"American Gothic American Gothic is a 1930 painting by Grant Wood in the collection of the Art Institute of Chicago. Wood was inspired to paint what is now known as the ""American Gothic"" House in Eldon, Iowa, along with ""the kind of people I fancied should live in that house."" It depicts a farmer standing beside a woman who has been interpreted to be his sister. The figures were modeled by Wood's sister Nan Wood Graham and their dentist Dr. Byron McKeeby. The woman is dressed in a colonial print apron evoking 19th-century Americana, and the man is holding a"
"she looks older than Wood's sister preferred to think of herself. The dentist, Dr. Byron McKeeby (1867–1950), was from Cedar Rapids. The woman is dressed in a dark print apron mimicking 19th century Americana with a cameo brooch. The couple are in the traditional roles of men and women, the man's pitchfork symbolizing hard labor. The compositional severity and detailed technique derive from Northern Renaissance paintings, which Grant had looked at during three visits to Europe; after this he became increasingly aware of the Midwest's own legacy, which also informs the work. It is a key image of Regionalism. Wood"
"1524 N. Lake Shore Dr. Chicago, IL 60610 Marie Curie Wilhelm Conrad Röntgen Ambroise Paré Andreas Vesalius Hippocrates Joseph Lister Asklepios ""The Angel (Bust of Maurice Tillet)"", 1950 Polo Players ca. 1935–1940 plaster 2 men with 2 horses 5½ × 5⅝ × 3⅞ in. (14.0 × 14.4 × 10.0 cm) Smithsonian American Art Museum Gift of Louis Cheskin 1977.42.5 On view at: Smithsonian American Art Museum 4th floor, Luce Foundation Center, Case 48A Reclining Nude Figure 1930–1940 painted plaster female full-length nude 4½ × 6⅝ × 9⅞ in. (11.4 × 16.7 × 25.0 cm) Smithsonian American Art Museum Gift of"
"Byron McKeeby (1867–1950) from Cedar Rapids, Iowa. Nan, perhaps embarrassed about being depicted as the wife of a man twice her age, told people that her brother had envisioned the couple as father and daughter, rather than husband and wife, which Wood himself confirmed (""The prim lady with him is his grown-up daughter"") in his letter to a Mrs. Nellie Sudduth in 1941. Elements of the painting stress the vertical that is associated with Gothic architecture. The three-pronged pitchfork is echoed in the stitching of the man's overalls, the Gothic window of the house, and the structure of the man's"
"1930, when fire regulations required the replacement of the old wooden bench seating. The names of the chairs have no known significance—it is likely that hospital donors were given the opportunity to name a chair after a favorite figure from MGH history. As the 150th anniversary of the first public demonstration of the use of ether anesthesia on October 16, 1846, approached and preparations for the celebration at the Massachusetts General Hospital (MGH) began, it was recognized that a proper commemorative painting was needed. The famous Hinckley image, reproduced many times, was painted 27 years after the event. It is"
"background, the operating room nurse, Mary Clymer, and University of Pennsylvania medical school students observe. Eakins placed himself in the painting – he is the rightmost of the pair behind the nurse – although the actual painting of him is attributed to his wife, Susan Macdowell Eakins. The painting, also, records the significant transition, in just 14 years, from the earlier ""status quo"" – the participants' black frock coats represented in ""The Gross Clinic"" (1875) – to the ""white coats"" of 1889. The painting is Eakins's largest work. It was commissioned for $750 (equivalent to $ today) in 1889 by"
"The Gross Clinic The Gross Clinic, or, The Clinic of Dr. Gross, is an 1875 painting by American artist Thomas Eakins. It is oil on canvas and measures by . Many art historians consider ""The Gross Clinic"" to be one of the best American paintings ever made. Dr. Samuel D. Gross, a seventy-year-old professor dressed in a black frock coat, lectures a group of Jefferson Medical College students. Included among the group is a self-portrait of Eakins, who is seen at the right-hand side of the painting, next to the tunnel railing, with a white cuffed sleeve sketching or writing."
"painting by Grant Wood from 1930. Portraying a pitchfork-holding farmer and a younger woman in front of a house of Carpenter Gothic style, it is one of the most familiar images in 20th-century American art. Art critics assumed it was satirical in intent; it was thought to be part of the trend towards increasingly critical depictions of rural America exemplified by Sherwood Anderson's ""1919 Winesburg, Ohio"", Sinclair Lewis' 1920 ""Main Street"", and Carl Van Vechten's ""The Tattooed Countess"" in literature. However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American"
"studio in 1931 and had no settled space for some years. He probably shared a studio with Roy De Maistre, circa 1931/32 in Chelsea. ""Portrait"" (1932) and ""Portrait"" (c. 1931–32) both show a round-faced youth with diseased skin. The 1933 ""Crucifixion"" was his first painting to attract public attention and was in part based on Pablo Picasso's ""The Three Dancers"" of 1925. It was not well received and, disillusioned, he abandoned painting for nearly a decade and suppressed his earlier works. He visited Paris in 1935 where he bought a secondhand book on anatomical diseases of the mouth containing high"
"MA; numerous self-portraits; portraits of family members; and Bobby Jones, commissioned by the City of Atlanta. One of her most powerful paintings, referenced in American Women Artists, 1830–1930, is “Wounded in the War” or “Blessé de Guerre.” Here, the “hot red backdrop creates a dynamic foil to the sensitivity expressed in the foreground figures,” a man blinded in World War I and his dog, which he holds on his lap. Browne excelled in figure painting, with subjects such as ""The Chess Player,"" ""The Art Students,"" “Bridge,” “Little Leaguers,” and portraits of ballet dancers. ""A Studio of Her Own"" describes how"
"figure in the lower right corner was posed for by his sister, Antoinette, or ""Tibi"". The title refers to the fossils that Dickinson had searched for as a child in Sheldrake, and again while visiting in the summer of 1926 before starting work on the painting. A few trilobites are included, the Beethoven mask lies on a large brachiopod, and the corner of a photograph of a fossil is visible under the man's right elbow. The picture was unnamed in his letters or journals until after he had read a history of men who had developed vaccines to combat debilitating"
"painted in ""The Glen"" are present. The picture also contains the skeleton of a whaleboat in the foreground, along with an improbable weasel caught in a trap (lower left), falling rocks (left side), and a dangling walkway and steps. These details reinforce the idea of a situation without escape. Biographical events may have contributed to Dickinson's feelings: he had a bout with ulcers in 1933; he experienced back pains bad enough to wear a back brace from June 1931 until after ""Stranded Brig"" was complete; and on July 1, 1934 he entered the hospital for a battery of tests. The"
"2009 to July 2010, during which time the painting was not publicly visible. The restoration sought to revert changes that had been made by the Jefferson Medical College during the 1917 restoration. Definition of parts, including Eakins' self-portrayal, was restored, using as reference an ink wash copy of the painting made by the artist, as well as a photograph taken by the Metropolitan Museum of Art previous to the Medical College's changes in 1917. The Gross Clinic The Gross Clinic, or, The Clinic of Dr. Gross, is an 1875 painting by American artist Thomas Eakins. It is oil on canvas"
"the Doctor"", the tenth episode of the fifth series of the revived science-fiction television programme ""Doctor Who"" in 2010, although the scenes at the church were filmed at Llandaff Cathedral in Wales. In this episode the painting depicts a strange, griffin-esque creature (called a krafayis) at a window of the church, which signifies to the show's time-travelling protagonist, the Doctor, that something evil was lurking in Auvers-sur-Oise in June 1890. Only when van Gogh himself, played by Tony Curran, defeats the creature at the church, does the painting revert to its original, unaltered, state. The krafayis is later revealed to"
"Arcadia (painting) Arcadia is a 1883 painting by Thomas Eakins, Goodrich #196. It is part of the collection of the Metropolitan Museum of Art. In the early 1880s, Eakins, instructor in painting at the Pennsylvania Academy of the Fine Arts, began to photograph models dressed in classical garb or nude and posed in vaguely classical poses. He used his friends and students as models, although taking nude photographs of a student was contrary to PAFA policy. Some of the photographs were used as studies for subsequent works, including those of nude young men swimming and relaxing on the shore of"
"her breasts. Her head is tilted to the left, in the direction of the light source. The light creates deep shadows that define the structure of her face, yet is subtle enough to suggest a youthful skin tone. In a letter written to Lloyd Goodrich in 1930, Cook recalled: ""As I was just a young girl my hair is down low in the neck and tied with a ribbon...Mr. Eakins never gave (the painting) a name but said to himself it was like a 'big rose bud'."" Several art historians have remarked on the implications of Eakins' description, especially the"
"vigorous strokes of red-orange paint; the handling of multi-colored drapery has been compared to virtuoso passages by Eakins' American Impressionist contemporaries. The Philadelphia Museum of Art received the painting as a gift from Susan Macdowell Eakins and Addie Williams in 1929. The difference in mood between the paintings has been ascribed to the possibility of an affair between Eakins and Williams. Eakins' biographer William Innes Homer contrasted the second portrait, ""radiantly affectionate"", with a contemporaneous painting the artist made of his wife, in which Susan Eakins appears ""worn and strained."" Another Eakins biographer, Margaret McHenry, described the portraits by noting"
"the National Gallery of Art in Washington, D.C. in 1937. The painting was one of a number of artworks that Mellon had purchased from the Hermitage during the 1930s. He denied having made these purchases for several years, since the US was in a major depression — which would have made the acquisitions seem extravagant — and at odds with the Soviet government. The works were kept for some time in a non-public section of the Corcoran Gallery of Art in Washington, D.C. This work was labeled by some art critics as a tronie, a painting with an exaggerated facial"
"exception of the patient. It largely repeats the subject of Eakins's earlier ""The Gross Clinic"" (1875), seen at the Philadelphia Museum of Art. The painting echoes the subject and treatment of Rembrandt's famous ""Anatomy Lesson of Dr. Nicolaes Tulp"" (1632) (in the Mauritshuis museum in The Hague, the Netherlands), and other earlier depictions of public surgery such as the frontispiece of Andreas Vesalius's ""De humani corporis fabrica"" (1543), the ""Quack Physicians' Hall"" (""c."" 1730) by the Dutch artist Egbert van Heemskerck, and the fourth scene in William Hogarth's ""The Four Stages of Cruelty"" (1751). Students of the medical class of"
"and is over-sized compared to the rest of his face; the theme of the painting seems to center on the sense of vision. He sees to be, according to the critic Ernst van Alphen ""under the influence of something he sees. He is in a kind of hypnotic trance"". The painting places an emphasis on Leiri's skull, and has been compared x-ray photographs used as source for his 1933 ""Crucifixion"". For the same reason, and because of its reconstruction of the human head, it has also been compared to African Tribal masks, which Bacon was keenly interested in. The painting"
"he had with finishing it to his satisfaction. Originally titled ""The Glen"", it was renamed after the body and diary of the Swedish polar explorer Salomon August Andrée was found in 1930, but not before 1933, when he still referred to the picture by its original title and identified it as ""[t]he one with the balloon at the top."" The presence of the balloon in the originally titled painting Dickinson explains as referring to a memory of a balloon ascent from his childhood evidently awakened by his stay with his new bride at the family cottage. Ward points out that"
"– 27 January 1968). She probably suffered from Charcot–Marie–Tooth disease, a genetic polyneuropathy. Wyeth was inspired to create the painting when he saw her crawling across a field while he was watching from a window in the house. He had a summer home in the area and was on friendly terms with Olson, using her and her younger brother as the subjects of paintings from 1940 to 1968. Olson was the inspiration and subject of the painting but she was not the primary model; Wyeth's wife Betsy posed as the torso of the painting. Olson was 55 at the time"
"were posed by models re-enacting what had been an actual boxing match. Taking the Count Taking the Count is an 1898 painting by American artist Thomas Eakins. It is part of the collection of the Yale University Art Gallery. This depiction of a prizefight marks Eakins' return to anatomical studies of the male figure, this time in a more urban setting. ""Taking the Count"" was his second largest canvas, but not his most successful composition. The same may be said of his ""Wrestlers"" (1899). More successful was ""Between Rounds"" (1899), for which boxer Billy Smith posed seated in his corner"
"engraved in ""The Literary Souvenir"" for 1831. Two pictures by Newton, ""Yorick and the Grisette"" (1830) and ""The Window or the Dutch Girl"" (1829), were purchased by Mr. Vernon and passed with his collection to the National Gallery; a third, ""Portia and Bassanio"" (1831), forms part of the Sheepshanks collection in the South Kensington Museum. Newton painted numerous other pictures, which found immediate purchasers, and were nearly all engraved. Among them were: ""Lear, Cordelia, and the Physician"" (Lord Ashburton), ""Abbot Boniface"" (Earl of Essex), ""The Duenna"" (royal collection), and ""The Importunate Author"". He painted several portraits, including those of Thomas"
"during the late 1930s and early 1940s. Barclay was one of the first artists to paint World War II pin-up girl, Betty Grable. In 1930, the General Motors Corporation selected Barclay's ""Fisher Body Girl"" for a series of advertisements, and she quickly became as popular as ""The Gibson Girl"" and ""The Christy Girl"". He used his second wife Helene, 19 years old, as the model for the iconic Fisher Autobody image. Helene later appeared in magazine advertisements and was so well published with her languid body plastered across the country on billboards, that she was recognized wherever she went. He"
"been inspired by the psychoanalyst Sigmund Freud's study of the delusions of a paranoiac, Daniel Paul Schreber. Freud identified Schreber's fantasy of becoming a woman as a ""castration complex."" The central image of two pairs of legs refers to Schreber's hermaphroditic desires. Ernst's inscription on the back of the painting reads: ""The picture is curious because of its symmetry. The two sexes balance one another."" Throughout the 1930s, Surrealism continued to become more visible to the public at large. A Surrealist group developed in Britain and, according to Breton, their 1936 London International Surrealist Exhibition was a high-water mark of"
"Henry E. Huntington standing (now at the Howard Huntington Memorial Hospital in Pasadena) and a seated one (which was engraved by Witherspoon) as well as another smaller seated version which was acquired by John and Elizabeth Huntington Metcalf; his portrait of their daughter Mary Brockway Metcalf was for some years hanging in the lobby to the office of the Director of the Huntington Library. In 1930, Müller-Ury painted the former Miss Gladys Quarré of San Francisco (then Mrs Frederick Peabody of Montecito, Santa Barbara); later she became known as Gladys Quarré Knapp, a socialite and friend of many Hollywood actors."
"the painting. At some point between 1917 and 1925 a treatment of the painting took place that dramatically altered the composition of the painting. It is not known who worked on the painting or when. A comparison of a photograph of the painting taken in October 1917 for the ""Loan Exhibition of the Works of Thomas Eakins"" at the Metropolitan Museum of Art and a reproduction of the painting that appeared as the frontispiece of Jefferson Medical College's 1925 yearbook show major differences in the relative tones of the painting, indicating a major restoration in which paint was removed. The"
"of Ben Nicholson. Some art critics have classified it as a surreal artwork, influenced by Pablo Picasso's 1928 drawing of a ""Project for a Monument"", Alberto Giacometti's 1932 sculpture ""Woman with her throat cut"", and works by Jean Arp or Joan Miró. Moore took photographs of the sculpture from four different angles in 1935-35, using dramatic raking light. Moore returned to the theme of multi-part human figures the 1950s and 1960. The work was first exhibited at the Zwemmer Gallery in London, in October 1935. It did not find a buyer, and was exhibited with other works by Moore at"
"was modelled after the swaggering Henry depicted by Holbein. A full-size cartoon done by Holbein in preparation for the portrait group survives in the collection of the National Portrait Gallery, showing only the left-hand third of the group, with the two Henries. This was used to make an outline of the design on the wall, by pricking holes along the main lines and pushing powdered soot through. The cartoon differs slightly from the final version. Most notably it shows Henry standing in a more traditional three-quarters view rather than the final and iconic head-on position. Also surviving is a much"
"by a bout with undulant fever. His wife was operated on in January 1954, and three weeks later and three days before the anniversary of his brother's death, he began his last ""Self-Portrait"". As in the portrait of 1950, his arms appear confined, but in place of the flashing eye and teeth in the earlier work these openings are shown as dark holes, and a heavy ledge appears to bear down on his head. The image is of a heroic figure suffering anguish and defeat. Dickinson's major painting of the 1940s, a work that he worked on between 1943 and"
"date in a letter written 31 March 1934 (""about 40"") does not match the number entered in his journals unless the ""about 15 sittings"" he had put in on the earlier painting are added in. In the final version the ice has disappeared and upended rocks resembling those he had painted in ""The Glen"" are present. The picture also contains the skeleton of a whaleboat in the foreground, along with an improbable weasel caught in a trap (lower left), falling rocks (left side), and a dangling walkway (left side) and steps (lower right), that Dickinson said were like those at"
"Wood from 1930. Portraying a pitchfork-holding farmer and a younger woman in front of a house of Carpenter Gothic style, it is one of the most familiar images in 20th-century American art. Art critics had favorable opinions about the painting; like Gertrude Stein and Christopher Morley, they assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson's 1919 ""Winesburg, Ohio"", Sinclair Lewis's 1920 ""Main Street"", and Carl Van Vechten's ""The Tattooed Countess"" in literature. However,"