Joslyn Art Museum IMAGES – Grant Wood Wood

Total Page:16

File Type:pdf, Size:1020Kb

Joslyn Art Museum IMAGES – Grant Wood Wood Joslyn Art Museum IMAGES – Grant Wood Wood • Art Institute of Chicago, The. “Grant Wood. American Gothic.” The Art Institute of Chicago. http://tinyurl.com/AmGothic • Cedar Rapids Museum of Art. “Grant Wood. Corn Cob Chandelier for Iowa Corn Room.” Cedar Rapids Museum of Art. http://tinyurl.com/CRMAGrantWood3 • Cedar Rapids Museum of Art. “Grant Wood. Woman with Plants.” Cedar Rapids Museum of Art. http://tinyurl.com/CRMAGrantWood • Cedar Rapids Museum of Art. “Grant Wood. Young Corn.” Cedar Rapids Museum of Art. http://tinyurl.com/CRMAGrantWood2 • Ely, John. “Arbor Day by Grant Wood.” John Ely. http://webs.cedar-rapids.net/kwradio/arborday.html • Haven, Janet. “Grant Wood. The Birthplace of Herbert Hoover.” University of Virgina. http://xroads.virginia.edu/~ma98/haven/wood/hoover.html • Haven, Janet. “Grant Wood. Spring Turning.” University of Virgina. http://xroads.virginia.edu/~MA98/haven/wood/turning.html • History Cooperative. “Grant Wood. Daughters of Revolution.” Common-place The Interactive Journal of Early American Life, Inc. http://tinyurl.com/WoodDaughters • Joslyn Art Museum. “Wood, Grant. Stone City, Iowa.” Joslyn Art Museum. http://tinyurl.com/JAMGrantWood • Metropolitan Museum of Art, The. “Grant Wood. The Midnight Ride of Paul Revere.” The Metropolitan Museum of Art. http://tinyurl.com/METGrantWood • National Gallery of Art. “Grant Wood. Haying.” National Gallery of Art. http://tinyurl.com/NGAGrantWood • National Gallery of Art. “Grant Wood. New Road.” National Gallery of Art. http://tinyurl.com/NGAGrantWood2 • Ten Dreams Fine Art Galleries. “Grant Wood. Parson Weems’ Fable” TenDreams.org http://www.tendreams.org/wood/PWF.jpg • Ten Dreams Fine Art Galleries. “Grant Wood. Return from Bohemia.” TenDreams.org http://www.tendreams.org/wood/RFB.jpg • Ten Dreams Fine Art Galleries. “Grant Wood. Self-Portrait.” TenDreams.org http://www.tendreams.org/wood/GW.jpg • Ten Dreams Fine Art Galleries. “Grant Wood. Young Corn.” TenDreams.org http://www.tendreams.org/wood/YC.jpg March 2009 - 1 - - 1- American Regionalist Artists • Joslyn Art Museum. “Benton, Thomas Hart. The Hailstorm.” Joslyn Art Museum. http://tinyurl.com/JAMTHBenton • Joslyn Art Museum. “Curry, John Steuart. Manhunt.” Joslyn Art Museum. http://tinyurl.com/JAMJSCurry • Metropolitan Museum of Art, The. “Thomas Hart Benton. July Hay.” The Metropolitan Museum of Art. http://tinyurl.com/METTHBenton • Museum of Nebraska Art. “Thomas Hart Benton 1889-1975).” Museum of Nebraska Art. http://monet.unk.edu/mona/contemp/benton/benton.html • National Gallery of Art. “Thomas Hart Benton. Approaching Storm.” National Gallery of Art. http://tinyurl.com/NGATHBenton • Spencer Museum of Art. “Thomas Hart Benton. The Ballad of the Jealous Lover of Lone Green Valley.” Spencer Museum of Art. http://tinyurl.com/SpencerBenton Stone City, Iowa • Ely, John. “The Stone City Web Site: Stone City as it looks today.” John Ely. http://webs.cedar- rapids.net/kwradio/sc_today.html Farm Technologies • Earthly Ties. “Windmills in Iowa.” Earthly Ties. http://www.earthly.biz/uploads/windmill.jpg • Groundspeak, Inc. “Watertower.” Groundspeak, Inc. http://tinyurl.com/detjgr • John Deere. “8020 Series Tractors” John Deere. http://tinyurl.com/JDtractor • Railpictures.net. “SS&S 6 pulls into North Station (ex-CB&Q; formerly at Hillsboro, Iowa). The water tower is from Bevier, Missouri and was purchased in 1963 from the Bevier & Southern.” Jeff Terry http://www.railpictures.net/images/d1/5/2/7/9527.1158184800.jpg • Saskatchewan Council for Archives and Archivists. “Case Tractor, 1930s.” Saskatchewan Council for Archives and Archivists. http://tinyurl.com/CaseTractor1930s • Scratching Post, The. “A Windmill-Powered Rock Tumbler.” The Scratching Post. http://www.kushaiah.com/windmill/images/windmill-c.jpg • Wikimedia Commons. “Stone Water Tower, Stone City, Iowa.” Widimedia Commons. http://upload.wikimedia.org/wikipedia/commons/6/60/Stone_Water_Tower.jpg March 2009 - 2 - - 2- March 2009 - 3 - - 3- .
Recommended publications
  • View the Presentation
    Annelise K. Madsen | Art Institute of Chicago | 29 Oct 2016 “Something of color and imagination”: Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America Grant Wood, Parson Weems’ Fable, 1939, oil on canvas. Amon Carter Museum of American Art. 2 New York Times, January 3, 1940, p. 18. 3 Grant Wood, Parson Weems’ Fable, 1939, oil on canvas. Amon Carter Museum of American Art. 4 Gilbert Stuart, George Washington (The Athenaeum Portrait), 1796, oil on canvas. National Portrait Gallery, Smithsonian Institution; owned jointly with Museum of Fine Arts, Boston. 5 Grant Wood, Parson Weems’ Fable, 1939, oil on canvas. Amon Carter Museum of American Art. Grant Wood with Parson Weems’ Fable on easel, 1939. Figge Art Museum Grant Wood Digital 6 Collection, scrapbook 8, University of Iowa Libraries. John Steuart Curry, The Oklahoma Land Rush, April 22, 1889, 1938. Department of Interior Building, Washington, D.C. Charles Goodwin, Fragment of Shaker Hall Rug, c. 1937, watercolor, graphite, and pen and ink. 7 National Gallery of Art, Washington, D.C., Index of American Design. Grant Wood, Daughters of Revolution, 1932, oil on Masonite. Cincinnati Art Museum. 8 Grant Wood, Daughters of Revolution, 1932, oil on Masonite. Cincinnati Art Museum. Grant Wood (designer); Emil Frei Art Glass Company, Munich, Germany (fabricator), Memorial 9 Window, 1928–29, stained glass. Veterans Memorial Building, Cedar Rapids, Iowa. Emanuel Leutze, Washington Crossing the Delaware, 1851, oil on canvas. Metropolitan Museum of Art. 10 Grant Wood, Daughters of Revolution, 1932, oil on Masonite. Cincinnati Art Museum. Grant Wood, Daughters of Revolution, 1932, oil on Masonite.
    [Show full text]
  • Grant Wood's Lithographs: a Regionalist Vision Set in Stone
    HMA Wood catalogue 9-2015.6.qxp_Layout 1 9/9/15 3:34 PM Page 1 Grant Wood’s Lithographs: A Regionalist Vision Set in Stone September 14 through November 8, 2015 Opening Reception Monday, September 14, 2015, 7–9 p.m. Nobel Conference Reception Tuesday, October 6, 2015, 6–8 p.m. Hillstrom Museum of Art HMA Wood catalogue 9-2015.6.qxp_Layout 1 9/9/15 3:34 PM Page 2 DIRECTOR’S NOTES Grant Wood’s Lithographs: A Regionalist Vision Set in Stone September 14 through November 8, 2015 Hillstrom Museum of Art he Hillstrom Museum of Art’s complete set of examples of all nineteen of the lithographs made by famed Regionalist artist Grant Wood (1891–1942) is the result of the generosity of Museum namesake, the late Richard L. T Hillstrom and, especially, Dr. David and Kathryn Gilbertson. All but one of the prints were donated by them, including three from Hillstrom alone, four from him and the Gilbertsons together, and the remaining eleven from the Gilbertsons alone. This exhibition, which is the first time these works are being shown as a group, is presented in memory of Hillstrom and in honor of the Gilbertsons. Wood’s lithos were created in the last half decade of his life and they were the locus of much of his artistic efforts in that period, when he painted only a handful of pictures and spent a great deal of time lecturing. As a group, the prints constitute around one fourth of the artist’s mature body of work.
    [Show full text]
  • Regionalism (1930-1940) Grant Wood
    Regionalism (1930-1940) Andrew Wyeth- American 1917-2009 Realist Christina's World • His wife was the primary model • Inspired by Anna Olsen ○ Had polio • Realist tempera • Considered a magic realist painting • "was limited physically but by no means spiritually" • Bicycle and leaning ladder in background • “like a crab on a New England seashore” • Fifth floor of MoMa The Helga Pictures • Over 240 paintings of German Helga Testorf • Braided • "Overflow" • "Lovers" Public Sale • One of his first tempera paintings Winter Fields • Dead crow found at Chaddes Ford Flood Plain • Hay, remnants of wagon, icy wheel tracks Winter 1946 • Boy runs down hill that Wyeth's father died on Wind from the Sea • Attic window Trodden Weed • Leather boots Up in the Studio • Curly haired sister looking out window Night Sleeper • Dog sleeping on tan and blue sack Eveining at Kuerners • White farmhouse Young America • Blue and white feather over man riding bike "I paint my life" Grant Wood- American 1891-1942 American Gothic • Sister Nan Wood Graham and dentist Dr. Byron McKeeby modeled • Woman wears cameo brooch • Mother-in-law's tongue • Dibble House in background • Won $300 in Art Institute of Chicago competition Woman with Plants Birthplace of Herbert Hoover, West Branch, Iowa Daughters of Revolution • Protested against for using German glass for a WWI memorial painting • Commissioned to create stained glass window in the Veterans Memorial Coliseum • Satire Parson Weem's Fable • Washington cutting down cherry tree • Father looks cross • Parson holding back
    [Show full text]
  • American Gothic Spoof, 2013 Grant Wood American Gothic 1930 Art Institute of Chicago
    “Screwball Regionalism: Grant Wood and Humor During the Great Depression.” Erika Doss, University of Notre Dame Grant Wood Art Colony 5th Biennial Symposium University of Iowa, October 28, 2016 Buzz and Jessie in American Gothic spoof, 2013 Grant Wood American Gothic 1930 Art Institute of Chicago 1935 Daughters of Revolution 1932 Cincinnati Museum of Art Grant Wood Scrapbooks Figge Art Museum Davenport Constance Rourke (1885-1941) 1931 Thomas Waterman Wood George Caleb Bingham The Yankee Pedlar 1872 The Jolly Flatboatman 1846 Thomas Hart Benton Minstrel Show 1934 Parson Weems’ Fable 1939 Amon Carter Museum of American Art Grant Wood, stage backdrop painted for McKinley Jr. High School, 1922-26 Grant Wood, decorated ice wagon Stone City Art Colony, summer 1932 Stone City Art Colony summer 1932 newspaper ad for farm auction 1930s Wood, newspaper ad for public auction Stone City Art Colony, August 7, 1932 Cedar Rapids Gazette (August 6, 1932) Wood, newspaper ad for public auction Wood, newspaper ad for public auction Stone City Art Colony, August 7, 1932 Stone City Art Colony, August 7, 1932 Cedar Rapids Gazette (August 4, 1932) Cedar Rapids Gazette (August 6, 1932) Daughters of Revolution 1932 Cincinnati Museum of Art Parson Weems’ Fable 1939 Amon Carter Museum of American Art Ballyhoo August 1931 Grant Wood, “There was a business 1st issue depression in 1819 lasting 12 months.” November 1931 Ballyhoo ”ads” 1932 Ballyhoo “ad” November 1931 Ballyhoo “ad” October 1931 Daughters of Revolution 1932 Cincinnati Museum of Art Thomas Hart Benton Political Business and Intellectual Ballyhoo 1932; panel for The Arts of Life in America mural, originally painted for the Whitney Museum of American Art, now In the New Britain Museum of American Art President Franklin D.
    [Show full text]
  • Grant Wood Timeline Stone City Art Colony
    Grant Wood a biography Timeline Grant Wood was born on February 13, 1891 to Francis “Maryville” Paris fresh on his repertoire, patrons now sought out Wood for commissions. He would eventually Gothic style windows in the grandiose and Hattie Weaver Wood and was raised on a small farm near return to Paris again to study at the art school, Académie Julian. European churches. Wood found it Featuring Grant Wood Anamosa, Iowa. Wood started drawing as a child using whatever Funeral home owner, David Turner, became one of his best patrons. This included humorous that this type of window could be he could find; charred sticks from the stove served as his medium, providing him a studio and living space free of charge. Wood, along with his mother, moved into found on a small home in Iowa, and then he brown bags, his canvas, and trees, barns and chickens, his subjects. their new home at 5 Turner Alley in 1924. By using his creative skills to decorate his home, he added realized this was our “American Gothic.” 1890 When Wood was quite young, his father suffered two interior decorator to his resume and helped a number of people enhance their homes’s interior. Consequently, during the Great De- 1891 Grant heart attacks and less than a year later passed away. Grant’s mother Wood was awarded a commission in 1927 for the Veteran’s Memorial Building to create pression, Wood continued with his optimistic Wood is born on packed up the family and moved them to the flourishing city of a memorial stained-glass window.
    [Show full text]
  • Seeds of Agribusiness: Grant Wood and the Visual Culture of Grain Farming, 1862-1957
    SEEDS OF AGRIBUSINESS: GRANT WOOD AND THE VISUAL CULTURE OF GRAIN FARMING, 1862-1957 by Travis Earl Nygard BA, Gustavus Adolphus College, 2002 MA, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Travis Earl Nygard It was defended on December 4, 2009 and approved by Dr. Barbara McCloskey, Associate Professor, History of Art and Architecture Dr. Christopher Drew Armstrong, Assistant Professor, History of Art and Architecture Dr. Ronald J. Zboray, Professor, Communication Dissertation Advisor: Dr. Kirk Savage, Professor, History of Art and Architecture ii Copyright © by Travis Nygard 2009 iii SEEDS OF AGRIBUSINESS: GRANT WOOD AND THE VISUAL CULTURE OF GRAIN FARMING, 1862-1957 Travis Earl Nygard, PhD University of Pittsburgh, 2009 This dissertation uses selected works of Grant Wood’s art as a touchtone to investigate a broader visual culture surrounding agriculture in America during the late nineteenth and early twentieth centuries. By doing so I argue that Wood engaged with pressing social questions, including the phenomenon now referred to as agribusiness. Although agribusiness is often associated with the Green Revolution of the 1940s and 1950s, its beginning dates to the nineteenth century. Indeed, Wood’s lifetime was an era when land was consolidated, production and distribution were vertically integrated, and breeding became scientifically informed. To access the power dynamics of this transition, I begin each chapter with work by Wood, and then analyze it in conjunction with imagery produced by or for individuals with diverse cultural agendas.
    [Show full text]