Midwestern themes were developed by the Regionalists during the 1930s.
In the 1930s, there were good and bad things about the heartland.
Wood, who later taught at the University of Iowa, portrays an old man and his daughter standing in front of a Gothic Revival framed house.
The clothes they wear are old-fashioned.
The building was modeled on a modest small-town home in Eldon, Iowa, and the matriarch wore a homemade ricrac-edged apron.
The daughter's sad face is similar to her father's; she is unmarried and likely to stay that way.
Many young men fled the farms for jobs in Chicago in the 1930's, making it hard for husbands to come by in the Midwest.
This painting is a tribute to the Flemish Renaissance painters that Wood admired.
During the Great Depression, President Franklin D. Roosevelt established a number of programs to provide relief for the unemployed and to revive the nation's economy.
The Public Works of Art Project gave employment to 4,000 artists who produced more than 15,000 works.
The Section of Painting and Sculpture was established by the Treasury Department in October 1934.
The FAP, pro ings, were each accompanied by a text.
His themes include ducing a staggering 108,000 paintings, 18,000 sculptures, history of Harlem and the lives of Haitian revolutionary 2,500 murals, and thousands of prints, photographs, and American abolitionist posters, all of which became public property.
In 1940-1941, Lawrence created his most expansive series of murals and sculptures.
The doors of a South America, the Resettlement Agency (RA) and Farm Security ern train station are used by American migrants on their way to Chicago, New York, or St. Louis.
The photographers were hired to document Louis.
Lawrence's silhouette style, with the effects of the Depression across the country in photo its flat, bright shapes and colors, draws consciously and graphs available to this day, copyright-free, to any newspa directly--like that of Douglas--on African visual sources.
There is tempera on masonite.
There is oil on the board.
The Figge Art Museum is successors to the Estate of Nan Wood Graham.
The plight of migrant farm workers was documented in 1935 and 1939, but the make laborers who fled the Dust Bowl conditions of the Great shift tent in which the family was camped were not included.
She cared for her subject, for whom she sought Federal aid, and she could fully constructed her photograph for maximum emotional not allude to the fact that Thompson had been a teenage impact.
She focused on the mother or even that she was Cherokee.
The composition refers to images of the Virgin Mary holding the Great Depression and the Child Jesus.
The propaganda power of the visual image is demonstrated by 21-6) or perhaps sorrowful still.
A salesclerk at Woolworth's earned only $11 a week during the Depression, but the FAP paid painters and sculptors about $20 a week to devote themselves full time to art.
New York City's painters developed a group identity, meeting in the bars and coffeehouses of Greenwich Village to discuss art.
The financial grounds on which New York artists built a sense of community allowed New York to supersede Paris as the center of the world of Modern art.
Canada's great untamed wilderness was painted by Canadian artists in the 19th century to assert independence from European art.
A number of Canadians used the academic realism they learned in Paris to paint realistic subjects, while others painted the Canadian landscape through the lens of Impressionism.
Tom Thomson was a key figure in this movement.
She said that they had been living on frozen vegetables.
The children killed birds in this composition.
She had just sold the tires from her tree and was going to buy food.
She sat in that lean-to tent with her children against a lake background, huddled around her, and seemed to know that my pictures might help her, and so she helped me.
There was an equal amount of hills and sky.
One of his favorite subjects was the landscape of the Library of Congress.
There is oil on the canvas.
Emily Carr was born in Victoria, British Columbia and studied art in San Francisco, England and Paris.
In the next 23 years, Carr visited more than 30 sites across British Columbia to make drawings and watercolors as a basis for oil paintings.
Carr returned to Tom Thomson's former colleagues after a group of landscape painters established in 1920 by some cessful exhibition of her Native subjects.
They opened a boarding house and painted their interest in painting.
Carr was invited to participate in an exhibition of West Coast art at and powerfully sculptural style full of dark, brooding the National Gallery of Canada in 1927.
In her book, Carr described the raven as old and rotting, but in the painting she shows it as strong and majestic, thrusting dynamically above the swirling vegetation, a symbol of enduring spiritual power and national pride.