Najomiljenije delo umetnika Emili Kar je Tanoo, Q.C.I., koje se nalazi u muzeju Royal BC Museum, Viktorija. Strait of Juan de Fuca (1936) i Dancing Trees (1940) su sledeći na listi najpoznatijih platana koje čitaoci najbolje poznaju. Naš katalog sadrži 99 dela umetnika Emili Kar: evo 99 najpoznatijih, od kojih svako nosi godinu nastanka, naziv muzeja i opis onoga što ga čini nezaborotljivim.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 2026. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu od lana ili kao umetnički print, izrađen u dimenzijama koje sami odaberete.
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…
Dancing Trees - Emily Carr (1871 - 1945) — A Pioneer's Vision of British Columbia Emily Carr’s *Dancing Trees*, painted in 1937-40, stands as a testament to her singular artistic vision—a fusion of Post-Impressionism and an unwavering connection to the landscape of British Columbia. More than just a depiction of trees; it embodies Carr's profound engagement with both the natural world and Indigenous culture, reflecting a period marked by significant…
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,…
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…
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’s watercolor, “Cha-atl, Field with Pole,” painted around 1912, is more than a simple depiction of a coastal landscape; it’s a profound meditation on the interconnectedness between…
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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] čiji je Emili Kar](/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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A Symphony of Light and Texture: Emily Carr’s “Study in Colour and Form” Emily Carr's "Study in Colour and Form" transcends mere landscape painting; it embodies a profound…
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Četiri teme koje se najčešće pojavljuju na ovim platnima, svaka sa svojim najomiljenijim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Emili Kar | Slike iz ovog spiska |
|---|---|---|---|
 Nacionalna galerija Kanade |
Otava | 23 | House in Brittany, Portrait of Woo, Grizzly Bear Totem, Angidah, Nass River |
 Royal BC Museum |
Viktorija | 15 | Tanoo, Q.C.I., Kitwangar Pole, (forest landscape) |
 McMichael Canadian Art Collection |
Von | 11 | Strait of Juan de Fuca, Dancing Trees, 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…
Dancing Trees - Emily Carr (1871 - 1945) — A Pioneer's Vision of British Columbia Emily Carr’s *Dancing Trees*, painted in 1937-40, stands as a testament to her…
Tanoo, Q.C.I., Royal BC Museum, Viktorija. Prate ih Strait of Juan de Fuca (1936) i Dancing Trees (1940).
Tanoo, Q.C.I., Strait of Juan de Fuca, Dancing Trees, British Columbia Forest, Tanoo, House Near Woods, Reforestation, Young Pines And Sky, Kitwangar Pole i House in Brittany. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu se nalazi 99 dela umetnika Emili Kar, datiranih od 1911 do 1942.
Većinom u Nacionalna galerija Kanade (Otava), Royal BC Museum (Viktorija) i McMichael Canadian Art Collection (Von); gornja lista navodi svaki muzej i njegova platna.
U 1930s, koji obuhvata 34 od 99 dela na ovoj stranici, među njima je i Strait of Juan de Fuca.
Najstarije platno ovde je iz House in Brittany (1911) godine; najnovije je iz Clearing (1942) godine.
Landscape (11), Forest (8) i Trees (8), kroz svih 99 dela na ovoj stranici.
Oil On Canvas, korišćeno u 10 od 99 dela na ovoj stranici.
Post-impressionism i Modernism, kao što pokazuju platna na ovoj stranici.
Muzej Nacionalna galerija Kanade, Otava čuva 23 dela sa ove stranice, među kojima su i House in Brittany, Portrait of Woo i Grizzly Bear Totem, Angidah, Nass River.
Da. Svaku sliku sa ove stranice možete naručiti sa njene posebne stranice kao ručno oslikano ulje na platnu ili kao umetnički print, u veličini koju odaberete.
