The Forest Lover

This is another one of those books I'd never have read had it not been assigned in my book club. Fortunately, it was better than I thought it would be. Although the story wasn't my cup of tea, the book definitely has its merits.Surprisingly, many people have never heard of Carr--the subject of this story--critics place her work on par with household names like Georgia O'Keefe and Frida Kahlo. Vreeland successfully paints her own portrait of this artist using words to bring to life the fast disappearing lush forests and colorful indigenous people who inhabit the world that Carr sought to preserve through her art. Carr found British Columbia's native culture fascinating and was sympathetic to the challenges the indigenous people faced as the white man gained increasing control over their territory and way of life. As a result, she felt compelled to paint the Indians and her beloved woodland as often as she could.Carr's choice of career and subject matter were controversial in her time--the late 1800s. Vreeland makes clear that being a woman artist assured a lonely life and represents a decision that was not popular with Carr's family or society in general. Spending time with Indians was also behavior that rendered Carr the topic of unfavorable local gossip. Many times Carr was misunderstood, doubted herself, and faced conflicts because of her devotion to her purpose. Yet she refused to give up or give in, and eventually she earned a respectable place for herself among the professional ranks.In exploring Carr's life and career, Vreeland asks the reader to consider some crucial questions. What does it mean to be an "artist," for example? Carr watched other artists change their paintings to conform to popular tastes to make them easier to sell. She disdained to follow suit, however. She refused to paint anything other than the "truth" as she saw it. Carr was at times frustrated because she sold so little work, and it caused her to question whether her painting "mattered." Was it meaningful or valuable to anyone? What does that mean about "truth"? Art for its own sake versus art created for a market is of course a concept that is still debated.The other key philosophical concept in this novel involves determining where artists find inspiration. For Carr, inspiration came from nature and the way the Indians kept a close relationship with the environment. Vreeland explores Carr's pantheism and compares it with the Indians' indigenous religion and Catholicism. The author also examines religious philosophy as an artistic motivator. She suggests that Carr eventually determined that there is a "spirit" within the self, which isn't defined by any one religion, but which plays a critical role in serious art. Carr believed that someone can become a competent artist, but without that underlying "spark," his/her work will lack that special something that makes all the difference and makes a work successful.Although several book club members said this was not a book they would have picked up and read of their own choosing, they were pleasantly surprised. The rest of the group flat out loved this book. Indeed, Carr's story receives skillful handling with Vreeland's careful molding. We were even able to draw some parallels between the story and modern Shanghai. Though Carr fans should not expect complete biographical accuracy (slight suspensions of biographical and historical faithfulness is tolerated in favor of spinning a good story within this genre) the tale is well told and will be especially enjoyed by art lovers, those interested in British Columbia, native American culture, women's history, and historical fiction.

Imagine painting with mosquitos thick as fur on your hands. Or standing in a deserted village of silence, surrounded by trees with ancient coffins splitting apart. Or staring up at 60-foot totem poles carved with Eagles, Ravens, Bears and Whales trying to communicate their message. Or being scrutinized by a 20-foot ogress—Dzunukwa—with nipples carved into Eagles’ heads with eyes and beaks. In The Forest Lover, Susan Vreeland gives us more than a biography of the painter Emily Carr. She gives us an unforgettable experience. Leaving the loneliness of the Pacific Northwest, Emily Carr goes to Paris to see and learn Impressionism. The description of her changes in painting style—including trading “female” watercolors for the more advanced medium of oil—is so intense that the reader can feel the paint piled on the canvas This reader could not resist looking down at her hands, expecting to see red mixed with deep violet and sun-stroked cadmium yellow. Emily Carr is the kind of person I would have loved to know as a friend. A rebel, she befriends Native American women, some who have lost their children to the white man’s legacy of Small Pox and other diseases, attends an outlawed (by the Canadian government) Potlatch ritual and comes close to taking a fur trapper as a lover as she is seduced by the feel of the mink furs lining the floor of his tent. And anyone who has ever loved a dog will understand the type of person the artist was. Snubbed by art patrons she nevertheless continues to document the totem poles that are being sold by non-Natives and bravely enters villages emptied by government “relocations” of the Native population in order to do so. This is a book about the artist, Emily Carr, but also about art, women, and government greed, powerful men who are able to decimate populations when the Missionaries fail. I have the Kindle version and my only complaint is that there were not enough pictures of her work, but Google images are just a tap away on a Kindle Fire and magically, there are her works, big, bright and bold like the book about her.

This fictional book is based on the struggles the real life Canadian painter, Emily Carr, encountered in creating and receiving recognition for her work. She went against the conventions of her times (the early 20th Century), and lived life on her own terms. Fiercely independent and brave, Emily traveled alone to the Western Coast of Canada to paint Native American totem poles. She felt strongly that these poles were a "memorial of her country's first greatness", and a record of these poles needed to be made before they were all gone. Eventually, her paintings became more than just a record, as she looked to express in her work the spirit of the subject she was painting.This book is beautifully written, and the characters are very well developed. Particularly, I really enjoyed the way that Susan Vreeland described the paint colors Emily applied to her canvas. These very visual descriptions really help to emphasize the value and importance Emily placed on color in her work. I also really loved the way that Emily was always looking for the spirit or meaning in her work.I found this book to be very inspiring, and I am very grateful to Susan Vreeland for introducing me to the world of Emily Carr. I fully intend to do more reading and research on her life and work. This book is highly recommended!!

This is a beautifully written book: a biography, which reads like a novel. I was fascinated by the artist, Emily Carr after visiting an exhibition of her work in the Dulwich picture gallery in the UK. This really brings the artist to life and introduces the reader to an extraordinary woman.

An insightful and inspirational book about being an artist by a writer who knows and understands art. Also a fascinating look at the lives and customs of the Native Canadians painted by the intrepid Emily Carr. A book about dedication, commitment, courage and a wonderful culture being eroded by development. Emily Carr is a great character.

Ok condition

Well-written picture of life in early 20th century British Columbia and of Emily Carr, driven to record the images of native people and landscape.

An excellent book by a great author. Enjoyed this book very much. Very richly written, interesting detail without boring facts.