Is Marty Stuart A Crossdresser

Grant Wood

A strange image. A night scenes from a dream, mysterious. In the houses right of the church, the light is addressed, people are stepped in the door and look out the window. Why? The answer lies in the little black riders in front of the church, the galloping straight out of the light in the darkness. This is the famous Paul Revere , who now rides in the night through the villages and The British are coming! calls. In reality, it's probably been a little different than in the beautiful story that is in every American school textbook. The picture is from the American painter Grant Wood, who now, 52 one day before his Birthday in 1942 died.

A picture of him is in everyone's memory images, as we have our picture memory, which is not dependent on a hard drive. It is American Gothic shows and the sister of the painter and his dentist in front of a wooden house in a style that is called in America Carpenter Gothic . The house looks a bit like like the house in Grant Wood was growing up, but it's a different house, Wood discovered by accident. It still stands, and you can be photographed in front ☞ .

In World War I he painted camouflage on military vehicles, is safe for a budding artist, a great professional experience. I mean do not even ironic. If you paint large areas, you acquire the skills for mural painting. And that is important in the thirties in America, decorate because the government assistance programs almost all painting public buildings with murals. Not only is the famous Diego Rivera .

Paul Klee the way in World War I camouflage painted on airplanes, but for his type of painting was probably no professional training. to paint on the idea of an ice cream truck with a Rocky Mountain landscape, clover would not have happened. Grant Wood already. Landscapes are the main subject of his painting. Time now American Gothic and the equally famous Daughters of the Revolution or the small Washington ( Parson Weem's Fable ) eliminate the cherry cases. I stay in the countryside, otherwise I could write all week about Grant Wood, this is an interesting man, we are confident agree that he is a realist. If not this species as a realist Norman Rockwell .

And now that you are not the wrong idea: that is there left no abuse victims. Sitting in front of the door of the director, because she has won the Klopperei. Norman Rockwell's funny, so love him the Americans. And because this is a painter, one can easily understand. But Grant Wood's more, he is enigmatic and satirical. If he himself and his art claims I am the kind of fellow Plainest you can find. There isn'ta single thing I've done, or experienced that's been even the least bit exciting , then We can not take it at face value. His pictures often give a puzzle, do not the pictures of Norman Rockwell.

Grant Wood was after the war in Paris, like Hemingway and Fitzgerald and so many Americans, the term used for the Lost Generation . He has since covered also, as you are an artist from the Boheme presents: red beard, black glasses James Joyce, and Schiller Samtjackett black collar. At that time he has also worked in the style of the Impressionists, as you can on the image ☞ see this Parisian street corner. But so it really did not care about this, but his inspiration came from Europe but not from the Contemporary art. What influenced him was the medieval realism of Jan van Eyck. And the cold realism of Lucas Cranach.

In Munich he met the New Objectivity, and this old master realism of a Christian Schad (left) appeared to him worthy of emulation. If you felt at the picture of the night ride of Paul Revere silversmith to Franz Radziwill (for example in the treatment of light) recalls, you're right. And if you missed the little Radziwill articles on this blog, then read it but just ☞ here to . To which I am very proud because I am the first who has found the correct name of the pilot. And if you are now intrigued by the paintings of the Neue Sachlichkeit, then you should visit this blog ☞ . Much more is not the imagery of that time.

Back in Iowa, Grant Wood will now paint landscapes, strange mysterious landscapes. We call this painting regionalism. Regionalism is now the big thing in American art. If you like, Faulkner is also a regionalist. For Sherwood Anderson had told him Y ou have to have somewhere to start from: then you begin to learn. It do not matter where it was, just so you remember it and is not ashamed of it. Because one place to start from is just as important as any other. You're a country boy, all you know is that little patch up there in Mississippi where you started from . And so begins Faulkner to write about his ☞ little patch . Grant Woods to find pictures of agriculture in contrast to the reality of the thirties, when we think of a novel like The Grapes of Wrath, the FSA photograph or a documentary like ☞ The Plow That Broke the Plains .

Although Grant Wood as a child of Quakers on a farm in Iowa, grew up, and although he is now a farmer directed and wrote a whole pamphlet against big cities, he hated the country life and the work on the farm forever. Above all, the smell of cows and pigs, he was afraid he would never get rid of the. On the other hand, tells us the same man that he has not endured the bohemian life in Paris in the Café du Dome : Then I realized that my best ideas I ever had came while milking a cow. So I went back to Iowa . In the picture, showing the notorious liar Parson Weems in a similar pose as Charles Willson Peale , one could read into it enough ambiguity. I leave that open, because I again will come back to a landscape. Especially since you ☞ here a superb interpretation by Steven Biel can read. Harvard professor Steven Biel has American Gothic: A Life of written America's Most Famous Painting also a very good book about Woods Picture American Gothic.

As for me the pictures of Grant Woods has most fascinated by is this: Death on the Ridge Road . One of the few pictures of him to see into the machines. He is one of the few painters in this period, whose paintings are machine empty. Even his friend Thomas Hart Benton, who it is similar in many respects, has tractors and trains in his paintings. By Charles Demuth and Charles Sheeler cold world of technology we do not talk now. 1934 Alfred H. Barr was the first exhibition at MoMA on Machine organized manner. Of all of which can not infect Grant Wood, he seems to Rilke's an acquired Everything threatens the machine keep.

Even without the title of the picture the coming doom seems visible to everyone, the big sedan that since spun up the hill, has something of a coffin in itself, to fit the telephone poles that resembles a cross on the grave. If you look closely and far left counting the telephone poles in the background there are even three. What Some interpreters of the image at Calvary remember, but I do not quite why. Grant Wood painted the picture, as his friend Jay Sigmund an accident on the road to Stone City had. Jay Sigmund was next to his job as Director of Insurance also a poet, and we thank him for the little poem:

Death used to ride a white-maned horse

Before These gray roads lined the sod

But now he travels on his course

thing Astride a sleek, rubber-shod.

Sigmund, who (like the painter Edward Hopper) driving a car was not good, has the accident survived (he died a few years later in a hunting accident), but Grant Wood, who has absolutely no cars and like the one is morbid little bit, the accident takes as a reason his et in Arcadio ego to paint variant. The small little morbid I mean the fact that Grant Wood once a coffin lid as a door of his studio has used. Cole Porter had bought the picture, but later it has given the Williams College Museum of Art, it has been 1947 in Massachusetts and not in Iowa, where it belongs.

Modern critics the picture means something quite different. Where Grant Wood is naturally gay, and it is then on the road fences: As a homosexual living in Depression-era Iowa, Wood would have felt himself constantly fenced in, or out, trapped, isolated or excluded from the people on Main Street Whose nature it was to feel threatened by foreign persons or orientations to themselves . And the interpreter then finds such beautiful things like: In the enigmatic Death on the Ridge Road, 1935, Wood anticipates the fate of those luckless souls Whose path through life lies not in the lush, green meadows but on the steep, perilous curves running between the fences, a path delineated by Starkly dark, foreboding storm clouds and ominously silhouetted with crosses. Crosses serve as reminders of the power of repressive institutions like the church, the state and the family. Death can, of course, be figural as well as literal: 1935 which, not coincidentally and prophetically, the same year he was married.

Yes, what else can I say? invented since the American literary criticism, the symbol hunting has where all that is longer than wide, is a penis symbol, so much becomes possible. What always fascinated me is that this nonsense is still in print. I had years ago in the features section of the Frankfurter Rundschau read an article in which it was proved that Schubert was gay. The evidence was as follows out: 1 Karl May was gay, which Arno Schmidt Sitara and getting there proved . 2. James Fenimore Cooper was gay, because Karl May had written off by him and his hero Leatherstocking and Chingachgook a relationship with each other. 3. Franz Schubert loved to read Cooper - that Schubert was gay. I first look to see whether the output from 1 April was, but it was deadly serious.

I would now rather not know what critics of this couleur in the image of Norman Rockwell will be read into the top. But if we are to remain in a serious interpretation, I can only reading Eckart Gillen The image of America: A lost paradise. To Regionalist painting and magic realists recommend. The long article can be found in the catalog America: Sleep and depression 1920/40, which the catalog of the large-scale exhibition in Berlin (1980) and Hamburg (1981). There is nothing better after thirty years of art of this period, and you can find the catalog when ZVAB priced.

Sometimes I think that critics are the death of books and pictures. It is of the essence of magic realism - to the Grant Wood as well as Edward Hopper can be counted - that give the picture puzzle. However, each puzzle will be solved? You can not just look at a picture marvel and dream? I would like to quote here a little episode (which I have in my ☞ Hopper Post quotes before, but twice can not hurt), which is found in Carl Seelig walks with Robert Walser. As seen Walser and Seelig Jakobsbad like a monastery, baroque style building. And Seelig asks we want to look into? What Robert Walsh replied: This is all pretty much from the outside. You do not want to get behind all the mysteries: I've held all my life this way: Is not it nice that our existence in so many is an unfamiliar and strange, as if behind Efeumauern? This gives him an unspeakable charm that is lost more and more.