Paper

Student Artwork Guide

Kitwangar Pole

Name Class Date

Emily Carr, Kitwangar Pole, Royal BC Museum. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Emily Carr originaluniqueart.com/en/artists/emily-carr/
Artist’s dates
1871 – 1945
Medium
Watercolor
Original size
55 x 67 cm
Period
Modern
Held at
Royal BC Museum originaluniqueart.com/en/museums/royal-bc-museum-victoria/
Artistic style
Post-Impressionist
Influences
Don Karl Reichert
Notable elements or techniques
Totemic carving; Watercolor painting
Subject or theme
First Nations culture; Landscape depiction

In context

Kitwangar Pole — Emily Carr

How big is it?

The original measures 55 × 67 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

  1. 1870
  2. 1880
  3. 1890
  4. 1900
  5. 1910
  6. 1920
  7. 1930
  8. 1940

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 74 at death.

Shaded: the lifetime of Emily Carr (1871–1945) every dated painting, decade by decade

First works: up to 1912 Main working years: 1912–1936 Late works: from 1936

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/emily-carr-kitwangar-pole-D5JNRV-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #121319

    Catalogued palette

    • #121319
    • #51665E
    • #7D6447
    • #343833

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Emily Carr over the last twelve months — 6 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 57.1%
    2. 2 Hong Kong 17.1%
    3. 3 United States of America 11.4%
    4. 4 Colombia 8.6%
    5. 5 Germany 2.9%
    6. 6 France 2.9%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Emily Carr

    1. 1 Brittany, France, 1911 9.5%
    2. 2 Young Pines And Sky 7.1%
    3. 3 Forest, British Columbia 7.1%
    4. 4 House Near Woods, 1931 4.8%
    5. 5 Reforestation, 1936 4.8%
    6. 6 Dancing Sunlight, 1937 4.8%
    7. 7 Tanoo, 1912 4.8%
    8. 8 Heart Of The Forest 4.8%
    9. 9 Trees Love To Toss And Sway; They Make Such Happy Noises 4.8%
    10. 10 Tree In Autumn 4.8%
    11. 11 Study in Colour and Form 2.4%
    12. 12 Melons 2.4%
    13. 13 Mrs. Douse, Chieftainess of Kitwancool 2.4%
    14. 14 Kitwangar Pole this painting 2.4%
    15. 15 Ada and Louise Outside Cedar Canim 2.4%
    16. 16 Untitled (forest scene) 2.4%
    17. 17 Heina, Maude Island, Queen Charlotte Islands 2.4%
    18. 18 British Columbia Forest, 1930 2.4%
    19. 19 lamp 2.4%
    20. 20 Cha-atl, Field with Pole 2.4%

    Together these works take 81.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 48 works by this artist, of which 28 were looked at at least once. This painting ranks 14 of them, with 2.4% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Kitwangar Pole — Emily Carr

    A Silent Watcher in Monochrome

    The world settles into a quiet, silvered stillness. Before a modest wooden dwelling, a Haida ceremonial pole rises against the landscape, its carved face fixed in a steady, unblinking gaze. This black-and-white watercolor captures a moment of profound gravity, where the textures of wood and shadow merge. The house, with its dark walls and a hint of a red roof, sits tucked beneath the presence of the totem. There is an eerie quality to the scene, born from the sharp contrast of light and dark. One window catches the eye near the top left, while another rests toward the bottom right, both appearing as hollow eyes looking back from the structure. The carved features of the pole seem to watch over the home, creating a sense of protection that feels heavy with history.

    The Language of Shadow and Line

    Every wash of pigment carries a weight of intention. Through precise watercolor techniques, layers of tone build a subtle depth, allowing light to pool in certain crevices of the wood while others sink into deep, ink-like blacks. This approach avoids photographic realism, choosing instead to focus on the essence of the Haida spirit. The movement belongs to the Late Totems style, where the emphasis lies on capturing the soul of the subject through tonal modulation rather than mere imitation. The meticulous detail in the pole's carved face draws the viewer inward, prompting a quiet contemplation of identity and the spiritual connection between the ancestors and the living.

    A Record of Changing Lands

    The scene carries the weight of a period marked by immense cultural shifts. Created around 1928, this work documents a time when Western influence began to press against Indigenous traditions in British Columbia. The totem pole itself acts as a symbol of clan affiliation and lineage, a vertical link to ancestral spirits that remains upright despite external pressures. In the stark monochrome palette, there is a sense of reverence. The atmosphere is one of quietude, inviting anyone who looks upon it to feel the connection to the land and the enduring strength of the traditions etched into the very grain of the wood.

    Artist and museum

    Artist

    Emily Carr

    Born in Victoria, Canada

    A Life Rooted in the Landscape and Spirit of British Columbia

    Emily Carr, born December 13, 1871, in Victoria, British Columbia, was more than just a painter; she was a chronicler of a changing world, a passionate observer of both the natural majesty of the Pacific Northwest and the rich cultural heritage of its First Nations peoples. Her life unfolded against the backdrop of a rapidly evolving Canada, a nation grappling with its identity and relationship to its Indigenous populations. The daughter of Richard and Emily Carr, English immigrants who sought opportunity in the burgeoning colony, she grew up in a household that valued both tradition and progress. This duality would profoundly shape her artistic vision. From an early age, encouraged by her father, Emily displayed a remarkable aptitude for art, a talent nurtured through formal instruction and a deep connection to the surrounding landscape. The imposing forests of Vancouver Island, the rugged coastline, and the vibrant life within them became enduring sources of inspiration. However, it was not merely the visual beauty that captivated Carr; she sought to capture the spirit of this land, its inherent power and mystery.

    Forging a Unique Artistic Voice

    Carr’s artistic journey was one of continuous exploration and refinement. She pursued formal training at the San Francisco Art Institute (1890-1892) and later at the Westminster School of Art in London (1899), immersing herself in European artistic currents. Yet, she found herself increasingly drawn back to her native British Columbia, recognizing that true artistic expression lay not in imitation but in authentic representation of her own experience. Initially influenced by Post-Impressionism, Carr gradually moved away from conventional techniques, developing a style characterized by bold colors, dynamic brushstrokes, and an almost visceral energy. A pivotal moment in her development came through her encounters with the First Nations communities along the British Columbia coast. She traveled extensively throughout these regions, documenting their villages, totem poles, and ceremonial objects with reverence and respect. These experiences profoundly impacted her work, infusing it with a spiritual depth and a commitment to preserving a culture facing immense pressure from colonial forces. Carr wasn’t simply painting about First Nations cultures; she was attempting to convey their worldview, their connection to the land, and the profound symbolism embedded in their art. Her paintings became powerful statements of cultural preservation and artistic innovation.

    Modernism and the Expression of Inner Vision

    Emily Carr stands as a pioneering figure in Canadian Modernism, embracing new forms of expression while remaining deeply rooted in her own unique perspective. She wasn’t content to merely replicate what she saw; instead, she sought to convey the emotional and spiritual essence of her subjects. This led her to experiment with increasingly abstract compositions, employing thick impasto techniques to create a sense of movement and texture. Her canvases often pulsate with energy, reflecting the raw power of the natural world and the vibrant life force of the First Nations communities she depicted. Kispiox Village, for example, is not simply a representation of a village scene; it’s an evocation of its atmosphere, its history, and its spiritual significance. Carr's work often features towering trees that seem to reach towards the heavens, symbolizing both the grandeur of nature and the enduring spirit of Indigenous cultures. She wasn’t afraid to challenge conventional artistic norms, pushing boundaries and forging her own path. This commitment to artistic independence would inspire generations of Canadian artists to come.

    Legacy and Enduring Influence

    Though recognition came relatively late in life, Emily Carr is now widely celebrated as “the Mother of Modern Canadian Art.” Her paintings are treasured for their beauty, their emotional depth, and their historical significance. Beyond her artistic achievements, Carr was also a gifted writer, chronicling her experiences and observations in the acclaimed autobiography Klee Wyck, which won the Governor General’s Literary Award for non-fiction in 1941. This work provides invaluable insights into her life, her artistic process, and her profound connection to British Columbia. Carr's legacy extends far beyond the art world; she has become a national icon, representing artistic independence, cultural exploration, and the enduring beauty of the Canadian landscape. Her influence can be seen in the work of numerous subsequent artists, including Pegi Nicol Macleod, who similarly sought to capture the spirit of the West Coast. Even today, her paintings continue to resonate with audiences around the world, reminding us of the importance of preserving cultural heritage and celebrating the power of artistic expression. A testament to her lasting impact is the naming of minor planet 5688 Kleewyck in her honor—a celestial tribute to a truly remarkable artist and visionary.

    Major Works

    Tanoo (watercolor): A delicate yet powerful depiction of First Nations life, showcasing Carr’s mastery of watercolor techniques.

    A Haida Village (oil): A striking oil painting that captures the architectural grandeur and spiritual significance of a Haida village.

    The Indian Church (oil): A poignant representation of the intersection between Indigenous culture and Christian missionary influence, reflecting Carr’s complex engagement with colonial history.

    Kispiox Village (oil): An iconic painting that embodies Carr's unique style and her deep connection to the landscapes and communities of British Columbia.

    Museum

    Royal BC Museum

    On show in Victoria, Canada

    A Tapestry of British Columbia: Unveiling the Royal BC Museum

    Nestled within Victoria’s vibrant heart, beside the majestic Inner Harbour and flanked by architectural giants, lies the Royal British Columbia Museum – a destination that transcends mere display to become an immersive journey into the soul of this remarkable province. More than simply a repository of artifacts, it's a dynamic narrative woven from millennia of natural history, Indigenous culture, and human settlement; a testament to British Columbia’s enduring spirit and its profound connection to both land and people. Founded in 1886 with a noble purpose – safeguarding the province’s unique flora, fauna, and Indigenous heritage – the museum has evolved into one of Canada's most treasured cultural institutions, attracting visitors from across the globe seeking an authentic encounter with BC’s extraordinary legacy.

    The building itself is a magnificent Beaux-Arts masterpiece, conceived by Vancouver architect Silas Tomlinson and completed in 1968 thanks to the generous contribution of Jim Pattison. Its soaring ceilings, adorned with intricate detailing and punctuated by expansive windows, create an atmosphere of grandeur that immediately transports visitors into a realm of discovery. The museum’s design isn't merely aesthetically pleasing; it was meticulously planned to accommodate the vastness of its collections and facilitate a seamless flow between exhibits, ensuring a truly engaging experience. The presence of the IMAX Victoria Theater, projecting breathtaking cinematic presentations of wildlife documentaries and artistic films, further elevates the museum’s appeal, bringing distant landscapes and captivating stories to life in stunning high-definition.

    Echoes of Giants: Natural History's Grand Scale

    At the heart of the Royal BC Museum lies a staggering collection of over 7 million specimens – a testament to British Columbia’s remarkable biodiversity. Divided into eight distinct disciplines—Entomology, Botany, Palaeontology, Ichthyology, Invertebrate Zoology, Herpetology, Mammalogy, and Ornithology—the museum delves deep into the geological history of the province, revealing its dramatic transformations over millions of years. Visitors are immediately confronted with colossal dinosaur skeletons unearthed in Alberta, offering a tangible connection to prehistoric times. Intricate displays showcase the delicate beauty of BC’s alpine wildflowers, alongside meticulously preserved butterflies and insects illustrating vital pollination processes. The museum's commitment to scientific accuracy is evident in every detail, from the detailed labeling of specimens to the informative interpretive panels that illuminate their significance.

    Voices of the Past: Indigenous Culture and Heritage

    Beyond its natural wonders, the Royal BC Museum offers a profound exploration of British Columbia’s human history, particularly through its deeply moving First Peoples Gallery. This space celebrates the traditions, artistry, and resilience of BC’s indigenous communities, showcasing artifacts crafted from cedar bark – intricate baskets, ceremonial masks, and tools – totem poles depicting ancestral narratives, and interactive displays designed to foster understanding and respect for Indigenous cultures. The “Becoming BC” gallery provides a broader context, charting the province's transformation into a modern nation through social history, art exhibitions, and cultural heritage initiatives. The museum’s archives hold invaluable records documenting pivotal moments in BC’s past – from colonial expeditions to industrial booms to artistic movements – offering crucial insights for appreciating the province’s multifaceted identity. The influence of artists like Mary Frances Pratt and Charles Warburton Young, who captured BC landscapes with evocative watercolors, is particularly notable, reflecting the province's beauty and spirit.

    A Legacy of Exploration: Touring Exhibitions and Architectural Grandeur

    The Royal BC Museum distinguishes itself through its ambitious touring exhibitions, which have captivated audiences worldwide. From the haunting grandeur of RMS Titanic to the genius of Leonardo da Vinci and the epic sweep of Genghis Khan, these immersive experiences transport visitors beyond BC’s borders, sparking curiosity and fostering appreciation for global cultural heritage. The museum's commitment to showcasing diverse artistic traditions is further exemplified by its ongoing collaborations with artists both local and international. The building itself remains a symbol of British Columbia’s dedication to preserving its heritage while embracing progress – a magnificent structure that continues to inspire awe and wonder.

    Beyond the Walls: Community Engagement and Artistic Inspiration

    The Royal BC Museum is more than just a collection of artifacts; it's a vibrant hub for learning, engagement, and community connection. Supported by over 500 dedicated volunteers, the museum actively fosters dialogue and promotes cultural understanding through educational programs, public lectures, and interactive exhibits. The museum’s artistic heritage continues to inspire creativity and innovation, drawing inspiration from BC’s diverse artistic traditions and showcasing contemporary artworks alongside historical masterpieces. The Royal BC Museum stands as a beacon of cultural excellence, ensuring that British Columbia's story – its natural wonders, its human history, and its artistic legacy – will endure for generations to come.

    Where to read more

    Find this online

    QR code linking to the download page for Kitwangar Pole

    originaluniqueart.com/en/art/download/emily-carr-kitwangar-pole-D5JNRV-en/

    Cite this artwork

    MLA
    Carr, Emily. Kitwangar Pole. n.d., Royal BC Museum. https://originaluniqueart.com/en/art/emily-carr-kitwangar-pole-D5JNRV-en/
    APA
    Carr, Emily (n.d.). Kitwangar Pole [Painting]. Royal BC Museum. https://originaluniqueart.com/en/art/emily-carr-kitwangar-pole-D5JNRV-en/
    Chicago
    Emily Carr. Kitwangar Pole. n.d. Royal BC Museum. https://originaluniqueart.com/en/art/emily-carr-kitwangar-pole-D5JNRV-en/
    Harvard
    Carr, Emily (n.d.) Kitwangar Pole. Royal BC Museum. Available at: https://originaluniqueart.com/en/art/emily-carr-kitwangar-pole-D5JNRV-en/

    Look closely

    Kitwangar Pole — Emily Carr

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: totem pole, british columbia, emily carr. Do you agree? What would you add, or take away?
    4. Look back at Trees in France (1911), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Themes that come back through the work of Emily Carr: totem pole symbolism, indigenous culture reflection, landscape observation detail. Which of them do you see here?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Kitwangar Pole — Emily Carr

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the predominant artistic style of Emily Carr’s ‘Kitwangar Pole’?

      • A Cubism
      • B Realism
      • C Modernism
    2. 2. The image description mentions a striking contrast between colors. What are these colors?

      • A Warm hues like reds and yellows
      • B Cool hues like blues and greens
      • C Black and white
    3. 3. According to the Wikipedia article, Emily Carr was particularly inspired by what aspect of British Columbia?

      • A Its volcanic landscapes
      • B Its temperate rainforests
      • C Its arid deserts
    4. 4. What prominent feature is carved into the totem pole depicted in the painting?

      • A A depiction of a whale
      • B A stylized human face
      • C Geometric patterns
    5. 5. The Wikipedia article highlights Carr’s literary work, specifically her book ‘Klee Wyck’. What genre does this book belong to?

      • A Fantasy Fiction
      • B Historical Romance
      • C Non-fiction

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2C · 3B · 4B · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Where can I buy a print of "Kitwangar Pole" by Emily Carr?

    "Kitwangar Pole" is available as a fine art print on cotton canvas or archival canvas paper. Orders are placed on its Fine Art Print page, in the size of your choice.

    What is the format of "Kitwangar Pole"?

    The format of "Kitwangar Pole" is portrait. This is useful when planning where a reproduction will be placed.

    Can I order an oil reproduction of "Kitwangar Pole"?

    Hand-painted copies of "Kitwangar Pole" by Emily Carr are sold on this website: a hand-painted oil reproduction on linen canvas, ordered from its Hand-Painted Reproduction page.