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Unframed Matte Paper Prints: Delivered in the exact dimensions of the artwork on 280 gsm Artist Paper.
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Stretched Canvas: Ready to hang with neatly finished edges and solid wood support.
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Framed Prints: Professionally mounted in a premium wood frame with backing and wire installed.
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About this work
In this late self-portrait, Carr confronts the viewer with an unflinching directness that speaks to both her artistic confidence and her isolation. The painting is spare and psychological—a face rendered with bold, earthy tones and simplified forms that owe more to her Modernist education in Paris and her correspondence with the Group of Seven than to conventional portraiture. There is no flattery here, no softening. Instead, Carr presents herself as she was in her final decade: a woman of serious purpose, her gaze steady, her expression marked by the intensity of someone who has spent a lifetime pursuing art on her own terms.
By 1939, Carr had moved beyond the totem poles and First Nations villages that had defined her earlier mature work, turning inward to introspection and to the rhythms of her interior world. This portrait arrives at a moment when her national reputation was finally secured—the 1927 Ottawa exhibition had ended years of West Coast isolation, and her literary success with *Klee Wyck* (published in 1941) lay just ahead. Yet the painting suggests neither triumph nor ease. Instead, it captures someone accustomed to standing alone, undeterred by decades of indifference.
This is wall art for anyone drawn to creative tenacity and unflinching self-knowledge. Hung in a study or gallery wall, it commands quietude and reflection. It speaks to the viewer who recognizes that true artistic power often emerges not from external validation but from an unshakeable commitment to vision. A portrait not of celebrity, but of character.
About Emily Carr
Few painters have wrestled the spirit of a landscape onto canvas the way this British Columbian modernist did with the rainforests and Indigenous villages of Canada's Pacific coast. Trained in San Francisco, London, and Paris in the early 1900s, she returned home and developed a swirling, sculptural approach to trees and sky that owed something to the Group of Seven but answered to nobody. Her later forest paintings from the 1930s feel almost alive, with green light moving through them like weather. For contemporary viewers, her work offers a way of looking at the natural world that is reverent without being sentimental.
