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العودة

جرانت وود (1891-1942)

الفنان بيو الاستفسارحميل PDF
 
Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan. Led by a triumvirate of painters of the American Scene, Thomas Hart Benton, John Steuart Curry, and Grant Wood took on the task of exploring, defining, and celebrating the Midwest as a credible entity within the geographical, political, and mythological landscape of the United States. Their populist works were figurative and narrative-driven, and they gained widespread popularity among a Depression-weary American public. The landscapes Grant Wood painted, and the lithographs marketed by Associated American Artists were comforting reminders of traditional Midwestern values and the simplicity of country life. Yet, Wood's most iconic works, including American Gothic, were to be viewed through the lens of elusive narratives and witty ironies that reflect an artist who delighted in sharing his charming and humorous perspective on farm life. <br><br>In 1930, Wood achieved national fame and recognition with American Gothic, a fictionalized depiction of his sister, Nan, and his family dentist. Frequently regarded as the most famous American painting of the twentieth century, to fully grasp American Gothic's essential nature, one must recognize Wood's profound connection to his Iowan roots, a bond that borders on a singular fixation and the often-brutal confrontation between the moral and cultural rigidity of Midwest isolationism and the standards that prevailed elsewhere in America. This war of values and morality became dominant throughout Wood's oeuvre. Their fascination with American Gothic may have mystified the public, but the story, told in the attitude of a farmer and his wife, is as lean and brittle as the pitchfork he carries. Their attitude, as defiant as it is confrontational, is an unflinching dare to uppity gallery-goers to judge their immaculate well-scrubbed farm. American Gothic became an overnight sensation, an ambiguous national icon often interpreted as a self-effacing parody of midwestern life. Yet it also served as an unflinching mirror to urban elite attitudes and their often-derisive view of heartland values and way of life. In Grant Wood's hands, the people of the Midwest have stiffened and soured, their rectitude implacable.<br> <br>Portrait of Nan is Grant Wood's most intimate work. He may have been motivated to paint it to make amends for the significant scrutiny and harsh treatment his sister received as American Gothic's sternly posed female. Grant poured his heart into it as a sign of sibling love. Intent upon painting her as straightforward and simply as possible so as not to invite unintended interpretations, Wood's deep attachment to the portrait was significant enough for him to think of it as having irreplaceable value. When he moved from Cedar Rapids to Iowa City in 1935, he designed his entire living room around the work. It occupied the place of honor above the fireplace and was the only painting he refused to sell. <br> <br>The lithograph July Fifteenth, issued in 1938, proves his mystical vision of the Iowan heartland is anything but a pitchfork approach. Drawings assumed central importance in Wood's output, and this work is executed in meticulous detail, proving his drawings were at least as complex, if not more so, than his paintings. The surface of the present work takes on an elaborate, decorative rhythm, echoed throughout the land that is soft, verdant, and fertile. Structurally, it alludes in equal measure to the geometry of modern art and the decorative patterning of folk-art traditions. This is a magical place, a fulsome display of an idealized version of an eternal, lovely, and benign heartland. <br><br>The Young Artist, an en plein air sketch, may have been produced during, or slightly after, what Wood called his "palette-knife stage" that consumed him in 1925. Having not yet traveled to Munich where, in 1928, he worked on a stain-glass window commission and came under the influence of the Northern Renaissance painters that sparked his interest in the compositional severity and detailed technique associated with his mature works, here, he worked quickly, and decisively. The view is from a hilltop at Kenwood Park that overlooks the Cedar River Valley near Cedar Rapids, where he built a house for his sister, Nan.
صورة نان1931 35 1/2 × 29 1/2 × 1 بوصة.(90.17 × 74.93 × 2.54 سم) زيت على الماسونيت
الاصل
نان وود جراهام ، 1942 (أخت جرانت وود ، بالنسب)
مجموعة موسوعة بريتانيكا ، شيكاغو ، إلينوي ، 1945 ، تم الحصول عليها مما سبق
معارض دوفين ، نيويورك ، 11 ديسمبر 1952
السناتور ويليام بنتون ، نيويورك وساوثبورت ، كونيتيكت ، المكتسبة مما سبق
هيلين بولي ، ماديسون ، ويسكونسن ، 1973 (ابنة السناتور ويليام بنتون ، بالنسب)
تم الحصول عليها مما سبق من قبل المالك الحالي ، 2020
معرض
أوماها ، نبراسكا ، نصب جوسلين التذكاري ، المعرض الافتتاحي ، نوفمبر - ديسمبر 1931
شيكاغو ، إلينوي ،... اكثر... زيادة معرض روبنسون ، معرض لوحات جرانت وود ، يونيو 1933
نيويورك ، معارض فيرارجيل ، يونيو 1934
شيكاغو ، إلينوي ، معارض ليكسايد برس ، كتالوج معرض قرض للرسومات واللوحات التي رسمها جرانت وود ، فبراير - مارس 1935
نيويورك ، معارض فيرارجيل ، معرض للوحات والرسومات لجرانت وود ، مارس - أبريل 1935
مدينة أيوا ، مهرجان الفنون الجميلة ، صالة اتحاد أيوا ، جامعة أيوا ، معرض لوحات جرانت وود ومارفن دي كون ، يوليو 1939
شيكاغو ، إلينوي ، معهد شيكاغو للفنون ، المعرض التذكاري للوحات والرسومات لجرانت وود ، المعرض السنوي الثالث والخمسون للوحات والنحت الأمريكي ، أكتوبر - ديسمبر 1942
شيكاغو ، إلينوي ، معهد شيكاغو للفنون ، مجموعة موسوعة بريتانيكا للوحات الأمريكية المعاصرة ، 12 أبريل - 13 مايو 1945
المعرض العالمي: هارتفورد ، كونيتيكت ، أوساكا ، اليابان ، Wadsworth Atheneum ، مجموعة بنتون: الرسم الأمريكي في القرن 20 ، مارس - يناير 1971
ماديسون ويسكونسن ، متحف تشازين للفنون ، جامعة ويسكونسن ماديسون ، 1981-2018 (قرض طويل الأجل)
متحف ويتني للفنون ، نيويورك ، مينيابوليس ، مينيسوتا ، معهد مينيابوليس للفنون ، شيكاغو ، إلينوي ، معهد شيكاغو للفنون ، سان فرانسيسكو ، كاليفورنيا ، متحف إم إتش دي يونغ التذكاري ، جرانت وود: الرؤية الإقليمية ، 1983 - 1984
دافنبورت ، أيوا ، احتفال جرانت وود المئوي ونصب نان وود التذكاري ، فبراير - مارس 1991
متحف جوسلين للفنون ، أوماها ، نبراسكا ، دافنبورت ، أيوا ، متحف دافنبورت للفنون ، ووستر ماساتشوستس ، متحف ووستر للفنون ، جرانت وود: كشف سيد أمريكي ، ديسمبر 1995 - ديسمبر 1996
متحف كولومبوس للفنون ، كولومبوس ، أوهايو ، متحف الفن الحديث / مؤسسة لودفيج فيينا ، فيينا ، النمسا ، متحف لودفيج للفن المعاصر ، بودابست ، المجر ، مركز ماديسون للفنون ، ماديسون ويسكونسن ، سيوكس فولز ، ساوث داكوتا ، جناح واشنطن للفنون والعلوم ، أوهام عدن: رؤى قلب أمريكا ، فبراير 2000 - أغسطس 2001
سيدار رابيدز ، أيوا ، متحف سيدار رابيدز للفنون ، جرانت وود في 5 تيرنر آلي ، سبتمبر - يناير 2006
واشنطن العاصمة ، معرض رينويك ، متحف سميثسونيان للفن الأمريكي ، استوديو جرانت وود: مسقط رأس القوطية الأمريكية ، مارس - يوليو 2006
متحف ويتني للفن الأمريكي ، نيويورك ، جرانت وود: القوطية الأمريكية والخرافات الأخرى ، مارس - يونيو 2018
ويست بالم بيتش ، فلوريدا ، حدائق آن نورتون للنحت ، اكتشاف الإبداع: أساتذة الفن الأمريكي ، 10 يناير - 17 مارس 2024
الادب
الذرة ، دبليو إم (1985) ، جرانت وود: الرؤية الإقليمية ، مطبعة جامعة ييل. ص. 102
جراهام ، إن دبليو ، زوغ ، جيه ، وماكدونالد ، ج. (1993) ، أخي ، جرانت وود ، الجمعية التاريخية لولاية أيوا ، ص. 46 ، 106 ، 111-112 ، الغلاف الخلفي
دينيس ، جي إم (1998) ، الإقليميون المتمردون: الاستقلال الحديث لجرانت وود ، توماس هارت بنتون ، وجون ستيوارت كاري ، مطبعة جامعة ويسكونسن ، ص. 106 ، 108
ميلوش ، جي سي (2005) ، استوديو جرانت وود: مسقط رأس القوطية الأمريكية ، متحف سيدار رابيدز للفنون ، ر. 19
ماروني ، ج. (2010) ، وجهات نظر جديدة حول جرانت وود ، تشارلز شيلر ، وجورج إتش دوري ، غالا بوكس ، ص. 32 ، 76-77
إيفانز ، ت. (2010) ، جرانت وود: حياة ، بنجوين راندوم هاوس ، ص. 120-27 ، 302
تايلور ، س. (2020) ، أسرار جرانت وود ، مطبعة جامعة ديلاوير ، ص. 22
... اقل...
العودة
الاستفسار

"التقنية لا تشكل فنا. كما أنها ليست صفة رومانسية غامضة وغامضة تعرف باسم الجمال ، بعيدة عن حقائق الحياة اليومية. إنه عمق وشدة تجربة الفنان التي هي الأهمية الأولى في الفن." - جرانت وود

التفاصيل الرئيسية

  • تصور هذه اللوحة أخت وود ، نان وود جراهام ، التي تظهر أيضا في اللوحة الأكثر شهرة للفنان ، القوطية الأمريكية (1930).
  • هذه واحدة من أهم اللوحات في أعمال وود ، ووفقا لباحث جرانت وود الدكتور هنري آدامز ، فهذه "واحدة من آخر الأعمال الرئيسية لجرانت وود في أيدي القطاع الخاص".
  • احتفظ وود بصورة نان في مجموعته الشخصية ووضعها بشكل بارز في غرفة المعيشة في منزله في مدينة أيوا.
  • لوحات جرانت وود - صوره على وجه الخصوص - نادرة بشكل لا يصدق. ظهرت صورتان فقط من الزيت في مزاد علني ولم يتم بيع أي صورة قابلة للمقارنة حقا علنا.
  • منظر طبيعي للنفط بعد عام واحد فقط ، Spring Plowing (1932) ، تم بيعه مقابل 6,960,000 دولار أمريكي في عام 2005. إنه فقط نصف حجم صورة نان.
  • تتمتع هذه الصورة بتاريخ معارض واسع ، بما في ذلك عرض عام 2018 في متحف ويتني للفن الأمريكي في عام 2018: جرانت وود: القوطية الأمريكية والخرافات الأخرى.
  • جرانت وود
    جرانت وود وأخته نان في الصورة في غرفة المعيشة في منزله في مدينة أيوا بولاية أيوا مع صورة نان معلقة على العباءة.

نادره

  • تركيب الخشب
    "صورة نان" (1931) معلقة في معرض هيذر جيمس "اكتشاف الإبداع" في حدائق آن نورتون للنحت ، بالم بيتش ، فلوريدا. 10 يناير – 17 مارس 2024
  • بعد أن رسم القوطية الأمريكية في عام 1930 ، رسم وود عددا قليلا فقط من الأعمال كل عام ، وأنتج ما يزيد قليلا عن 30 لوحة ناضجة في حياته بسبب وفاته المبكرة في عام 1942 عن عمر يناهز 50 عاما فقط.
  • لوحات جرانت وود - صوره على وجه الخصوص - نادرة بشكل لا يصدق. ظهرت صورتان فقط من الزيت في مزاد علني ولم يتم بيع أي صورة قابلة للمقارنة حقا علنا.
  • وفقا لباحث جرانت وود ، الدكتور هنري آدامز ، يعد هذا "أحد آخر الأعمال الرئيسية التي قام بها جرانت وود في أيدي القطاع الخاص".
  • من أعمال جرانت وود ، لاحظ الدكتور آدامز أن "عمله نادر تقريبا مثل عمل فيرمير".

تاريخ

يعتبر جرانت وود من قبل العديد من العلماء والقيمين وهواة الجمع والد الإقليمية الأمريكية. يتميز الأسلوب بمشاهد وموضوعات ريفية ويعود إلى الفن التصويري عندما كانت الحداثة الأوروبية والطليعية الباريسية تترسخ. الحاضنة في العمل الحالي هي أخت وود ، نان ، التي كانت بمثابة نموذج لوود ، وظهرت في العديد من الأعمال ، بما في ذلك لوحة وود الأكثر شهرة ، القوطية الأمريكية ، في مجموعة معهد شيكاغو للفنون. 

 

لم يظهر سوى عدد قليل من أعمال Grant Wood بهذا التعقيد والأهمية خارج مجموعات المتاحف ، ناهيك عن عرضها للبيع. هذه الصورة هي واحدة من أهم اللوحات في أعمال وود. صرح الباحث المحترم في جرانت وود ، الدكتور هنري آدامز ، أن صورة نان هي "واحدة من آخر الأعمال الرئيسية لجرانت وود في أيدي القطاع الخاص".

 

كانت صورة نان في مجموعة الفنان حتى وفاته وهي أيضا اللوحة الوحيدة التي احتفظ بها - واللوحة الوحيدة في منزله ، بعد أن ذهب إلى حد اختيار المفروشات والسجادة لاستكمال اللوحة كما كانت معلقة في غرفة المعيشة في مدينة أيوا.  

 

يصف الدكتور هنري آدامز هذه اللوحة بأنها "قلادة لأشهر لوحاته ، القوطية الأمريكية لعام 1930". يتكهن آدامز كذلك بأن صورة نان كان تهدف إلى تصحيح صورة نان العامة بعد أن رسمت القوطية الأمريكية في العام السابق ، والتي أصبحت مشهورة وبذلك ، ألمحت إلى وجود علاقة (خاطئة) خارج نطاق الزواج بين الموضوعين (نان وطبيب أسنان العائلة).

 

صورة نان هي آخر صورة للفنان من فترته المبكرة ، وهي النهاية للفترة التي ابتكر فيها امرأة مع نباتات وقوطية أمريكية. بعد عام 1930 ، ابتكر الفنان بضع لوحات فقط في السنة ، مما جعل اللوحات الزيتية النهائية لأي موضوع نادرة حقا.  

 

تصميم هذه الصورة هو مزيج بين المعاصرة (في ذلك الوقت) والبورتريه الأمريكي في القرن 19: "ستارة الإطار الثقيل للصورة ، والخلفية الصارخة ، والشكل البيضاوي [للصور المفضلة في العصور الاستعمارية وفيكتوريا] ، وكرسي العصر الفيدرالي يستحضر العديد من العناصر الرسمية الموجودة في الرسم الشعبي الأمريكي في القرن التاسع عشر "

 

تأثرت لوحات جرانت وود من هذه الفترة برحلته الأخيرة إلى أوروبا وفن عصر النهضة الشمالية الذي رآه هناك في عام 1930 عندما انتقل من أسلوب شبابه الأكاديمي / الانطباعي وطور أسلوبه الناضج الذي احتفل بموضوعات الغرب الأوسط. تم عرض اللوحة الحالية على نطاق واسع ، بما في ذلك عرض عام 2018 في متحف ويتني للفن الأمريكي ، نيويورك: جرانت وود: القوطية الأمريكية وغيرها من الخرافات. 

  • جرانت وود 2
    جرانت وود

أعلى النتائج في المزادات

"حرث الربيع" (1986) ، زيت على متن الطائرة ، 18 1/2 × 22 بوصة. بيعت في سوذبيز نيويورك: نوفمبر 2005 مقابل 6,960,000 دولار
"حرث الربيع" (1986) ، زيت على متن الطائرة ، 18 1/2 × 22 بوصة. بيعت في سوذبيز نيويورك: نوفمبر 2005 مقابل 6,960,000 دولار
"دراسة لتناول العشاء من أجل الدراس" (1934) ، فحم وقلم رصاص وطباشير على ورق موضوع على ورق ، 18 × 72 بوصة. بيعت في كريستيز نيويورك: نوفمبر 2014 مقابل 1,565,000 دولار
"دراسة لتناول العشاء من أجل الدراس" (1934) ، فحم وقلم رصاص وطباشير على ورق موضوع على ورق ، 18 × 72 بوصة. بيعت في كريستيز نيويورك: نوفمبر 2014 مقابل 1,565,000 دولار
"دراسة لشهر فبراير" (1940) ، فحم على ورق مقوى ، 19 1/3 × 24 3/4 بوصة. بيعت في كريستيز نيويورك: ديسمبر 2008 مقابل 1,058,500 دولار
"دراسة لشهر فبراير" (1940) ، فحم على ورق مقوى ، 19 1/3 × 24 3/4 بوصة. بيعت في كريستيز نيويورك: ديسمبر 2008 مقابل 1,058,500 دولار

لوحات في مجموعات المتحف

"القوطية الأمريكية" (1930) ، زيت على متن الطائرة ، 31 × 26 بوصة ، معهد الفنون ، شيكاغو
"القوطية الأمريكية" (1930) ، زيت على متن الطائرة ، 31 × 26 بوصة ، معهد الفنون ، شيكاغو
"امرأة مع نبات" (1929) ، زيت على لوح أبسون ، 20 1/2 × 17 7/8 بوصة ، متحف سيدار رابيدز للفنون
"امرأة مع نبات" (1929) ، زيت على لوح أبسون ، 20 1/2 × 17 7/8 بوصة ، متحف سيدار رابيدز للفنون
"أرنولد يأتي من سن الرشد" (صورة أرنولد بايل) (1930) ، زيت على لوح مضغوط ، 26 3/4 × 23 بوصة ، متحف شيلدون للفننكولن ، نبراسكا
"أرنولد يأتي من سن الرشد" (صورة أرنولد بايل) (1930) ، زيت على لوح مضغوط ، 26 3/4 × 23 بوصة ، متحف شيلدون للفنون لينكولن ، نبراسكا
"لاعب الغولف الأمريكي" (1940) ، زيت على الماسونيت ، 36 1/2 × 48 بوصة ، متحف كريستال بريدجز للفنون ، بنتونفيل ، أركنساس
"لاعب الغولف الأمريكي" (1940) ، زيت على الماسونيت ، 36 1/2 × 48 بوصة ، متحف كريستال بريدجز للفنون ، بنتونفيل ، أركنساس
"صورة ذاتية" (حوالي 1925) ، زيت على متن الطائرة ، متحف فيج للفنون ، دافنبورت ، أيوا
"صورة ذاتية" (حوالي 1925) ، زيت على متن الطائرة ، متحف فيج للفنون ، دافنبورت ، أيوا
"بنات الثورة" (1932) ، زيت على الماسونيت ، 20 × 39 15/16 بوصة ، متحف سينسيناتي للفنون ، سينسيناتي ، أوهايو
"بنات الثورة" (1932) ، زيت على الماسونيت ، 20 × 39 15/16 بوصة ، متحف سينسيناتي للفنون ، سينسيناتي ، أوهايو

المصادقه

جرانت وود - صورة لرسالة نان سيتر

كتب نان وود جراهام قصة صورتي في يوليو 1944. في هذه الرسالة ، تقدم نظرة ثاقبة لسبب وود المدروس لرسم صورتها ، وكيف تم اختيار الفرخ والبرقوق كأجهزة بصرية ، وبروح الدعابة ، تنقل الليالي الطويلة من الجلوس مع الفرخ في متناول اليد.

تحميل قصة صورتي

تحميل رسالة الخبير

قم بتنزيل العرض التقديمي بتنسيق PDF

معرض الصور

  • 45302-جرانتوود-Portrait_of_Nan
  • 45302-جرانتوود-Portrait_of_Nan_detail8
  • 45302-جرانتوود-Portrait_of_Nan_detail1
  • 45302-جرانتوود-Portrait_of_Nan_detail2
  • 45302-جرانتوود-Portrait_of_Nan_detail5
  • 45302-جرانتوود-Portrait_of_Nan_detail7
  • 45302-جرانتوود-Portrait_of_Nan_detail6
  • 45302-جرانتوود-Portrait_of_Nan_detail4
  • 45302-جرانتوود-Portrait_of_Nan_detail3
  • 45302-جرانتوود-Portrait_of_Nan_detail9
  • 45302-جرانتوود-Portrait_of_Nan
  • 45302-جرانتوود-Portrait_of_Nan_detail8
  • 45302-جرانتوود-Portrait_of_Nan_detail1
  • 45302-جرانتوود-Portrait_of_Nan_detail2
  • 45302-جرانتوود-Portrait_of_Nan_detail5
  • 45302-جرانتوود-Portrait_of_Nan_detail7
  • 45302-جرانتوود-Portrait_of_Nan_detail6
  • 45302-جرانتوود-Portrait_of_Nan_detail4
  • 45302-جرانتوود-Portrait_of_Nan_detail3
  • 45302-جرانتوود-Portrait_of_Nan_detail9

الاستفسار

الاستعلام - الفن واحد

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