Artwork by Emily Carr,  Indian Church

Emily Carr
Indian Church

sampson matthews silkscreen
“Painted by Emily Carr”, “Issued by the National Gallery of Canada, Ottawa” and title printed in the lower margin; a Sampson Matthews label on the reverse; unframed
40 x 25.25 ins ( 101.6 x 64.1 cms )

Sold for $1,610.00
Sale date: December 14th 2016

Provenance:
Private Collection, Ontario
Painted during the most prolific period of the artist's career, Carr's “Indian Church” was specifically chosen by A.J. Casson for the Sampson Matthews reproduction project-- one of the few works specifically selected by Casson for the project. Carr made a trip to Nootka Island in British Columbia and highlights the fauvist technique of colour employed by Carr. The muted tones of the church and cemetery starkly contrasts with the lush green tones of the surrounding forest creating a visual metaphor of life and death where 'life' fills the majority of the composition. Carr had a fascination with the Pacific coast and the spirituality of the Native people who inhabited the area and incorporated this inspiration into her body of work as a testament to her love of the West Coast.

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Emily Carr
(1871 - 1945) Canadian Group of Painters

Born in Victoria, B.C. She was educated there until she was 16. Her parents dies before she was 14 and her eldest sister managed the home. Rebellious against her sister's authority she persuaded the family guardian to allow her the study art in San Francisco. About 1888 she went to the San Francisco School of Art and returned to Victoria about 1895 where she set up a studio in a renovated barn behind her home. There she painted and taught art. In 1897 she travelled to Ucluelet on Vancouver Island, with a missionary friend, where she sketched an Indian village for the first time, but not consciously seeking Indigenous motifs. In her autobiography she wrote, “...to paint the Western forest did not occur to me...I nibbled at silhouetted edges...Unknowingly I was storing...my working ideas against the time when I should be ready to use material.”

In Victoria, she had saved enough money through teaching to study in England at the Westminister School of Art, and landscape under Julius Olsson at St. Ives, and landscape under John Whitely at the Meadows Studio, Bushey. Visiting London she took ill and spent 18 months convalescing a the East Anglia Sanatorium which prompted her book “Pause”. She returned to Victoria in 1904 and was invited to Vancouver to supervise classes of the Ladies' Art Club of Vancouver. Too serious in her teaching and too unsophisticated for the members' liking, Emily was dismissed after a month. She conducted classes for children in Vancouver which were successful. This brought the Ladies' Art Club President to suggest amalgamation of the two groups, but Emily, understandably, refused. That summer she took a pleasure trip to Alaska with her sister and while she was sketching in Sitka, an American artist seeing her work encouraged her to pursue the Indigenous motif in her own style.

It was after this trip that she decided to paint totem poles in their natural settings. Each summer she returned to the Northern coast of B.C. And did many canvases during that five year period (c. 1905-1910). In 1910 having saved enough money to go abroad, she studied in France at the Colorossi where criticisms were given only in French; finding this too difficult to follow she changed to another studio but took ill and travelled to Sweden for a rest. Returning to France a few months later she studied under Harry Gibb both at Cressey-en-Bri and at Brittany. Gibb encouraged individuality and originality in her work and two of her canvases were hung in the Salon d'Automne. Her work gained brightness characteristic of the Fauves which Gibb himself followed. She studied briefly under an “Australian” woman water colourist at Concarneau, later thought to be New Zealand artist Frances Hodgkins by D.W. Buchanan.

She returned to Victoria and to Vancouver in 1912 where she held an exhibition of her French paintings. They were rejected by everyone. Her new style lost her teaching opportunities but her spirit at this point was not broken for she wrote, “In spite of all the insult and scorn shown to my new work I was not ashamed of it...it had brighter, cleaner colour, simpler form, more intensity.”

With so few pupils she spent more time painting large canvases from her earlier Indigenous village sketches. Finally in 1913 with no pupils, no market for her work, she was forced to return to Victoria. She built an apartment house (The House of All Sorts) from family land and borrowed money. She took in roomers but was not able to make ends meet. In that period she raised 350 Old English Bobtail Sheep-dogs and with her own crude kiln in her back yard made pottery, sometimes in batches of 500 pieces which she decorated with Indigenous designs. These were very much sought after by tourists. She wrote, “...I ornamented my pottery with Indian designs- that was why the tourists bought it...Because my stuff sold, other potters followed my lead and, knowing nothing of Indian Art, falsified it. This made me very angry. I loved handling the smooth clay. I loved the beautiful Indian designs, but I was happy about using Indian design on material for which it was not intended...”

Running a rooming house, raising dogs, and making pottery kept Emily from painting for about 15 years. It was not until Marius Barbeau in 1921 learned of her work from his Indigenous interpreter and brought it to the attention of Eric Brown, National Gallery of Canada Director, (although Mortimer Lamb had also shown interest in her work) that she became known to the rest of Canada. It was Brown who told her of the Group of Seven and F. B. Housser's book “Canadian Art Movement” which she bought and read from cover to cover. She loaned 50 of her paintings for the West Coast Indian Art exhibit organized by the National Gallery in 1927 and her work was well received. Travelling East for the opening, she visited A.Y. Jackson, J.E.H. MacDonald, and Lawren Harris in Toronto hanving read of their work in Housser's book. Heading West after the opening, she stopped at Toronto again to see Lawren Harris who became the inspiration and motivation in her development as a painter.

A change of style soon followed her visit East, notably with the canvas “Blunden Harbour” which Dr. Hubbard considers her most monumental of this period. Although Harris influenced her, he never tried to mould her; he encourages her individuality and eventually prompted her to seek liberation from the dominant Indigenous motif in her work. She turned to the forests of B.C. Using oil-on-paper in a powerful spiral like style described by Dr. Hubbard as an expression of “immense fertility of the earth and the irresistible force of nature.” Emily Carr travelled East several times as an invited contributor to the Group of Seven shows and on one occasion visited New York where she viewed works of American artists. By 1943 however, William Colgate notes in his book, “Her recent painting...is characterized by an eccentricity of design and a cloudiness of colour which stand in marked contrast to her earlier work...Whatever the cause, her painting has indubitably suffered because of it.” Eleven years later, on reviewing her water colour work, Paul Duval wrote, “She did not hesitate to use whatever means necessary to attain her desired end. Some passages in her painting have a scrubbed look, others are delicately washed in, and there are frequent moments when her brush slashed the appear with the marks of a lash. System or non, Emily Carr registered souvenirs of her love of the Pacific Coast which are as affecting as any created in Canada.”

Emily Carr sold her apartment home in 1936 and turned to full time painting and writing. Through a friend, Ira Dilworth learned of her work and became her literary executive. He had her stories read over the BCB at Vancouver and later took her manuscripts to the Oxford University Press in Toronto. “Klee Wyck” was published in 1941 and won the Governor General's award for the best non-fiction of that year; others followed: “The Book of Small”, “The House of All Sorts”, “Growing Pains”, “The Heart of A Peacock”, “Pause-A Sketch Book”. Her paintings are in the collections of the the following galleries: Art Association of Montreal, Art Gallery of Ontario, Hart House—University of Toronto, Vancouver Art Gallery, The Lord Beaverbrook Collection, and the National Gallery of Canada in addition to many private collections.

Source: "A Dictionary of Canadian Artists, Volume I: A-F", compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1977