Read Growing Pains: The Autobiography of Emily Carr by Emily Carr Ira Dilworth Robin Laurence Online

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This autobiography by Emily has been called "probably the finest... in a literary sense, ever written in Canada."Completed just before Emily Carr died in 1945, Growing Pains tells the story of Carr’s life, beginning with her girlhood in pioneer Victoria and going on to her training as an artist in San Francisco, England and France. Also here is the frustration she felt atThis autobiography by Emily has been called "probably the finest... in a literary sense, ever written in Canada."Completed just before Emily Carr died in 1945, Growing Pains tells the story of Carr’s life, beginning with her girlhood in pioneer Victoria and going on to her training as an artist in San Francisco, England and France. Also here is the frustration she felt at the rejection of her art by Canadians, of the years of despair when she stopped painting. She had to earn a living, and did so by running a small apartment-house, and her painful years of landladying and more joyful times raising dogs for sale, claimed all her time and energy. Then, towards the end of her life, came unexpected vindication and triumph when the Group of Seven accepted her as one of them. Throughout, the book is informed with Carr’s passionatate love of and connection with nature.Carr is a natural storyteller whose writing is vivid and vital, informed by wit, nostalgic charm, an artist’s eye for description, a deep feeling for creatures and the foibles of humanity--all the things that made her previous books Klee Wyck and Book of Small so popular and critically acclaimed....

Title : Growing Pains: The Autobiography of Emily Carr
Author :
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ISBN : 9781553650836
Format Type : Paperback
Number of Pages : 400 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Growing Pains: The Autobiography of Emily Carr Reviews

  • Diane S ☔
    2019-06-19 23:40

    I first heard of this book when reading Kathleen Winter and her book Boundless: Tracing Land and Dream in a New Northwest Passage. So when I finished that one, I purchased this one. What a life this artist lived, so unusual for her time. A young girl really at the time she decided to pursue art instead of the expected relationship and marriage that was the goal to which most young woman aspired. After the deaths of her parents, left in the care of her older sister she was most unhappy, her sister a most controlling and at times unkind woman. She convinces her guardian, an older man and keeper of the finances to subsidize a stay at an art school in London. From there she studied at various schools and art colonies, in England, Paris but always loved her native Vancouver best. She would not receive recognition for her art work until much later in her life. I just love her paintings which I found on the web. Her time with the Indians or nature studies. They are simply gorgeous.She saw so much, did so much despite many long periods of ill health. Her writing is simple, to the point, yet descriptive with an artist's eye. She says she doesn't believe in using long words if a shorter one would do. So interesting to read of this women's life, the history she was party to, how she saw things and her passion for her art. Just a wonderful story told by the person who lived it.

  • Sylvester
    2019-06-20 21:52

    Five stars for a number of reasons: 1)The personal record of the struggles of an emerging artist. 2) An artist who can write too! 3)It made me reconsider my opinions about Carr's work. 4)Carr's devotion to Western Canada's woods and native peoples. (Don't think I've ever read any book quite so lavishly in love with Canada.) 5)The record of the correspondence between two respected artists. 6)Last, but my favorite of all - Carr wrote all her books in her 70's, after her doctor told her she needed to pull back on the painting - she had not written before, other than for her own personal pleasure. And her writing is wonderful, just wonderful. Loved all the descriptions of Vancouver and Victoria from before the first world war. Highly recommended to anyone interested in the development of an artist. (A large part of the book is devoted to the time Carr spent in England and France studying art.)

  • Margaret
    2019-06-02 00:47

    I enjoyed the writing style of Emily Carr, she definitely had some gall and independence in her day. She is one of my favorite artists who was affiliated with The Group of Seven, a group of Canadian artists who painted the wilds of Canada. The latter part of the book was my favorite because she wrote more about her developing her own style and finding her artistic voice. Her close friendship with Lawren Harris intrigued me and I really appreciated that she included excerpts of his letters to her, giving amazing perspective of the creative life. The ending was written poignantly as she wrote it while she was 70 years old and due to heart problems, she was forced to stop venturing out to the woods to paint. I am a plein air artist and this especially made me feel sad, I can't imagining not being able to get outdoors to paint.

  • Kim
    2019-06-07 02:28

    Emily Carr (1871-1945), born to a provincial, religiously conservative family in western Canada, became an artist through her unflagging devotion, despite penury, illness, and scorn. She was at once shy, frail, and fearless. She enjoyed late life recognition and rewards, then age and infirmity put an end to her forest treks to paint, and she wrote a few wonderful books. Here she describes drawing from a live model for the first time: "I had dreaded this moment....Her live beauty swallowed up every bit of my shyness. I had never been taught to think of our naked bodies as something beautiful, only as something indecent....Here was nothing but loveliness-- a glad, life-lit body, a woman proud of her profession, proud of her shapely self, regal, illuminated, high-poised above our clothed insignificance." Through the decades in her autobiography, she becomes more and more cantankerous and isolated. But that phrase, "our clothed insignificance," so well describes what the artist sees, why we can see it too thanks to her, and why we gladly indulge the artist's eccentricity. I am eager now to see her paintings, and to recommend this book often.

  • Patricia
    2019-05-27 20:29

    My bff and sharer of great books found this little volume of Emily Carr's autobiography after we had both read The Forest Lover by Susan Vreeland. Carr’s story in her own word focuses on her early life in British Columbia with her stern father, her very proper Victorian mother and two sisters. Carr tells of her rebellious childhood where she draws pictures on her fingernails, petticoats and in the margins of all her school books. She is an embarrassment to her family who send her to foreign art schools starting at the age of 16 when she was sent to San Francisco, London and Paris.Carr wrote this book when she could no longer paint. I believe that if this book were being printed today, it would fall into the category of memoir. Each of the fifty –five vignettes is perfectly shaped into stories that could stand alone. My very Favorite which truly shows what life was like for young Emily is titled Difference between Nude and Naked!

  • Danny
    2019-05-30 18:47

    I really appreciated finding out more about this fascinating woman as she described her life. She self describes her rule for writing as "get to the point and never use a big word when a small one will do". She writes in a way that is not lofty and for an autobiography she spends a great bit of time describing mundane things from her day to day life that really showed me the value of valuing the mundane. After all are not those the moments we speak of every day? I want to be more mindful of what passes before me in this life. I also really appreciated the advanced thoughts that Emily possessed for her time. What an independent soul. I was honored to read her story.

  • Rachel
    2019-06-09 02:40

    “'He is cross, he thinks he is as important as God.'Mother was supremely shocked; she had brought her family up under the English tradition that men of a woman’s family were created to be worshipped. My insurrection pained her.” (p.7)“Nellie was always thinking- her eyes were such a clear blue there seemed only the merest film between her thoughts and you. Had she thought in words you could have read them.” (p.22)“Sketching outdoors was a fluid process, half looking, half dreaming, awaiting invitation from the spirit of the subject to ‘come, meet me half way’. Outdoor sketching is as much longing as labour.” (p.26)“Adda was of Puritan stock. I was Early Victorian. We were a couple of prim prudes by education.” (p.29)“Incense and flower-perfume mixed and strayed up to the roof. Hush melted and tendered everything. The hush and the holiness were so strong that they made you terribly happy. You wanted to cry or sing or something.” (p.44)“I loved every bit of it- no boundaries, no beginning, no end, one continual shove of growing- edge of land meeting edge of water, with just a ribbon of sand between. Sometimes the ribbon was smooth, sometimes fussed with foam. Trouble was only on the edges; both sea and forests in their depths were calm and still. Virgin soil, clean sea, pure air, vastness by day, still deeper vastness in dark when beginnings and endings joined.” (p.78)“To the British Museum I went and loathed it- the world mummified… No matter which turn I took I arrived back in the mummy-room, disgusting human dust swaddled in rags, dust that should have been allowed centuries back to build itself renewingly into the earth. The great mummy halls stank of disinfectants. Visitors whispered and crept… Place of over-preservation, all the solemnity choked out of death, making curiosity out of it, prying, exposed, indecent.” (p.93)“Why must these people go on, and on, copying, copying fragments of old relics from extinct churches, and old tombs as though those were the best that could ever be, and that it would be a sacrilege to beat them? Why didn't they want to out-do the best instead of copying, always copying what had been done?” (p.97)“He did not ask me to marry him there, but came home to think it over and wasted a postage stamp on it.” (p.105)“A narrow, walled way led from the side door of the vicarage to the church vestry, a sombre interlude in which to bottle secular thoughts and to uncork sacred. (p.121)“Deeper, deeper I penetrated among foliage illuminated by the pale, tender juices of Spring. There were patches of primroses pale as moonlight, patches of bluebells sky colour, beds of softest moss under my feet.” (p.137)“The Indian caught first the inner intensity of his subject, worked outward to the surfaces. His spiritual connection he buried deep in the wood he was about to carve. Then- chip! chip! His crude tools released the symbols that were to clothe his thought- no sham, no mannerism. The lean, neat Indian hands carved what the Indian mind comprehended.” (p.211)“More than ever I was convinced that the old way of seeing was inadequate to express this big country of ours, her depth, her height, her unbounded wideness, silences too strong to be broken- not could ten million cameras, through their mechanical boxes, ever show real Canada. It had to be sensed, passed through live minds, sensed and loved.” (p.228)“Next day I acted; curiosity had won over fright. As I bought my ticket my heart sank to somewhere around my knees, which shook with its weight; but common sense came along, took a hand, whispering ‘Hasn’t it been your policy all through life to see whenever seeing was good?’” (p.241)“Ordinary people were not permitted to communicate with the mansion-dwellers except by some special telephonic gymnastics far too occult for me to grasp.” (p.249)“I was done with the boil and ferment of restless, resentful artists, cudgelling their brains as to how to make Art pay, how to “please the public”. Mr. Harris did not paint to please the public, he did not have to, but he would not have done so anyway.” (p.252)“The old Masters have not been surpassed. Modern artists do different things in terms of their day, place and attitude. Great works of Art are the same yesterday, today and forever. We but endeavour to be ourselves, deeply ourselves; then we approach the precincts of Great Art- timeless- the Soul throughout eternity in essence.” (quoting Lawren Harris, p.255)“In despair again? Now that is too bad. Let us be philosophical as we can about it. Despair is part and parcel of every creative individual. Some succumb to it and are swamped for this life. It can’t be conquered, one rises out of it. Creative rhythm plunges us into it, then lifts us till we are driven to extricate. None of it is bad. We cannot stop the rhythm but we can detach ourselves from it- we need not to be completely immersed… we have to learn not to be! How? By not resisting.” (quoting Lawren Harris, p.256)“…don’t let temporary depression, isolation, or any other feeling interfere with your work….Keep on …do what you feel like doing most. Remember, when discouraged, that there is a rhythm of elation and dejection; and that we stimulate it by creative endeavor. When we enter the stream of creative life, then we are on our own and have to find self-reliance, active conviction, learn to see the logic behind the inner struggle….Creative imagination is only creative when it transcends the personal…Personality is merely the locale of the endless struggle, the scene of the wax and wane of forces far greater than itself.” (quoting Lawren Harris, p.257)“Woods you are very sly, picking those moments when you are quiet and off guard to reveal yourselves to us, folding us into your calm, accepting us to the sway, the rhythm of your spaces, space interwoven with the calm that rests forever in you.For all that you stand so firmly rooted, so still, you quiver, there is movement in every leaf.Woods you are not only a group of trees. Rather you are low space intertwined with growth.” (p.261)“The maple tree was always beautiful, always gracious. In spring it had a sunlit, pale-yellow glory, in summer it was deep, restful green, in autumn it was gold and bronze, in winter it was a gnarled network of branches. It was in winter you saw best the tree’s reality, its build-up and strength. (p.262)“The price of being was this adjusting ourselves to life at different angles.” (p.264)“I did not know book rules. I made two myself. They were about the same as the principles I used in painting- Get to the point as directly as you can; never use a big word if a little one will do.” (p.265)“It had been absolutely necessary for truth’s sake to include a few short pages on our home life which for me had not been happy after the death of our parents. I had to show what drove me to the woods and to the creatures for comfort, what caused the real starting point of my turn to Art.” (p.267)“It was like having a beautiful funeral only being very much alive to enjoy it.” (p.273)“What of the old maimed goose who could not rise to go with the flock? Of course there was the old, the maimed goose. What of him when the flock, young and vigorous, rose leaving him grounded? Did despair tear his heart? No, old goose would fill the bitter moment, pouring out proud, exultant honks that would weave among the clatter of the migrating flock. When the flock were away, animal-wise he would nibble here and nibble there, quietly accepting.Old age has me grounded too. Am I accepting? God give me the brave unquestioning trust of the wild goose!” (p.281)

  • Kerry
    2019-05-25 20:33

    Marvelous account of Emily Carr's life. She has quite a way with words as well as with a paint brush! I've admired her paintings, visited her home/museum in Victoria, BC, but this book helps to round her out as a person. She had frail health, but was a quite prolific artist. She was not respected for her art in the west of Canada, but became so , possibly after the westerners saw that the east adored her! Her painting, in my eye, is full of light, even those that appear dark. At the end of the autobiography she has been watching some geese fly over head and then looks back to the clearing where she is working, "Today the clearing was not sun-dazzled, rather it was illumed with Spring, every leaf was as yet only half unfurled and held light and spilled some." The true artist's eye. She writes well even though she said her editor helped tremendously with punctuation and spelling.

  • Mike Orta
    2019-05-25 01:32

    Spoiler Alert: This is a very inspiring book. Despite a lack of support for her artwork Emily Carr continues to work. Unappreciated in Victoria and discouraged by family Emily somehow continues to work. She stops believing in herself and still she continues to work. She is saved when she meets fellow progressive painters. When she can no longer paint then she begins to write in her late 60's! As I read this book I kept thinking that I wished she could had met John Muir and Walt Whitman. All three enjoyed the outdoors and wrote so well of the outdoors. I was pleased that the last words in the book is a quote from Walt Whitman.

  • Lisa
    2019-06-19 21:33

    OMG why did this get 4 stars? I got just under halfway through the book and finally gave up. It is SO boring and she is so... weird? Unemotional? Snooty? I can't put my finger on it. All I know is that I was interested to learn about her but the little bitty bits of story (because we can't write it normally it has to be all choppy)that were unemotional and blah just made me stop caring. I know artists can tend towards the odd or eccentric but she just comes off as kind of nasty. I like her art but now it's kind of ruined for me. Blah.

  • Carla
    2019-06-18 23:51

    Such a good read. I had no idea that Emily Carr was a writer as well as a painter. She tells a great story and describes her highs and lows as an artist so well, I'm looking forward to reading her other books.

  • Linda Edquist
    2019-05-24 21:27

    Discovered this artist at the Vancouver Art Museum and have been fascinated by her since then. The writing style takes getting used to but it has added depth to my appreciation of her paintings.

  • Jennifer
    2019-06-07 18:30

    I found this autobiography of Emily Carr (famous Canadian artist) to be quite interesting! She was an independent woman, determined to be an artist despite the discouragement from her rather religious family that thought she should get married and live a traditional life. Carr earned money teaching art so she could study in San Francisco, then London, and then Paris, whilst overcoming some significant health issues. It wasn't till later in her life that she achieved fame and success.

  • Vanda
    2019-06-10 18:50

    Emily Carr (1871-1945) byla kanadská malířka, jejíž nebývale silné obrazy zachycují divokou přírodu kanadského západu, hluboké lesy (žádné pěkné krajinky, ale zdrcující přívaly zeleně a mohutných hor) a indiánské osady. Když jsem zjistila, že kromě toho se na stará kolena vrhla i na sepisování memoárů, nadšeně jsem se po knize začala shánět. Nebudu chodit okolo horké kaše a přiznám, že jsem od „nejlepší kanadské autobiografie“ čekala něco dost odlišného. Za prvé – NENÍ to životopis, je to jen jedna (a navíc až třetí) za vzpomínkových knížek autorky (což jsem zjistila až ke konci knihy, kde Emily popisuje, jak se ke psaní dostala, ohlasy na své dílo a svoje vlastní nejistoty a obavy z literárního selhání), takže veliká část Emilyina života a tvorby zde prostě není. „Growing Pains“ měla být patrně věnována malování (stejně jako ostatní knížky zas zachycují její dětství či zážitky z indiánských vesnic), ale dobré tři čtvrtiny knihy zabírají vlastně vzpomínky na její studia v San Francisku, Londýně a Paříži, kde sice velmi vtipně a zajímavě popisuje své spolužáky, profesory, život v daných městech a řadu společenských návštěv, ke kterým se musela uvolit, ale o samotném malířství se nedozvíme prakticky nic. Teprve v závěru vyprávění se Emily otevírá a přibližuje nám víc svůj vztah k umění. Velmi zajímavé byly svým způsobem všechny části, ale nejbližší mi byly právě ty závěrečné.Čtení Emilyiných vzpomínek pro mě bylo jak jízda na horské dráze. Po předchozím suchém pedantství Eganova životopisu Edwarda Curtise byla lehkost, s níž Emily popisuje svá studia, téměř zjevením, ale postupem času jsem měla pocit, že stále více zabředá do možná úsměvných, ale z mého úhlu pohledu venkoncem irelevantních příhod. V této fázi četby jsem si zapsala: „vzpomínková kniha Emilly Carrové perlí jak šampaňské a podobně rychle člověku stoupne do hlavy, ale když vyšumí, přemýšlíte, o čem jste se vlastně dočetli něco podstatného. Už před polovinou jsem si říkala, že kdyby své vzpomínky sepsala podobně literárně nadaná třeba.. švadlena, mohl být konečný dojem stejný – vtipně zachycené výseky z autorčina života, řada pitoreskních postaviček, které se objevují a zase mizí a ... co dál?“ Jenomže po každém pádu následoval zase vzestup, kdy autorka nabrala druhý dech a já s ní, jen abych o pár kapitol dál zase upadala do pocitů mírného znudění. A zase nahoru. A dolů. Uznávám, že chyba může být spíš na straně mých velikých (a nenaplněných) očekávání. Až ke konci jsem lépe nahlédla, v jakém rozpoložení Emily své vzpomínky vlastně psala – stará, nemocná (její celoživotní boj s chatrným zdravím je výstižně zachycen už v názvu celé knihy), fyzicky neschopná malovat, a přestala jsem se snažit Emily narvat do krabičky „význačná malířka“ a nechala ji žít. Protože Emily Carr musela být naprosto úžasná a vyjímečná žena, která se vzepřela konvencím doby, do úpadu studovala nové způsoby, jak vůbec zobrazit něco tak živelného a rozlehlého, jako je kanadská divočina, na koni jezdila do opuštěných míst, aby zde sama v terénu malovala a nakonec pod vlivem naprostého nezájmu či přímo posměchu veřejnosti od malování na téměř dvě desítky let upustila. Vždy žila sama, živila se pronajímáním pokojů, hrnčířstvím, chovem bobtailů, a většinu svých těžkostí odbyla pouze pár větami. Neuvěřitelně šťastnou shodou náhod se Marius Berbeau, antropolog studující indiány severozápadu, dozvěděl o bílé ženě, která sem jezdívala malovat obrazy, a zmínil se o ní řediteli kanadské Národní galerie. Ten nelenil, Emily vyhledal, přemluvil k výstavě 50 (!) obrazů, odvezl ji na východ a seznámil se Skupinou sedmi. Budiž jim všem dík! :)

  • Carol
    2019-05-31 20:44

    Emily Carr writes not only of her natural growth from a child but also of her growth creatively. I did not realize how much desire it takes to be an artist. One doesn't merely pick up a pencil or a brush and there one is! That is probably what my own experience in art school was about. An art teacher asked me how much I was willing to work at this. I replied by pursuing no further. Art to Emily Carr however was an obsession and a lifelong pursuit. In the end, she captured the spirit of Western Canada within the woods she loved so much.I wonder if I would've befriended this rebellious painter in life as I did by her writing."Why, I didn't know you went to art school in San Fancisco and England. Nor that you were a close friend and correspondent with Lawren Harris." I was entranced and a bit intimidated.As an aside to my own readers, I would like to further comment that I am pleased to have my own pursuits and obsessions.By them, I am a truer friend to myself and to others like Emily.One of the few books, I have read twice. Oct 28, 1988 when I had a 5 month old no less and five years later.

  • Camilla
    2019-06-22 00:44

    I chose Emily Carr to do my history project on, and we had to discover what our historical person was truly like, and what their personality was. I decided to read her autobiography to get a feel for what details really formed her identity. It was very interesting to read because I did a small research project on her in grade eight, but I didn't know the events that happened in her childhood and early teens. She has many accomplishments, but when I read this book I discovered the little things in her early life that were very significant. This helped me tremendously on my project because you never know what it true and what it false on the web. Here, I got the information from the one and only, Emily Carr. She is a brilliant writer, and as an artist myself, it was very inspiring to read about her life. She saw Canada in the most creative, and magnificent ways. I am very glad that I decided to read this, because even though I did it for an assignment, it allowed me to enjoy the task that much more.

  • Lara
    2019-06-11 02:24

    The reason I picked up this book from the local library is because her name is mentioned everywhere around Vancouver, BC, Canada. I have also seen her works in the Vancouver Art Gallery and I just didn't "get" her art. In order to really find out why Emily Carr was a big deal I went straight to the source-her own words. I have only read a handful of biographies but none that have been written like you are reading a fiction book. Her descriptions of events enables you to step into her life and witness it in all of its details. This book is also part history on what it was like to grow up a female in 18th century Victoria. The book comprises of short stories of important moments in her life, mostly of her youth. A good read into the life of someone who struggled artistically, with her family and society. After reading her autobiography I now have an understanding and a new appreciate for her art.

  • Nell
    2019-06-24 23:33

    This was an interesting read offering insight into Emily Carr's writings, life, and paintings, and interesting (and extremely personal) perspectives on what it was like for her to be a young art student at odds with her time and place. However, the writing is very uneven and oddly paced. If you are new to Carr, I would recommend starting with Klee Wyck, short memoirs in the form of vivid, poetically composed "sketches." Hundreds and Thousands: The Journals of Emily Carr is also very interesting, more informal writing, capturing her artistic process and thinking (transcriptions of her journals).

  • Thomas Dehod
    2019-05-31 21:54

    Emily Carr's Growing Pains is my favorite artist biography to date. The book is written in a way that makes you feel like Emily is confiding in you; hearing of small victories and bitter setbacks on her journey as a Canadian artist. You will fall in love with her personality, her brood of pets, and her infatuation with Canada's beauty. This book should be required reading for any student of Canadian Art. This autobiography will give you a deep appreciation and respect for Carr's devotion to her medium. You will gain an intuition for the different phases of her life, and how each phase influenced her work.By no means is this book just for artists or those who know Emily's work. When I picked it up, I knew almost nothing of this girl from Victoria with so much talent and determination. I will recommend this book highly, and often.

  • Kristine Morris
    2019-06-17 22:49

    So thoroughly enjoyed this book, I will be sure to read her others. I had no idea that Carr was a writer as well as an artist. I always enjoy reading about women coming of age and learning their art at the turn of the century. This was doubly enjoyable because she described what that looked like in Victoria, BC. The best paragraph was the last, comparing herself to the old goose that can't join the flock in their migratory flight, but will still add her honks to the parting crowd and then nibble on seeds. This of course was a "carefully crafted" portrait of Carr. I'd like to now read a biography for an outside perspective. There's a new Emily Carr show at the AGO starting in April - perfect timing.

  • Diana
    2019-06-21 22:37

    Emily Carr was a well known Canadian artist and author, originally from Victoria, BC, Canada. Her book begins with her childhood and proceeds through her teenage and early twenties as she pursues her interest in art. As a young woman from that era,it took courage and determination to deviate from the commonly accepted norm. The book is also an account of her struggles to have her art accepted, not only by the public but also by her family. Of course, in later years her art was accepted by the Group of Seven. Her books which were written in the later part of her life were warmly received. This book was well written and I found the early part of her life very interesting .

  • happyd
    2019-06-01 00:53

    growing up on the westcoast, i was so sick of hearing about emily carr and seeing her sweeping, melancholic landscapes. i thought i already knew her life story, but after reading her autobiography, i realized that she really loved our rainforests and respected and revered first nation art work.i think i've become a born-again emily carr fan. her writing style is much like her painting, simple yet dramatic. she is very personable and wasn't afraid to talk about herself in a modest and almost self-deprecating way.an inspiring story for all artists of any medium.

  • Wendy Feltham
    2019-05-24 20:34

    Actually I only read half of this book. I had really enjoyed a biography of Emily Carr, and love her paintings, so decided to give this autobiography a try. It felt a bit too painful and even tedious to me. I am sorry that Emily Carr was born too soon for the world, as she didn't fit into the social scene or even the art scene wherever she went. I think if she were a young artist today, she would be much happier. Fortunately we have her incredible paintings to appreciate in the museums of Victoria and Vancouver.

  • Manda Keeton
    2019-06-22 02:40

    Pulsing with unshakeable devotion to British Colombia, Carr paints an intimate portrait of her highs & lows, her travels abroad, and artistic insecurities as she grows and develops into one of Canada's most prized painters and writers. The autobiography reveals a fascinating time in the history of North America and its art scene. Carr shows us the artist's psyche in bold beautiful language that craves the fuel provided only by human (and animal) reassurance and understanding.

  • Gina
    2019-05-25 21:28

    Emily Carr was born in 1871. She wrote this in the 1940's.She traveled all over the world, mostly alone.That is a worthy enough reason to read this woman'sartistic journey and her rebellious struggle to be an artistand to be the woman that she wanted to be.Emily Carr gave Canada and the world what Frida Kahlo for Mexico and the worldand Georgia O'Keeffe did for America and the world.

  • Karen
    2019-06-10 22:45

    What a beautiful book this is. Emily Carr had an interesting life and she sets it on the page in a way that is both charming and engaging, and that also gives you a very real sense of her character. I really enjoyed reading this, and am looking forward to reading more of her work, as well as looking at her amazing paintings.

  • Gail Park
    2019-06-12 01:26

    After reading Forest Lover, I was interested in hearing from Emily Carr about her life. She tells it like it is with no embellishments or apologies. Very refreshing and a good insight into her life, with not as much emphasis on her art as her other works.

  • Jaina Bee
    2019-05-26 20:29

    This is great story-telling! I'm only half-way through, and I'm willing to give it 5 stars!OK, I'm done and it was such a rare pleasure to be so absorbed and interested in a memoir. Now I've got to read all of her other books!

  • Jennifer
    2019-06-04 23:40

    I'm not a huge fan of Emily Carr's artwork itself, but this autobiography really sucked me in. Carr's independent spirit, dedication to her work, and eventual success as described in this book were quite inspiring.

  • Bet
    2019-06-12 22:48

    Thanks to friend Fran for giving me this book. It ate it up. What a feisty artist. I saw an exhibit of her work in Santa Fe a few years ago.