A new look at the art of Emily Carr that explores the profound impact of her time spent in France early in her career.
Buy Book“Carr loved her routine at Saint-Efflam. She explored by foot, carrying an easel, artboard, and paints. Every day she climbed the hill behind her hotel, crossed the railway track, and found rolling hills, cultivated fields, stone cottages, and peasants engaged in their daily work.”
—Dr. Kathryn Bridge
In 1911, Emily Carr returned from a sixteen-month trip to France with a new understanding of French Modernism and a radically transformed painting style that infused her later representations of Northwest Coast First Nations communities in British Columbia. Emily Carr: Fresh Seeing—French Modernism and the West Coast showcases this dramatic evolution by presenting works Carr produced before, during, and after her artistic explorations in France, alongside texts by the Audain Art Museum’s Gail and Stephen A. Jarislowsky Curator, Kiriko Watanabe; Carr scholar Kathryn Bridge; Carr researcher Michael Polay; art critic Robin Laurence; and Emily Carr herself.
Image credits
Cover: Le Paysage: Audain Art Museum Collection
Interior photos, in order of appearance:
Courtesy of the Royal BC Museum and Archives | House with Slanted Roof, Brittany: Audain Art Museum Collection | Le Paysage: Audain Art Museum Collection | Village by the Sea, Brittany: Agnes Etherington Art Centre, Queen’s University | Photo by K. Neary | Street in Brittany (Concarneau): McMichael Canadian Art Collection |Photo by K. Neary | War Canoes, Alert Bay: Tom and Teresa Gautreau Collection | War Canoes, Alert Bay: Audain Art Museum Collection |Photo by Lt. G.T. Emmons, Canadian Museum of History | Totem Poles, Kitseukla (Gitsegukla): Vancouver Art Gallery | Kispiox, the Totem of the Bear and the Moon: Private collection