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Grant Wood (1891-1942)
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION 
Grant Wood (1891-1942)

Fertility

Details
Grant Wood (1891-1942)
Fertility
signed and dated 'Grant Wood-1939' (lower left)
charcoal on paperboard
18 x 24 in. (45.7 x 61 cm.), image size; 22 x 28 in. (55.9 x 71.1 cm.), sheet size
Provenance
Kennedy Galleries, Inc., New York.
Acquired by the present owner from the above, 1971.
Literature
Kennedy Quarterly, vol. VIII, no. I, "1900-1960: American Masters," March 1968, p. 29, no. 25, illustrated.
J.S. Czestochowski, exhibition catalogue, John Steuart Curry and Grant Wood: A Portrait of Rural America, Cedar Rapids, Iowa, 1981, p. 196, illustrated.
Exhibited
Chicago, Illinois, Art Institute of Chicago, Memorial Exhibition of Paintings and Drawings by Grant Wood, October 20-December 10, 1942.
Cedar Rapids, Iowa, Cedar Rapids Art Center and elsewhere, John Steuart Curry and Grant Wood: A Portrait of Rural America, January 10-April 30, 1981.

Lot Essay

By the mid-1930s, Grant Wood's Regionalist imagery was well-known throughout the country and his schedule of exhibitions and lectures afforded him little time to work on major paintings. As a result, much of his work after 1934 concentrated on drawings, illustrations, and prints. In 1937, Wood entered into an agreement with Associated American Artists, New York, to publish a minimum of four lithographs a year, resulting in a total of nineteen lithographs until 1941. The subjects of these prints most often mirrored themes Wood was already well acquainted with: rural life, farm scenes, and the changing seasons. The present work, Fertility, was reproduced in 1939 as a lithograph measuring 9 by 12 inches, most likely in an edition of 250.

During the second half of the 1930s, agricultural crises caused great unrest in farming communities throughout the Great Plains. Due to these national issues and influences "from the literature of Steinbeck and Faulkner to the American scene painters, artists in the United States turned inward" (B.M. Roberts, "The European Roots of Regionalism: Grant Wood's Stylistic Synthesis," Grant Wood: An American Master Revealed, exhibition catalogue, San Francisco, California, 1995, p. 32)

Although Wood's home "was in the Midwest, and he generally used his own territory to illustrate how Regionalism worked, he envisioned Regionalism as a national movement, with each region supporting its own artists...To Wood: 'Each section has a personality of its own, in physiography, industry, psychology. Thinking painters and writers who have passed their formative years in these regions, will, by care-taking analysis, work out and interpret in their productions these varying personalities.'" (W.M. Corn, Grant Wood: The Regionalist Vision, exhibition catalogue, New Haven, Connecticut, 1983, p. 43) In the present work, it is evident that given Wood's respect for the plight of the rural community and a sentimentality for agrarian culture, his "use of idyllic images to celebrate life on the land was a kind of elaborate praise of the farmer's exalted position." (J.M. Dennis, Grant Wood: A Study in American Art and Culture, New York, 1975, p. 210)
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