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Grant Wood

 
Britannica Concise Encyclopedia: Grant Wood
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(born Feb. 13, 1891, near Anamosa, Iowa, U.S. — died Feb. 12, 1942, Iowa City, Iowa) U.S. painter. He was trained as a craftsman and designer as well as a painter. On a visit to Germany in 1928, he was strongly influenced by the sharp detail of 15th-century German and Flemish paintings, and he soon abandoned his Impressionist manner for the detailed, realistic manner for which he is known. His American Gothic caused a sensation when exhibited in 1930. A telling portrait of the sober, hardworking Midwestern farmer, it has become one of the best-known icons of U.S. art, though it is often misinterpreted: the woman is not the man's wife but rather the unmarried daughter designated to stay on the farm to assist her widowed father.

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Art Encyclopedia: Grant Wood
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(b nr Anamosa, IA, 13 Feb 1891; d Iowa City, IA, 12 Feb 1942). American painter and printmaker. He was one of the Midwestern Regionalist painters of the 1930s who, with Thomas Hart Benton and John Steuart Curry, created an art based on indigenous imagery from local surroundings. He has also been associated with American Scene painting. Wood's most famous painting, American Gothic (Chicago, IL, A. Inst.), features a nameless, dour farmer and his spinster daughter standing in front of a Carpenter Gothic farmhouse. Since its first appearance in 1930, cartoonists and advertisers have borrowed and parodied this staid Midwestern pair, who have come to represent an archetype of middle America.

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Biography: Grant Wood
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The American painter Grant Wood (1891-1942) was one of the principal Regionalists of the 1930s. He depicted his Iowan subjects in a deliberately primitivizing style, sometimes satirizing them.

Grant Wood was born on Feb. 13, 1891, at Anamosa, Iowa. His father, a farmer, died in 1901, and the family moved to Cedar Rapids. There Grant took drawing lessons from local artists and attended high school. He studied design briefly in Minneapolis at the Handicraft Guild, taught school near Cedar Rapids, and then took a job in 1913 in a silversmith shop in Chicago and attended night classes at the Art Institute. In 1916 he registered at the Art Institute for full-time study as a "fresco painter."

During World War I Wood served in Washington, D.C., where he made clay models of field gun positions and helped camouflage artillery pieces. After teaching art in a Cedar Rapids high school, he left for Europe in 1923. He spent most of the next 14 months in Paris, where he studied at the Académie Julian. The paintings he did in Paris were in an impressionistic manner. On his return to America he spent the summer of 1925 painting pictures of workers at a dairy equipment and manufacturing plant in Cedar Rapids. His paintings began to sell, and he was able to give up teaching. To supplement his income he decorated house interiors.

In 1927 Wood received a commission for a stained-glass window memorializing the veterans of World War I to be installed in the Cedar Rapids City Hall. To learn the technique of stained glass he went to Munich. There he admired the work of the 15th-century French and German primitive painters and began to work in a linear, primitivizing style. In the late 1920s he painted portraits of his mother and local Iowans.

Wood's work is usually seen as espousing the homespun virtues of the people of Iowa. The acid overtones in such works as his well-known American Gothic (1930) are generally missed. Wood's maiden sister and the local dentist posed for the picture. Behind the prim, straightlaced couple, who stand self-consciously erect and stiff, is a flimsy Gothic-like structure. Wood had a special distaste for the conservatively patriotic organization, Daughters of the American Revolution, which he satirized in his Daughters of Revolution (1932). Here he posed a group of proud, self-righteous, elderly ladies, obviously insular in their experiences and philosophies, gingerly holding their teacups, before the familiar Emanuel Leutze painting, Washington Crossing the Delaware. In Wood's Victorian Survival (1931) he shows a stiffly grim, elderly Iowan woman. Here the insularity is combined with a certain diabolical quality.

After the Works Progress Administration was established, Wood directed the 34 artists working at the University of Iowa and planned and executed a series of frescoes at Iowa State University in Ames and elsewhere. He died in Iowa City on Feb. 12, 1942. He was one of the major Regionalists, a group of painters who in the 1930s employed a variety of naturalistic styles (in marked contrast to the modernistic idioms of the previous two decades) for a subject matter that was obviously American in content.

Further Reading

Darrell Garwood, Artist in Iowa: A Life of Grant Wood (1944), is chronological and anecdotal; the few illustrations of paintings are of poor quality. University of Kansas Museum of Art, Grant Wood, 1891-1942: A Retrospective Exhibition of the Works of the Noted Painter from Cedar Rapids (1959), is useful.

Additional Sources

Graham, Nan Wood, My brother, Grant Wood, Iowa City: State Historical Society of Iowa, 1993.

 
Columbia Encyclopedia: Grant Wood
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Wood, Grant, 1891-1942, American painter, studied at the Art Institute of Chicago and in Paris. In Munich in 1928 he was decisively influenced by German and Flemish primitive painting. Subsequently in the 1930s he created his "American scene" works in which stern people and stylized landscapes offer rigid, decorative images of the rural Midwest. He taught at the State Univ. of Iowa and was director of WPA art projects in Iowa. His American Gothic (Art Inst., Chicago) and Daughters of Revolution have been many times reproduced; other works include Stone City (Joslyn Art Mus., Omaha, Nebr.) and a series of murals at Iowa State Univ.

Bibliography

See D. Garwood, Artist in Iowa (1944, repr. 1971).

Wikipedia: Grant Wood
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Grant Wood
Birth name Grant DeVolson Wood
Born February 13, 1891(1891-02-13)
Anamosa, Iowa
Died February 12, 1942 (aged 50)
Iowa City, Iowa
Nationality American
Field Painting
Training School of the Art Institute of Chicago
Movement Regionalism
Works American Gothic
Influenced by Jan Van Eyck

Grant DeVolson Wood (February 13, 1891 – February 12, 1942) was an American painter, born in Anamosa, Iowa. He is best known for his paintings depicting the rural American Midwest, particularly the painting American Gothic, an iconic image of the 20th century.[1]

Contents

Life and career

Grant Wood boyhood home, Cedar Rapids, Iowa. Listed as one of the most endangered historic sites in Iowa.[2]

His family moved to Cedar Rapids after his father died in 1901. Soon thereafter he began as an apprentice in a local metal shop. After graduating from Washington High School , Wood enrolled in an art school in Minneapolis in 1910, and returned a year later to teach in a one-room schoolhouse.[3] In 1913 he enrolled at the School of the Art Institute of Chicago and did some work as a silversmith.

From 1920 to 1928 he made four trips to Europe, where he studied many styles of painting, especially impressionism and post-impressionism. But it was the work of Jan Van Eyck that influenced him to take on the clarity of this new technique and to incorporate it in his new works. From 1924 to 1935 Wood lived in the loft of a carriage house that he turned into his personal studio at "5 Turner Alley" (the studio had no address until Wood made one up himself). In 1932, Wood helped found the Stone City Art Colony near his hometown to help artists get through the Great Depression. He became a great proponent of regionalism in the arts, lecturing throughout the country on the topic.[4]

Wood taught painting at the University of Iowa's School of Art beginning in 1934. During that time, he supervised mural painting projects, mentored students, produced a variety of his own works, and became a key part of the University's cultural community. On February 12, 1942, one day before his 51st birthday, Wood died at the university hospital of liver cancer.

When Wood died, his estate went to his sister, Nan Wood Graham, the woman portrayed in American Gothic. When she died in 1990, her estate, along with Wood's personal effects and various works of art, became the property of the Figge Art Museum in Davenport, Iowa.

Work

Wood was an active painter from an extremely young age until his death, and although he is best known for his paintings, he worked in a large number of media, including lithography, ink, charcoal, ceramics, metal, wood and found objects.

Throughout his life he hired out his talents to many Iowa-based businesses as a steady source of income. This included painting advertisements, sketching rooms of a mortuary house for promotional flyers and, in one case, designing the corn-themed decor (including chandelier) for the dining room of a hotel. In addition, his 1928 trip to Munich was to oversee the making of the stained-glass windows[3] he had designed for a Veterans Memorial Building in Cedar Rapids. The window was damaged during the 2008 flood and no decision has been made about restoring it.[5] He again returned to Cedar Rapids to teach Junior High students after serving in the army as a camouflage painter.

Regionalism

Wood is most closely associated with the American movement of Regionalism that was primarily situated in the Midwest, and advanced figurative painting of rural American themes in an aggressive rejection of European abstraction.[6]

Wood was one of three artists most associated with the movement. The others, John Steuart Curry and Thomas Hart Benton, returned to the Midwest in the 1930s due to Wood's encouragement and assistance with locating teaching positions for them at colleges in Wisconsin and Kansas, respectively. Along with Benton, Curry, and other Regionalist artists, Wood's work was marketed through Associated American Artists in New York for many years. Wood is considered the patron artist of Cedar Rapids, and one of his designs is depicted on the 2004 Iowa State Quarter

American Gothic

Main article: American Gothic
Grant Wood, American Gothic (1930), Art Institute of Chicago

Wood's best known work is his 1930 painting American Gothic,[7] which is also one of the most famous paintings in American art,[6] and one of the few images to reach the status of cultural icon, along with Leonardo da Vinci's Mona Lisa and Edvard Munch's The Scream.[8]

It was first exhibited in 1930 at the Art Institute of Chicago where it can still be found today;[6] It was given a 300 dollar prize and made news stories country-wide, bringing the artist immediate recognition.[6] Since then, it has been borrowed and satirised endlessly[6] for advertisements and cartoons.[7]

Art critics who had favorable opinions about the painting, such as Gertrude Stein and Christopher Morley, assumed the painting was meant to be a satire of repression and narrow-mindedness of rural small-town life; It was thus seen as part of the trend toward increasingly critical depictions of rural America, along the lines of Sherwood Anderson's 1919 Winesburg, Ohio, Sinclair Lewis' 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature.[6][8] Wood rejected this reading of it.[6] With the onset of the Great Depression, it came to be seen as a depiction of steadfast American pioneer spirit.[7] Another reading is that it is an ambiguous fusion of reverence and parody.[6]

Wood's inspiration came from Eldon, southern Iowa, where a cottage designed in the Gothic Revival style with an upper window in the shape of a medieval pointed arch, provided the background and also the painting's title.[6] Wood decided to paint the house along with "the kind of people I fancied should live in that house."[8] The painting shows a farmer standing beside his spinster daughter, figures modeled by the artist's dentist and sister, Nan[6] (1900-1990). The dentist, Dr. Byron McKeeby (1867-1950) was from Cedar Rapids, Iowa. The woman is dressed in a colonial print apron mimicking 19th century Americana and the couple are in the traditional roles of men and women, the man's pitchfork symbolizing hard labor.

The compositional severity and detailed technique derive from Northern Renaissance paintings, which Grant had looked during three visits to Europe; after this he became increasingly aware of the Midwest's own legacy, which also informs the work.[6] It is a key image of Regionalism.[6]

Gallery

2004 Iowa state quarter

Writing by Wood

  • Wood, Grant. "Art in the Daily Life of the Child." Rural America, March 1940, 7-9.
  • ———. Revolt against the City. Iowa City: Clio Press, 1935.

Secondary Literature

  • Corn, Wanda M. Grant Wood: The Regionalist Vision. New Haven: Minneapolis Institute of Arts and Yale University Press, 1983.
  • Crowe, David. "Illustration as Interpretation: Grant Wood's 'New Deal' Reading of Sinclair Lewis's Main Street." In Sinclair Lewis at 100: Papers Presented at a Centennial Conference, edited by Michael Connaughton, 95-111. St. Cloud, MN: St. Cloud State University, 1985.
  • Czestochowski, Joseph S. John Steuart Curry and Grant Wood: A Portrait of Rural America. Columbia: University of Missouri Press and Cedar Rapids Art Association, 1981.
  • DeLong, Lea Rosson. Grant Wood's Main Street: Art, Literature and the American Midwest. Ames: Exhibition catalog from the Brunnier Art Museum at Iowa State University, 2004.
  • ———. When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals. Ames: Exhibition catalog from the Brunnier Art Museum at Iowa State University, 2006.
  • Dennis, James M. Grant Wood: A Study in American Art and Culture. New York: Viking Press, 1975.
  • ———. Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry. Madison: University of Wisconsin Press, 1998.
  • Graham, Nan Wood, John Zug, and Julie Jensen McDonald. My Brother, Grant Wood. Iowa City: State Historical Society of Iowa, 1993.
  • Green, Edwin B. A Grant Wood Sampler, January Issue of the Palimpsest. Iowa City: State Historical Society of Iowa, 1972.
  • Haven, Janet. "Going Back to Iowa: The World of Grant Wood." MA project in conjunction with the Museum for American Studies of the American Studies Program at the University of Virginia, available online at http://xroads.virginia.edu/~MA98/haven/wood/home.html, 1998.
  • Hoving, Thomas. American Gothic: The Biography of Grant Wood's American Masterpiece. New York: Chamberlain Brothers, 2005.
  • Milosch, Jane C., ed. Grant Wood’s Studio: Birthplace of American Gothic. Cedar Rapids and New York: Cedar Rapids Museum of Art and Prestel, 2005.
  • Seery, John E. "Grant Wood's Political Gothic." Theory & Event 2, no. 1 (1998).
  • Taylor, Sue. "Grant Wood's Family Album." American Art 19, no. 2 (2005): 48-67.

References

  1. ^ http://www.encyclopedia.com/doc/1E1-Wood-Gra.html
  2. ^ Iowa Historic Preservation Alliance, http://www.iowapreservation.org/endangered.php
  3. ^ a b http://www.answers.com/topic/grant-wood
  4. ^ http://www.artnet.com/Galleries/Artists_detail.asp?gid=267&aid=18073
  5. ^ http://www.gazetteonline.com/apps/pbcs.dll/article?Date=20090118&Category=NEWS&ArtNo=701189924&Template=printart
  6. ^ a b c d e f g h i j k l "Grant Wood", Art Institute of Chicago. Retrieved December 14, 2008.
  7. ^ a b c Kendall, Sue M., "Wood, Grant", Oxford Art Online (subscription). Retrieved 14 December 2008.
  8. ^ a b c Fineman, Mia, The Most Famous Farm Couple in the World: Why American Gothic still fascinates., Slate, 8 June 2005

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