вЂњPublic Lectures,вЂќ Bulletin of the Art Institute of Chicago 73, no.

вЂњPublic Lectures,вЂќ Bulletin of the Art Institute of Chicago 69, no.Matthew Baigell, The American Scene: American Painting of the 1930s (Praeger Publishers, 1974), 18, 109, 110, 111, ill.вЂњLecturerвЂ™s Choice: Fifteen Minute Gallery Talks for Summer,вЂќ Bulletin of the Art Institute of Chicago 67, no.вЂњSummer Gallery Talks,вЂќ Calendar of the Art Institute of Chicago 65, no.Henri Dorra, The American Muse (Viking Press, 1961), 124, ill.вЂњPeople and Events: Portraits on Television,вЂќ The Art Institute of Chicago Quarterly 50, no.Louchheim, вЂњA New Yorker Visits the Art Institute,вЂќ The Art Institute of Chicago Quarterly 46, no. Wight, Milestones of American Painting in Our Century, introduction by Lloyd Goodrich (Boston: The Institute of Contemporary Art with Chanticleer Press, New York, 1949), 30, 74, ill.

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вЂњLoans to Other Museums and Institutions,вЂќ Bulletin of the Art Institute of Chicago: Report for the Year 1935 30, no.

вЂњLoans to Other Museums and Institutions,вЂќ Bulletin of the Art Institute of Chicago: Report for the Year 1934 29, no.

вЂњLoans to Other Museums and Institutions,вЂќ Bulletin of the Art Institute of Chicago: Report for the Year 1933 28, no.

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Status On View, Gallery 263 Department Arts of the Americas Artist Grant Wood Title American Gothic Origin United States Date Made 1930 Medium Oil on Beaver Board Inscriptions Signed and dated lower right on overalls: GRANT / WOOD / 1930 Dimensions 78 Г— 65.3 cm (30 3/4 Г— 25 3/4 in.) Credit Line Friends of American Art Collection Reference Number 1930.934 Extended information about this artwork The man and woman, in their solid and well-crafted world, with all their strengths and weaknesses, represent survivors. Yet Wood intended it to be a positive statement about rural American values, an image of reassurance at a time of great dislocation and disillusionment. American Gothic, often understood as a satirical comment on the midwestern character, quickly became one of AmericaвЂ™s most famous paintings and is now firmly entrenched in the nationвЂ™s popular culture.

After returning to settle in Iowa, he became increasingly appreciative of midwestern traditions and culture, which he celebrated in works such as this. He used his sister and his dentist as models for a farmer and his daughter, dressing them as if they were вЂњtintypes from my old family album.вЂќ The highly detailed, polished style and the rigid frontality of the two figures were inspired by Flemish Renaissance art, which Wood studied during his travels to Europe between 19.

вЂњI imagined American Gothic people with their faces stretched out long to go with this American Gothic house,вЂќ he said. There he spotted a little wood farmhouse, with a single oversized window, made in a style called Carpenter Gothic. The impetus for the painting came while Wood was visiting the small town of Eldon in his native Iowa. This familiar image was exhibited publicly for the first time at the Art Institute of Chicago, winning a three-hundred-dollar prize and instant fame for Grant Wood.

Gothic 1 vs 2