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GRANT WOOD (1891-1942)

KÜNSTLER BIO ANFORDERN
 
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.
Porträt von Nan193135 1/2 x 29 1/2 Zoll.(90,17 x 74,93 cm) Öl auf Masonit
Provenienz
Nan Wood Graham, 1942 (die Schwester von Grant Wood, durch Abstammung)
The Encyclopedia Britannica Collection, Chicago, Illinois, 1945, erworben von den oben genannten Personen
Duveen Galleries, New York, 11. Dezember 1952
Senator William Benton, New York und Southport, Connecticut, erworben von den oben genannten Personen
Helen Boley, Madison, Wisconsin, 1973 (die Tochter von Senator William Benton, durch Abstammung)
Erworben von der oben genannten Person durch den derzeitigen Eigentümer, 2020
Ausstellung
Omaha, Nebraska, The Joslyn Memorial, Eröffnungsausstellung, November - Dezember 1931
Chicago, Illinois,...Mehr..... Increase Robinson Gallery, Ausstellung von Gemälden von Grant Wood, Juni 1933
New York, Ferargil Galleries, Juni 1934
Chicago, Illinois, The Lakeside Press Galleries, Katalog einer Leihausstellung von Zeichnungen und Gemälden von Grant Wood, Februar - März 1935
New York, Ferargil Galleries, Eine Ausstellung von Gemälden und Zeichnungen von Grant Wood, März - April 1935
Iowa City, Fine Arts Festival, Iowa Union Lounge, University of Iowa, Ausstellung von Gemälden von Grant Wood und Marvin D. Cone, Juli 1939
Chicago, Illinois, Art Institute of Chicago, Memorial Exhibition of Paintings and Drawings by Grant Wood, Dreiundfünfzigste Jahresausstellung amerikanischer Gemälde und Skulpturen, Oktober-Dezember 1942
Chicago, Illinois, Art Institute of Chicago, Encyclopedia Britannica Collection of Contemporary American Paintings, 12. April bis 13. Mai 1945
Weltausstellung: Hartford, Connecticut, Osaka, Japan, Wadsworth Atheneum, Die Benton-Sammlung: Amerikanische Malerei des 20. Jahrhunderts, März - Januar 1971
Madison Wisconsin, Chazen Museum of Art, Universität von Wisconsin-Madison, 1981-2018 (Dauerleihgabe)
Whitney Museum of Art, New York, Minneapolis, Minnesota, Minneapolis Institute of Art, Chicago, Illinois, Art Institute of Chicago, San Francisco, Kalifornien, M.H. de Young Memorial Museum, Grant Wood: The Regionalist Vision, 1983 - 1984
Davenport, Iowa, Feier zum hundertjährigen Bestehen von Grant Wood und Nan Wood Memorial, Februar-März 1991
Joslyn Art Museum, Omaha, Nebraska, Davenport, Iowa, Davenport Museum of Art, Worcester Massachusetts, Worcester Art Museum, Grant Wood: Ein amerikanischer Meister wird enthüllt, Dezember 1995 - Dezember 1996
Columbus Museum of Art, Columbus, Ohio, Museum für moderne Kunst/Ludwig Stiftung Wien, Wien, Österreich, Ludwig Museum für zeitgenössische Kunst, Budapest, Ungarn, Madison Art Center, Madison Wisconsin, Sioux Falls, South Dakota, Washington Pavilion of Arts & Sciences, Illusions of Eden: Visionen aus dem amerikanischen Kernland, Februar 2000 - August 2001
Cedar Rapids, Iowa, Cedar Rapids Museum of Art, Grant Wood in der Turner Alley 5, September - Januar 2006
Washington, D.C., Renwick Gallery, Smithsonian American Art Museum, Grant Wood's Studio: Geburtsstätte der amerikanischen Gotik, März - Juli 2006
Whitney Museum of American Art, New York, Grant Wood: American Gothic and Other Fables, März - Juni 2018
West Palm Beach, Florida, Ann Norton Sculpture Gardens, Entdeckung der Kreativität: Meister der amerikanischen Kunst, 10. Januar - 17. März 2024
Literaturhinweise
Corn, W. M. (1985), Grant Wood: The Regionalist Vision, Yale University Press. S. 102
Graham, N. W., Zug, J., & McDonald, J. (1993), My Brother, Grant Wood, State Historical Society of Iowa, S. 46, 106, 111-112, Umschlag hinten
Dennis, J.M. (1998), Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry, University of Wisconsin Press, S. 106, 108
Milosch, J.C. (2005), Grant Wood's Studio: Geburtsstätte der amerikanischen Gotik, Cedar Rapids Museum of Art, Pl. 19
Maroney, J. (2010), Fresh Perspectives on Grant Wood, Charles Sheeler, and George H. Durrie, Gala Books, S. 32, 76-77
Evans, T. (2010), Grant Wood: A Life, Penguin Random House, S. 120-27, 302
Taylor, S. (2020), Grant Wood's Secrets, University of Delaware Press, S. 22
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"Die Technik ist nicht die Kunst. Es ist auch nicht eine vage, unscharfe romantische Qualität, die als Schönheit bezeichnet wird und von den Realitäten des täglichen Lebens entfernt ist. Es sind die Tiefe und Intensität der Erfahrung eines Künstlers sind das Wichtigste in der Kunst." - Grant Wood

SCHLÜSSEL DETAILS

  • Dieses Gemälde stellt Woods Schwester Nan Wood Graham dar, die auch auf dem berühmtesten Gemälde des Künstlers zu sehen ist, Amerikanische Gotik (1930).
  • Es handelt sich um eines der bedeutendsten Gemälde in Woods Oeuvre und laut dem Grant Wood-Forscher Dr. Henry Adams um "eines der letzten großen Werke von Grant Wood in Privatbesitz".
  • Wood bewahrte Nans Porträt in seiner persönlichen Sammlung auf und stellte es an prominenter Stelle im Wohnzimmer seines Hauses in Iowa City auf.
  • Die Gemälde von Grant Wood - insbesondere seine Porträts - sind unglaublich selten. Nur zwei fertige Porträts in Öl wurden jemals auf einer Auktion angeboten, und kein wirklich vergleichbares Porträt wurde jemals öffentlich verkauft.
  • Eine nur ein Jahr später entstandene Landschaft in Öl, Spring Plowing (1932), wurde 2005 für 6.960.000 USD verkauft. Es ist nur halb so groß wie das Porträt von Nan.
  • Dieses Porträt hat eine umfangreiche Ausstellungsgeschichte, einschließlich einer Ausstellung im Whitney Museum of American Art im Jahr 2018: Grant Wood: American Gothic and Other Fables.
  • Grant Wood
    Grant Wood und seine Schwester Nan im Wohnzimmer seines Hauses in Iowa City, Iowa, mit einem Porträt von Nan auf dem Kaminsims.

RARITÄT

  • Holz-Installation
    "Portrait of Nan" (1931) in der Heather James-Ausstellung "Discovering CREATIVITY" in den Ann Norton Sculpture Gardens, Palm Beach, Florida. 10. Januar - 17. März 2024
  • Nachdem er 1930 American Gothic gemalt hatte, malte Wood nur noch eine Handvoll Werke pro Jahr und schuf zu Lebzeiten nur noch etwas mehr als 30 reife Gemälde, da er 1942 im Alter von nur 50 Jahren starb.
  • Die Gemälde von Grant Wood - insbesondere seine Porträts - sind unglaublich selten. Nur zwei fertige Porträts in Öl wurden jemals auf einer Auktion angeboten, und kein wirklich vergleichbares Porträt wurde jemals öffentlich verkauft.
  • Laut dem Grant Wood-Forscher Dr. Henry Adams ist dies "eines der letzten großen Werke von Grant Wood in Privatbesitz".
  • Über das Werk von Grant Wood sagte Dr. Adams: "Sein Werk ist fast so selten wie das von Vermeer".

GESCHICHTE

Grant Wood wird von vielen Wissenschaftlern, Kuratoren und Sammlern als der Vater des amerikanischen Regionalismus angesehen. Der Stil zeigt ländliche Szenen und Themen und kehrt zur figurativen Kunst zurück, als die europäische Moderne und die Pariser Avantgarde auf dem Vormarsch waren. Die Dargestellte auf dem vorliegenden Werk ist Woods Schwester Nan, die Wood als Modell diente und auf mehreren Werken zu sehen ist, darunter Woods berühmtestes Gemälde, Amerikanische Gotikdas sich in der Sammlung des Art Institute of Chicago befindet. 

 

Nur wenige Werke von Grant Wood von dieser Komplexität und Bedeutung sind jemals außerhalb von Museumssammlungen aufgetaucht, geschweige denn zum Verkauf angeboten worden. Dieses Porträt ist eines der bedeutendsten Gemälde in Woods Oeuvre. Der angesehene Grant Wood-Forscher Dr. Henry Adams erklärte, das Porträt von Nan sei "eines der letzten großen Werke von Grant Wood in Privatbesitz".

 

Porträt von Nan befand sich bis zu seinem Tod in der Sammlung des Künstlers und ist auch das einzige Gemälde, das er aufbewahrte - und das einzige Gemälde in seiner Wohnung. Er ging sogar so weit, dass er die Möbel und den Teppich passend zum Gemälde aussuchte, das in seinem Wohnzimmer in Iowa City hing.

 

Dr. Henry Adams beschreibt dieses Gemälde als "ein Pendant zu seinem berühmtesten Gemälde", Amerikanische Gotik von 1930″. Adams spekuliert weiter, dass das Porträt von Nan dazu gedacht war, Nans öffentliches Image nach American Gothic das ein Jahr zuvor gemalt wurde und berühmt geworden war und dabei eine (falsche) außereheliche Beziehung zwischen den beiden Dargestellten (Nan und ihrem Hauszahnarzt) insinuiert hatte.

 

Porträt von Nan ist das letzte Porträt des Künstlers aus seiner frühen Schaffensperiode, das den Abschluss der Periode bildet, in der er die Frau mit Pflanzen und American Gothic schuf. Nach 1930 schuf der Künstler nur noch wenige Gemälde pro Jahr, so dass fertige Ölgemälde zu jedem Thema eine echte Rarität sind.

 

Der Stil dieses Porträts ist eine Verschmelzung zwischen zeitgenössischer (zu dieser Zeit) und amerikanischer Porträtkunst des 19: "Der schwere Rahmenvorhang des Porträts, der kahle Hintergrund, das ovale Format [der in der Kolonial- und Viktoriazeit beliebten Porträts] und der Stuhl aus der Federal-Ära erinnern an viele formale Elemente der amerikanischen Volksmalerei des neunzehnten Jahrhunderts.

 

Grant Woods Gemälde aus dieser Zeit wurden von seiner letzten Reise nach Europa und der Kunst der nördlichen Renaissance beeinflusst, die er dort 1930 sah, als er sich vom akademisch-impressionistischen Stil seiner Jugend abwandte und seinen reifen Stil entwickelte, der Themen aus dem Mittleren Westen feierte. Das vorliegende Gemälde wurde bereits ausgiebig ausgestellt, unter anderem 2018 im Whitney Museum of American Art, New York: Grant Wood: American Gothic and Other Fables . 

  • Grant Wood 2
    Grant Wood

SPITZENERGEBNISSE BEI AUKTIONEN

"Spring Plowing" (1986), Öl auf Karton, 18 1/2 x 22 Zoll. Verkauft bei Sotheby's New York: November 2005 für $6.960.000
"Spring Plowing" (1986), Öl auf Karton, 18 1/2 x 22 Zoll. Verkauft bei Sotheby's New York: November 2005 für $6.960.000
"Study for Dinner for Threshers" (1934), Kohle, Bleistift und Kreide auf Papier, 18 x 72 cm. Verkauft bei Christie's New York: November 2014 für $1.565.000
"Study for Dinner for Threshers" (1934), Kohle, Bleistift und Kreide auf Papier, 18 x 72 cm. Verkauft bei Christie's New York: November 2014 für $1.565.000
"Studie für Februar" (1940), Kohle auf Karton, 19 1/3 x 24 3/4 Zoll. Verkauft bei Christie's New York: Dezember 2008 für $1.058.500
"Studie für Februar" (1940), Kohle auf Karton, 19 1/3 x 24 3/4 Zoll. Verkauft bei Christie's New York: Dezember 2008 für $1.058.500

GEMÄLDE IN MUSEUMSSAMMLUNGEN

"American Gothic" (1930), Öl auf Karton, 31 x 26 Zoll, The Art Institute, Chicago
"American Gothic" (1930), Öl auf Karton, 31 x 26 Zoll, The Art Institute, Chicago
"Frau mit Pflanze" (1929), Öl auf Upson-Karton, 20 1/2 x 17 7/8 Zoll, Cedar Rapids Museum of Art
"Frau mit Pflanze" (1929), Öl auf Upson-Karton, 20 1/2 x 17 7/8 Zoll, Cedar Rapids Museum of Art
"Arnold Comes of Age" (Porträt von Arnold Pyle) (1930), Öl auf gepresstem Karton, 26 3/4 x 23 Zoll, Sheldon Museum of ArtLincoln, Nebraska
"Arnold wird erwachsen" (Porträt von Arnold Pyle) (1930), Öl auf Pressspan, 26 3/4 x 23 Zoll, Sheldon Museum of Art Lincoln, Nebraska
"Der amerikanische Golfer" (1940), Öl auf Masonit, 36 1/2 x 48 Zoll, Crystal Bridges Museum of Art, Bentonville, Arkansas
"Der amerikanische Golfer" (1940), Öl auf Masonit, 36 1/2 x 48 Zoll, Crystal Bridges Museum of Art, Bentonville, Arkansas
"Selbstporträt" (um 1925), Öl auf Karton, Figge Art Museum, Davenport, Iowa
"Selbstporträt" (um 1925), Öl auf Karton, Figge Art Museum, Davenport, Iowa
"Töchter der Revolution" (1932), Öl auf Masonit, 20 x 39 15/16 Zoll, Cincinnati Art Museum, Cincinnati, Ohio
"Töchter der Revolution" (1932), Öl auf Masonit, 20 x 39 15/16 Zoll, Cincinnati Art Museum, Cincinnati, Ohio

AUTHENTIFIZIERUNG

Grant Wood - Porträt von Nan-Sitter's Brief

Aus der Feder von Nan Wood Graham stammt Die Geschichte meines Porträts im Juli 1944. In diesem Brief gibt sie einen Einblick in Woods Beweggründe für das Malen ihres Porträts, die Wahl des Kükens und der Pflaume als visuelle Hilfsmittel und berichtet mit Humor von den langen Nächten, in denen sie mit dem Küken in der Hand saß.

DOWNLOAD The Story of My Portrait

DOWNLOAD Expertenbrief

DOWNLOAD PDF Präsentation

BILDGALERIE

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