|The Forest Lover, published 2004.|
Carr is one of many highly creative people who was ahead of her time, and was rebuffed and rejected in her efforts to be recognized for her work. The narrow-minded, anti-woman, anti-modern-art, anti-intellectual, and pompously religious attitudes of the Canadians of her time is very well depicted in Vreeland's novel. Carr was attempting to use the vision of Parisian artists of the pre-World-War I era to depict the beauty of the Canadian forests and of the native wood carvings, including especially the many historic totem poles that were being neglected and destroyed as the native people were being dispossessed. Her struggle to preserve her visionary appreciation of native art, which was held in contempt by her peers, is a fascinating story.
|Emily Carr’s painting of Sophie, a native woman|
who was a major character in her life and in Vreeland’s novel.
This image is from Carr’s memoir Klee Wyck, -- my next read.
While I found the novel and its depiction of Emily Carr engaging, I was captivated by the art works themselves, as I looked them up while reading Vreeland's description of her struggles to create them. Carr was finally recognized, after years of rejection for her creative use of the style of the cubists, the fauves, and the other moderns, and these works were finally included in major Canadian art shows late in her life. My review of the novel is © 2021 -- the following images are credited with their sources.
|Illustration from Carr's journal of her trip to Alaska in 1907 (source)|
|Carr, Indian Village Alert Bay, 1912. (source)|
|War Canoes in Alert Bay, 1912 (source)|
|Tanoo, Queen Charlotte Island, BC, 1913 (source)|
Big Eagle, Skidegate, BC, 1930 (source)
|The Burial Ground at Alert Bay, BC. From our trip in 2018. In Vreeland's book, Emily Carr saw the totem poles |
in burial grounds of native villages falling into disrepair. Now, 100 years later, they are treated with respect.