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 :. | The Landscape of Autumn | Fabrication | The Path intersect the Garden | Carriage Business | Make into Hay |
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Leopold Robert
(13 May 1794 - 20 March 1835), Swiss painter, was born at La Chaux-de-Fonds (Neuchâtel) in Switzerland, but left his native place with the engraver Girardet at the age of sixteen for Paris. He was on the eve of obtaining the grand prix for engraving when the events of 1815 blasted his hopes, for Neuchâtel was restored to Prussia, and Robert was struck off the list of competitors as a foreigner. Whilst continuing his studies under Girardet he had never ceased to frequent the studio of David, and he now determined to become a painter, and only returned to his native country when his master himself was exiled. At Neuchâtel he attracted the notice of Roullet de Mezerac, who enabled him by a timely loan to proceed to Rome. In depicting the customs and life of the people, of southern Italy especially, he showed peculiar feeling for the historical characteristics of their race. After executing many detached studies of Italian life Robert conceived the idea of painting four great works which should represent at one and the same time the four seasons in Italy and the four leading races of its people. In the "Return from the Fete of the Madonna dell'Arco" (Louvre) he depicted the Neapolitans and the spring. This picture, exhibited at the Salon of 1827, achieved undoubted success and was bought for the Luxembourg by Charles X; but the work which appeared in 1831 the "Summer Reapers arriving in the Pontine Marshes" (Louvre), which became the property of Louis Philippe established the artist's reputation. Florence and her autumn vineyards should now have furnished him with his third subject. He attempted to begin it, but, unable to conquer his passion for Princess Charlotte Napoleon (then mourning the violent death of her husband, Robert's devoted friend), he threw up his work and went to Venice, where he began and carried through the fourth of the series, the "Fishers of the Adriatic." This work was not equal to the "Reapers." Worn by the vicissitudes of painful feeling, and bitterly discouraged, Robert committed suicide before his easel on 20 March 1835, on the tenth anniversary of the melancholy suicide of a brother to whom he had been much attached.
Robert Levrac Tournieres
Thomas William Robertson (9 January 1829 ?C 3 February 1871), usually known professionally as T. W. Robertson, was an Anglo-Irish dramatist and innovative stage director best known for a series of realistic or naturalistic plays produced in London in the 1860s that broke new ground and inspired playwrights such as W.S. Gilbert and George Bernard Shaw.
Joachim von Sandrart
(12 May 1606 - 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. Sandrart was born in Frankfurt, but the family originated from Mons. According to Houbraken (who used his Teutsche Akademie as a primary source), he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Gillis Sadelaar (also known as Aegidius Sadeler of the Sadeler family). Sadelaar in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolaas Ringnerus. He then set out for Bologna, where he was met by his cousin on his father's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). Sandrart became famous as a portrait-painter. After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637.