In the following passage from Grant Wood: A Life (Knopf, 2010), R. Tripp Evans’s new biography of the man behind American Gothic (1930), the author examines a critical work from the artist’s mid-career: 1934’s Dinner for Threshers. Produced in the wake of dealer Maynard Walker’s pivotal 1933 show American Painting Since Whistler – the exhibition that gave rise to the movement later known as regionalism – Dinner for Threshers is both profoundly autobiographical and a testament to Wood’s use of old master sources.
Houstonians take pride in the notion that traditional Texan values germinated along the eastern seaboard during the Revolutionary era, migrated to the independent Republic of Texas in 1836, and then settled in.
The name Gustav Manz is virtually unknown today, but during his lifetime he was highly esteemed in the American jewelry industry.What happened?
Contumacious individualists, Rhode Island’s settlers did not often organize formal settlements on the Puritan model; Bristol is the finest exception. If it today retains so much of its character and scale, it is because the geometric logic of its plan remained appropriate. Thames Street served the physical functions of theharbor, Hope the commercial, and High the civic. The result is one of the most enduring and successful essays of Puritan town planning, here in a maritime setting.—William H. Jordy1