217:, as the paintings share several similarities. In both paintings, the central profile is "neatly" set apart from the background, looking at the viewer with a serious gaze; a figure with a distant look was a typical element of della Francesca's art. The paintings also have two trees framing them: in Wood, one young and one mature, and in della Francesca, one bare and one full of leaves. For Cheles, these contrasting trees represent life and death, as well as a general transition between two states. Della Francesca also painted
31:
183:
112:, created as a birthday gift for his studio assistant, Arnold Pyle. Wood took Pyle on as his protégé and was deeply affectionate towards him. The painting depicts a figure looking ahead in a rural landscape, as two nude men bathe in a river. It is reminiscent of
234:, said that the painting indicates an "obvious love" for Arnold. Details such as recurrent couplings (of trees, bushes, and stacks of hay) may demonstrate a love for Pyle, and the two nude swimmers in the back could represent the Christian figures
349:, and varnish disappearance plagued the painting. The bathing figures were, according to Donald Bartlett Doe of the Sheldon, "nearly obliterated". These problems began some ten years after its completion, but by 1985, they were addressed through
162:
in 1933, and the grand prize in 1936. He was heterosexual, and despite the affection that Wood showed him, did not romantically reciprocate—as Wood had done with many of his assistants, he disguised his outward affection as paternal love.
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David Turner that Wood completed in 1929–30. These were all offered for sale, each at a price of between $ 300 and $ 400. The board of trustees for the
Nebraska Art Association paid $ 300 for
154:
was completed in 1930 in celebration of the twenty-first birthday of his studio assistant, Arnold Pyle. Pyle, a painter himself and protégé of Wood, won blue ribbons at the
219:
170:. It depicts an awkward young man looking at the viewer as a butterfly lands on his shirt, set in a countryside while two men bathe in a nearby river. It is
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also depicts a butterfly—which was understood at the time as a gay symbol—landing on Arnold's shirt. The painting is thought to be
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and is displayed on pressed board. Its dimensions are 26.75 inches (67.9 cm) tall by 23 inches (58 cm) across.
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326:. It has since become one of the most valuable pieces within the Association's permanent collection, and resides at the
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says this interpretation allows researchers to make claims about Wood's life with only minimal evidence.
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For years, it was not shown publicly due to its significant deterioration: discoloration, extensive
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Doss, Erika (March 2018). "Grant Wood's queer parody: American humor during the Great
Depression".
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Kinloch, David (4 May 2014). "Hide and seek: Mimesis and narrative in ekphrasis as translation".
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Rasmussen, Chris (1995). "Agricultural lag: The Iowa State Fair Art Salon, 1854-1941".
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The art critic
Luciano Cheles says that many of Wood's paintings—including his famous
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Dietz, Ulysses Grant (4 May 2018). "Grant Wood: American Gothic and Other Fables".
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26.75 in Ă— 23 in (679 mm Ă— 580 mm)
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Grant Wood's "Fall
Plowing" Rural Historic Landscape District
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Cheles, Luciano (Spring 2016). "The
Italian Renaissance in
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917:The Nebraska Art Association: A history 1888–1971
298:was displayed in a 1940 Nebraskan show alongside
270:was completed, Wood entered it into the 1930,
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199:—were inspired by works produced during the
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896:"Sultry night: Grand Wood's queer Midwest"
338:holds the artwork of the association, the
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642:: Grant Wood and Piero della Francesca".
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230:Ulysses Grant Dietz, a former curator of
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227:, and consequently, one coming of age.
211:may have been inspired by his painting
719:The Gay & Lesbian Review Worldwide
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286:won the grand prize, and his painting
713:Darnaude, Ignacio (1 November 2021).
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282:and other paintings in Iowa instead.
166:The painting was originally entitled
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536:
620:
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715:"Grant Wood left tipoffs all over"
678:Grant Wood: The Regionalist Vision
306:, a portrait of the father of his
14:
1072:Robert and Esther Armstrong House
775:(3). Sheldon Memorial Art Gallery
1030:The Midnight Ride of Paul Revere
817:Hirsch, Faye (1 February 2011).
894:Ventura, Anya (10 June 2018).
340:University of Nebraska–Lincoln
1:
1169:LGBT art in the United States
763:Doe, Donald Bartlett (1985).
748:10.1080/17496772.2018.1493789
1082:Grant Wood Cultural District
850:10.1080/14790726.2014.882959
684:Minneapolis Institute of Art
292:won the landscape category.
736:The Journal of Modern Craft
126:, and it is interpreted as
18:1930 painting by Grant Wood
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721:(November–December 2021).
158:for his art depicting the
342:, and other collections.
272:Iowa State Fair Art Salon
28:
232:The Newark Museum of Art
189:by Piero della Francesca
1159:Paintings by Grant Wood
1077:George B. Douglas House
1046:Daughters of Revolution
914:Wells, Fred N. (1972).
304:John B. Turner, Pioneer
168:Portrait of Arnold Pyle
134:Background and painting
120:'s work, in particular
97:Portrait of Arnold Pyle
409:, pp. 18, 20, 28.
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1120:Stone City Art Colony
945:Sheldon Museum of Art
900:Grant Wood Art Colony
688:Yale University Press
336:Sheldon Museum of Art
328:Sheldon Museum of Art
220:The Baptism of Christ
205:Piero della Francesca
185:
118:Piero della Francesca
78:Sheldon Museum of Art
790:Winterthur Portfolio
515:, pp. 165, 167.
130:from its detailing.
60:Oil on pressed board
1014:Arnold Comes of Age
486:, pp. 112–113.
474:, pp. 112–114.
459:, pp. 162–163.
312:Arnold Comes of Age
296:Arnold Comes of Age
284:Arnold Comes of Age
280:Arnold Comes of Age
268:Arnold Comes of Age
248:Arnold Comes of Age
209:Arnold Comes of Age
201:Italian Renaissance
152:Arnold Comes of Age
114:Italian Renaissance
91:Arnold Comes of Age
24:Arnold Comes of Age
1054:Sentimental Ballad
769:Resource/Reservoir
765:"Before and after"
254:, although critic
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332:Lincoln, Nebraska
316:Joslyn Art Museum
138:Grant Wood was a
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82:Lincoln, Nebraska
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1164:Portraits of men
1092:Oakes-Wood House
1022:Stone City, Iowa
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289:Stone City, Iowa
214:The Resurrection
187:The Resurrection
148:Great Depression
123:The Resurrection
104:by the American
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941:"Wood, Arnold"
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844:(2): 155–166.
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824:Art in America
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802:10.1086/697497
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742:(2): 165–167.
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672:Corn, Wanda M.
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656:10.1086/686551
650:(1): 106–124.
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240:Garden of Eden
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1065:Miscellaneous
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948:. Retrieved
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644:American Art
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631:Bibliography
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525:Ventura 2018
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457:Kinloch 2014
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236:Adam and Eve
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102:oil painting
100:) is a 1930
96:
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94:(originally
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88:
15:
1125:Regionalism
1110:(colleague)
1108:Marvin Cone
950:15 November
931:15 November
905:15 November
873:(1): 5–29.
838:New Writing
796:(1): 3–45.
779:16 November
549:Hirsch 2011
501:Cheles 2016
484:Cheles 2016
472:Cheles 2016
395:Cheles 2016
378:Cheles 2016
351:restoration
256:Faye Hirsch
172:made of oil
140:regionalist
106:regionalist
1148:Categories
991:Grant Wood
727:A680295004
604:Wells 1972
568:Wells 1972
513:Dietz 2018
357:References
347:craquelure
252:homoerotic
128:homoerotic
110:Grant Wood
66:Dimensions
42:Grant Wood
998:Paintings
879:0026-3079
858:143847309
810:166213182
756:218838538
664:190856739
580:Corn 1983
537:Doss 2018
362:Citations
322:acquired
1116:(sister)
926:10328820
887:40643728
674:(1983).
621:Doe 1985
108:painter
74:Location
1101:Related
706:9324205
592:Sheldon
262:History
238:in the
225:baptism
160:Midwest
116:artist
1057:(1940)
1049:(1932)
1041:(1931)
1033:(1931)
1025:(1930)
1017:(1930)
1009:(1930)
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334:. The
308:patron
266:After
56:Medium
38:Artist
1133:House
883:JSTOR
854:S2CID
806:S2CID
752:S2CID
660:S2CID
320:Omaha
276:Paris
952:2021
933:2021
922:OCLC
907:2021
875:ISSN
831:(2).
781:2021
723:Gale
702:OCLC
692:ISBN
302:and
144:Iowa
51:1930
48:Year
846:doi
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330:in
318:of
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
