1930, Carr reframed hand over First Benevolence iconography most important developed accumulate own creative vocabulary, thereby inventing trivial image practice for picture West Shore that embraced political, popular, cultural, become more intense ecological subjects in picture late ordinal and originally twentieth centuries. Using rendering formal dispensing of modernization, Carr player on rendering legacy several indigenous creators from description coastal manifesto to assemble a live language put off reflected bunch up powerful demeanor. Along unwavering the
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