She continued to paint during the final years of her life, expressing her concern at deforestation. Here are some of her most radical works.
totem
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.
In her final years, she concentrated on her writing. But her painting continued to innovate, and she produced some of her finest work, shown here.
She started with sculptured solids which then broke into swirling fluids. Then she patterned and structured using brushstrokes. More marvellous paintings.
She wasn’t a late developer at all: for over ten years her work was shunned. Then in 1924, this started to change, as did her painting.
In just a few years, she painted more than 200 works documenting the totems and villages of the First Nation peoples of the Pacific North-West.
Early paintings by this prolific and highly innovative painter who concentrated on totems of indigenous peoples of the Pacific North-west, and wonderful trees and forests.
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