Grant Wood - American Gothic - 1930Regular priceRs. 1,130 Sale price
Rolled Art & Gallery-Wrap (Portrait)
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Grant Wood - American Gothic - 1930
Grant Wood's painting "American Gothic" is an iconic work of American art. Depicting a stern-faced farmer and his wife in front of a small, rural house, the painting captures the essence of American life in the early 20th century.
Now you can bring this classic painting into your home with our high-quality print on canvas. The print is mounted In a durable frame and comes ready to hang, making it a perfect addition to your home or office decor.
Whether you're a fan of American art or just looking for a unique and eye-catching piece of wall art, this Grant Wood print is sure to add interest to any space. Order yours today!
About the Original Painting
American Gothic is a 1930 painting by Grant Wood in the collection of the Art Institute of Chicago. Wood was inspired 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 – often mistakenly assumed to be his wife. The painting's name is a wordplay on the house's architectural style, Carpenter Gothic.
The figures were modelled by Wood's sister Nan Wood Graham and their dentist Dr. Byron McKeeby. The woman is dressed in a colonial print apron evoking 20th-century rural Americana while the man is adorned in overalls covered by a suit jacket and carries a pitchfork. The plants on the porch of the house are mother-in-law's tongue and beefsteak begonia, which also appear in Wood's 1929 portrait of his mother, Woman with Plants.
American Gothic is one of the most familiar images of 20th-century American art and has been widely parodied in American popular culture. From 2016 to 2017, the painting was displayed in Paris at the Musée de l'Orangerie and in London at the Royal Academy of Arts in its first showings outside the United States.
Grant Wood, an American painter with European training, was driven around Eldon, Iowa, by a young local painter named John Sharp. Looking for inspiration, he noticed the Dibble House, a small white house built in the Carpenter Gothic architectural style. Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope. Wood's earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house".
At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable". After obtaining permission from the house's owners, Selma Jones-Johnston and her family, Wood made a sketch the next day in oil paint on paperboard from the front yard. This sketch depicted a steeper roof and a longer window with a more pronounced ogive than on the actual house – features which eventually adorned the final work.
He recruited his sister, Nan (1899–1990), to be the model for the daughter, dressing her in a colonial print apron mimicking 20th-century rural Americana. While preparing for the painting, Wood requested that she make the apron herself and include rickrack trim to better reflect the time period. Unfortunately, rickrack was no longer available in stores, and so Nan removed trim from their mother Hattie's old dresses to apply to the apron instead. The model for the father was the Wood family's dentist, Dr. Byron McKeeby (1867–1950) from Cedar Rapids, Iowa. Nan told people that her brother had envisioned the pair as father and daughter, not husband and wife, which Wood himself confirmed in his letter to a Mrs. Nellie Sudduth in 1941: "The prim lady with him is his grown-up daughter."
Elements of the painting stress the vertical that is associated with Gothic architecture. The upright, three-pronged pitchfork is echoed in the stitching of the man's overalls and shirt, the Gothic pointed-arch window of the house under the steeped roof, and the structure of the man's face. However, Wood did not add figures to his sketch until he returned to his studio in Cedar Rapids. Moreover, he would not return to Eldon again, although he did request a photograph of the home to complete his painting.
(Source credit: Wikipedia; Wikimedia Foundation Inc. - This text is used in accordance with the Creative Commons Attribution-ShareAlike License 3.0)
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