Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 99 works by 艾米莉·卡尔 in our catalogue
In short
艾米莉·卡尔's best-known piece is Tanoo, Q.C.I.. You'll find it at the Royal BC Museum in 维多利亚. Next on the list are Strait of Juan de Fuca (1936) and Dancing Trees (1940). We have 99 works by 艾米莉·卡尔 in our catalogue; this guide picks out the 99 best known, with the year, the museum and the story of each piece.
A Forest of Totems The air feels heavy with the scent of damp earth and cedar as we step into this lush, green expanse. Tall totem poles rise from the foreground, their surfaces etched with intricate, swirling designs that seem to pulse with a life of their own. These wooden sentinels stand guard over a quiet corner of the woods, where the light filters through a thick canopy of leaves.…
In the sweeping expanse of Emily Carr’s 1936 masterpiece, Strait of Juan de Fuca, the viewer is invited to witness a profound dialogue between the rugged earth and the restless sea. This evocative landscape captures more than just a geographical location; it captures a moment of atmospheric tension where the heavy, cloud-laden sky meets the enduring strength of the coastal mountains. The composition is anchored by two prominent rock formations…
Dancing Trees - Emily Carr (1871 - 1945) — A Pioneer's Vision of British Columbia Emily Carr’s *Dancing Trees*, painted in 1937-40, stands as a testament to her singular artistic vision—a fusion of Post-Impressionism and an unwavering connection to the landscape of British Columbia. More than just a depiction of trees; it embodies Carr's profound engagement with both the natural world and Indigenous culture, reflecting a period marked by significant…
In the heart of the dense, mist-shrouded landscapes of British Columbia, there exists a realm where the boundary between the physical world and the spiritual plane begins to dissolve. Emily Carr’s 1930 masterpiece, “British Columbia Forest,” serves as a profound gateway into this ethereal domain. This is not merely a landscape painting; it is an emotional excavation of the wild. Through her singular lens, the forest ceases to be a…
Emily Carr's “Tanoo,” painted in 1912, is more than just a depiction of totem poles; it’s a profound meditation on the spirit of the Pacific Northwest and the enduring connection between Indigenous peoples and their ancestral lands. Created during a pivotal period of change for both Canada and its First Nations communities, this watercolor offers a rare glimpse into a world largely untouched by modern influence – a world where…
In the 1931 painting House Near Woods, Emily Carr presents a serene and tranquil scene that captures a moment of quietude within the Canadian landscape. The composition centers on a small, white house with a red roof, positioned atop a hill as it overlooks a vast, surrounding forest. This wooden cabin sits nestled within a clearing, surrounded by the dense, thick growth of the woods.
Reforestation - A Vision of Resilience Emily Carr’s “Reforestation,” painted in 1936 during her prolific period exploring British Columbia's landscapes, stands as a testament to her unwavering fascination with the natural world and her ability to translate its spirit onto canvas. This monumental artwork embodies Group of Seven principles—bold brushstrokes, flattened perspective, and an uncompromising commitment to capturing raw emotion—resulting in a scene that transcends mere depiction; it communicates a…
In the quietude of the Pacific Northwest, where the mist clings to the rugged bark of ancient conifers, Emily Carr captures a moment of profound stillness in Young Pines And Sky. This evocative piece serves as a window into a world where the boundary between the earth and the heavens feels beautifully permeable. The composition centers on a cluster of resilient young pines, their silhouettes reaching upward with a quiet,…
The world settles into a quiet, silvered stillness. Before a modest wooden dwelling, a Haida ceremonial pole rises against the landscape, its carved face fixed in a steady, unblinking gaze. This black-and-white watercolor captures a moment of profound gravity, where the textures of wood and shadow merge. The house, with its dark walls and a hint of a red roof, sits tucked beneath the presence of the totem. There is…
Created in 1911, this oil on cardboard work captures a specific moment of transition in the artist's development. The composition focuses on the structural presence of a dwelling within the Brittany landscape. Through a controlled application of paint, the work explores the relationship between built forms and the surrounding environment. The medium of cardboard lends a specific texture to the surface, influencing the way the oil pigment sits upon the…
Trees in France1911 · McMichael Canadian Art Collection
12
(forest landscape)Royal BC Museum
13
Cha-atl, Field with PoleRoyal BC Museum
14
Crécy-en-BrieRoyal BC Museum
15
Brittany, France1911 · McMichael Canadian Art Collection
16
Totem Poles, Kitseukla1912 · 温哥华美术馆
17
Indian Totem pole, Yan, Queen Charlotte Islands1912
18
Totem Mother1928 · 温哥华美术馆
19
Kitwancool1928
20
Blunden Harbour1930
21
Portrait of Woo1932 · 加拿大国家美术馆
22
Grizzly Bear Totem, Angidah, Nass River1930 · 加拿大国家美术馆
23
Indian Hut, Queen Charlotte Islands1930 · 加拿大国家美术馆
24
Totem and Forest1931 · 温哥华美术馆
25
Guyasdoms D'Sonoqua1930 · 安大略美术馆
26
Tree In Autumn
27
Forest (Tree Trunks)1938 · 加拿大国家美术馆
28
Landscape1940 · 加拿大国家美术馆
29
Self-portrait1939 · 加拿大国家美术馆
30
Sawmills, Vancouver1912 · McMichael Canadian Art Collection
31
A Haida Village1929 · McMichael Canadian Art Collection
32
Logger’s Cull
33
Shoreline
34
Heart Of The Forest
35
A Rushing Sea Of Undergrowth
36
Yan Q.C.I.1912 · Art Gallery of Hamilton
37
Dancing Sunlight1937 · McMichael Canadian Art Collection
38
lampRoyal BC Museum
39
Self-portrait1924 · 温哥华美术馆
40
Four Children in a Breton Cottage1911 · 加拿大国家美术馆
41
Breton Farm Yard1911 · McMichael Canadian Art Collection
42
Autumn in France1911 · 加拿大国家美术馆
43
Indian Totem pole, Hazelton, Skeena River, BC1912
44
Graveyard Entrance, Campbell River1912 · 加拿大国家美术馆
45
The Welcome Man1913 · 加拿大国家美术馆
46
Totem Pole at Hazelton1912 · 加拿大国家美术馆
47
Memalilaqua, Knight Inlet1912 · 加拿大国家美术馆
48
Community House Ucluelet1912 · 蒙特利尔美术馆
49
Indian War Canoe1912 · 蒙特利尔美术馆
50
First Nations War Canoes in Alert Bay1912
51
Arbutus Tree1922 · 加拿大国家美术馆
52
Heina1928 · 加拿大国家美术馆
53
Vanquished1930 · 温哥华美术馆
54
Tree Trunk1931 · 温哥华美术馆
55
Tree (spiralling upward)1933 · 温哥华美术馆
56
Red Cedar1931 · 温哥华美术馆
57
Old Timer1932
58
Big Raven1931 · 温哥华美术馆
59
Forest Landscape1932 · 加拿大国家美术馆
60
Among the Firs1931
61
Untitled (Seascape)1935
62
In the Forest, BC1935 · 安大略美术馆
63
Blue Sky1936
64
A Forest Clearing1935
65
Sky1935 · 加拿大国家美术馆
66
Forest Landscape No. 21935 · 加拿大国家美术馆
67
Seascape1935 · 加拿大国家美术馆
68
Strait of Juan de Fuca1936 · 加拿大国家美术馆
69
Landscape1935 · 加拿大国家美术馆
70
Wind in the Tree Tops1939
71
Sombreness Sunlit1940
72
Happiness1939
73
Clearing1942 · 加拿大国家美术馆
74
Forest Landscape No. 11939 · 加拿大国家美术馆
75
Odds and Ends1939
76
Kispiox VillageRoyal BC Museum
77
MelonsRoyal BC Museum
78
Untitled (forest scene)Royal BC Museum
79
Kitseukla
80
Heina, Maude Island, Queen Charlotte IslandsRoyal BC Museum
81
Odds And Ends
82
Heina
83
Forest, British Columbia
84
Don’t pickle me away as a ‘done’
85
Self Portrait
86
Indian Church -
87
Sunshine And Tumult
88
Trees
89
Autumn Woods
90
Trees Love To Toss And Sway; They Make Such Happy Noises
91
Gitwangak, Queen Charlotte Islands
92
Totem Walk At Sitka
93![Untitled [Skedans, Queen Charlotte Islands] by 艾米莉·卡尔](/media/artworks/images-thumb/d0/d7/d0d77f9fa039d25a761f21e549246072.jpg)
Untitled [Skedans, Queen Charlotte Islands]Royal BC Museum
94
Ada and Louise Outside Cedar CanimRoyal BC Museum
95
Mrs. Douse, Chieftainess of KitwancoolRoyal BC Museum
96
RootsRoyal BC Museum
97
Study in Colour and FormRoyal BC Museum
98
Scorned As Timber, Beloved Of The Sky温哥华美术馆
99
Indian Church安大略美术馆
The four subjects that come up most often in these pieces, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by 艾米莉·卡尔 | Paintings from this list |
|---|---|---|---|
 加拿大国家美术馆 |
渥太华 | 23 | House in Brittany, Portrait of Woo, Grizzly Bear Totem, Angidah, Nass River |
 Royal BC Museum |
维多利亚 | 15 | Tanoo, Q.C.I., Kitwangar Pole, (forest landscape) |
 McMichael Canadian Art Collection |
沃恩 | 11 | Strait of Juan de Fuca, Dancing Trees, British Columbia Forest |
 温哥华美术馆 |
温哥华 | 10 | Totem Poles, Kitseukla, Totem Mother, Totem and Forest |
 安大略美术馆 |
多伦多 | 3 | Guyasdoms D'Sonoqua, In the Forest, BC, Indian Church |
 蒙特利尔美术馆 |
蒙特利尔 | 2 | Community House Ucluelet, Indian War Canoe |
 The Robert McLaughlin Gallery |
Oshawa | 1 | House Near Woods |
 Art Gallery of Hamilton |
汉密尔顿 | 1 | Yan Q.C.I. |
Pick a decade to see its standout piece.
Emily Carr's “Tanoo,” painted in 1912, is more than just a depiction of totem poles; it’s a profound meditation on the spirit of the Pacific Northwest and the enduring connection between Indigenous peoples and their ancestral lands. Created during a pivotal period of change for both Canada and its First Nations communities, this watercolor offers a rare glimpse into a world largely untouched by modern influence – a world where…
In the sweeping expanse of Emily Carr’s 1936 masterpiece, Strait of Juan de Fuca, the viewer is invited to witness a profound dialogue between the rugged earth and the restless sea. This evocative landscape captures more than just a geographical location; it captures a moment of atmospheric tension where the heavy, cloud-laden sky meets the enduring strength of the coastal mountains. The composition is anchored by two prominent rock formations…
Dancing Trees - Emily Carr (1871 - 1945) — A Pioneer's Vision of British Columbia Emily Carr’s *Dancing Trees*, painted in 1937-40, stands as a testament to her singular artistic vision—a fusion of Post-Impressionism and an unwavering connection to the landscape of British Columbia. More than just a depiction of trees; it embodies Carr's profound engagement with both the natural world and Indigenous culture, reflecting a period marked by significant…
Top of the list is Tanoo, Q.C.I., Royal BC Museum, 维多利亚. Right behind it: Strait of Juan de Fuca (1936) and Dancing Trees (1940).
Tanoo, Q.C.I., Strait of Juan de Fuca, Dancing Trees, British Columbia Forest, Tanoo, House Near Woods, Reforestation, Young Pines And Sky, Kitwangar Pole and House in Brittany. You'll find the year and the museum of each in the list above.
We have 99 works by 艾米莉·卡尔 in our catalogue, dated 1911 to 1942.
You'll find most of them in 加拿大国家美术馆 (渥太华), Royal BC Museum (维多利亚) and McMichael Canadian Art Collection (沃恩). The museum list above has the full breakdown.
In 1930s, more than any other time: 34 of the 99 pieces on this page date from then, Strait of Juan de Fuca among them.
The earliest piece here is House in Brittany (1911); the most recent is Clearing (1942).
Landscape (11), Forest (8) and Trees (8), out of the 99 pieces on this page.
Oil On Canvas, used in 10 of the 99 pieces on this page.
Post-impressionism and Modernism, as you can see in the pieces on this page.
You can see 23 of the pieces on this page at the 加拿大国家美术馆, 渥太华, including House in Brittany, Portrait of Woo and Grizzly Bear Totem, Angidah, Nass River.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
