garment” and lay down on the stones in the river for her bath and let the water ripple over her sixty-two-year-old skin. When she was “scrubbed down with a hard brush” and back in bed with a hot water bottle, she felt “like a million dollars” with everyone peacefully asleep and the trees and river whispering around her. Outdoors was always where she felt happiest.
It was on these trips in the Elephant that Emily finally found a way to express the moving spirit she had been seeking in nature. She had a dream in which she saw an ordinary wooded hillside suddenly come alive, “weighted with sap, burning green in every leaf.” After that, she said, “growing green” became something different to her.
For the next few years, in paintings such as Above the Gravel Pit, Scorned as Timber, Beloved of the Sky, and Sky, all the elements of her painting came together to show flow and rhythm, what she called the “organized chaos of growth.” She had come to terms with her fear and was painting her own vision. When the weather was bad or if she wasn’t in the mood to sketch, she wrote stories. “These were the happiest days of my life,” she later said.
Lawren Harris now urged her to take the next step and move into the purely abstract, as he had done, away from the representation of actual objects and into a landscape of curves and cones. But Emily held back. Though she was very interested, she wasn’t entirely sure what Harris meant when he talked to her of “abstraction” in art. She knew that when she looked at his work she was moved. She was afraid that if she left forest images, her own work would be merely decorative. Instead, she “clung to earth…her density, her herbage, her juice” and continued to paint the familiar, identifiable forest.
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