Student Artwork Guide
Copyright This work is in the public domain. Emily Carr died in 1945; copyright lasts 70 years after the artist’s death, so it ended in 2015.
In context
Tree In Autumn — Emily Carr
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?
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-tree-in-autumn-9DGQHN-en/
Measured from the image
Main colour
Espresso #675440
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
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.
Together these works take 79.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 48 works by this artist, of which 30 were looked at at least once. This painting ranks 11 of them, with 4.2% of that attention (200 visits). 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.
Artist and museum
Born in Victoria, Canada
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.
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.
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.
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.
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.
originaluniqueart.com/en/art/download/emily-carr-tree-in-autumn-9DGQHN-en/
Look closely
Tree In Autumn — Emily Carr
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"Tree In Autumn" by Emily Carr uses an earthy palette, with espresso (#675440) as the dominant color.
The light-dark contrast of "Tree In Autumn" is recorded as statement. Contrast describes how strongly light and dark areas differ.
A Stats page exists for "Tree In Autumn". It charts the monthly visits of the artwork and of the artist's other works, with country and language breakdowns.