Emily Carr

Born in Victoria, British Columbia in 1871 to English parents, Carr pursued art seriously after her parents' deaths, studying in San Francisco and London to transform herself into a professional artist.¹

In 1898, during a visit to a Nuu-chah-nulth village, Carr was given the name 'Klee Wyck' (the Laughing One), which she later used as the title for her award-winning first book.¹

A 1907 trip to Alaska inspired Carr's mission to document the 'vanishing totems' and the way of life of the First Nations, leading to a five-year project of recording Indigenous villages in British Columbia.¹

In France (1910-1911), Carr embraced the Fauve style, adopting a vibrant color palette and bold brushwork that dramatically transformed her artistic style from her earlier traditional training.¹

A 1912 sketching trip to Haida Gwaii and the Upper Skeena River provided the inspiration for iconic works like 'Big Raven,' capturing the misty, lonesome atmosphere of Indigenous villages.¹

Returning to Vancouver in 1912, Carr organized an exhibition of her French works, becoming the first artist to introduce the radical style of Post-Impressionism to the local art scene.¹

Initially misunderstood, Carr's stature grew until she was recognized as a national treasure. Her 1929 painting 'The Indian Church' is one of the key works that established her importance in Canadian art.¹

In her later years, declining health led Carr to focus on writing. Her first book, 'Klee Wyck' (1941), won the Governor General's Literary Award, establishing her as a significant Canadian author.¹