, 2008. Fibreglass stone and airplane. National Gallery of Canada, Ottawa. Purchased 2011. Photo © Roman März](/images/content/menuSeeGallery.png)
Benjamin West
The Death of General Wolfe (Detail), 1770
oil on canvas
152.6 x 214.5 cm
Transfer from the Canadian War Memorials, 1921 (Gift of the 2nd Duke of Westminster, England, 1918)
National Gallery of Canada (no. 8007)
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The Welcome Man, 1913
Emily Carr
Canadian, 1871
- 1945
oil on cardboard, mounted on masonite
95.3 x 64.8 cm
Gift of Bryan Adams, 2000
National Gallery of Canada (no. 40448)
Carr quickly abandoned the rich colouring of her French paintings for a more sober palette appropriate to her documentary purpose. While always sensitive to the particular local colour, be it the warm brown tones of the inland poles or the pearly grey tones of the sun-bleached and wind-buffeted poles of the islands, Carr’s paintings show a remarkable range of treatment in colour, line, and structure, indicative of the rapidity of her growth as an artist and of her total commitment to her work. In her 1913 lecture on totem poles, Carr stressed the different functions of the poles, such as this figure erected to welcome guests to a potlatch or other ceremony.
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Mountain
Strait of Juan de Fuca
Forest, Queen Charlotte Islands
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