American Gothic

From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (July 2008)

American Gothic

Artist	Grant Wood
Year	1930
Type	Oil on beaverboard
Dimensions	74.3 cm × 62.4 cm (29¼ in × 24½ in)
Location	Art Institute of Chicago

American Gothic is a painting by Grant Wood from 1930. Its inspiration came from a cottage designed in the Gothic Revival style with a distinctive upper window^[1] and a decision to paint the house along with "the kind of people I fancied should live in that house."^[2] The painting shows a farmer standing beside his spinster daughter, figures modeled by the artist's dentist and sister. The woman is dressed in a colonial print apron mimicking 19th century Americana and the couple are in the traditional roles of men and women, the man's pitchfork symbolizing hard labor.
It is one of the most familiar images in 20th century American art and one of the most parodied artworks within American popular culture.

Contents 1 Creation 2 Reception 3 Parodies 4 References 5 Notes 6 External links

[edit] Creation

In 1930, Grant Wood, an American painter with European training, noticed a small white house built in the Carpenter Gothic architectural style in Eldon, Iowa. Wood decided to paint the house along with "the kind of people I fancied should live in that house."^[3] He recruited his sister Nan (1900-1990) to model the woman, dressing her in a colonial print apron mimicking 19th century Americana. The man is modeled on Wood's dentist, Dr. Byron McKeeby (1867-1950) from Cedar Rapids, Iowa. The three-pronged hay fork is echoed in the stitching of the man's overalls, the Gothic window of the house and the structure of the man's face. Each element was painted separately; the models sat separately and never stood in front of the house.

[edit] Reception

Wood entered the painting in a competition at the Art Institute of Chicago. The judges deemed it a "comic valentine," but a museum patron convinced them to award the painting the bronze medal and $300 cash prize. The patron also convinced the Art Institute to buy the painting, where it remains today.^[4] The image soon began to be reproduced in newspapers, first by the Chicago Evening Post and then in New York, Boston, Kansas City, and Indianapolis. However, Wood received a backlash when the image finally appeared in the Cedar Rapids Gazette. Iowans were furious at their depiction as "pinched, grim-faced, puritanical Bible-thumpers"^[5]. One farmwife threatened to bite Wood's ear off. Wood protested that he had not painted a caricature of Iowans but a depiction of Americans. Nan, apparently embarrassed at being depicted as the wife of someone twice her age, began telling people that the painting was of a man and his daughter, a point on which Wood remained silent.^[3]

Art critics who had favorable opinions about the painting, such as Gertrude Stein and Christopher Morley, also assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend toward increasingly critical depictions of rural America, along the lines of Sherwood Anderson's 1919 Winesburg, Ohio, Sinclair Lewis's 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature.^[3]

However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American pioneer spirit. Wood assisted this transition by renouncing his Bohemian youth in Paris and grouping himself with populist Midwestern painters, such as John Steuart Curry and Thomas Hart Benton, who revolted against the dominance of East Coast art circles. Wood was quoted in this period as stating, "All the good ideas I've ever had came to me while I was milking a cow."^[3] This Depression-era understanding of the painting as a depiction of an authentically American scene prompted the first well-known parody, a 1942 photo by Gordon Parks of cleaning woman Ella Watson, shot in Washington, D.C.^[3]

[edit] Parodies

American Gothic is one of the few paintings to reach the status of cultural icon, along with Leonardo da Vinci's Mona Lisa and Edvard Munch's The Scream.^[3] It is thus one of the most reproduced — and parodied — images ever. Many artists have replaced the two people with other known couples and replaced the house with well known houses. References and parodies of the image have been numerous for generations, appearing regularly in such media as postcards, magazines, animated cartoons, advertisements, comic books, and television shows.

[edit] References

• Steven Biel (2005). American Gothic: A Life of America's Most Famous Painting. W. W. Norton & Company. ISBN 0-393-05912-X. 

[edit] Notes

[edit] External links

• About the painting, on the Art Institute's site
• Slate article about American Gothic
• American Gothic: A Life of America's Most Famous Painting
• November 18, 2002, National Public Radio “Morning Edition” report about “American Gothic” by Melissa Gray that includes an interview with Art Institute of Chicago curator Daniel Schulman.
• June 6, 1991, National Public Radio “Morning Edition” report on Iowa's celebration of the centennial of Grant Wood's birth by Robin Feinsmith. Several portions of the report focus 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 contains a discussion about "American Gothic".
• Clip of a 1960's cornflake commercial that parodies American Gothic
• American Gothic House Center site
• American Gothic Flickr Group Contains parody photographs