xii, 402 pages., 87 text photos., 26 color illsustrations, bibliography, 8vo. (9 1/2 x 6 1/2), Octavo, dark blue boards, cloth spine, gold text on spine, dust jacket. Very good condition, unsold inventory from an old bookstore. Inventory #70059-3.

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Detalles bibliogr�ficos

T�tulo: Grant Wood: A Life
Editor: Knopf
Fecha de publicaci�n: 2010
Idioma: Ingl�s
ISBN 10: 030726629X
ISBN 13: 9780307266293
Encuadernaci�n: Hardcover
Impresi�n: 1st Printing
Estado: As New
Estado de la sobrecubierta: As New
Peso: 2 libras

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Sinopsis

He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.”

Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age.

In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . .

R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America.

We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four).

We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work.

Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.”

Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”

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R. Tripp Evans is Professor of Art History at Wheaton College in Massachusetts. He is the author of Romancing the Maya: Mexican Antiquity in the American Imagination, 1820-1915 (2004). He received his doctoral degree in the history of art from Yale University and has served as a visiting lecturer at Yale, Wellesley College, and Brown University. He and his partner, Ed Cabral, live in Providence, Rhode Island.

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The Old Print Shop, Inc. was founded in New York City in 1898 and is currently owed by Harry and Robert Newman. The gallery specializes in American art with a specialty in printmaking, 1700 to contemporary, maps prior to 1950, and books relating to art, printmaking, and architecture. Edward Gottschalk founded The Old Print Shop in 1898. At that time, it was located between 9th and 10th Streets on Fourth Avenue in back of Wanamaker's. He moved the shop to its current location in 1925. After Mr. Gottschalk's death, his widow hired Harry Shaw Newman, who had sold prints to Mr. Gottschalk, to run the Shop with an option to buy over a five-year period. The contract was signed on October 11, 1928. The final payment was due by October 31, 1933. The roaring twenties was an exciting time to own an art gallery. Prices for prints and paintings were at an all-time high. But in 1933, the middle of the Great Depression, few people were buying art, and it was a bad time to owe money. Through the help of a friend and fellow Currier & Ives enthusiast, Harry T. Peters, Harry Shaw Newman was able to get a loan that enabled him to make his final payment on the shop in 1933. The shop's first period of strong growth began during the 1940's. Although World War II was devastating Europe and Asia, most of America was back at work. Harry Shaw Newman realized that nineteenth-century American paintings were being overlooked by collectors and museums and was quick to bring them to the attention of the public. In the 1950's it was American primitive art and sculpture. The Shop was instrumental in helping build several notable collections of American primitive art. During the 1960's, 1970's, and 1980's there was a re-evaluation of American art from the past two centuries. The Shop chose at this time to concentrate on American printmakers and publishers from the eighteenth, nineteenth, and early twentieth centuries. Today, many museums in America, Europe, and Asia collect and display fine prints. As The Old Print Shop moves into its second century, it will continue to look for art that has been overlooked and reintroduce it to patrons and collectors.

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