Grant Wood: American Gothic

      The Cincinnati Art Museum is currently hosting an exhibition titled: "Conversations around American Gothic." The central artwork in this show, is none other than Grant Wood's American Gothic. Typically, this piece can be seen in the collection of The Art Institute of Chicago, however, it is on loan to Cincinnati for this small but powerful exhibition. 

     Grant Wood was an American artist, 1891-1942. Majority of his works were inspired by his home state of Iowa, American Gothic being one of them. The story goes, that Wood saw a farm house done in the Carpenter Gothic style and began planning a composition with that house in mind. Carpenter Gothic, was a part of the Gothic revival style that became popular in the United States. Characteristics like pointed roofs, scroll work, and details around the windows can be seen in this piece. These structures were easy to make and affordable. 

Grant Wood, American Gothic, 1930. Oil on Beaver Board.
The Art Institute of Chicago. 

      Many questions have been asked about the two figures centered in the painting. 

Are they man and wife?

Daughter and father?

Neighbors?

       Actually, the female was Wood's sister Nan and the man was his dentist, Dr. B. H. McKeeby. He dressed them in appropriate clothing for their roles on a farm. The female is looking into the distance, while the man is staring straight on, engaging the viewer. She is closest to the home, possibly a reference to her role in the domestic setting. While, the man is holding a pitchfork and is closest to the barn, symbolizing his role as a farmer. If you look closely, the woman's apron, echos the pattern of the curtain in the window of the house. On the man's overalls, the shape of the pitchfork is implied. In the distance, a steeple is emerging from Wood's stylized treetops. This is one of the most iconic pieces in American Art History. The interpretations vary from mockery, respect, stereotyping, to glorifying. What is your view? Do you agree, disagree or have your own opinion? 

        In addition to Wood, two other similar artists are featured in this exhibition: Thomas Hart Benton and John Steuart Curry. These three men were known as Regionalists. This title came from focusing on a particular region in the United States. With the idea of showcasing the common, ordinary people from in many cases the Midwestern states like: Iowa, Kansas and Missouri. These artists painted what they knew and understood. Their artwork was relateable, giving us a glimpse into rural American in the 1920s and 1930s. 

       These men did their part, trying to ease the gap between art and the common man. By painting everyday people doing everyday activities, they made art understandable, and helped viewers make connections in a whole new way. The Regionalists, were realists. They painted what they saw. They did not mock or satirize their subjects, but painted them as a sign of respect for their hard work and endurance. 

       Don't miss this great opportunity, to see such icon American paintings in the Queen City! The exhibition is open from August 30th till November 16th. 

                                                                                                                                                   ~Samantha

Conversations around American Gothic

August 30, 2014 to November 16, 2014

The Cincinnati Art Museum and the Art Institute of Chicago will collaborate in a historic partnership involving Grant Wood’s two masterpieces, American Gothic and Daughters of Revolution. For the first time, the iconic American Gothic will appear in Cincinnati alongside the Art Museum’s own Daughters of Revolution. Wood’s iconic paintings will be combined with other quintessential works by artists of the Regionalist Movement including John Steuart Curry’s Baptism in Kansas (Whitney Museum of American Art, New York) and Thomas Hart Benton’s Cradling Wheat (Saint Louis Art Museum). Visitors will be encouraged to compare these works, stimulating lively conversation about the definition of “realism” as an artistic style, small town and rural life, stereotypes, nationalism, and what it means to be an American.

- See more at: http://www.cincinnatiartmuseum.org/art/exhibitions/current-exhibitions/details/182-wood-benton-and-curry-conversations-around-american-gothic#sthash.6nOvPTaV.dpuf

Conversations around American Gothic

August 30, 2014 to November 16, 2014

The Cincinnati Art Museum and the Art Institute of Chicago will collaborate in a historic partnership involving Grant Wood’s two masterpieces, American Gothic and Daughters of Revolution. For the first time, the iconic American Gothic will appear in Cincinnati alongside the Art Museum’s own Daughters of Revolution. Wood’s iconic paintings will be combined with other quintessential works by artists of the Regionalist Movement including John Steuart Curry’s Baptism in Kansas (Whitney Museum of American Art, New York) and Thomas Hart Benton’s Cradling Wheat (Saint Louis Art Museum). Visitors will be encouraged to compare these works, stimulating lively conversation about the definition of “realism” as an artistic style, small town and rural life, stereotypes, nationalism, and what it means to be an American.

- See more at: http://www.cincinnatiartmuseum.org/art/exhibitions/current-exhibitions/details/182-wood-benton-and-curry-conversations-around-american-gothic#sthash.6nOvPTaV.dpuf

Conversations around American Gothic

August 30, 2014 to November 16, 2014

The Cincinnati Art Museum and the Art Institute of Chicago will collaborate in a historic partnership involving Grant Wood’s two masterpieces, American Gothic and Daughters of Revolution. For the first time, the iconic American Gothic will appear in Cincinnati alongside the Art Museum’s own Daughters of Revolution. Wood’s iconic paintings will be combined with other quintessential works by artists of the Regionalist Movement including John Steuart Curry’s Baptism in Kansas (Whitney Museum of American Art, New York) and Thomas Hart Benton’s Cradling Wheat (Saint Louis Art Museum). Visitors will be encouraged to compare these works, stimulating lively conversation about the definition of “realism” as an artistic style, small town and rural life, stereotypes, nationalism, and what it means to be an American.

- See more at: http://www.cincinnatiartmuseum.org/art/exhibitions/current-exhibitions/details/182-wood-benton-and-curry-conversations-around-american-gothic#sthash.6nOvPTaV.dpuf

Conversations around American Gothic

August 30, 2014 to November 16, 2014

The Cincinnati Art Museum and the Art Institute of Chicago will collaborate in a historic partnership involving Grant Wood’s two masterpieces, American Gothic and Daughters of Revolution. For the first time, the iconic American Gothic will appear in Cincinnati alongside the Art Museum’s own Daughters of Revolution. Wood’s iconic paintings will be combined with other quintessential works by artists of the Regionalist Movement including John Steuart Curry’s Baptism in Kansas (Whitney Museum of American Art, New York) and Thomas Hart Benton’s Cradling Wheat (Saint Louis Art Museum). Visitors will be encouraged to compare these works, stimulating lively conversation about the definition of “realism” as an artistic style, small town and rural life, stereotypes, nationalism, and what it means to be an American.

- See more at: http://www.cincinnatiartmuseum.org/art/exhibitions/current-exhibitions/details/182-wood-benton-and-curry-conversations-around-american-gothic#sthash.6nOvPTaV.dpuf

Precisionism: Charles Demuth & Charles Sheeler

Art history has a long and detailed story. From cave paintings, to ceramic vessels, to marble statues. Majority of the early chapters of every textbook explore Europe. After many centuries, American art begins to develop and prosper. 

Today's post is going to focus on American Art before World War II.  These early artists had a choice, to continue the traditions of Europe or to define a new American style. Although the influence of European art movements was felt in America, there existed a desire to create something unique only to them.

First, came American Realism and groups like the Ashcan School, active between 1905-1930. This group of artists centered in New York, showcased common, everyday American scenes of urban life. The term Ashcan School was defined by critics in the 1930's because of the gritty colors these artists used. 

This was an exciting time of experimentation and discovery. From oil paints to photography, Americans were creating and defining their signature contribution to the canon of art history. 

Precisionism is an entirely American movement, originating during the 1920's along side styles like the Ashcan School. The term, Precisionism was not used till later in the 1940's. Critics labeled this style Cubo-Realist. A combination of Cubism (focus on angles & shapes) and Realism (showing real life subjects). These images are recognizable but not quite naturalistic. They are very geometric and precise, but beautiful in their simplicity, color choice and their ability to capture the American spirit. Many of the paintings were based on sharply-focused photos, some were inspired by poems and other happenings in 20th century America. 

Two names are synonymous with this movement: Charles Demuth and Charles Sheeler. Both embodied this style, their works enlightened and informed the viewer.

Charles Sheeler, Church Street El, 1920.
Oil on canvas, 16 × 19-1⁄8” (40.6 × 48.6 cm).
Cleveland Museum of Art. Mr. and Mrs. William H. Martlatt Fund, 1977.43.

In this image by Charles Sheeler, we see an urban landscape. The shadows are emphasized and appear in large geometric shapes. Line is a common element repeated in this scene. From vertical lines featured in the buildings, horizontal at the base of each building and the series of diagonal lines indicating movement and excitement. 

Charles Sheeler, Rolling Power, 1939.
Oil on canvas, 15 × 30” (38.1 × 76.2 cm).
Smith College Museum of Art, Northampton, MA. 

Rolling Power, shows the importance of detail. It would be easy to mistake this oil painting for a photograph because of its realistic depiction of both light and shadow. Each image is capturing motion, whether in the heart of city life, or through industry and machines. These are only two of Charles Sheeler's great contributions to this uniquely American art movement. 







Charles Demuth, like Sheeler utilized line and geometric shapes in his artwork. He too was inspired by the urban landscape in addition to other disciplines like literature. One such example is:

 

Charles Demuth, The Figure 5 in Gold, 1928.
Oil on composition board. The Metropolitan Museum of Art.

This painting was inspired by a poem written by Carols Williams, entitled: The Great Figure

   Among the rain And lights

    I saw the figure 5

    in gold

    on a red fire truck

    moving tense

    unheeded

    to gong clangs

    siren howls and wheels rumbling                             

    through the dark city                                                                                                           

What a fantastic story! Demuth was inspired by this poem and created a visual manifestation of these very words. This painting is bursting with energy. The diagonal lines in the background keep our eyes moving between the four corners of the composition. The red fire truck has been simplified down to shapes and occupies the foreground, and the No. 5 is in gold and centered on the canvas begging to be admired. Can you see the references to the poet? Or the artist's signature? Art history meets I Spy in this oil painting. What all can you see?

Top Image: CD, Incense of a New Church, 1933. Oil.
Bottom Image: CD, Modern Convenience, 1933. Oil. 

Detail: Incense of a New Church

Detail: Modern Convenience 

Both of the above images are from the Columbus Museum of Art. The titles are very descriptive, there is no romance, simply fact. Line, shape and color work together to create a portrait of the American landscape, totally devoid of people. Here instead, the architecture and urban setting are the subject matter, the essentials to the American way, but the overlooked necessities of life. Demuth is a master of layering. His compositions are sectioned off with lines or various shapes. The colors overlap creating depth and texture. Each painting seems to be in motion, if you look long enough you can hear the sounds of industry, smell the smoke and feel the sun on your face. 

Precisionism gives us a glimpse of the American past. This movement captures the American spirit and is a testament to the hard work and progress made in the early part of the 20th century. These paintings capture the mood, emotions and atmosphere of the time. As you study these images, reflect on those long ago days of history class and ask yourself why is it important to know or heritage? What value do the stories of the past have for us today? I hope you enjoyed this journey to the past and recognize its importance for us today.

                                                                                                                                               ~Samantha