Grant Wood
1891-1942
Grant Wood Locations
His family moved to Cedar Rapids after his father died in 1901. Soon thereafter he began as an apprentice in a local metal shop. After graduating from Washington High School (Cedar Rapids, Iowa) , Wood enrolled in an art school in Minneapolis in 1910, and returned a year later to teach in a one-room schoolhouse. In 1913 he enrolled at the School of the Art Institute of Chicago and did some work as a silversmith.
From 1920 to 1928 he made four trips to Europe, where he studied many styles of painting, especially impressionism and post-impressionism. But it was the work of Jan Van Eyck that influenced him to take on the clarity of this new technique and to incorporate it in his new works. From 1924 to 1935 Wood lived in the loft of a carriage house that he turned into his personal studio at "5 Turner Alley" (the studio had no address until Wood made one up himself). In 1932, Wood helped found the Stone City Art Colony near his hometown to help artists get through the Great Depression. He became a great proponent of regionalism in the arts, lecturing throughout the country on the topic.
Wood taught painting at the University of Iowa's School of Art beginning in 1934. During that time, he supervised mural painting projects, mentored students, produced a variety of his own works, and became a key part of the University's cultural community. On February 12, 1942, one day before his 51st birthday, Wood died at the university hospital of liver cancer.
When Wood died, his estate went to his sister, Nan Wood Graham, the woman portrayed in American Gothic. When she died in 1990, her estate, along with Wood's personal effects and various works of art, became the property of the Figge Art Museum in Davenport, Iowa.
Wood was an active painter from an extremely young age until his death, and although he is best known for his paintings, he worked in a large number of media, including ink, charcoal, ceramics, metal, wood and found objects.
Throughout his life he hired out his talents to many Iowa-based businesses as a steady source of income. This included painting advertisements, sketching rooms of a mortuary house for promotional flyers and, in one case, designing the corn-themed decor (including chandelier) for the dining room of a hotel. In addition, his 1928 trip to Munich was to oversee the making of the stained-glass windows he had designed for a Veterans Memorial Building in Cedar Rapids. He again returned to Cedar Rapids to teach Junior High students after serving in the army as a camouflage painter. Related Paintings of Grant Wood :. | The Thresher-s supper | Returned from Bohemia | Town Spring | The Thresher-s supper | The Corn field | Related Artists: Anders ZornSwedish 1860-1920
Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden. MEMLING, HansNetherlandish Northern Renaissance Painter, ca.1435-1494
South Netherlandish painter of German origin. Together with Dieric Bouts I and Hugo van der Goes, he was one of the most important exponents of the new artistic developments that flourished in the southern Netherlands in the 15th century in the wake of Jan van Eyck, the Master of Fl?malle and Rogier van der Weyden. Their principal innovation was to apply optic realism to devotional or mystical subjects. Although Memling lived in the turbulent period of transition from the Burgundian ruling house to that of the Habsburgs, little of this is evident in his work. His commissions were almost exclusively from rich burghers in Bruges (bankers, merchants and politicians) or churchmen and the occasional aristocrat. Often they were foreigners, especially Italians, who had political or financial connections with the town, whose central economic position was to last only a few decades longer. They had Memling paint their portraits, bust or full length, in devotional paintings or on altarpieces for their chapel in Bruges or back home. He seems not to have received official commissions (from the town council or court). An exceptional proportion of this oeuvre has survived. Besides about 20 altarpieces, often in several panels and of considerable size, Jakob BjockJakob Björck (1726 - 1793, Stockholm ) was a Swedish portrait painter. He was a student of the pastellist Gustaf Lundberg.
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