Wood, American Gothic발음듣기
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Wood, American Gothic
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We're looking at Grant Wood's "American Gothic" from 1930 which more than any other painting has come to represent America and Middle America and small-town America for many people.발음듣기
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Wood said that this was a father and a daughter, but we know that the models were his dentist and his sister.발음듣기
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If you're a city person, you think that he's mocking the people who live in the Midwest, and if you're a Midwesterner, you think, oh, he's one of us, and he captured who we are.발음듣기
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The Easterners, perhaps, looked at these Iowans represented in this painting, and said, "Ah, that's what they're like."발음듣기
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Okay, so we can look at it at face value at its most simplified and see this farmer, see, perhaps, as the artist said, his daughter, standing before their simple farmhouse.발음듣기
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So there's a sense of hard-working, practical people, a kind of conservative aspect of America.발음듣기
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The carpenter Gothic house in back of them, the apron that the woman wears, his overalls, everything seems as if it could have been made by these people.발음듣기
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But I do get the sense that his face is about to change, and he's either going to open up with a smile, or there is going to be something fairly stern coming from him.발음듣기
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And she looks off at something we can't see, something outside of the space of the painting.발음듣기
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I think it's one of the reasons this painting is, in fact, so powerful, and has become such a symbol of the American heartland because people can see in it what they want.발음듣기
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He grew up on a really remote farm in a remote part of Iowa with his two brothers and sister and his parents.발음듣기
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He had a kind of softer, more artistic side to him than the masculine side of his brothers and his father, and he was very close to his mother.발음듣기
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Sometimes we think of him as a kind of two-dimensional figure, an Americanist, a Regionalist, the American scene, that is, somebody who painted from the heartland.발음듣기
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Grant Wood, along with Thomas Hart Benton, and a number of other artists, are establishing what they're calling Regionalism, what others call American scene painting.발음듣기
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He spent a lot of time in Paris as did most artists of his generation, painting in a semi-impressionist style.발음듣기
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In fact, art historians link the kind of hard-edged style and the change from Impressionism to his having absorbed the influence of early Northern Renaissance painters like Van Eyck and Memling, and perhaps also the Neue Sachlichkeit of contemporary German painting.발음듣기
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And so this is a painter who is influenced by European traditions, although he's turning those lessons on his own people, on the American landscape, on the American pysche.발음듣기
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We certainly see that influence of the Northern Renaissance, I think, especially in the face of the male figure where we have almost a map of this man's face with every wrinkle and crease.발음듣기
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If you look at the trees in the background, they've become rounded, geometric shapes that are generalized.발음듣기
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And there's a way that the artist takes the specific and creates a kind of more universal form out of it.발음듣기
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The United States had recently gone through one of its most prosperous moments, but just the year before, 1929, the stock market crashed, and the economy stalled.발음듣기
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If you think about the broader political situation, you have in Europe the fascists just beginning to take power, and there is an important political ideology that goes with that, which is often speaking of going back to a kind of rural, primitive experience.발음듣기
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And so some art historians have looked at this American scene painting and seen a kind of echo of anti-internationalism that was seen as very dangerous, and in a sense the root of European fascism.발음듣기
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I suppose as patriotism itself, this painting has been read in a whole bunch of different ways.발음듣기
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