I have just discovered Emily Carr, whose painting "Forest Interior" just sold at auction for $200,000. Carr, an artist who painted the forest of Canada, lived from 1871 to 1945. Considered "eccentric", she determined her own path at total odds with the Victorian times in which she lived, hiking deep into the forest to paint. At one point, she became so discouraged with the lack of interest in her work, that she almost quit painting but, after connecting with a couple members of the Group of Seven, she was reinvigorated to keep painting her beloved trees until her death.
The following is from this website:
Untitled (Forest Interior Black and Grey) - c.1930 by Emily Carr
The facts: Emily Carr, born in 1871 in Victoria, B.C., studied art in England
and was a competent watercolorist (instruction in oils being reserved
for men). She made a meager living teaching art classes, renting rooms out in her house, and taking care of people's dogs, but her passion
was for the wild--the vast primeval forests and Indian civilization
vanishing around her. She studied painting (oils this time) in pre-World War
I France, discovered Impressionism and the Fauves, returned home and
really painted, to the horror of the critics (see above). Like most
independent women, she was seen as eccentric, and ignored. She finally
achieved national (if not local) recognition when, at 57, she was invited
to show her work in the National Gallery in Ottawa, where a critic declared
her art "as big as Canada itself." (Emily was "thrilled
purple.") After two heart attacks and a stroke, she kept on painting,
saying, "Don't pickle me away as done!" She died in 1945.
Emily Carr's Trees
Emily Carr experienced an ecstatic identification with the spirit of
nature, particularly as she found it in British Columbia. There the
cool, gray climate, the proximity of water and most particularly the
presence of trees offered her endless opportunity for artistic
reflection and growth.
To speak of Emily Carr's trees is to seize on the central subject of her
work, both as metaphor and form. Like a great axis mundi, the tree
centers and grounds most of her paintings. And as a mythico-ritual
subject in Carr's work, the tree corresponds in importance to the
centerpost often present in her paintings of the homes of native peoples
in the Pacific Northwest.
In 1935 Carr spoke before a literary society in Victoria about her art, a
talk later published as "The Something Plus in a Work of Art." That
"something," Carr explained, was what characterized great works of art -
a kind of spiritual connection between the artist and an ideal. It was a
connection that echoed Plato as well as the transcendentalists, whom
she quoted. But it was more. Carr also brought the Japanese concept of
Sei Do into her definition: "the transfusion into the work of the felt
nature of the thing to be painted." Like Georgia O'Keeffe,
Carr was receptive to principles and practices of Asian art. Carr's
influences were received via other artists, particularly Mark Tobey,
whose advice and teaching she had sought a few years earlier.
The felt nature of the thing - its essence, its distinguishing core. For
a painter whose chief subject was trees, Sei Do was treeness, and the
expression of it her life's work. Carr had begun to discover its power
very early in her career, when she animated trees in a 1905 political
cartoon for a Victoria weekly periodical. Captioned "The Inartistic
Alderman and the Realistic Nightmare," the cartoon was accompanied by
the following poem:
"Ye ghosts of all the dear old trees, The oak, the elm, the ash, Nightly those gentlemen go tease, Who hew you down like trash."
Carr, it seems, had already seen the dangers posed by unrestrained tree
cutting, a cause she would champion all her life. Trees, she suggests,
possess a life of their own and should not be wantonly felled. It was an
idea that was rarely popular in British Columbia, where the logging
industry yearly consumed ever more of the virgin forests. Cartooning
could not hold Carr's interest for long; she was after something more
deeply expressive in the forest. In 1934 she chastised herself for
flagging in her work: "I am hedging, not facing the problem before me
how to express the forest - pretending I must do this and that first ...
but the other should come first; it's my job."
By that time Carr had spent years investigating the forest, absorbing
all she could of tree existence. Her journals are full of her communion
with trees, her admiration of them, and, ultimately, her close
identification with them. Because Carr wrote so much about her life and
her artistic struggle - unlike O'Keeffe
- we can more readily see how she projected her feelings onto trees.
Typical are her remarks "Trees are so much more sensible than people,
steadier and more enduring" and "I ought to stick to nature because I
love trees better than people." The latter statement echoes that of
O'Keeffe to her friend Hartley.
In their paintings of trees both Carr and O'Keeffe made transcriptions
from visual experience, and each artist searched out rhythmic patterning
and movement within arboreal structure, although there is no evidence
that either painter knew the other's work before 1930. Both often
cropped trees, and both made much of the negative spaces between
branches. Carr's work in the 1920S usually stayed closer to gritty,
palpable realism, while O'Keeffe's toyed with space and pressed toward
decorative abstraction. The differences are significant.
In 1930 Carr's and O'Keeffe's interest in trees intersected. That spring Carr visited New York, where, in the company of Arthur Lismer,
an acquaintance who was a member of the Group of Seven, she sought out
new painting. At An American Place a number of O'Keeffe's paintings were
still on exhibit from her annual show. Most were based on her previous
summer's visit to Taos, including The Lawrence Tree. Carr and O'Keeffe
apparently discussed the painting at some length, during which O'Keeffe
related the work's connection both to her experience at the Lawrence
cabin and to Lawrence's passage about the great pine in St Mawr.
Apparently these ideas lingered in Carr's mind, for later that year she
copied Lawrence's description into her journal, though with a qualifying
comment: "It's clever, but it's not my sentiments nor my idea of pines,
not our north ones anyhow. I wish I could express what I feel about
ours, but so far it's only a feel and I have not put it into words."
More information on the Group of Seven:
The Forest Lover, a novel written by Susan Vreeland about Emily Carr's life follows the rebel Canadian painter into the British Columbia wilderness.
Thanks for reading!
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