Dear Nan : letters of Emily Carr, Nan Cheney and Humphrey Toms / edited by Doreen Walker.

Format:

Book

Author/Creator:

Carr, Emily, 1871-1945.

Contributor:

Cheney, Nan, 1887-1985.

Toms, Humphrey N. W.

Walker, Doreen, 1920-

Language:

English

Subjects (All):

Carr, Emily, 1871-1945--Correspondence.

Carr, Emily.

Cheney, Nan, 1887-1985--Correspondence.

Cheney, Nan.

Toms, Humphrey N. W--Correspondence.

Toms, Humphrey N. W.

Painters--Canada--Correspondence.

Painters.

Physical Description:

1 online resource (508 pages) : illustrations

Edition:

1st ed.

Place of Publication:

Vancouver : University of British Columbia Press, 1990.

Language Note:

English

Summary:

This collection includes 150 letters Emily Carr wrote to her friends Nan Cheney and Humphrey Toms, and 100 other letters relating mainly to Emily Carr. The letters date from 1930 to 1945, the most prolific period in Carr’s career as both painter and writer. In them she writes in colourful detail about her everyday activities, and discusses her painting – “the biggest thing in my life.” There are outbursts of exasperation and anger as well as many indications of her caring, her warmth, her wisdom and her wit, and of her impatience with critics and poseurs, and they give insights into her various relationships with, among others, Lawren Harris, Ira Dilworth, Jack Shadbolt, Garnett Sedgewick, Dorothy Livesay, A.Y. Jackson, and Arthur Lismer. Nan Cheney and Humphrey Toms shared Emily Carr’s interest in art. Carr’s relationship with Cheney dated back to 1930 but did not flourish until 1937 when Cheney moved from Ottawa to Vancouver to become the first full-time medical artist at UBC. Humphrey Toms was only twenty years old when he first met Emily Carr, having asked to visit her after seeing some of her paintings, following which a warm friendship developed. The correspondence between Cheney and Toms reveals how Carr was regarded at the time and attests to their mutual interest in the Vancouver art scene. As an active member Cheney relates gossip about the local art community, providing a very personal and often exceedingly critical view of the Vancouver art milieu of the time. Doreen Walker has chosen not to change the original text of the letters and includes Carr's misspellings and grammatical irregularities, which give a feeling of immediacy to the writing. There are numerous examples of her talent for graphic description, how she felt “rag rug level” when depressed and how she “was sat down with a spank” when ill. Perhaps most significant are the many revelations of her deep commitment to her work and of her industry and perseverance despite her failing health. “Queer how we go on,” she wrote to Cheney, “luck there is so much rubber in human composition.”

Contents:

Intro

CONTENTS

FOREWORD

INTRODUCTION

NOTE ON THE TEXT

ACKNOWLEDGMENTS

ABBREVIATIONS

COLOUR PLATES

CHRONOLOGY

ILLUSTRATIONS

THE LETTERS

POSTSCRIPT

TRANSCRIPTION OF THE CARR LETTERS

EMILY CARR'S "VARIATIONS

INDEX

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

R

S

T

U

V

W

Y

Z.

Notes:

Bibliographic Level Mode of Issuance: Monograph

Includes bibliographical references and index.

ISBN:

9786613225863

9787748039080

7748039089

9781283225861

1283225867

9780774854917

077485491X

OCLC:

243567488