This is a formal analysis of Emily Carr's painting, The Indian Church. It was completed in the year 1929, on a 108.6 x 68.9 cm canvas with oil paint. The size of this painting, as well as the tree trunks and chapel, draw the eye upwards through the use of vertical lines. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The artist demonstrates a playful artistic style, evident from the whimsical lines that create the foliage. There is a subtle use of linear perspective that can be seen in front of the chapel on the turf. Although the lines are not straight, they still appear to be heading towards a vanishing point in the center of the church, leading the viewer to notice that the horizon line cannot be seen as it is blocked by the dense forest. There is ample contrast between the church in the foreground and the forest in the background. The forest has a dark to medium value, while the church has a much lighter tonal quality, creating opposition. The intensity of the forest colors is high in saturation. The rich greens and mahoganies are almost impossible to miss, while the chapel's subtle shades of blue and yellow go almost unnoticed. Despite this difference, chapel and forest are similar in that they contain both cool and warm tones. The color relationships of this work are contrasting due to the combination of complementary colors. The green of the foliage contrasts with the reddish-brown of the tree trunks and the large boulder at the bottom left. The blue of the chapel contrasts with its light yellow-orange and the flat, moldy orange of the small piece of exposed sky. The church is very linear and painted in a realistic way, while the forest is depicted in a more whimsical and unrealistic style. The white cemetery gives an air of tranquility thanks to its light value. The highly visible brushstrokes throughout the work, give a very painterly effect and tie all its elements together, adding tension to the painting.