Grant WoodEstados Unidos, 1891–1942American Gothic
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Instituto de Arte de Chicago
Sala263Chicago, Estados Unidos
Expuesta al público. Quién lo avala figura más abajo.
- Comprobado
- En este estado desde
- Fuente
- Los datos de colección del propio museo
About the painting
Gótico estadounidense o Gótico americano (American Gothic) es un cuadro de Grant Wood de 1930. El cuadro ilustra a un granjero sujetando una horca y a una mujer rubia, su hija, a quien erróneamente a menudo se supone su esposa, enfrente de una casa de estilo gótico rural. Es una de las imágenes más conocidas del arte estadounidense del siglo XX y se ha convertido en un icono en la cultura popular, siendo una de las imágenes del arte moderno estadounidense más reconocidas y parodiadas.
Read on
Wood quería representar los roles tradicionales del hombre y la mujer, ya que el hombre sujeta una herramienta agrícola simbolizando el trabajo duro en el campo, mientras la mujer viste un delantal, propio de las labores del hogar. Wood tomó como modelos para el cuadro a su hermana Nan (1899-1990) y a su dentista, el doctor Byron McKeeby (1867-1950), de Cedar Rapids (Iowa). La casa la vio desde su coche en Eldon, Iowa, llamando su atención y trazando unos bocetos. El estilo, frontal, hierático y detallado, se inspira en el del arte flamenco del siglo XV.
El cuadro se encuentra expuesto en el Instituto de Arte de Chicago.
In the museum's words
In American Gothic, Grant Wood directly evoked images of an earlier generation by featuring a farmer and his daughter posed stiffly and dressed as if they were, as the artist put it, “tintypes from my old family album.” They stand outside of their home, built in an 1880s style known as Carpenter Gothic. Wood had seen a similar farmhouse during a visit to Eldon, Iowa.
When it was exhibited at the Art Institute in 1930, the painting became an instant sensation, its ambiguity prompting viewers to speculate about the figures and their story. Many understood the work to be a satirical comment on midwesterners out of step with a modernizing world. Yet Wood intended it to convey a positive image of rural American values, offering a vision of reassurance at the beginning of the Great Depression.
Instituto de Arte de ChicagoCC BY 4.0
Ficha
- Número de inventario
- 1930.934
What it shows
En el catálogo
Fuentes
- Instituto de Arte de Chicago: the museum's own open data · obtenido hace 7 días
- Imagen: Instituto de Arte de Chicago — © the artist or rights holder
Mientras tanto, en la vida de Grant Wood
La vida entera1922–1928
Four trips to Europe: the Impressionists and Van Eyck
Between 1922 and 1928 Wood made four trips to Europe, studying many styles of painting, especially Impressionism and Post-Impressionism; it was the 15th-century Flemish artist Jan van Eyck who influenced him most, giving him the clarity of technique that he brought into his new work.
1924–1935
“5 Turner Alley”: a studio in a carriage-house hayloft
From 1924 to 1935 Wood lived with his mother in the hayloft of a carriage house in Cedar Rapids that he had converted into his personal studio; it had no address until Wood made one up: “5 Turner Alley”.
1928
Munich: stained-glass windows for the Veterans Memorial
In 1928 Wood travelled to Munich to oversee the making of the stained-glass windows he had designed for the Veterans Memorial Building in Cedar Rapids.
1930
“American Gothic” in Chicago: a $300 prize
The painting was first exhibited in 1930 at the Art Institute of Chicago, where it still hangs; it won a $300 prize and made news stories nationwide, bringing Wood immediate recognition.
1930s
Helps Curry and Benton return to the Midwest
John Steuart Curry and Thomas Hart Benton, who with Wood are the artists most associated with Regionalism, returned to the Midwest thanks to his encouragement; he helped them find teaching positions at colleges, Curry in Wisconsin and Benton in Missouri.
1932
Helps found the Stone City Art Colony
In 1932 Wood helped found the Stone City Art Colony near his hometown to help artists get through the Great Depression.
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