Quote

There is no right and wrong way to paint except honestly or dishonestly. Honestly is trying for the bigger thing. Dishonestly is bluffing and getting through a smattering of surface representation with no meaning.

Emily Carr

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Emily Carr
Age: 73 †
Born: 1871
Born: December 13
Died: 1945
Died: March 2
Artist
Autobiographer
Painter
Writer
M. Emily Carr
Emily M. Carr
Klee Wyck
Thing
Paint
Trying
Except
Way
Bigger
Smattering
Meaning
Dishonestly
Painting
Bluffing
Getting
Representation
Wrong
Honestly
Right
Surface

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Trying to find equivalents for things in words helps me find equivalents in painting.
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Go out there into the glory of the woods. See God in every particle of them expressing glory and strength and power, tenderness and protection. Know that they are God expressing God made manifest.
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Got a new pup. He is half griffon. The other half is mistake.
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Up came the sun, and drank the dew.
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Rentals sank, living rose. I could not afford help. I must be owner, agent, landlady and janitor. I loathed landladying... I tried in every way to augment my income. Small fruit, hens, rabbits, dogs - pottery... I never painted now - had neither time nor wanting. For about fifteen years I did not paint.
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Oh I do want that thing, that oneness of movement that will catch the thing up into one movement and sing - harmony of life.
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My mountain is dead. As soon as she has dried, I'll bury her under a decent layer of white paint. But I haven't done with the old lady far from it!
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Writing is a splendid sorter of... feelings, better even than paint.
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It is wonderful to feel the grandness of Canada in the raw, not because she is Canada but because she's something sublime that you were born into, some great rugged power that you are a part of.
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I am always watching for fear of getting feeble and passé in my work. I don't want to trickle out. I want to pour till the pail is empty, the last bit going out in a gush, not in drops.
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I wonder why we are always sort of ashamed of our best parts and try to hide them. We don't mind ridicule of our 'sillinesses' but of our 'sobers'.
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The sun enriched the old poles grandly... The mothers expressed all womanhood - the big wooden hands holding the child were so full of tenderness they had to be distorted enormously in order to contain it all. Womanhood was strong in Kitwancool.
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Perfectly ordered disorder designed with a helter-skelter magnificence.
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Oh, Spring! I want to go out and feel you and get inspiration. My old things seem dead. I want fresh contacts, more vital searching.
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The biggest part of painting perhaps is faith, and waiting receptively, content to go any way, not planning or forcing. The fear, though, is laziness. It is so easy to drift and finally be tossed up on the beach, derelict.
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You must be absolutely honest and true in the depicting of a totem for meaning is attached to every line. You must be most particular about detail and proportion.
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The artist himself may not think he is religious, but if he is sincere his sincerity in itself is religion.
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If you're going to lick the icing off somebody else's cake you won't be nourished and it won't do you any good,--or you might find the cake had caraway seeds and you hate them.
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The house begins to be a home. The unfamiliar places are beginning to fold the familiar objects into their keeping and to cozy them down. Objects that swore at each other when the movers heaved them into the new rooms have subsided into corners and sit to lick their feet and wash their faces like cats accepting a new home.
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The spirit must be felt so intensely that it has power to call others in passing, for it must pass, not stop in the pictures.
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