Grant Wood's Family Album

  title={Grant Wood's Family Album},
  author={Sue Taylor},
  journal={American Art},
  pages={48 - 67}
This article departs from the regionalist account of several key works by Grant Wood (1891–1942) to explore how they also relate to the artist’s inner life, especially his feelings (conscious or unconscious) about members of his immediate family. Author Sue Taylor argues that the pictures are informed by Wood’s complex emotions, from the unresolved oedipal guilt he likely experienced following the sudden death of his father in 1901, to intense feelings of sibling rivalry and what one friend… 
1 Citations
Seeds of agribusiness: Grant Wood and the visual culture of grain farming, 1862--1957
This dissertation uses selected works of Grant Wood's art as a touchtone to investigate a broader visual culture surrounding agriculture in America during the late nineteenth and early twentieth


217, that "all of Wood's records and correspondence were given to [him] with the idea that he was to write the official biography
  • The Story of Cedar Rapids
  • 1950
Scooting Back to Anamosa: Grant Wood at the Whitney: A Fresh Look at an American Icon
  • Boston Globe
  • 1930
For Maryville's opposition to representation and fiction, see Rinard and Wood
  • Standard Edition
  • 1923
Artist in Iowa, 207, who describes, 181, Wood's sighting of his mother in the doorway. Donald Kuspit
  • Art in America
Artist in Iowa, 47, and from Nan Wood Graham's scrapbooks and personal correspondence file at the Figge Art Museum, Davenport. For Wood's fondness for his Portrait of
For the report of the presidential assassination, see Rinard and Wood
His sister, Nan Wood Graham (1899 -1990), is also buried in the Weaver section. The two plots adjacent to Maryville's grave went unused and were eventually sold to another family
  • Rebecca (1820 -1908) and Joseph
Iowa Cows Give Grant Wood His Best Thoughts
Iowa Secret
  • Art Digest