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Emily Carr was born in Victoria, British Colombia in 1871. After the death of her parents she traveled to San Francisco and later to England to study art. She attended Westminster School of Art in London. Finally, she moved back to B.C. in 1911, after studying in France, particularly Academie Colarossi in Paris.

Emily was heavily influenced by the landscape that surrounded her in Canada and also by the First Nations cultures. After visiting a few First Nations communities, she was inspired to paint the totem poles of the coastal tribes such as the Kwakwaka'wakw, Haida, Tsimshian, Tlingit. Emily wanted to record and preserve parts of these peoples’ heritage as she could see its slow demise, since the arrival of the Europeans.

Carr was greatly influenced by post-impressionism and Fauvism. Vancouver and Victoria were very artistically conservative at this time, and therefore her work remained unknown and unrecognized by those around her. For years, she abandoned her passion for painting, and became a potter, dog breeder and land lady to pay her bills. She took the native pseudonym 'Klee Wyck' at this time to sign her pottery work.

In 1927 she met a few members of the Group of Seven after being invited by the National Gallery of Canada to participate in an exhibition of Canadian West Coast Art, Native and Modern. Lawren Harris was especially supportive of her painting. She was named ‘The Mother of Modern Arts’ after showing her work alongside the Group of Seven years later.

Emily Carr also authored a novel called ‘The Laughing One’, a name she claimed the Nuu-chah-nulth had given her. The book won the Governor General’s Award that year.

Since her death in 1945, Carr’s work has risen to great fame. Her work is some of Canada’s most coveted and perhaps most valuable. She is a monumental part of Canada not just artistically but also historically, being a woman painter and a contemporary of the Group of Seven. She is widely recognized as one of Canada’s most famous painters of all time.