Nejoblíbenějším dílem autora Emily Carr je Tanoo, Q.C.I., které je vystaveno v instituci Royal BC Museum, Victoria. Následují Strait of Juan de Fuca (1936) a Tančící stromy (1940) z platen, která čtenáři znají nejlépe. Náš katalog obsahuje 99 děl umělce Emily Carr: zde je 99 nejznámějších, z nichž každé uvádí svůj rok vzniku, muzeum a důvod, proč je nezapomenutelné.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
A Forest of Totems The air feels heavy with the scent of damp earth and cedar as we step into this lush, green expanse. Tall totem poles rise from the foreground, their surfaces etched with intricate, swirling designs that seem to pulse with a life of their own. These wooden sentinels stand guard over a quiet corner of the woods, where the light filters through a thick canopy of leaves.…
In the sweeping expanse of Emily Carr’s 1936 masterpiece, Strait of Juan de Fuca, the viewer is invited to witness a profound dialogue between the rugged earth and the restless sea. This evocative landscape captures more than just a geographical location; it captures a moment of atmospheric tension where the heavy, cloud-laden sky meets the enduring strength of the coastal mountains. The composition is anchored by two prominent rock formations…
Emily Carr: Dancing Trees – A Symphony of Light and Rooted Spirit Emily Carr’s *Dancing Trees*, painted in 1940, stands as one of her most arresting explorations into the intersection of landscape and emotion—a testament to her unwavering fascination with British Columbia's boreal forests and a profound reflection on the enduring power of nature. Created during a period marked by personal hardship – Carr endured debilitating strokes that severely curtailed…
In the heart of the dense, mist-shrouded landscapes of British Columbia, there exists a realm where the boundary between the physical world and the spiritual plane begins to dissolve. Emily Carr’s 1930 masterpiece, “British Columbia Forest,” serves as a profound gateway into this ethereal domain. This is not merely a landscape painting; it is an emotional excavation of the wild. Through her singular lens, the forest ceases to be a…
Emily Carr's “Tanoo,” painted in 1912, is more than just a depiction of totem poles; it’s a profound meditation on the spirit of the Pacific Northwest and the enduring connection between Indigenous peoples and their ancestral lands. Created during a pivotal period of change for both Canada and its First Nations communities, this watercolor offers a rare glimpse into a world largely untouched by modern influence – a world where…
In the 1931 painting House Near Woods, Emily Carr presents a serene and tranquil scene that captures a moment of quietude within the Canadian landscape. The composition centers on a small, white house with a red roof, positioned atop a hill as it overlooks a vast, surrounding forest. This wooden cabin sits nestled within a clearing, surrounded by the dense, thick growth of the woods.
Reforestation - A Vision of Resilience Emily Carr’s “Reforestation,” painted in 1936 during her prolific period exploring British Columbia's landscapes, stands as a testament to her unwavering fascination with the natural world and her ability to translate its spirit onto canvas. This monumental artwork embodies Group of Seven principles—bold brushstrokes, flattened perspective, and an uncompromising commitment to capturing raw emotion—resulting in a scene that transcends mere depiction; it communicates a…
In the quietude of the Pacific Northwest, where the mist clings to the rugged bark of ancient conifers, Emily Carr captures a moment of profound stillness in Young Pines And Sky. This evocative piece serves as a window into a world where the boundary between the earth and the heavens feels beautifully permeable. The composition centers on a cluster of resilient young pines, their silhouettes reaching upward with a quiet,…
Kitwangar Pole – Emily Carr: A Window Into Haida Spirit Emily Carr’s “Kitwangar Pole” isn't merely a depiction of a totem pole; it’s a profound meditation on identity, spirituality, and the enduring connection between Indigenous culture and the Canadian landscape. Painted circa 1928 during her formative years in British Columbia, this striking watercolor captures a moment frozen in time—a Haida village nestled against the backdrop of towering cedar trees, presided…
Created in 1911, this oil on cardboard work captures a specific moment of transition in the artist's development. The composition focuses on the structural presence of a dwelling within the Brittany landscape. Through a controlled application of paint, the work explores the relationship between built forms and the surrounding environment. The medium of cardboard lends a specific texture to the surface, influencing the way the oil pigment sits upon the…
Emily Carr (1871-1945), a Canadian Modernist pioneer, stands apart from her contemporaries not merely for her prolific output but for the singular vision that fueled her artistic endeavors.…
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Emily Carr: Pohled na Les – Výraz Svobody a Přirody Emily Carr (1871–1945) byla více než jen malířka; byla kronikářkou změny, vášnivým pozorovatelem krásy severního pobřeží Kanady i…
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Emily Carr, fascinující a neúprosná kronikářka severozápadního pobřeží Britské Kolumbie, se v díle „Cha-atl, Field with Pole“ (1912) dotkla srdce nejen krajiny, ale i duše místních obyvatel. Tato…
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Emily Carr’s “Crécy-en-Brie” is far more than a mere depiction of a quaint French village; it is a crystallized moment of artistic revelation. Painted during her immersive journey…
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Emily Carr's 1911 painting, "Brittany Landscape," isn’t merely a depiction of a coastal scene; it’s a profound meditation on place, memory, and the burgeoning spirit of modern Canadian…
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Emily Carr’s “Sawmills, Vancouver,” painted in 1912, isn't merely a depiction of a coastal scene; it’s a poignant meditation on the collision between tradition and progress, the raw…
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Emily Carr’s “A Haida Village,” painted in 1929, isn't merely a depiction of a coastal scene; it’s an immersive journey into the heart of Northwest Indigenous culture. This…
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In the quietude of 1912, Emily Carr captured a moment of profound stillness in her evocative work, Yan Q.C.I. This painting serves as a breathtaking window into a…
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“Dancing Sunlight,” painted in 1937 by Emily Carr, offers an intimate glimpse into the heart of British Columbia’s wilderness – a scene rendered with a profound understanding of…
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To gaze upon this collection of lamps is to encounter not merely functional objects, but miniature sculptures imbued with stories of skilled hands and rich cultural exchange. The…
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The work titled Self-portrait is a quiet, introspective oil on paperboard. Created between 1924 and 1925, it captures the artist Emily Carr in a moment of solitary labor.…
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A Window Into a Changing World: Emily Carr’s Kispiox Village Emily Carr's "Kispiox Village," painted in 1929, isn’t merely a depiction of a remote British Columbia landscape; it’s…
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Two melons rest upon a table, their heavy forms pressing against the surface. One fruit remains whole, a smooth curve of skin, while the other has been sliced…
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To stand before an image like this Untitled forest scene by Emily Carr is to step across a threshold, leaving the clamor of the modern world behind for…
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{ "description": "Subject and Composition This captivating artwork depicts a serene rural landscape, inviting viewers into a tranquil world where nature and human habitation coexist harmoniously. The winding…
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Emily Carr's "Heina, Maude Island," painted in 1912, isn’t merely a depiction of a bird perched upon a weathered pole; it’s a profound meditation on solitude, resilience, and…
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![Untitled [Skedans, Queen Charlotte Islands] od Emily Carr](/media/artworks/images-thumb/d0/d7/d0d77f9fa039d25a761f21e549246072.jpg)
In the delicate, translucent layers of Ada and Louise Outside Cedar Canim, we encounter a profound moment of quietude captured by one of Canada’s most revered artistic voices.…
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In the quiet, evocative depths of Emily Carr’s “Mrs. Douse, Chieftainess of Kitwancool,” we encounter more than a mere portrait; we enter a profound dialogue between person and…
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Emily Carr's "Roots," painted circa 1929, isn’t merely a depiction of two magnificent horned creatures amidst the dense foliage of British Columbia; it’s a profound meditation on connection…
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Studium Barvy a Tvaru – Emily Carrova Výtvarná Dílo Emily Carr (1871–1945) byla více než jen malířka; byla kronikářkou změňajícího se světa, vášnivým pozorovatelem jak majestátních krajin Britské…
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Čtyři témata, která se na těchto plátnech nejčastěji objevují, každé s jedním z jejich nejoblíbenějších příkladů.
8 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzea | Město | Díla autora Emily Carr | Obrazy z tohoto seznamu |
|---|---|---|---|
 Národní galerie Kanady |
Ottawa | 23 | House in Brittany, Portrait of Woo, Grizzly Bear Totem, Angidah, Nass River |
 Royal BC Museum |
Victoria | 15 | Tanoo, Q.C.I., Kitwangarův věž, Lesní krajina |
 McMichael Canadian Art Collection |
Vaughan | 11 | Strait of Juan de Fuca, Tančící stromy, British Columbia Forest |
 Vancouver Art Gallery |
Vancouver | 10 | Totem Poles, Kitseukla, Totem Mother, Totem and Forest |
 Art Gallery of Ontario |
Toronto | 3 | Guyasdoms D'Sonoqua, In the Forest, BC, Indian Church |
 Montreal Museum of Fine Arts |
Montreal | 2 | Community House Ucluelet, Indian War Canoe |
 The Robert McLaughlin Gallery |
Oshawa | 1 | House Near Woods |
 Art Gallery of Hamilton |
Hamilton | 1 | Yan Q.C.I. |
Emily Carr's “Tanoo,” painted in 1912, is more than just a depiction of totem poles; it’s a profound meditation on the spirit of the Pacific Northwest and the…
In the sweeping expanse of Emily Carr’s 1936 masterpiece, Strait of Juan de Fuca, the viewer is invited to witness a profound dialogue between the rugged earth and…
Emily Carr: Dancing Trees – A Symphony of Light and Rooted Spirit Emily Carr’s *Dancing Trees*, painted in 1940, stands as one of her most arresting explorations into…
Tanoo, Q.C.I., Royal BC Museum, Victoria. Následují Strait of Juan de Fuca (1936) a Tančící stromy (1940).
Tanoo, Q.C.I., Strait of Juan de Fuca, Tančící stromy, British Columbia Forest, Tanoo, House Near Woods, Reforestation, Young Pines And Sky, Kitwangarův věž a House in Brittany. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 99 děl umělce Emily Carr, datovaných od 1911 do 1942.
Většinou v Národní galerie Kanady (Ottawa), Royal BC Museum (Victoria) a McMichael Canadian Art Collection (Vaughan); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1930s, které tvoří 34 z 99 děl na této stránce, mezi nimi i Strait of Juan de Fuca.
Nejstarší plátno se zde datuje do House in Brittany (1911); nejnovější je z Clearing (1942).
Landscape (11), Forest (9) a Trees (8) napříč 99 díly na této stránce.
Oil On Canvas, použito u 9 z 99 děl na této stránce.
Post-impressionism a Modernism, jak dokazují plátna na této stránce.
Muzeum Národní galerie Kanady, Ottawa se vlastní 23 děl z této stránky, mezi nimiž jsou i House in Brittany, Portrait of Woo a Grizzly Bear Totem, Angidah, Nass River.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
