Grant Wood (1891-1942) was an American painter. His best known work is the 1930 piece American Gothic, depicting an impassive rural farmer and his wife (modeled by dentist Dr. Byron McKeeby and Wood's sister Nan). The image has become an iconic representation of the American midwest, and the target of countless visual parodies.The painting of a farmer with a pitchfork and his daughter is named "American Gothic." It was painted by Grant Wood in 1930 and, as of 2014, is currently housed at the Art Institute of Chicago. Wood's inspiration for the painting came from what is now known as the American Gothic House, which is a house designed in Gothic Revival style with aA farmer's wife collecting eggs Clip Art by colematt 1 / 162 Farm Farmer Worker Farming Clip Art by leremy 17 / 3,087 Bovine Gothic Stock Illustration by Lobo36 11 / 114 Two Pigs, illustration Stock Illustration by Morphart 4 / 96 Bull and cow, sketch for your design Stock Illustration by Kudryashka 1 / 13 Two Pigs, illustration Stock Illustration by grdenis 1 / 1 Happy African American FamilySaatchi Art is pleased to offer the painting, "Farmer and Wife," by ofir dor, available for purchase at $3,450 USD. Original Painting: Oil on Canvas. Size is 43.3 H x 53.1 W x 0.6 in.Saatchi Art is pleased to offer the painting, "Farmer and Wife SOLD," by raja segar, sold and originally listed for $9,850 USD. Original Painting: Oil, on canvas on Canvas. Size is 40 H x 30 W x 1 in.
What Is the Painting of a Farmer and His Wife and a Pitchfork?
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Compare Prices on Farmer And Wife Painting in Home & Garden.High quality Farmer Wife inspired Art Prints by independent artists and designers from around the w...A subtrope of Art Imitates Art.. American Gothic.No, not the show, the 1930 Grant Wood painting with the dour, Alan Greenspan-esque man with a pitchfork and his equally dour daughter (who's often mistakenly assumed to be his wife).It is actually a portrait of Grant Wood's sister and his dentist. Incidentally, the house in the painting still stands today.Woods' strange painting of a solemn Iowa farmer with pitchfork, and his wistful wife standing in front of their white, wooden house, has captivated audiences since it was bought by the ChicagoDid you scroll all this way to get facts about farmer and wife art? Well you're in luck, because here they come. There are 658 farmer and wife art for sale on Etsy, and they cost $25.38 on average. The most common farmer and wife art material is ceramic. The most popular color? You guessed it: black.
Jump to navigation Jump to search This article is in regards to the painting. For different uses, see American Gothic (disambiguation). American GothicArtistGrant WoodYear1930TypeOil on beaverboardDimensions78 cm × 65.3 cm (30+3⁄4 in × 25+3⁄4 in)LocationArt Institute of Chicago
American Gothic is a 1930 painting via Grant Wood within the number of the Art Institute of Chicago. Wood was impressed to paint what is now known as the American Gothic House in Eldon, Iowa, along with "the kind of people [he] fancied should live in that house". It depicts a farmer standing beside his daughter – incessantly mistakenly assumed to be his wife.[1][2] The painting is named for the home's architectural genre.
The figures have been modeled via Wood's sister Nan Wood Graham and their dentist Dr. Byron McKeeby. The lady is dressed in a colonial print apron evoking Twentieth-century rural Americana whilst the person is decorated in overalls coated by a swimsuit jacket and carries a pitchfork. The vegetation on the porch of the home are better half's mother's tongue and beefsteak begonia, which additionally seem in Wood's 1929 portrait of his mother, Woman with Plants.[3]
American Gothic is likely one of the maximum familiar pictures of Twentieth-century American artwork and has been broadly parodied in American pop culture.[1][4] From 2016 to 2017, the painting used to be displayed in Paris at the Musée de l'Orangerie and in London on the Royal Academy of Arts in its first showings outside the United States.[5][6][7]
Creation
Grant Wood, Self-portrait, 1932, Figge Art MuseumIn August 1930, Grant Wood, an American painter with European training, used to be pushed around Eldon, Iowa, by a young local painter named John Sharp. Looking for inspiration, he spotted the Dibble House, a small white house constructed in the Carpenter Gothic architectural genre.[8] Sharp's brother recommended in 1973 that it used to be on this drive that Wood first sketched the house on the again of an envelope. Wood's earliest biographer, Darrell Garwood, famous that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house".[9]
The Dibble House, Eldon, Iowa Nan Wood Graham and Dr. Byron McKeebyAt the time, Wood classified it as one of the most "cardboardy frame houses on Iowa farms" and thought to be it "very paintable".[10] After obtaining permission from the home's owners, Selma Jones-Johnston and her circle of relatives, Wood made a cartoon tomorrow in oil paint on paperboard from the front backyard. This caricature depicted a steeper roof and a longer window with a more pronounced ogive than on the true area – features which ultimately adorned the general paintings.
Wood made up our minds to paint the house along with, in his phrases, "the kind of people [he] fancied should live in that house".[1] He recruited his sister, Nan (1899–1990), to be the style for the daughter, dressing her in a colonial print apron mimicking 20th-century rural Americana. The fashion for the father was once the Wood family's dentist,[11] Dr. Byron McKeeby (1867–1950) from Cedar Rapids, Iowa.[12][13] Nan told those that her brother had envisioned the pair as father and daughter, not husband and wife, which Wood himself showed in his letter to a Mrs. Nellie Sudduth in 1941: "The prim lady with him is his grown-up daughter."[1][14]
Elements of the painting tension the vertical this is associated with Gothic architecture. The upright, three-pronged pitchfork is echoed in the sewing of the man's overalls and blouse, the Gothic pointed-arch window of the house underneath the steeped roof, and the construction of the man's face.[15] However, Wood did not add figures to his caricature until he returned to his studio in Cedar Rapids.[16] Moreover, he would no longer go back to Eldon once more, although he did request a photograph of the home to complete his painting.[8]
Reception and interpretation
Wood entered the painting in a contest at the Art Institute of Chicago. One pass judgement on deemed it a "comic valentine", however a museum patron persuaded the jury to award the painting the bronze medal and a 0 money prize.[17] The identical patron additionally persuaded the Art Institute to shop for the painting, and it stays a part of the Chicago museum's collection.[2] The symbol soon started to be reproduced in newspapers, first through the Chicago Evening Post, and then in New York, Boston, Kansas City, and Indianapolis. However, when the image after all seemed within the Cedar Rapids Gazette, there was once a backlash. Iowans have been livid at their depiction as "pinched, grim-faced, puritanical Bible-thumpers".[18] Wood protested, pronouncing that he had not painted a cartoon of Iowans however an outline of his appreciation, stating "I had to go to France to appreciate Iowa."[11] In a 1941 letter, Wood said that, "In general, I have found, the people who resent the painting are those who feel that they themselves resemble the portrayal."[19]
Art critics who had favorable reviews concerning the painting, akin to Gertrude Stein and Christopher Morley, in a similar fashion assumed the painting was meant to be a satire of rural small-town existence. It used to be thus seen as part of the fad toward more and more crucial depictions of rural America along the lines of, in literature, Sherwood Anderson's 1919 novel Winesburg, Ohio, Sinclair Lewis's 1920 Main Street, and Carl Van Vechten's 1924 The Tattooed Countess.[1]
However, with the deepening of the Great Depression no longer too long after the painting was made, American Gothic came to be noticed as a depiction of the steadfast American pioneer spirit. Wood assisted this interpretive transition by way of renouncing his bohemian early life in Paris and grouping himself with populist Midwestern painters similar to John Steuart Curry and Thomas Hart Benton, who revolted in opposition to the dominance of East Coast artwork circles. Wood was quoted in this duration as declaring, "All the good ideas I've ever had came to me while I was milking a cow."[1] American art historian Wanda M. Corn insists that Wood used to be now not painting a contemporary couple, but fairly one of the past, pointing to the truth that Wood directed the models to put on out of date clothes which he discovered inspiration for by consulting his family picture album. Wood even posed the figures in a way that resembled long-exposure images of Midwestern households that dated earlier than World War I.[20]
In 2005, art historian Sue Taylor instructed that the figures within the portrait may in reality represent Wood's oldsters. She claimed that due to Wood's father passing away when Wood was most effective 10 years old, Wood didn't increase a close relationship with him but famous that he did spend the remainder of his existence very intently connected to his mom. She theorizes that Wood could have developed an Oedipus advanced and subconsciously expressed that within the painting. Taylor cites the loss of heat between the two figures in addition to Wood's classification of them as "father and daughter" was a way for Wood to remove any sexual connotation so that Wood would not have to face his own fears and insecurities. Taylor additionally issues out similarities between different portraits of Wood's mom and the girl in American Gothic, together with the brooch that she wears. [21]
Art historian Tripp Evans interpreted it in 2010 as an "old-fashioned mourning portrait ... Tellingly, the curtains hanging in the windows of the house, both upstairs and down, are pulled closed in the middle of the day, a mourning custom in Victorian America. The woman wears a black dress beneath her apron, and glances away as if holding back tears. One imagines she is grieving for the man beside her." Wood had been only 10 when his father died, and later he lived for a decade "above a storage reserved for hearses", so death was probably on his mind.[22]
In 2019, tradition creator Kelly Grovier described it as a portrait of Pluto and Proserpina, the Roman gods of the underworld. He translates the small globe on the climate vane at the very most sensible of the painting as representing the then recently discovered dwarf planet Pluto, the pitchfork wielding farmer as the guardian of the gates of hell, and points to the woman's cameo brooch, containing a classical a representation the mythological goddess, and the dangling strand of hair via the girl's right ear as representing the ravishing in the goddess' delusion.[23]
Parodies and other references
The Depression-era understanding of the painting as depicting an authentically American scene induced the first well known parody, a 1942 photo via Gordon Parks of cleaning lady Ella Watson, shot in Washington, D.C.[1]
American Gothic is a incessantly parodied symbol. It has been lampooned in Broadway presentations akin to The Music Man, motion pictures such as The Rocky Horror Picture Show, and tv displays corresponding to Green Acres (within the ultimate scene of the hole credit), The Dick Van Dyke Show ("The Masterpiece" episode), and the SpongeBob SquarePants episode "FarmerBob." It has also been parodied in advertising campaigns, pornography, and by way of couples who recreate the picture photographically via facing a camera in the same means, one in every of them protecting a pitchfork or other object as a substitute.[1][4]
See additionally
Protestant paintings ethic Southern GothicReferences
^ a b c d e f g h Fineman, Mia (June 8, 2005). "The Most Famous Farm Couple in the World: Why American Gothic still fascinates". Slate. ^ a b .mw-parser-output cite.citationfont-style:inherit.mw-parser-output .quotation qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free abackground:linear-gradient(clear,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")appropriate 0.1em heart/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .quotation .cs1-lock-limited a,.mw-parser-output .quotation .cs1-lock-registration abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground:linear-gradient(transparent,clear),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")appropriate 0.1em middle/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolour:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:lend a hand.mw-parser-output .cs1-ws-icon abackground:linear-gradient(clear,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")appropriate 0.1em center/12px no-repeat.mw-parser-output code.cs1-codecolour:inherit;background:inherit;border:none;padding:inherit.mw-parser-output .cs1-hidden-errorshow:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .quotation .mw-selflinkfont-weight:inherit"About This Artwork: American Gothic". The Art Institute of Chicago. Archived from the original on 28 May 2010. Retrieved June 20, 2010. ^ "The Painting". American Gothic House. Archived from the unique on 2014-11-29. Retrieved 2015-01-08. ^ a b Güner, Fisun (8 February 2017). "How American Gothic became an icon". BBC. Retrieved 2 March 2017. ^ Cumming, Laura (5 February 2017). "American Gothic: a state visit to Britain for the first couple". The Guardian. Retrieved 2 March 2017. ^ "American Painting in the 1930s: Musée de l'Orangerie". musee-orangerie.fr. Archived from the unique on 26 October 2017. Retrieved 2 March 2017. ^ Artwork 6565 Art Institute of Chicago ^ a b "American Gothic House Center". Wapello County Conservation Board. Archived from the unique on June 18, 2009. Retrieved July 14, 2009. ^ Garwood, p. 119 ^ Quoted in Hoving, p. 36 ^ a b Semuels, Alana (April 30, 2012). "At Home in a Piece of History". Los Angeles Times. Retrieved February 25, 2013. ^ "Dr. Byron McKeeby's contribution to Grant Wood's 'American Gothic'" ^ "The models for American Gothic". Archived from the original on 2015-01-06. Retrieved 2015-01-08. ^ "Grant Wood's Letter Describing American Gothic". Campsilos.org. Retrieved 2010-04-12. ^ "Grant Wood's American Gothic". Smarthistory at Khan Academy. Retrieved December 18, 2012. ^ Quoted in Biel, p. 22 ^ Biel, Steven (2005). American Gothic: A Life of America's Most Famous Painting. W. W. Norton & Company. p. 28. ISBN 978-0-393-05912-0. ^ Andréa Fernandes. "mental_floss Blog » Iconic America: Grant Wood". Mentalfloss.com. Archived from the original on 2009-02-15. Retrieved 2010-04-12. ^ "Grant Wood's Letter Describing American Gothic". www.campsilos.org. Retrieved 2020-06-30. ^ Corn, Wanda M.; Wood, Grant (1983). "The Birth of a National Icon: Grant Wood's "American Gothic"". Art Institute of Chicago Museum Studies. 10: 253–275. doi:10.2307/4104340. JSTOR 4104340. ^ Taylor, Sue (2005). "Grant Wood's Family Album". American Art. 19 (2): 48–67. doi:10.1086/444481. ISSN 1073-9300. JSTOR 10.1086/444481. ^ Deborah Solomon (October 28, 2010). "Gothic American". The New York Times. ^ "How Science and Tech Left an Imprint on 3 Iconic Paintings", Kelly Grovier, Wired, January 9, 2019. Excerpted from A New Way of Seeing: The History of Art in 57 Works ISBN 978-0500239636 Sources Garwood, Darrell (1944). Artist in Iowa: A Life of Grant Wood. New York: W. W. Norton & Company. OCLC 518305. Hoving, Thomas (2005). American Gothic: The Biography of Grant Wood's American Masterpiece. New York: Chamberlain Bros. ISBN 978-1-59609-148-1. Girod, André (2014). American Gothic: une mosaïque de personnalités américaines (in French). Paris: L'Harmattan. ISBN 978-2-343-04037-0.Further studying
Howard, Beth M. (2018-03-18). "Masterpiece Rental: My Life in the 'American Gothic' House". The New York Times. ISSN 0362-4331. Retrieved 2018-04-05. (comprises symbol of first Wood caricature of the home)External links
External videoSmarthistory: Grant Wood's American GothicAmerican Gothic HouseGrant Wood and Frank Lloyd Wright Compared About the painting, at the Art Institute's web site Slate article about American Gothic American Gothic, French American Gothic: A Life of America's Most Famous Painting Television Commercials (Fifties-Sixties) accommodates General Mills New Country Corn Flakes industrial American Gothic sculpture removed from Michigan Avenue American Gothic Parodies collection November 18, 2002, National Public Radio Morning Edition record about American Gothic by Melissa Gray that comes with an interview with Art Institute of Chicago curator Daniel Schulman. June 6, 1991, National Public Radio Morning Edition document on Iowa's celebration of the centennial of Grant Wood's beginning by Robin Feinsmith. Several parts of the document focal point on American Gothic. February 13, 1976, National Public Radio All Things Considered Cary Frumpkin interview with James Dennis, author of Grant Wood: A Study in American Art and Culture. The interview incorporates a discussion about American Gothic.vteGrant WoodPaintings American Gothic (1930) Stone City, Iowa (1930) The Midnight Ride of Paul Revere (1931) Fall Plowing (1931) Daughters of Revolution (1932) Sentimental Ballad (1940)Miscellaneous Robert and Esther Armstrong House George B. Douglas House Grant Wood Cultural District Grant Wood's "Fall Plowing" Rural Historic Landscape District Oakes-Wood HouseRelated Nan Wood Graham (sister) Stone City Art Colony Regionalism American Gothic House Authority keep an eye on GND: 4848225-0 LCCN: n98094062 SUDOC: 094410194 VIAF: 175915992 WorldCat Identities (by way of VIAF): 175915992 Retrieved from "https://en.wikipedia.org/w/index.php?title=American_Gothic&oldid=1013389824"A Farmer's Wife Sweeping - Jean-François Millet | Wikioo.org - The Encyclopedia Of Fine Arts
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