Wednesday, 20 August 2014

Grant Wood – Part 2

John Steuart Curry and Grant Wood at the Stone City Art Colony 1933 photo by John Barry. Cedar Rapids Museum of Art, Iowa
Grant DeVolson Wood (1891 – 1942) was born in 1891 near Anamosa, Iowa. He is best known for his paintings depicting the rural American Midwest. His 1930 painting “American Gothic” has become an iconic image of C20th art.

This is part 2 of a 2 – part post on the works of Grant Wood. For full biographical notes, and for earlier works, see part 1 also.


1932 Spring Plowing

1932 Study for 'Self-Portrait' pencil, charcoal and pastel on paper 36.8 x 30.5 cm Cedar Rapids Museum of Art, Iowa


1932-41 Self-Portrait oil on masonite board 37.5 x 31.4 cm Figge Art Museum, Davenport, Iowa

1933 Adolescence

1940 Adolescence oil on masonite board 51 x 29.8 cm Abbott Laboratories IL


1933 Near Sundown oil on hardboard 38.1 x 67.3 cm Spencer Museum of Art, Lawrence, Kansas

1933 Portrait of Nan
When Grant Wood used his sister as the female model for 'American Gothic', he could not have foreseen how deeply her likeness would resonate. His rendering of a plain, stern-faced Iowa woman has a timeless, enigmatic quality that led some viewers to call her the "American Mona Lisa."

Yet the image also stirred up some meanness. "When 'American Gothic' was first shown in 1930, there were critics who said that she looked like the missing link, that her face would turn milk sour," says Wood biographer R. Tripp Evans. As a sort of apology Wood painted 'Portrait of Nan. "He adored Nan. And it's a painting that he felt very close to as well, one of the few of his mature paintings that he kept for himself."

1933 Portrait of Nan oil on masonite board 101.6 x 76.2 cm Elvehjem Art Museum, University of Wisconsin, Madison *notes


1934 Dinner for Threshers oil on hardboard 50.8 x 203.2 cm Fine arts Museums of San Francisco CA

1934 Dinner for Threshers detail

1934 Dinner for Threshers detail

1934 Dinner for Threshers detail
1933 Dinner for Threshers graphite, opaque watercolour and coloured pencil on paper 58.7 x 82.9 cm Whitney Museum of American Art, New York

1933 Dinner for Threshers graphite, opaque watercolour and coloured pencil on paper 61.3 x 83.8 cm Whitney Museum of American Art, New York

1935 Death on the Ridge Road oil on masonite 81.3 x 99.1 cm Figge Art Museum, Davenport, Iowa

1935 "Farm on the Hill" cover illustration

1935 "Farm on the Hill" Grandma Mending crayon, gouache and coloured pencil on paper 66.7 x 49.5 cm The Warner Collection of Gulf States Paper Corporation, Tuscaloosa, Alabama

1935 "Farm on the Hill" Animals

1935 "Farm on the Hill" endpaper

1935 "Farm on the Hill" endpaper

1935 O, Chautauqua (Drawing for Book Jacket) pencil and coloured crayon on paper 39.4 x 36.8 cm Private Collection

1935 Return from Bohemia crayon, pencil and gouache on paper 59.7 x 50.8 cm Figge Art Museum, Davenport, Iowa

1935 Breaking the Prairie Sod
Iowa State College President Raymond Hughes commissioned the triptych mural, which depicts the beginnings of tillage and the founding of the State by pioneers in the 1840s.
Themes portrayed in the mural include the advancement of agricultural technology through the introduction of new ploughs in the 1870s, the founding of Iowa State College, and the uncertain future that was ahead ahead of Iowa and the nation in the late 1930s (World war II, the Dust Bowl, the Great Depression) as depicted by ominous clouds on the skyscape.
Wood incorporated three Abraham Lincoln type figures, portrayed in youth, middle age and maturity. The inclusion of Lincoln illustrated the former President's importance to the nation anf to Iowa.


1935-39 Breaking the Prairie Sod. Iowa State triptych oil on canvas; centre panel 335.3 x 701 cm University, Ames, Iowa

1935-39 Study for Breaking the Prairie Sod coloured pencil, chalk and graphite on paper 57.8 x 203.8 cm Whitney Museum of American Art, New York


1936 Breaking Ground oil 60 x 75 cm

1936 Spring Turning oil on masonite 46.4 x 101.9 cm Reynolds House Museum of American Art, Winston-Salem NC

1936 The Perfectionist graphite, black and white crayon, watercolour, black in and opaque white on brown wove paper 65 x 50.7 cm Fine arts Museums of San Francisco CA

1936-37 Booster charcoal, pencil and chalk on paper 50 x 40.6 cm Private Collection

1936-37 Main Street Mansion charcoal, pencil and chalk on paper 50 x 40.6 cm Hirschl and Adler Galleries, New York

1936-37 Sentimental Yearner crayon, pencil and gouache on paper 52 x 40.6 cm The Minneapolis Institute of Arts, Minnesota

1936-37 The Radical charcoal, pencil and chalk on paper 50 x 40.6 cm Private Collection

1937 Honorary Degree lithograph 30.2 x 17.7 cm Museum of Art Ball State University, Mincie IN

1937 Seed Time and Harvest lithograph 19 x 30.7 cm

1937 Tree Planting lithograph 21.3 x 27.6 cm National Gallery of Art, Washington D.C.

1937 Village Slums charcoal, pencil and chalk on paperboard 53.6 x 40.6 cm Smithsonian American Art Museum, Washington D.C.

1938 January lithograph 30.5 x 40.7 cm (image) Cleveland Museum of Art, Cleveland OH

1938 July Fifteenth lithograph on cream wove paper 30.5 x 40.6 cm

1938 Plowing on Sunday (Drawing for book jacket) conté crayon, ink and gouache on paper 58.4 x 53.3 cm RISD Museum, Providence RI

1938 Tame Flowers hand coloured lithograph 16.6 x 25.2 cm

1938 Vegetables hand coloured lithograph 22.8 x 30.4 cm

1938 Wild Flowers hand coloured lithograph 16.6 x 24.5 cm

1939 Fruits hand-coloured lithograph 18.8 x 24.8 cm


1939 Fertility lithograph on ivory wove paper 22.8 x 30.2 cm (image)

1939 Haying oil on canvas 32.8 x 37.7 cm National Gallery of Art, Washington D.C.

1939 In the Spring lithograph 30.5 x 40.4 cm

1939 March lithograph 22.9 x 30.2 cm

1939 Midnight Alarm lithograph on wove paper 30.3 x 17.7 cm Art Institute of Chicago IL

1939 New Road oil on canvas on paperboard mounted on hardboard 33 x 37.9 cm National Gallery of Art, Washington D.C.

1939 Parson Weem's Fable oil on canvas 97.5 x 127.3 cm Amon Carter Museum of American Art, Fort Worth, TX

1939 Shrine Quartet lithograph 30.2 x 20.3 cm National Gallery of Art, Washington D.C.

1939 Sultry Night 23.2 x 28.8 cm (image)

1940 Approaching Storm lithograph 44.5 x 31.8 cm Figge Art Museum, Davenport, Iowa

1940 Family Doctor lithograph on off-white wove paper 25.3 x 30.1 cm Art Institute of Chicago IL

1940 February lithograph 22.6 x 30 cm (image) Cleveland Museum of Art, Cleveland OH

1940-41 January oil on masonite 45.7 x 60.1 cm Cleveland Museum of Art, Cleveland OH

1941 December Afternoon lithograph 22.9 x 30.2 cm (image)

1941 Iowa Cornfield study

1941 Iowa Landscape study

1941 Spring in the Country oil on masonite 58.4 x  54.6 cm Cedar Rapids Museum of Art, Iowa

1942 Spring in Town

Grant Wood's last painting was published on the cover of Saturday Evening Post April 18 1942.

1942 Spring in Town "Saturday Evening Post"

1942 Spring in Town oil on masonite 66 x 54.6 cm Sheldon Swope Gallery, Terre Haute, Indiana *notes


1 comment:

  1. Such a great art and nice paintings, i like it
    This blog is very nice, i like it

    Metal Planters

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