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The Forest Lover por Susan Vreeland
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The Forest Lover (original 2003; edição 2004)

por Susan Vreeland (Autor)

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7592622,598 (3.67)113
"From an early age, it is clear that Emily Carr is not like her sisters - not satisfied with the pious and rigid world she is expected to fit into. Her creative talent and fiercely independent spirit are far too strong to be suppressed by her father's wishes that she marry and settle down into polite white Vancouver society. Drawn to the danger and beauty of a vast wilderness and its people, Emily defies her family's better judgment, spurns suitors, and establishes herself as an art teacher, venturing off whenever possible to the wild coast of British Columbia. There she begins to paint the native tribal villages in an effort to portray the rich culture of these people, their canoes, totems, and artfully decorated communal houses before they are destroyed forever." "In Vreeland's novel, Carr's life becomes a meditation on the search for self and self-acceptance. Vreeland renders vivid portraits of Carr and the unconventional people to whom she is inevitably drawn: Sophie, a native basket maker; Harold, the son of missionaries who embraces indigenous cultures; Fanny, a New Zealand artist who spends the summer with Carr painting in the French countryside; and Claude, the French fur trader who steals her heart. From illegal potlatches in Mimkwamlis to prewar Paris, where her art was exhibited in the famed Salon d'Automne, to her emergence as a great artist compared with Georgia O'Keeffe and Frida Kahlo, Carr's journey to prove her ability as an artist to herself and the world around her is a vibrant, inspiring pleasure."--BOOK JACKET.… (mais)
Membro:amio1016
Título:The Forest Lover
Autores:Susan Vreeland (Autor)
Informação:Penguin Books (2004), Edition: Illustrated, 420 pages
Colecções:A sua biblioteca
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Etiquetas:Nenhum(a)

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The Forest Lover por Susan Vreeland (2003)

Adicionado recentemente porbemijnde, kurokijo, bookclubtogo, blueridge, jwk, lois1, KAlberts, Tess_W
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Patria, nata nell'anno primo della Rivoluzione castrista, viene "dall'isola che aveva voluto costruire il paradiso": il grande sogno si mescola alle urgenze del presente, alle difficoltà materiali, agli amori, alla rabbia e all'apatia, in un romanzo di cruda satira e vera passione.
  kikka62 | Mar 19, 2020 |
I picked up this book in anticipation of seeing the Emily Carr exhibit at the AGO in Toronto. Although the writing itself is not inspiring, nonetheless, it has heightened my interest in seeing these paintings "in person." Despite her artistic training in England and France, she developed her own distinctive style. Though not in the famous Canadian Group of Seven, she shows an affinity with them and their love of the Canadian wilderness. ( )
  steller0707 | Aug 25, 2019 |
I hoped to learn more sbout the life of Emily Carr, one of Canada's early Impressionist painters, and I did but I found the book more superficial than I'd hoped. She was a fascinating woman, many years ahead of her time, attracted to native art and culture during a period when many whites were sending children to "residential schools" where they were pressured to give up the old ways and language and become "Christianized". What was it that so attracted her to this aboriginal culture? How was she introduced to it? She resonated with it in a way that very few whites did at the time. This is not explained in the book. Her family was British, and she was the only one to show an independent streak. Early on, her goal was to visit and paint as many of the totem poles and long houses as she could before they were lost to the elements, or taken away to museums. This was no mean feat. Traveling alone to remote villages was an adventure in itself. As time went on, and she was influenced by new impressionist movement, her work focused less on keeping a record of what was there and more on expressing the way the forest and the carvings made her feel. She is now recognized as one of Canada's great painters of the early 20th century, more remarkable by virtue of the fact that she developed her style in relative isolation, unlike the Group of Seven who collaborated closely with each other in Ontario and Quebec. All in all the book was enjoyable and I did learn a few things, but it left many unanswered questions. ( )
  Eye_Gee | May 8, 2017 |
icon Emily Carr — Vancouver Artist does wild paintings — good

In The Forest Lover, Susan Vreeland traces the courageous life and career of Emily Carr, who — more than Georgia O'Keeffe or Frida Kahlo — blazed a path for modern women artists. Overcoming the confines of Victorian culture, Carr became a major force in modern art by capturing an untamed British Columbia and its indigenous peoples just before industrialization changed them forever. From illegal potlatches in tribal communities to artists' studios in pre-World War I Paris, Vreeland tells her story with gusto and suspense, giving us a glorious novel that will appeal to lovers of art, native cultures, and lush historical fiction.
Esta crítica foi assinalada por vários utilizadores como um abuso dos termos do serviço. Por isso, não é mostrada (mostrar).
  christinejoseph | Jul 27, 2016 |
The Forest Lover - Susan Vreeland
3 stars
Emily Carr was a post impressionist Canadian artist who died in 1945. Forest Lover is an uneven fictionalized biography of her life as a struggling female painter. I find the woman and her work to be fascinating, but this retelling of her life leaves much to be desired. The story begins with Emily as a grown woman trying to scratch a living as an artist. She teaches art to well-to-do ladies and their children, but is continually dissatisfied with the limits placed on her life and her art. Throughout the book Vreeland creates some fictional relationships for Emily, but none of these friendships seem to have depth and they continue to feel fictional as the story progresses.
After reading this book, I read more about the life of Emily Carr. The more I know about her, the less satisfied I am with The Forest Lover. Apparently, Carr first studied art in San Francisco and later in London. These experiences get only passing reference in Vreeland's book. Vreeland does capture the depth of Carr's interest and sympathy for native people, but again, I felt the personal relationships were improbable. The redeeming feature of this book was Vreeland's descriptions of the physical difficulties Carr had to endure to create her master works. I couldn't believe the relationship with the French Canadian trapper/trader, but the details of the constant rain and the pestilential mosquitoes made me want to run for cover.

( )
  msjudy | May 30, 2016 |
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Susan Vreelandautor principaltodas as ediçõescalculated
White, KarenNarradorautor secundárioalgumas ediçõesconfirmado
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There is something bigger than fact: the underlying spirit, all it stands for, the mood, the vastness, the Western breath of go-to-the-devil-if-you-don't like it, the eternal big spaceness of it. Oh the West! I'm of it and I love it.

---Emily Carr, "Hundreds and Thousands" 1966
This is the forest primeval.
The murmuring pines and the hemlocks,
Bearded with moss, and in garments green
Indistinct in the twilight
Stand like Druids of eld,
With voices sad and prophetic.
--Henry Wadsworth Longfellow, "Evangeline" 1847
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Letting her cape snap in the wind, Emily gripped her carpetbag and wicker food hamper, and hiked up the beach, feasting her eyes on Hitats'uu spread wide beneath fine-spun vapor.
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She picked up a fibrous piece of cedar bark that Sophie had discarded and held it to her nose. The tree had breathed through this. She could have this, the spirit of British Columbia, when breathing city soot, she would crave the piquant smell of woods, or when, amid the clang of trains, she would long for its deep silent places. Hoping that cedar might be her power spirit, she put the bark in her pocket.
You Who Dwell in the Forest,” Emily murmured into the hush. “You have given me the longing to paint. You see I am lonely, and have nowhere to pour my love. Give wisdom to my eyes to see into the soul of this land. Though I will walk through the valley of the shadow of a far and lonely wilderness, help me to hear a spirit song. Give power to my brushes so I can create something true and beautiful and important.
Once I thought it was to make a record. Now I think it's to be close to some spirit I don't understand – yet. To honor the people who do. And to express my love for the West.
She would sing the forest eternal. She would place her body in the womb of trees. She would bleed into the earth. She would place her bare feet onto moss and spiced pine needles, peat and mud, and up between her toes and through her pores would ooze the rich dark syrup of Mother Earth, and over her ankles would swarm tiny insects, and around her shoulders would float the exquisite flowing drapery of her green hemlock cape. (p. 328)
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"From an early age, it is clear that Emily Carr is not like her sisters - not satisfied with the pious and rigid world she is expected to fit into. Her creative talent and fiercely independent spirit are far too strong to be suppressed by her father's wishes that she marry and settle down into polite white Vancouver society. Drawn to the danger and beauty of a vast wilderness and its people, Emily defies her family's better judgment, spurns suitors, and establishes herself as an art teacher, venturing off whenever possible to the wild coast of British Columbia. There she begins to paint the native tribal villages in an effort to portray the rich culture of these people, their canoes, totems, and artfully decorated communal houses before they are destroyed forever." "In Vreeland's novel, Carr's life becomes a meditation on the search for self and self-acceptance. Vreeland renders vivid portraits of Carr and the unconventional people to whom she is inevitably drawn: Sophie, a native basket maker; Harold, the son of missionaries who embraces indigenous cultures; Fanny, a New Zealand artist who spends the summer with Carr painting in the French countryside; and Claude, the French fur trader who steals her heart. From illegal potlatches in Mimkwamlis to prewar Paris, where her art was exhibited in the famed Salon d'Automne, to her emergence as a great artist compared with Georgia O'Keeffe and Frida Kahlo, Carr's journey to prove her ability as an artist to herself and the world around her is a vibrant, inspiring pleasure."--BOOK JACKET.

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