PROVENANCE
The Fine Art Galleries, T. Eaton Co. Ltd., Toronto
Private Collection, Toronto

BIBLIOGRAPHIE
Emily Carr, Hundreds and Thousands: The Journals of Emily Carr, 2006, page 293

In the 1930s, Emily Carr began to paint on paper with oils thinned with turpentine and even gasoline. She was able to use this medium on the spot, and the fluidity of her paint allowed her to express her perception of the energy she sensed moving through all living things. In this work cross-hatching in the tree trunks and the stump, together with undulating lines of undergrowth, express this flow. The woods around Victoria where Carr painted were a mixture of old growth and second growth, including stumps both natural and the product of logging. Carr was sensitive to the whole life cycle of the forest, and she depicted towering trees and truncated stumps side by side. This striking work is particularly colourful – glowing with purple, blue and shades of green from pale peridot to emerald, it embodies the joyousness of her creative freedom in the 1930s. Two strokes of yellow-green hover just above the stump like forest sprites, a suggestion of regeneration. In works like Stump in Forest, Carr’s spiritual intent and fervent desire was to feel she had “produced one atom of the great reality.”

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