Bøger af Emily Carr

The British Columbia wilderness and the First Nations culture formed the two great themes of Emily Carr's work. Through her landscapes and haunting depictions of totems, she is deservedly considered the premier painter of Canada's Pacific coast. After training in San Francisco and Europe, Carr began her career in Vancouver, producing an impressive body of First Nations images in the year 1912. After a prolonged period of relative inactivity, at the age of 56 she returned to northern British Columbia and began painting the canvases for which she is most noted.

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Thank you for checking out this book by Theophania Publishing. We appreciate your business and look forward to serving you soon. We have thousands of titles available, and we invite you to search for us by name, contact us via our website, or download our most recent catalogues. All our Sundays were exactly alike. They began on Saturday night after Bong the Chinaboy had washed up and gone away, after our toys, dolls and books, all but "The Peep of Day" and Bunyan's "Pilgrim's Progress", had been stored away in drawers and boxes till Monday, and every Bible and prayer-book in the house was puffing itself out, looking more important every minute. Then the clothes-horse came galloping into the kitchen and straddled round the stove inviting our clean clothes to mount and be aired. The enormous wooden tub that looked half coffin and half baby-bath was set in the middle of the kitchen floor with a rag mat for dripping on laid close beside it. The great iron soup pot, the copper wash-boiler and several kettles covered the top of the stove, and big sister Dede filled them by working the kitchen pump-handle furiously. It was a sad old pump and always groaned several times before it poured. Dede got the brown Windsor soap, heated the towels and put on a thick white apron with a bib. Mother unbuttoned us and by that time the pots and kettles were steaming. Dede scrubbed hard. If you wriggled, the flat of the long-handled tin dipper came down spankety on your skin. As soon as each child was bathed Dede took it pick-a-back and rushed it upstairs through the cold house. We were allowed to say our prayers kneeling in bed on Saturday night, steamy, brown-windsory prayers--then we cuddled down and tumbled very comfortably into Sunday.

The British Columbia wilderness and the First Nations culture formed the two great themes of Emily Carr's work. Through her landscapes and haunting depictions of totems, she is deservedly considered the premier painter of Canada's Pacific coast. After training in San Francisco and Europe, Carr began her career in Vancouver, producing an impressive body of First Nations images in the year 1912. After a prolonged period of relative inactivity, at the age of 56 she returned to northern British Columbia and began painting the canvases for which she is most noted.

Culled from the hand-written pages in old-fashioned scribblers and almost-forgotten typescripts amid drafts for her published stories, Unvarnished features among the last unpublished and highly personal writings of the iconic Canadian author and artist Emily Carr. This highly readable manuscript--edited by Royal BC Museum curator emerita Kathryn Bridge and illustrated with sketches and photographs from the BC Archives--spans nearly four decades, from 1899 to 1944. In an almost stream-of-consciousness outpouring of stories, Carr chronicles her early years as an art student in England, her life-altering sojourn in France and subsequent travels to Indigenous villages along the coast, her encounters with the Group of Seven, conversations with artist Lawren Harris, and her sketching trips in the "Elephant" caravan in the company of a quirky menagerie. Also included are stories written in hospital recovering from a stroke, a particularly vulnerable time in her life. Emily Carr's books have remained in nearly continuous print since the 1940s. Unvarnished is a fresh addition to her enduring oeuvre, to be enjoyed as a complement to her other writings or as a jewel in its own right.

Previously unpublished writings from Emily Carr''s journals, notebooks and correspondence that provide fresh insights into the life and character of a Canadian legend.EMILY CARR (1871-1945) was an extraordinary writer and artist. Although primarily a painter, she first gained recognition as an author for her seven popular, critically acclaimed books about her journeys to Native communities and her stories about life as an artist, as a small child in Victoria at the turn of the last century and as a landlady.Susan Crean''s introductions to the book and to each of the three sections provide an illuminating context, both historical and cultural, for this previously unpublished material and assess its contribution to the story of Emily Carr.

An illustrated introduction to the life and work of the Canadian artist whose first major solo British exhibition will open in London in November 2014.

Victoria, BC, July 11th 191. . . . With red eyes and a body guard of sniffing "faithfuls" attending us, we start on our long trip abroad. . . . So begins Emily Carr's memoirs of her trip to England with her sister Alice. They travel across Canada by rail to board an ocean liner in Quebec City, meeting interesting characters and having many adventures along the way. They hike in "gloriously cool and beautiful" Glacier House, and encounter porcupines and wasps in otherwise "heavenly" Lake Louise. They carry on to the "wonderful little town" of Medicine Hat, then Winnipeg, Montreal and "wonderful historic old" Quebec City, where they prepare for boarding the Empress of Ireland for Liverpool. Sister and I presents Emily Carr's whimsical account of her trip across Canada, written and illustrated in her own hand, directly from Carr's original notebook. This one-of-a-kind book is introduced by Kathryn Bridge, who places it in context with Carr's life and works.