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Browse by: Emily Carr (Biography) (0.19 seconds)
 
 
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Be careful that you do not write or paint anything that is not your own, that you don't know in your own soul.
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Bless... the two painting masters who first pointed out to me (raw young pupil that I was) that there was coming and going among trees, that there was sunlight in shadows.
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Cedars are terribly sensitive to change of time and light - sometimes they are bluish cold-green, then they turn yellow warm-green - sometimes their boughs flop heavy and sometimes float, then they are fairy as ferns and then they droop, heavy as heartaches.
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How badly I want that nameless thing! First there must be an idea, a feeling... Maybe it was an abstract idea that you've got to find a symbol for, or maybe it was a concrete form that you have to simplify or distort to meet your ends, but that starting point must pervade the whole.
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I have been sent more ridiculous press notices. People are frequently comparing my work with Van Gogh... I do hope I do not get bloated and self-satisfied. When proud feelings come I step up over them to the realm of work, to the thing I want, the liveness of the thing itself.
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I sat staring, staring, staring - half lost, learning a new language or rather the same language in a different dialect. So still were the big woods where I sat, sound might not yet have been born.
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I think that one's art is a growth inside one. I do not think one can explain growth. It is silent and subtle. One does not keep digging up a plant to see how it grows.
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I was not ready for abstraction. I clung to earth and her dear shapes, her density, her herbage, her juice. I wanted her volume, and I wanted to hear her throb.
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If you're going to lick the icing off somebody else's cake you won't be nourished and it won't do you any good, - or you might find the cake had caraway seeds, and you hate them.
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Indian Art broadened my seeing, loosened the formal tightness I had learned in England's schools. Its bigness and stark reality baffled my white man's understanding... I had been schooled to see outsides only, not struggle to pierce.
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It is wonderful to feel the grandness of Canada in the raw, not because she is Canada but because she's something sublime that you were born into, some great rugged power that you are a part of.
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It is wonderful to feel the grandness of Canada in the raw.
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Let the movement be slow and savour of solidity at the base and rise quivering to the tree tops and to the sky, always rising to meet it joyously and tremulously... the spirit must be... perpetually moving through, carrying on and inducing a thirst for more and a desire to rise.
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Life's an awfully lonesome affair. You come into the world alone and you go out of the world alone yet it seems to me you are more alone while living than even going and coming.
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Look at the earth crowded with growth, new and old bursting from their strong roots hidden in the silent, live ground, each seed according to its own kind... each one knowing what to do, each one demanding its own rights on the earth... So, artist, you too from the deeps of your soul... let your roots creep forth, gaining strength.
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My mountain is dead. As soon as she has dried, I'll bury her under a decent layer of white paint. But I haven't done with the old lady; far from it!
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Oh, Spring! I want to go out and feel you and get inspiration. My old things seem dead. I want fresh contacts, more vital searching.
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Perfectly ordered disorder designed with a helter-skelter magnificence.
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The artist himself may not think he is religious, but if he is sincere his sincerity in itself is religion.
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The memory of Cumshewa is of a great lonesomeness smothered in a blur of rain.
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The men resent a woman getting any honour in what they consider is essentially their field. Men painters mostly despise women painters. So I have decided to stop squirming, to throw any honour in with Canada and women.
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The spirit must be felt so intensely that it has power to call others in passing, for it must pass, not stop in the pictures.
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The sun enriched the old poles grandly... The mothers expressed all womanhood - the big wooden hands holding the child were so full of tenderness they had to be distorted enormously in order to contain it all. Womanhood was strong in Kitwancool.
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There are no words, no paints to express all this, only a beautiful dumbness in the soul, life speaking to life.
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There is a need to go deeper, to let myself go completely, to enter into the surroundings in the real fellowship of oneness, to lift above the outer shell, out into the depth and wideness where God is the recognized centre and everything is in time with everything, and the key-note is God.
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There is something bigger than fact: the underlying spirit, all it stands for, the mood, the vastness, the wildness.
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Trees love to toss and sway; they make such happy noises.
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Twenty can't be expected to tolerate sixty in all things, and sixty gets bored stiff with twenty's eternal love affairs.
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What do I want to express? The subject means little. The arrangement, the design, colour, shape, depth, light, space, mood, movement, balance, not one or all of these fills the bill. There is something additional, a breath that draws your breath into its breathing, a heartbeat that pounds on yours, a recognition of the oneness of all things.
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You always feel when you look it straight in the eye that you could have put more into it, could have let yourself go and dug harder.
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You come into the world alone and you go out of the world alone yet it seems to me you are more alone while living than even going and coming.
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You must be absolutely honest and true in the depicting of a totem for meaning is attached to every line. You must be most particular about detail and proportion.
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You will have to experiment and try things out for yourself and you will not be sure of what you are doing. That's all right, you are feeling your way into the thing.

Biography

Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist and writer.

She was born in Victoria, British Columbia, and moved to San Francisco in 1890 to study art after the death of her parents. In 1910, she spent a year studying art at the Académie Colarossi in Paris before moving back to British Columbia permanently the following year.

Carr was most heavily influenced by the landscape and First Nations cultures of British Columbia, Alaska, and elsewhere in the Pacific Northwest. In 1908 she began to paint Haida and Tlingit totem poles, in an attempt to record all the remaining poles in the province. Her studies in France influenced her impressionist style, which was, at first, not well-received in the Canadian art world. In 1913 she exhibited hundreds of her paintings depicting native culture, but it was largely ignored. She then tried to sell the paintings to the government of British Columbia, but the province was not interested. Because of this she gave up painting as a profession for over a decade.

In the 1920s she came into contact with members of the Group of Seven, who had come to British Columbia for inspiration. A. Y. Jackson especially noticed the resemblance of her style to the style of the Group of Seven and introduced her to the art world of eastern Canada. She travelled to Ontario in 1927 where her paintings were included in a Group of Seven exhibition for the National Gallery of Canada.

The Tlingit First Nation of British Columbia nicknamed Carr Klee Wyck, "the laughing one." She gave this name to a book about her experiences with the natives, published in 1941. The book won the Governor General's Award that year. In 1945 she published an autobiography of her childhood in Victoria, entitled Growing Pains.

Emily Carr Institute of Art and Design, and Emily Carr Elementary School in Vancouver, British Columbia are named after her.

Emily Carr is interred in the Ross Bay Cemetery in Victoria.

External links

*Emily Carr's Official Website
*Emily Carr House
*The full text of some of Emily Carr's books are available from Project Gutenberg of Australia.

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Emily Carr".
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