Dr Ruth Carr Popular Books

Dr Ruth Carr Biography & Facts

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. She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose". Klee Wyck, her first book, published in 1941, won the Governor General's Literary Award for non-fiction 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. Scholars and the public alike regard her as a Canadian national treasure and the Canadian Encyclopedia describes her as a Canadian icon. She has been designated a National Historic Person and had a Minor planet 5688 Kleewyck named after her anglicized native name. As one scholar in her 2014 book on Carr, put it, "we love her and she continues to speak to us". Emily Carr lived most of her life in the city in which she was born and died, Victoria, British Columbia. Early life Born in Victoria, British Columbia, in 1871, the year British Columbia joined Canada, Emily Carr was the second youngest of nine children born to English parents Richard and Emily (Saunders) Carr. The Carr home was on Birdcage Walk (now Government Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself. Today it is a museum and National Historic Site of Canada called Emily Carr House. The Carr children were raised in an English tradition. Her father believed it was sensible to live on Vancouver Island, a colony of Great Britain, where he could practice English customs and continue his British citizenship. The family home was made up in lavish English fashion, with high ceilings, ornate moldings, and a parlour. Carr was taught in the Presbyterian tradition, with Sunday morning prayers and evening Bible readings. Her father called on one child per week to recite the sermon, and Emily consistently had trouble reciting it. Carr's mother died in 1886, and her father died in 1888. Her oldest sister Edith Carr became the guardian of the rest of the children. Carr's father encouraged her artistic inclinations, but it was only in 1890, after her parents' deaths, that Carr pursued her art seriously. She studied at the California School of Design in San Francisco for three years (1890–1893) before returning to Victoria. In 1899, Carr visited Ucluelet on the west coast of Vancouver Island. That same year, Carr traveled to London, where she decided to transform herself into a professional artist and to make it her life's calling. She began her studies at the Westminster School of Art. She then took art classes from John William Whiteley in Bushey, Hertfordshire and afterwards traveled to an art colony in St Ives, Cornwall, studying with Julius Olsson and Algernon Talmage (1901). In 1902, she returned to Bushey, and studied with Whiteley, till she experienced a nervous breakdown and had to convalesce. She returned to British Columbia in 1904. In 1905, she gave children's art classes as well as creating political cartoons for the Week, a newspaper in Victoria and in 1906, Carr took a teaching position in Vancouver at the Vancouver Studio Club and School of Art for a short time – she was a popular teacher but left to open her own studio and give children's art classes. First works on Indigenous people In 1898, at age 27, Carr made the first of several sketching and painting trips to Aboriginal villages. She stayed in a village near Ucluelet on the west coast of Vancouver Island, home to the Nuu-chah-nulth people, then commonly known to English-speaking people as 'Nootka'. Carr was given the Indigenous name of Klee Wyck and she also chose it as the title of her first book. She later recalled that her time in Ucluelet made "a lasting impression on me". In 1907, Carr made a sightseeing trip to Alaska with her sister Alice and decided on her artistic mission of documenting all she could of what she and many others perceived as the "vanishing totems" and way of life of the First Nations. She may have met an American artist on this trip, likely Theodore J. Richardson (1855-1914), who described his project of documenting Indigenous art and architecture (he travelled with Indigenous guides to produce watercolours and pastels in southeast Alaska documenting the Tlingit culture) and that possibly this encounter inspired Carr to initiate her own five–year project of documenting Indigenous villages and their neighbouring forests in British Columbia. From 1908 to 1910 she made several trips to First Nations communities to record art and villages. Work in France Determined to further her knowledge of evolving artistic trends abroad, in 1910 Carr returned to Europe to study. In Montparnasse with her sister Alice, Emily Carr met modernist painter Harry Phelan Gibb with a letter of introduction. Upon viewing his work, she and her sister were shocked and intrigued by his use of distortion and vibrant colour; she wrote:"Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the distortion of his nudes I felt revolt." Carr enrolled at the Académie Colarossi in Paris, then transferred to private lessons with John Duncan Fergusson and followed him to the Atelier Blanche. After a bout of illness, she joined Gibb and his wife in the small village of Crécy-en-Brie and then St. Efflam, Brittany. Carr's study with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant colour palette rather than continuing with the more modified colours of her earlier training. In Crecy-en-Brie she fully embraced the Fauve style of bold colour and broad brushwork, then traveled to Concarneau on the coast of Brittany to study with Frances Hodgkins. When she returned to Paris she found that two of her paintings had been selected by the jury and hung in the 1911 Salon d'Automne. Return to Canada In March 1912 Carr opened a studio at 1465 West Broadway in Vancouver. She organized an exhibition of seventy watercolours and oils representative of her time in France, using her radical new style, bold colour palette and lack of detail. She was the first artist to introduce Post-Impressionism to Vancouver. Later in 1912, Carr took a sketching trip to First Nations' villages in Haida Gwaii (formerly the Queen Charlotte Islands), the Upper Skeena River, and Alert Bay where she documented the art of the Haida, Gitxsan and Tsimshian. At Cumshewa, a Haida village on Moresby Island, she wrote in Klee Wyck, "Cumshewa seems always to drip, always to be blurred with mist, its foliage always to hang wet-heavy ... these strong young trees ..... Discover the Dr Ruth Carr popular books. Find the top 100 most popular Dr Ruth Carr books.