Vase with Woman Tending a Goose and Chickens

Object Name: 
Vase with Woman Tending a Goose and Chickens

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Object Name: 
Vase with Woman Tending a Goose and Chickens
Accession Number: 
89.4.33
Dimensions: 
Overall H: 35.3 cm; Rim Diam: 21.2 cm
Location: 
Not on Display
Date: 
1939
Credit Line: 
Gift of Harry W. and Mary M. Anderson in memory of Carl G. and Borghild M. Anderson and Paul E. and Louise Wheeler
Web Description: 
Grant Wood was a Midwestern painter whose work focused on rural and historic American subjects. He is best known for his 1930 painting American Gothic, now housed in The Art Institute of Chicago, which depicts a farmer, holding a pitchfork, and his wife in front of an old, Victorian-style farmhouse.
Department: 
Series: 
Twenty-seven Contemporary Artists
Provenance: 
Anderson, Harry W., Source
Anderson, Mary M., Source
Color: 
Technique: 
Primary Description: 
Vase with Woman Tending a Goose and Chickens, "Twenty-seven Contemporary Artists" series. Colorless lead glass; blown, engraved. Tall cylindrical vessel flared out slightly near lipless, fire-polished rim; one side of vessel engraved with barnyard scene of female figure with topknot and long aproned dress holding a bowl of grain in left hand and feeding a goose with her right, three chickens stand at her feet on ground suggested by an island of small punties encircled by a band; figure flanked on both sides by suggestion of foliage; flattened base of vessel attached to broad, shallow domed base with ground and polished edge; polished pontil; inscribed in script on polished pontil: "Steuben 1945"; replica of artist's signature at lower right corner of design: "Grant Wood".
Grant Wood: American Gothic and Other Fables
Venue(s)
Whitney Museum of American Art 2018-03-02 through 2018-06-10
The Whitney Museum of American Art is organizing a major retrospective of the art of Grant Wood (1891-1942) scheduled for March 2 - June 10, 2018. It will present a revisionist and more complete idea of Wood's achievement, one that takes him out of the confining limits of the problematic term "Regionalism" with which he is ceaselessly associated. Wood was an innovative and sophisticated painter whose work deserves to be understood in a much broader context. The persistently narrow categorizing of the artist has generally kept him out of dialogues on innovative, modernist painting. Though deeply tied to his native state, Wood traveled widely, spent extended periods of time in Europe, and interacted with some of the leading figures of his era. Iowa provided a rich, locally-specific inspiration for his subjects, but Wood also distilled from diverse aesthetic sources, such as Renaissance painting and nineteenth-century photography. While he remained a representational artist, he created highly artificial worlds that reveal his deep understanding of abstract design. Wood worked primarily in two of the most traditional genres, portraiture and landscape, yet he infused them with a tension and a sense of anxiety that profoundly reflect the epistemological and social upheavals of his era. His work has important parallels to Surrealism, Magic Realism, "Neue Sachlichkeit", Precisionism, and Art Deco design, which this exhibition will emphasize for the public in both the presentation of his work and the accompanying catalogue. Grant Wood's American Gothic—the double portrait of a pitchfork-wielding farmer and a woman commonly presumed to be his wife—is perhaps the most recognizable painting in 20th century American art, an indelible icon of Americana, and certainly Wood's most famous art work. But Wood's career consists of far more than one single painting. Grant Wood: American Gothic and Other Fables brings together the full range of his art, from his early Arts and Crafts decorative objects and Impressionist oils through his mature paintings, murals, and book illustrations. What the exhibition reveals is a complex, sophisticated artist whose image as a farmer-painter was as mythical as the fables he depicted in his art. Wood sought pictorially to fashion a world of harmony and prosperity that would answer America's need for reassurance at a time of economic and social upheaval occasioned by the Depression. Yet underneath its bucolic exterior, his art reflects the anxiety of being an artist and a closeted gay man in the Midwest in the 1930s. By depicting his subconscious anxieties through populist images of rural America, Wood crafted images that speak both to American identity and to the estrangement and isolation of modern life. This exhibition is organized by Barbara Haskell, curator, Whitney Museum of American Art.
Grant Wood's Studio: Birthplace of American Gothic
Venue(s)
Renwick Gallery 2006-03-10 through 2006-07-16
 
Grant Wood: The 5 Turner Alley Studio Years
Venue(s)
Cedar Rapids Museum of Art 2005-09-01 through 2006-01-15
Glass and Glamour: Steuben's Modern Moment, 1930-1960
Venue(s)
Museum of the City of New York 2003-10-14 through 2004-04-11
 
Corning Glass Center 2000/Steuben Exhibition
Venue(s)
Steuben Glass, Inc. 1997-09-20 through 1997-10-11
Grant Wood : American Gothic and other fables (2018) illustrated, pp. 173, 262, pl. 82;
What was contemporary art? (2013) illustrated, p. 236 (fig. 4.18); BIB# 128783
Le verre du XXe siècle (2006) illustrated, p. 184 (lower left); BIB# 103157
Grant Wood's Studio. Birthplace of American Gothic (2005) illustrated, p. 108, fig. 97; pp. 107-108; BIB# 90971
Glas des 20 Jahrhunderts (2005) illustrated, p. 184 (lower left); BIB# 95989
DK Collector's Guides: 20th Century Glass (2004) illustrated, p. 184, lower left; BIB# 79746
20th-century Glass (2004) illustrated, p. 184; BIB# 100097
20th-century Glass (2004) illustrated, p. 184; BIB# 79746
Recent Important Acquisitions, 32 (1990) illustrated, p. 203, #39; BIB# AI74245
The Corning Museum of Glass Annual Report 1989 (1990) illustrated, pp. 5-6; BIB# AI96380
Engraved vase (1938) illustrated BIB# 68623