Stag-head oaks that have lost their crown, fallen branches, a small flourish of leaves, a massive trunk that has lost its roots, remains left after felling, the destruction of wildfires and warfare.
Carr
Boudin’s beach paintings heralding Impressionism, the turn of the plough, the flax harvest, stave churches, an early mermaid, Turner’s white rabbit, and more.
Portraits in pastel by Baes and Laikmaa, and oils from Lovis Corinth, Christian Krohg, Emily Carr, Pierre Bonnard and Paul Sérusier.
She continued to paint during the final years of her life, expressing her concern at deforestation. Here are some of her most radical works.
Sculptural form first in the totems of First Nations peoples, then deep in the forest of British Columbia, and seascapes of the Strait of Juan de Fuca.
Following her flop in 1913, she painted seldom, but started travelling and painting again in the late 1920s. By 1930 she had established and international reputation.
In the summer of 1912 she travelled north to paint First Nations peoples, and returned to exhibit 200 of her paintings in Vancouver in 1913.
Born in Victoria, British Columbia, she started painting First Nations totems in 1907, and decided to document them on the NW coast.
Boarding a canoe to shoot a swan in the Underworld, war canoes north of Vancouver Island, and the Canadian painter-canoeist Tom Thomson.
In the early 20th century, painters started using intense colours, often raw from the tube, and those shifted to give green flesh and blue horses.
