Grant DeVolson Wood (February 13, 1891 – February 12, 1942) was an American painter best known for his paintings depicting the rural American Midwest, particularly American Gothic, an iconic painting of the 20th century.
He drew inspiration from the work of the Flemish Renaissance painter Pieter Bruegel the Elder, who recast biblical narratives as scenes from his own time. People started asking pointed questions about his bachelor status. Yet, for all its fame, few people know the story of Grant Wood and how the piece also unraveled his life.In 1929, Grant Wood was a 38-year-old unknown.
Mahoning County Fair.
He and his family lost all of their privacy. He sawed the canvas in half, burned the nude portion of the painting, and didn’t paint another picture for more than a year.
Though the location may seem morbid, Wood … He spent more and more time drawing the male figure, and in 1937, he produced Wood was mortified. As the artist told the In August 1930, Wood spotted an unusual farmhouse on a drive through the tiny town of Eldon, Iowa. Perhaps the most notable characteristic of Wood's landscape painting is the sensuousness of the land itself. Easily parodied, it’s been reimagined in movies, TV shows, marketing campaigns, even pornography. His previously atmospheric, Impressionistic painting took on a hard-edged, Old Master quality. Piece by piece, he sorted through the puzzle.Wood started by asking his dentist, 62-year-old Byron McKeeby, to serve as the male model.
American Gothic Artist Grant Wood Year 1930 Medium Oil on beaverboard Location Art Institute of Chicago Dimensions 29.25 in × 24.25 in 74.3 cm × 62.4 cm American Gothic is a painting by American artist Grant Wood in 1930. The man stares almost directly at the viewer while clutching his pitchfork; his thin lips and arched eyebrows give him a stern, slightly quizzical look. Facts about American Gothic 5: the early life of Grant Wood. And audiences seem unable to put away the painting—to assign it a single, easy interpretation and just let it be. Wood wasn’t the only one stuffed into this loft space: He shared the studio with his mother and sister, all three sleeping side by side on pull-out beds.Painting was just another of Wood’s harmless quirks—at least now that he’d given up living in Europe. Wood was born in rural Iowa, 4 mi (6 km) east of Anamosa, in 1891. A blackmailer even confronted Wood, threatening to reveal lurid secrets from his past. He needed to know what sort of people resided there. They are hardworking and humorless, dignified and honest.Perhaps the strangest reaction, however, was from an audience focused on the age disparity between the husband and wife in the picture. Today, the painting is firmly embedded in our cultural vocabulary. The woman looks off to the side as if unwilling to meet the viewer’s gaze, a single curled tendril of hair escaping from her bun. The faces and bodies of the figures seem to be stretched, and narrowed. Throughout his life, Wood had suffered from an incurable sweet tooth—he took half a cup of sugar with his coffee, and even poured sugar on his lettuce.
Protests poured in.
And he took composition cues from 15th-century Flemish painter Jan van Eyck. The painting brought Wood almost instant fame after being exhibited for the first time at the Art Institute of Chicago in 1930. The full text of the article is here →
Both have unnaturally long faces and thin necks, as if to emphasize their uprightness. Strange fans began showing up at his apartment, ignoring the dial on the door and walking right inside. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). For the farmer’s companion, While the cast was familiar, the composition was something completely new. But when a solo show in Paris was met with critical indifference, it put a damper on the continent’s shine.Still, Wood’s style benefited from his experiences abroad. And when Wood might have pulled through all these challenges, but he never got the chance.
The freewheeling and permissive nature of the European art scene had fascinated him. People were tiring of Regionalism, and Wood found it increasingly difficult to conceal his sexuality.
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