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Preface | ||
Prologue | 11 | |
Artist of the Canadian West Coast | ||
The Woman Behind Carr's Writing | ||
The Painting as Autobiography | ||
The Background | 18 | |
The Victoria Environment | ||
Home and Family | ||
Early Accomplishments | 24 | |
San Francisco | ||
England | ||
Vancouver, Victoria | ||
Commitment to the Indian Theme | ||
French Influence | 34 | |
Painting in France | ||
The French Manner Continued in British Columbia | ||
Fifteen Years Dormant | ||
Carr at the Turning Point | 52 | |
The Artist at Age Fifty-Six | ||
1927 and the Crucial Trip to Eastern Canada | ||
The Mature Years Commence | 56 | |
"Religion and Art Are One" | ||
Important Influences: Harris and Tobey | ||
Last Indian Trips | ||
A Formal Period | 70 | |
A Postcubist Reference | ||
Use of Photographs | ||
A New Understanding of the Indian's Art | ||
Shift to the Forests | ||
Wider Contacts/Technical Changes | 106 | |
A Broader Context | ||
Developments in Technique | ||
Charcoal Drawings | ||
Oil-on-Paper Sketches | ||
A New Liberation | 122 | |
"A Picture Equals a Movement in Space" | ||
The Challenge of Mountains | ||
A New Integration | 138 | |
Painting, The Totality of Experience | ||
A Measure of Abstraction | ||
Last Period | 180 | |
Return to the Indian Theme | ||
Portraits | ||
Last Nature Paintings | ||
Epilogue | 192 | |
A Context of "Fresh Seeing" | ||
Carr's "Real Success" | ||
List of Reproductions and Photographs | 198 | |
Reference Notes | 220 | |
Bibliography | 222 |
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