1891-1942 Grant Wood Locations His family moved to Cedar Rapids after his father died in 1901. Soon thereafter he began as an apprentice in a local metal shop. After graduating from Washington High School (Cedar Rapids, Iowa) , Wood enrolled in an art school in Minneapolis in 1910, and returned a year later to teach in a one-room schoolhouse. In 1913 he enrolled at the School of the Art Institute of Chicago and did some work as a silversmith. From 1920 to 1928 he made four trips to Europe, where he studied many styles of painting, especially impressionism and post-impressionism. But it was the work of Jan Van Eyck that influenced him to take on the clarity of this new technique and to incorporate it in his new works. From 1924 to 1935 Wood lived in the loft of a carriage house that he turned into his personal studio at "5 Turner Alley" (the studio had no address until Wood made one up himself). In 1932, Wood helped found the Stone City Art Colony near his hometown to help artists get through the Great Depression. He became a great proponent of regionalism in the arts, lecturing throughout the country on the topic. Wood taught painting at the University of Iowa's School of Art beginning in 1934. During that time, he supervised mural painting projects, mentored students, produced a variety of his own works, and became a key part of the University's cultural community. On February 12, 1942, one day before his 51st birthday, Wood died at the university hospital of liver cancer. When Wood died, his estate went to his sister, Nan Wood Graham, the woman portrayed in American Gothic. When she died in 1990, her estate, along with Wood's personal effects and various works of art, became the property of the Figge Art Museum in Davenport, Iowa. Wood was an active painter from an extremely young age until his death, and although he is best known for his paintings, he worked in a large number of media, including ink, charcoal, ceramics, metal, wood and found objects. Throughout his life he hired out his talents to many Iowa-based businesses as a steady source of income. This included painting advertisements, sketching rooms of a mortuary house for promotional flyers and, in one case, designing the corn-themed decor (including chandelier) for the dining room of a hotel. In addition, his 1928 trip to Munich was to oversee the making of the stained-glass windows he had designed for a Veterans Memorial Building in Cedar Rapids. He again returned to Cedar Rapids to teach Junior High students after serving in the army as a camouflage painter.  Related Paintings of Grant Wood :. | some of corn | Iowa-s Product | The day of Planting | Woman with Plant | The Corn field |
Related Artists:
Jan van Huysum
1682-1749 Dutch Jan Van Huysum Galleries He was the brother of Jacob van Huysum, and the son of Justus van Huysum, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind; for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Half his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains. Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736-1737). No public museum has finer and more numerous specimens than the Louvre, which boasts of four landscapes and six panels with still life; then come Berlin and Amsterdam with four fruit and flower pieces; then St Petersburg, Munich, Hanover, Dresden, the Hague, Brunswick, Vienna, Carlsruhe, Boston and Copenhagen.
Martin Drolling
1752-1817 B.Oberbergheim French Martin Drolling Art Gallery After receiving initial training from an unknown painter in Selestat, Drolling moved to Paris, where he attended courses at the Academie Royale. He supplemented his education there by studying Flemish and Dutch Old Masters in the collection at the Luxembourg Palace. From the Flemish school he derived his own rich impasto, while the Dutch was to influence him in his meticulous, supremely descriptive and unsentimental style of painting as well as his choice of subject-matter: unfussy bourgeois interiors and frank portraits. Drolling first exhibited at the Salon de la Correspondance in 1781 and again in 1782 and 1789. After the French Revolution he was able to participate in the Salon at the Louvre, despite the fact that he had never become a member of the Academie Royale. He exhibited from 1793 to 1817, although the majority of his works extant today were shown after 1800. From 1802 to 1813 he was employed by the Sevres porcelain manufactory, and many of his designs were engraved.
Fernand cormon
French Academic Painter, 1845-1924 French painter. He studied initially in Brussels under Jean-Fran?ois Portaels. In 1863 he returned to Paris, where for three years he was a pupil of Alexandre Cabanel and Eug?ne Fromentin. He made his d?but at the Salon in 1868 and in 1870 received a medal for the Marriage of the Niebelungen (1870; ex-Mus. B.-A., Lisieux, 1970). His painting the Death of King Ravana (1875; Toulouse, Mus. Augustins), taken from the Indian epic poem the Ramayana, was criticized for the choice of an obscure subject but was nevertheless awarded the Prix de Salon in 1875. Soon afterwards Cormon left France for Tunisia. After his return in 1877 he exhibited regularly at the Salon until his death, establishing a reputation as a painter of historical and religious subjects; he also produced some portraits.