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גרנט ווד (1891-1942)

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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.
דיוקן נאן1931 35 1/2 x 29 1/2 x 1 אינץ'(90.17 x 74.93 x 2.54 ס"מ) שמן על מזוניט
מקור ומקור
נאן ווד גרהאם, 1942 (אחותו של גרנט ווד, במוצאה)
אוסף אנציקלופדיה בריטניקה, שיקגו, אילינוי, 1945, נרכש מלעיל
גלריות דובין, ניו יורק, 11 בדצמבר 1952
הסנאטור ויליאם בנטון, ניו יורק וסאות'פורט, קונטיקט, שנרכשו מהנ"ל
הלן בולי, מדיסון, ויסקונסין, 1973 (בתו של הסנאטור ויליאם בנטון, במוצאו)
נרכש מהאמור לעיל על ידי הבעלים הנוכחי, 2020
תערוכה
אומהה, נברסקה, אנדרטת ג'וסלין, תערוכת פתיחה, נובמבר-דצמבר 1931
שיקגו, אילינוי,... עוד... גלריה הגדלה רובינסון, תערוכת ציורים של גרנט ווד, יוני 1933
ניו יורק, גלריות פררגיל, יוני 1934
שיקגו, אילינוי, גלריות לייקסייד פרס, קטלוג תערוכת השאלה של רישומים וציורים מאת גרנט ווד, פברואר-מרץ 1935
ניו יורק, גלריות פררגיל, תערוכת ציורים ורישומים מאת גרנט ווד, מרץ-אפריל 1935
איווה סיטי, פסטיבל לאמנויות יפות, איווה יוניון לאונג', אוניברסיטת איווה, תערוכת ציורים של גרנט ווד ומרווין ד. קון, יולי 1939
שיקגו, אילינוי, המכון לאמנות של שיקגו, תערוכת זיכרון לציורים ורישומים מאת גרנט ווד, התערוכה השנתית החמישים ושלוש של ציורים ופיסול אמריקאיים, אוקטובר-דצמבר 1942
שיקגו, אילינוי, המכון לאמנות של שיקגו, אוסף אנציקלופדיה בריטניקה לציורים אמריקאים עכשוויים, 12 באפריל - 13 במאי 1945
תערוכה עולמית: הרטפורד, קונטיקט, אוסקה, יפן, Wadsworth Athenaeum, אוסף בנטון: ציור אמריקאי במאה ה-20, מרץ - ינואר 1971
מדיסון ויסקונסין, מוזיאון צ'זן לאמנות, אוניברסיטת ויסקונסין-מדיסון, 1981-2018 (הלוואה לטווח ארוך)
מוזיאון ויטני לאמנות, ניו יורק, מיניאפוליס, מינסוטה, מיניאפוליס המכון לאמנות, שיקגו, אילינוי, המכון לאמנות של שיקגו, סן פרנסיסקו, קליפורניה, מוזיאון הזיכרון ע"ש מ.ה. דה יאנג, גרנט ווד: החזון האזורי, 1983 - 1984
דבנפורט, איווה, חגיגות המאה של גרנט ווד ואנדרטת נאן ווד, פברואר-מרץ 1991
מוזיאון ג'וסלין לאמנות, אומהה, נברסקה, דבנפורט, איווה, מוזיאון דבנפורט לאמנות, וורצ'סטר מסצ'וסטס, מוזיאון וורצ'סטר לאמנות, גרנט ווד: מאסטר אמריקאי נחשף, דצמבר 1995 - דצמבר 1996
מוזיאון קולומבוס לאמנות, קולומבוס, אוהיו, המוזיאון לאמנות מודרנית / קרן לודוויג וינה, וינה, אוסטריה, מוזיאון לודוויג לאמנות עכשווית, בודפשט, הונגריה, מרכז מדיסון לאמנות, מדיסון ויסקונסין, סו פולס, דרום דקוטה, וושינגטון ביתן לאמנויות ומדעים, אשליות של עדן: חזיונות הלב האמריקאי, פברואר 2000 - אוגוסט 2001
סידר רפידס, איווה, מוזיאון סידר רפידס לאמנות, גרנט ווד בסמטת טרנר 5, ספטמבר - ינואר 2006
וושינגטון, גלריה רנוויק, מוזיאון סמית'סוניאן לאמנות אמריקאית, הסטודיו של גרנט ווד: מקום הולדתה של הגותית האמריקאית, מרץ-יולי 2006
מוזיאון ויטני לאמנות אמריקאית, ניו יורק, גרנט ווד: אגדות גותיות אמריקאיות ואחרות, מרץ - יוני 2018
ווסט פאלם ביץ', פלורידה, גני הפסלים אן נורטון, לגלות יצירתיות: מאסטרים לאמנות אמריקאית, 10 בינואר - 17 במרץ 2024
ספרות
קורן, ו. מ. (1985), גרנט ווד: החזון האזורי, הוצאת אוניברסיטת ייל. עמ ' 102
Graham, N. W., Zug, J., & McDonald, J. (1993), אחי, גרנט ווד, החברה ההיסטורית הממלכתית של איווה, עמ ' 46, 106, 111-112, כריכה אחורית
דניס, ג'.מ. (1998), Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry, University of Wisconsin Press, p. 106, 108
מילוש, ג'יי סי (2005), הסטודיו של גרנט ווד: מקום הולדתה של הגותית האמריקאית, מוזיאון סידר רפידס לאמנות, עמ' 19
מארוני, י. (2010), פרספקטיבות חדשות על גרנט ווד, צ'ארלס שילר וג'ורג' ה. דורי, ספרי גאלה, עמ ' 32, 76-77
אוונס, ט. (2010), גרנט ווד: חיים, פינגווין רנדום האוס, עמ ' 120-27, 302
טיילור, ס. (2020), הסודות של גרנט ווד, הוצאת אוניברסיטת דלאוור, עמ ' 22
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גב
לברר

"טכניקה אינה מהווה אמנות. זו גם לא תכונה רומנטית מעורפלת ומטושטשת המכונה יופי, רחוקה מהמציאות של חיי היומיום. זהו העומק והעוצמה של חוויית האמן שהם החשיבות הראשונה באמנות." – גרנט ווד

פרטים עיקריים

  • ציור זה מתאר את אחותו של ווד, נאן ווד גרהאם, המופיעה גם בציורו המפורסם ביותר של האמן, גותי אמריקאי (1930).
  • זהו אחד הציורים המשמעותיים ביותר ביצירתו של ווד, ולדברי חוקר גרנט ווד, ד"ר הנרי אדמס, זוהי "אחת העבודות הגדולות האחרונות של גרנט ווד בידיים פרטיות".
  • ווד שמר את דיוקנו של נאן באוסף האישי שלו והציב אותו במקום בולט בסלון ביתו באיווה סיטי.
  • ציוריו של גרנט ווד – במיוחד הדיוקנאות שלו – נדירים ביותר. רק שני דיוקנאות מוגמרים בשמן הופיעו אי פעם במכירה פומבית ואף דיוקן דומה באמת מעולם לא נמכר בפומבי.
  • נוף בנפט רק שנה לאחר מכן, Spring Plowing (1932), נמכר ב-6,960,000 דולר ב-2005. גודלו רק מחצית מגודלו של דיוקן נאן.
  • לדיוקן זה היסטוריית תערוכות נרחבת, כולל תערוכה בשנת 2018 במוזיאון ויטני לאמנות אמריקאית בשנת 2018: Grant Wood: American Gothic and Other Fables.
  • גרנט ווד
    גרנט ווד ואחותו נאן מצולמים בסלון ביתו באיווה סיטי, איווה עם דיוקן של נאן תלוי על הגלימה.

נדיר

  • התקנת עץ
    "דיוקנה של נאן" (1931) תלוי בתערוכה של הת'ר ג'יימס "לגלות יצירתיות" בגני הפסלים אן נורטון, פאלם ביץ', פלורידה. 10 בינואר – 17 במרץ 2024
  • לאחר שצייר גותי אמריקאי בשנת 1930, צייר ווד רק קומץ עבודות מדי שנה, ויצר קצת יותר מ-30 ציורים בוגרים במהלך חייו עקב מותו המוקדם בשנת 1942 בגיל 50 בלבד.
  • ציוריו של גרנט ווד – במיוחד הדיוקנאות שלו – נדירים ביותר. רק שני דיוקנאות מוגמרים בשמן הופיעו אי פעם במכירה פומבית ואף דיוקן דומה באמת מעולם לא נמכר בפומבי.
  • לדברי חוקר גרנט ווד, ד"ר הנרי אדמס, זוהי "אחת העבודות הגדולות האחרונות של גרנט ווד בידיים פרטיות".
  • על יצירתו של גרנט ווד אמר ד"ר אדמס כי "עבודתו נדירה כמעט כמו זו של ורמיר".

היסטוריה

גרנט ווד נחשב על ידי חוקרים, אוצרים ואספנים רבים לאבי האזוריות האמריקאית. הסגנון כולל סצנות כפריות ונושאים וחוזר לאמנות פיגורטיבית כאשר המודרניזם האירופי והאוונגרד הפריזאי תפסו אחיזה. היושבת ביצירה הנוכחית היא אחותו של ווד, נאן, ששימשה מודל לווד, והופיעה במספר עבודות, כולל ציורו המפורסם ביותר של ווד, גותי אמריקאי, באוסף המכון לאמנות של שיקגו. 

 

מעטות הן יצירותיו של גרנט ווד בעלות מורכבות וחשיבות כאלה שהופיעו אי פעם מחוץ לאוספי המוזיאונים, שלא לדבר על הוצעו למכירה. דיוקן זה הוא אחד הציורים המשמעותיים ביותר ביצירתו של ווד. חוקר גרנט ווד המוערך, ד"ר הנרי אדמס, הצהיר כי דיוקנה של נאן הוא "אחת העבודות הגדולות האחרונות של גרנט ווד בידיים פרטיות".

 

דיוקן נאן היה באוסף של האמן עד מותו והוא גם הציור היחיד ששמר - והציור היחיד בביתו, לאחר שהרחיק לכת עד כדי בחירת הרהיטים והשטיח כדי להשלים את הציור כפי שהיה תלוי בסלון ביתו באיווה סיטי.  

 

ד"ר הנרי אדמס מתאר את הציור הזה כ"תליון לציורו המפורסם ביותר, גותי אמריקאי משנת 1930". אדמס מוסיף ומשער כי דיוקנה של נאן נועד לתקן את תדמיתה הציבורית של נאן לאחר שציור גותי אמריקאי שנה קודם לכן, שהתפרסם ובכך רמז על מערכת יחסים (שקרית) מחוץ לנישואין בין שני הנבדקים (נאן ורופא השיניים המשפחתי שלהם).

 

דיוקן נאן הוא דיוקנו האחרון של האמן מתקופתו המוקדמת, סוף התקופה שבה יצר את " אישה עם צמחים " ו "גותי אמריקאי". אחרי 1930, האמן יצר רק כמה ציורים בשנה, מה שהופך ציורי שמן מוגמרים של כל נושא נדיר באמת.  

 

עיצובו של דיוקן זה הוא מיזוג בין דיוקנאות עכשוויים (באותה תקופה) לבין דיוקנאות אמריקאים מהמאה ה-19: "מסך המסגור הכבד של הדיוקן, הרקע הבוטה, הפורמט הסגלגל [של דיוקנאות שהיו מועדפים בתקופה הקולוניאלית ובעידן ויקטוריה] והכיסא מהתקופה הפדרלית מזכירים רבים מהאלמנטים הצורניים שנמצאו בציור העממי האמריקאי של המאה התשע-עשרה"

 

ציוריו של גרנט ווד מתקופה זו הושפעו ממסעו האחרון לאירופה ומאמנות הרנסאנס הצפונית שראה שם בשנת 1930, כאשר עבר מהסגנון האקדמי/אימפרסיוניסטי של נעוריו ופיתח את סגנונו הבוגר שחגג נושאים מהמערב התיכון. הציור הנוכחי הוצג בהרחבה, כולל תערוכה בשנת 2018 במוזיאון ויטני לאמנות אמריקאית, ניו יורק: Grant Wood: American Gothic and Other Fables. 

  • גרנט ווד 2
    גרנט ווד

התוצאות המובילות במכירות פומביות

"חריש אביבי" (1986), שמן על סיפון, 18 1/2 x 22 אינץ '. נמכר בסותבי'ס ניו יורק: נובמבר 2005 תמורת $6,960,000
"חריש אביבי" (1986), שמן על סיפון, 18 1/2 x 22 אינץ '. נמכר בסותבי'ס ניו יורק: נובמבר 2005 תמורת $6,960,000
"לימוד לארוחת ערב לסרים" (1934), פחם, עיפרון וגיר על נייר מונחים על נייר, 18X72 אינץ'. נמכר בכריסטי'ס ניו יורק: נובמבר 2014 תמורת $1,565,000
"לימוד לארוחת ערב לסרים" (1934), פחם, עיפרון וגיר על נייר מונחים על נייר, 18X72 אינץ'. נמכר בכריסטי'ס ניו יורק: נובמבר 2014 תמורת $1,565,000
"מחקר לפברואר" (1940), פחם על קרטון, 19 1/3 x 24 3/4 אינץ '. נמכר בכריסטי'ס ניו יורק: דצמבר 2008 תמורת $1,058,500
"מחקר לפברואר" (1940), פחם על קרטון, 19 1/3 x 24 3/4 אינץ '. נמכר בכריסטי'ס ניו יורק: דצמבר 2008 תמורת $1,058,500

ציורים באוספי המוזיאון

"גותי אמריקאי" (1930), שמן על סיפון, 31X26 אינץ', המכון לאמנות, שיקגו
"גותי אמריקאי" (1930), שמן על סיפון, 31X26 אינץ', המכון לאמנות, שיקגו
"אישה עם צמח" (1929), שמן על לוח אפסון, 20 1/2 x 17 7/8 אינץ', מוזיאון סידר רפידס לאמנות
"אישה עם צמח" (1929), שמן על לוח אפסון, 20 1/2 x 17 7/8 אינץ', מוזיאון סידר רפידס לאמנות
"ארנולד מתבגר" (דיוקן ארנולד פייל) (1930), שמן על לוח דחוס, 26 3/4 x 23 אינץ', מוזיאון שלדון לאמנותלינקולן, נברסקה
"ארנולד מתבגר" (דיוקן ארנולד פייל) (1930), שמן על לוח דחוס, 26 3/4 x 23 אינץ', מוזיאון שלדון לאמנות לינקולן, נברסקה
"שחקן הגולף האמריקאי" (1940), שמן על מזוניט, 36 1/2 x 48 אינץ', מוזיאון קריסטל ברידג'ס לאמנות, בנטונוויל, ארקנסו
"שחקן הגולף האמריקאי" (1940), שמן על מזוניט, 36 1/2 x 48 אינץ', מוזיאון קריסטל ברידג'ס לאמנות, בנטונוויל, ארקנסו
"דיוקן עצמי" (1925 בקירוב), שמן על הסיפון, מוזיאון פיגה לאמנות, דבנפורט, איווה
"דיוקן עצמי" (1925 בקירוב), שמן על הסיפון, מוזיאון פיגה לאמנות, דבנפורט, איווה
"בנות המהפכה" (1932), שמן על מזוניט, 20 x 39 15/16 אינץ', מוזיאון האמנות של סינסינטי, סינסינטי, אוהיו
"בנות המהפכה" (1932), שמן על מזוניט, 20 x 39 15/16 אינץ', מוזיאון האמנות של סינסינטי, סינסינטי, אוהיו

אימות

גרנט ווד-דיוקן מכתבו של נאן-סיטר

נאן ווד גרהאם כתבה את "סיפור דיוקני " ביולי 1944. במכתב זה היא נותנת הצצה לסיבה המהורהרת של ווד לצייר את דיוקנה, כיצד נבחרו הגוזל והשזיף כאמצעים חזותיים, ובהומור היא מספרת על הלילות הארוכים של ישיבה עם הגוזל ביד.

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גלריית תמונות

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

לברר

בקשה - סינגל אמנותי

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