She was born in Victoria, the capital of the Canadian province of British Columbia. After the death of her parents she went to San Francisco in 1890 and studied art. Three years later, she returned to her birthplace and established a gallery in the barn of her parents' house one. There she taught children.
In 1899 she went to Britain to continue her studies at the Westminster School of Art in London. However, since they do not, the London Air adjourned, she moved in search of a healthier climate for them to Cornwall, Bushey, Hertfordshire, and in the meantime back to San Francisco. 1905 she returned to British Columbia and moved to the "wilderness" to live among the Indians. She was influenced by Native American cultures and documented the natives of Alaska and British Columbia's life in her paintings. She started the remaining totem poles of the Indians to draw. Early as 1899, she had a visit to the mission school near Ucluelet deeply impressed. In 1902 she began to paint totem poles after a visit from Skagway, where they have a keen eye for the differences between the Kwakwaka'wakw in the north, and the Nuu- chah- nulth of Vancouver in the west Iceland, on the Queen Charlotte Islands and the Haida Tsimshian, Tlingit and other tribal groups on the mainland developed.
After several years in Vancouver she was forced for economic reasons to return to Victoria. But she tried her style continues to develop, and therefore traveled to Paris in 1910, where she sang studied at the Académie Colarossi. She learned works of Henri Matisse and Pablo Picasso know. Back in Canada, she continued to paint Native American motifs. But now it mixed elements of impressionism with their previous style.
In 1927, she came up with the so-called Group of Seven by inviting Eric Brown contacted the Director of the National Gallery of Canada. At the exhibition at the National Gallery "Canadian West Coast Art, Native and Modern " Emily Carr took part. In Ontario, it was promoted by Lawren Harris, and remained closely associated with the group if it was never formally recorded. A few years later she was in the group as the "mother of modern art."
Equally important Emily Carr was the recognition of the Nuu- chah- nulth on the west coast of Vancouver Iceland. According to her, she had given her the nickname " Klee Wyck ", " the one that laughs ," and a 1941 -publicized book about her experiences there led accordingly titled " Klee Wyck ". In a time when the Canadian Indians were not even eligible to vote, and their rituals were subject to strict prohibitions, a bold publication.
But in their homeland, the artist came mostly a lack of understanding, particularly in Victoria. So she retired about a decade, but what also contributed to heart problems.
She was buried in the Ross Bay Cemetery in Victoria, her grave stone bears the inscription " Artist and Author / Lover of Nature".
Today the work of Emily Carr is widely recognized in Canada, and it is public property since 1996. Founded in 1951, The Art Gallery of Greater Victoria, 1040 Moss Street exhibits numerous works by Emily Carr.
In Vancouver, the 1925 to back -ranging Vancouver School of Art in 1978 was renamed the Emily Carr College of Art. This College of Art has been extended to the field of design and was called from 1981 Emily Carr College of Art and Design, 1995 Emily Carr Institute of Art Design, and finally from 2008 Emily Carr University of Art and Design.
- Klee Wyck, short stories 1941 ( from Germany Kitwancool, 1993)
- The Book of Small, 1942
- The House of All Sorts, 1944
- Growing Pains, 1946
- Pause, 1953
- The Heart of a Peacock, 1953
- Dog Reds and Thousands, 1966