Travel the world, but paint what you know.
It seems to be the philosophy that guided the artistic development of our homegrown American painting virtuoso, as told in the Whitney’s revealing exhibition, Grant Wood: American Gothic and Other Fables, on view through June 10.
Although the Art Institute never lets American Gothic leave the Windy City, the famous couple has been having quite a time on the High Line, surrounded by a wealth of beautiful paintings, crafts, furniture, magazine covers, book illustrations, drawings, and lithographs. See our favorites in our Flickr album.
Since Wood’s iconic masterwork burst upon the scene at the Chicago Art Institute in 1930, it’s surprising to know that this is only the third time that Wood has had a one-man show in New York. Whitney curator Barbara Haskell and her staff decided to give Wood the props he deserved by assembling this satisfying and revealing tour of his life’s work.
It’s clear from the start (after you pass the corn chandelier) that Cedar Rapids, Iowa treasured their native son, handing him design and ad commissions galore. Although he always lived close to his mom and sister (the model for the mysterious “Gothic” gal), his artistic direction was solidified fairly early on by trips to Paris and Germany as a young man.
Forget impressionism and expressionism. Wood was captivated seeing the works of Durer and Memling, whose style matched his own precise painterly tendencies.
Returning home, he embarked upon a series of portraits that were completely local (e.g. his mom, art students, neighbors), but harkened back to the centuries-old European style – precisely rendered central figures and metaphorical symbols scattered across shrunken landscapes. Straight out of the 1400s.
When Gothic appeared on the cover of the Chicago Evening Post in 1930, his fate as the quintessential “American” painter was sealed. And he committed himself to staying in the Midwest, painting what surrounded him.
The show takes us through his journey from there: interpreting and busting American myths, celebrating the hometown and ordinary, and sometimes veering into the visual language of folk art to create a feeling of a simplified time.
When World War II began to brew, Woods was even more convinced that the power of his images could be harnessed to engender a call for action among everyday Americans. Deceptive simplicity on the canvas only underscores his highly sophisticated understanding of the power of symbols, craft, and art history.
Woods embraced many types of WPA and commercial commissions, while keeping up his fine-art output, including selling lithographs (“affordable art”) by mail order. Although one of a naked farmworker got him in hot water with the United States Postal Service, the accusation of “porn in the mail” really didn’t hurt his reputation.
The final two galleries of the show assemble his highly precise, fully modern farm landscapes from a ten-year period – rich, colorful, and geometric until they aren’t. The curators have interspersed gorgeous but melancholy graphite drawings of barren, snow-covered fields. Their presence captures the melancholy of Grant Wood’s final years – grappling with illness and life in Iowa as a closeted man, who died far too young.
Even with the somewhat sobering feel, it’s a glorious gallery to end the show – one that leaves visitors marveling about the skill, talent, and magic wrought by an artist whose they feel as if they are discovering for the first time.
The Whitney persuaded lots of other Iowa museums to contribute to the show, too. They shipped everything but the WPA building mural (click here to see a silent video) at the University of Iowa Ames library.
Take a virtual walk through the show with the audio guide and see photos of the different work as the curators talk.
Listen to the brilliant curator Barbara Haskell, as she puts this man’s work into context: