The Washgton Post</tle><path d="M39.2 32v36.6c4.7-2.8 7-6.8 8.7-12.1l1.2.6c-1.1 13.2-10.3 26-24.3 26S0 72.6 0 55.8C0 43 7.7 35.1 18.7 28.2a16.11 16.11 0 00-4.4-.6c-7.2 0-11.4 4.9-11.4 9.9H1.5a14.77 14.77 0 01-.1-2.1c0-9.3 5.5-19.7 16.9-19.7 7.3 0 12.9 6.7 21.4 6.7 4.3 0 6.7-1.6 8.4-5.3h1.2c-.1 6.5-2 12.8-10.1 14.9zm-19-3.3C15.1 34 10.1 39.6 10.1 50.9c0 6.2 1.9 12.4 6.6 16.4l3.1-1.7V40.3L16.6 42l-1-1.6 15-8.4c-3.8-.8-6.9-2.3-10.4-3.3zm17.1 3.7a17 17 0 01-2.3.1 17.52 17.52 0 01-4-.4v29.5l-12.8 7a15.57 15.57 0 009.9 3 22.58 22.58 0 009.2-2zm44 9.2v34.3c0 9.6-8.51 16.11-18 18l-.6-1c4.7-2.3 7.8-6.41 7.8-11.41V45.7l-4.9-4.5-2.6 2.6v27.1l3 2.8v.4l-8.1 8.61-9.3-8.51v-.4l3.6-3.8V25.8l10.6-11.3.2.1v26.6l8.7-9.2 8.7 7.9 2.7-2.6 1.31 1.3zM97.91 62v4.5l9 7.1 7-7.3 1.3 1.3L101 82.8 88.21 72.6l-2.8 2.8-1.2-1.3 3.1-3.2V45.8l18.9-13.8 10.5 16.3zm.2-22.6l-.2.1v20.1l8.7-6.4zM180 82.71l-13.9-12-10.6 12-14.4-12.41V50.7h-2.8a3.89 3.89 0 00-4.1 3.5h-1a15.87 15.87 0 01-.5-3.8c0-2.6 1.1-9.4 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3.3-3.4V44.7l-3.6-3.3-2.7 2.6-1.3-1.3L322 32l7.6 6.9 2.7-2.8 1.4 1.4-3.4 3.4v28.6l4.2 3.9 3-3.1 1.3 1.4zm-2.9-51.61l-8.2-7.5 7.5-8 8.2 7.5zm46.1 51.61l-8.7-7.91V45.6l-4.7-4.4-3.4 3.5v26.1l3.1 2.9v.4l-8.2 8.61-9.3-8.51v-.3l3.6-3.8V44.9l-4.1-3.7-3 3-1.4-1.3L345.9 32l9.1 8.1v2l9.5-10.1 8.7 7.8 2.9-2.9 1.3 1.4-3.5 3.5v28l3.9 3.7 3.3-3.4 1.2 1.3zm43-41V75.6c0 5.2 2.9 5 2.9 8.9 0 4.51-6.5 8.71-16.5 16.21-3.3-3.6-5.6-5.1-8.7-5.1a19.85 19.85 0 00-10.7 3.6l-1-.8 13.7-16.11-9-7.09-2.9 2.89-1.3-1.3 3.4-3.5V45.5l19-13.6 10.2 8 3-2.9 1.3 1.3zm-7.7 41.71c-2.5-1.61-3.1-3.31-3.1-7.61V74.3L387.9 93l.1.1c3.2-1.9 5.6-3.1 10.3-3.1 4 0 6.9 1.7 9.5 4 1.9-1.6 3.3-3.2 3.3-5.7 0-1.99-1.5-3.3-4-4.89zM404 45.3l-8.3-6.5-.2.2v30.7l5.9 4.6 2.6-3zm31.5 37.41l-8.8-6.91-2.7 2.7-1.3-1.29 3.1-3.21V39.4H420l-.2-.2 3.5-5.2h2.5v-6.7L436.4 16l.2.2V34h8l.2.2-3.5 5.2h-4.7v30.3l4.8 3.7 3.3-3.4 1.3 1.4zm43.71-40.11v27.7l-16.9 12.5L450 73.5l-2.8 2.8-1.3-1.3 3.2-3.3v-27L466.81 32l11.4 8.9 2.9-2.9 1.3 1.4zm-10.8 3L460 39l-.09.1v29.8l8.5 6.4zm50.4 37l-8.7-7.9V45.5l-4.7-4.4-3.41 3.5v26.1l3.1 2.9v.4l-8.2 8.61-9.3-8.51v-.3l3.6-3.8V44.8l-4.1-3.7-3 3-1.4-1.3 10.2-10.9L502 40v2l9.5-10.1 8.7 7.8 2.9-2.9 1.3 1.4-3.5 3.5v28l3.9 3.7 3.3-3.4 1.2 1.3zm61.39.11a12.91 12.91 0 00-6.3-4.61v20.81l-.2.1-5.5-5.1-11.6 10.7-.2-.1V77.6a18.83 18.83 0 00-10.2 6.61l-.8-.5c.7-7.71 4.5-13.41 11-15.61V48.6h-2.1a5.25 5.25 0 00-5.3 4.2h-1.2a12.28 12.28 0 01-.7-4.6c0-4.9 3.3-8.6 8.7-8.6h.6V28.8l-3.6-3.2-2.8 2.8-1.4-1.3 11.1-11.4 9.4 8.6v9.8L572 31V19.5h1.9V29l12.5-13.3L597.7 26v43.5zM572 32.9l-2.9 3v56.31l2.9 2.7zm13.1-2.3l-5.9-5.4-5.3 5.6v36.3c4.7.6 8.2 2.2 11.1 5.3l.1-.1zm48.7 12v27.7l-16.9 12.5-12.3-9.3-2.8 2.8-1.3-1.3 3.2-3.3v-27L621.4 32l11.4 8.9 2.9-2.9 1.3 1.4zm-10.8 3l-8.4-6.6-.1.1v29.8l8.5 6.4zm35.6 4.5h9.4v21.4l-15.9 11.21a11.52 11.52 0 00-8.8-4.11c-3 0-5.4 1.4-7.8 4l-1.4-.5 13.8-19.8h-8.5V43.7L656 32c2 1.6 3.6 2.6 6.2 2.6a11.38 11.38 0 007.11-2.2l1 .7zm-1.4 8.8h-4.7l-11.1 15.9.1.2a12.36 12.36 0 017.6-2.5 10.4 10.4 0 018 3.8l.1-.09zm6.41-19.6a9.78 9.78 0 01-6.91 2.3 8.92 8.92 0 01-6.3-2.9l-.2.1v14.6h3.8l9.7-14zm22.9 43.41l-8.8-6.91-2.71 2.7-1.3-1.29 3.1-3.21V39.4H671l-.2-.2 3.5-5.2h2.5v-6.7L687.41 16l.2.2V34h8l.2.2-3.5 5.2h-4.7v30.3l4.8 3.7 3.3-3.4 1.3 1.4z"></path></svg><span class="alic gray font-xxxxs font--body">Democracy Di Darkns</span></div></div><hear class="w-100" data-qa="ma-full"><div class="hi-for-prt"></div><div class="mt-lg"><div data-qa="kicker" class="wpds-c-eyomNc wpds-c-PJLV wpds-c-PJLV-jYXVnY-lor-black wpds-c-PJLV-mlvxn-size-lg"><a href="/entertament/mms" class="PJLV PJLV-ieDwgbC-css">Mms</a></div></div><div class="PJLV PJLV-iklXUFA-css"><h1 class="PJLV PJLV-iirWFJy-css overriStyl" data-ttid="headle" data-qa="headle" id="ma-ntent"><span data-qa="headle-text" class="PJLV">The wonrfully queer world of ‘Amerin Gothic’s’ Grant Wood</span></h1></div><div class="flex prt-byle prt-mt-none"><div class="byle-wrapper flex-lumn flex"><div class="PJLV PJLV-ihSmMVC-css"><div class="PJLV PJLV-iPJLV-css mb-xxs overriStyl" style="gap:0.5rem" data-qa="thor-byle"><span class="wpds-c-PJLV"><div class="flex ems-center" data-qa="thor-byle"><div class="mr-sm flex lh-0"><div class="wpds-c-iTcer"><img src=" alt="" class="wpds-c-dgBqAZ"/></div></div><span class="left"><div class="flex"><div class="dib font-xxs" data-qa="name-wh-optnal-lk" data-cy="name-wh-optnal-lk"><span data-qa="attributn-text" class="wpds-c-cNdzuP">Review by  </span><a data-qa="thor-name" href=" rel="thor" class="wpds-c-cNdzuP wpds-c-cNdzuP-ejzZdU-isLk-te">Philip Kennitt</a></div></div></span></div></span></div></div><div data-ttid="timtamp" class="wpds-c-kgabfe wpds-c-kgabfe-ieEDlgV-css"><span data-ttid="display-date" class="wpds-c-iKQyrV">March 2, 2018 at 6:30 p.m. EST</span></div></div></div></hear></div><article class="grid-article mb-xxl-ns" data-qa="ma"><div data-ttid="le-art" data-qa="le-art" class=""><figure class="overflow-hidn relative hi-for-prt center center mb-sm mb-md-ns ml-to-ns mr-to-ns grid-mobile-full-bleed"><div style="filter:blur(10px);transn:filter .1s;le-height:0" class="w-100 mw-100 h-to" width="600" height="729"><img style="background-size:ver;max-width:1600px;background-image:url('data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http%3A//; xmlns%3Axlk='http%3A//; viewBox='0 0 1280 853'%3E%3Cfilter id='b' lor-terpolatn-filters='sRGB'%3E%3CfeGssianBlur stdDeviatn='.5'%3E%3C/feGssianBlur%3E%3CfeComponentTransfer%3E%3CfeFuncA type='discrete' tableValu='1 1'%3E%3C/feFuncA%3E%3C/feComponentTransfer%3E%3C/filter%3E%3Cimage filter='url(%23b)' x='0' y='0' height='100%25' width='100%25' xlk%3Ahref='data%3Aimage/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAkAAAAGCAIAAACepSOSAAAACXBIWXMAAC4jAAAuIwF4pT92AAAAs0lEQVQI1wGoAFf/AImSoJSer5yjs52ktp2luJuluKOpuJefsoCNowB+kKaOm66grL+krsCnsMGrt8m1u8mzt8OVoLIAhJqzjZ2tnLLLnLHJp7fNmpyjqbPCqLrRjqO7AIeUn5ultaWtt56msaSnroZyY4mBgLq7wY6TmwCRfk2Pf1uzm2WulV+xmV6rmGyQfFm3nWSBcEIAfm46jX1FkH5Djn5AmodGo49MopBLlIRBfG8yj/dfjF5TUAAAAASUVORK5CYII='%3E%3C/image%3E%3C/svg%3E')" alt="" class="w-100 mw-100 h-to" width="600" height="729" srcSet=" 400w, 540w, 691w, 767w, 916w, 1200w" siz="(max-width: 440px) 440px,(max-width: 600px) 691px,(max-width: 768px) 691px,(m-width: 769px) and (max-width: 1023px) 960px,(m-width: 1024px) and (max-width: 1299px) 530px,(m-width: 1300px) and (max-width: 1439px) 691px,(m-width: 1440px) 916px,440px" dg="async"/></div><figptn class="ml-gutter mr-gutter mr-to-ns ml-to-ns font--subhead font-xxxs mt-xs left gray-dark">Grant Wood’s “Amerin Gothic,” 1930, part of “Grant Wood: Amerin Gothic and Other Fabl,” at the Whney Mm of Amerin Art New York through June 10. (Art Instute of Chigo/Figge Art Mm/Licensed by VAGA)</figptn></figure></div><div class="grid-body"><div class="wpds-c-PJLV wpds-c-PJLV-hSmMVC-isLuf2-false"><div class="wpds-c-jUMcim wpds-c-jUMcim-ibVGacg-css hi-for-prt mb-sm"><div class="PJLV PJLV-ieDMgMI-css flex ems-center" nfig="[object Object]" data-qa="article-actns"><div class="wpds-c-mfMEg"><div class="wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-nsy-pact wpds-c-kSOqLF-hZSyid-isOutle-te wpds-c-kSOqLF-ejCoEP-in-left wpds-c-kSOqLF-futx-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv"><div id="gift-share" data-ttid="gift-share" class="PJLV PJLV-ieGzigK-css hi-for-prt"><button aria-haspopup="dialog" aria-expand="false" aria-ntrols="gift-share-drawer" role="button" tabx="0" aria-label="Share this article" id="gift-share-drawer-ntrol" data-ttid="gift-share-drawer-ntrol" class="wpds-c-PJLV wpds-c-gsmDXe wpds-c-gsmDXe-dTGBTO-placement-ActnBar foc-highlight"><svg xmlns=" fill="currentColor" viewBox="0 0 16 16" class="wpds-c-fBqPWp wpds-c-fBqPWp-idCxsxc-css " aria-hidn="te" focable="false" role="img"><path fill="currentColor" d="M8 .6v3.8h.1c-4.4 0-7.3 4.5-6.9 8.8.1.8.2 1.2.2 1.2l.2 1 .4-1.3c.8-2 2-4 6.2-3.9H8v4l7-6.9L8 .6Zm1 11.3V9.3h-.9c-3 0-4.8.5-6.2 2.9.5-3.3 2.7-6.8 6.2-6.8H9V3l4.5 4.4L9 11.9Z"></path></svg></button></div><span aria-hidn="te" class="wpds-c-fBEbFG">Share</span></div></div><div class="wpds-c-mfMEg"><div class="wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-nsy-pact wpds-c-kSOqLF-hZSyid-isOutle-te wpds-c-kSOqLF-ejCoEP-in-left wpds-c-kSOqLF-futx-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv"><button aria-label="Comment" class="wpds-c-gPbxFP"><svg xmlns=" viewBox="0 0 16 16" fill="var(--wpds-lors-primary)" aria-hidn="te" focable="false" role="img" class="wpds-c-kKAfCG wpds-c-efqEZa flex ems-center jtify-center brad-lg poter transn-400 ease--out transn-lors" aria-label="Comment on this story"><tle>Comment on this story</tle><path d="M14 14V2H2v9.47h8.18L12.43 13ZM3 10.52V3h10v9.23l-2.5-1.66Z"></path></svg></button><span aria-hidn="te" class="wpds-c-fBEbFG">Comment</span><span class="wpds-c-fOvfhP wpds-c-fOvfhP-kshkDy-isCommentType-te none" aria-hidn="te"><span class="ment-unt font-xxxxs sc-ral-unt"><span></span></span></span></div></div></div></div></div><div class="teaser-ntent grid-center"><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">In 1939, the U.S. Post Office Department refed to distribute a lhograph by Grant Wood, clarg s pictn of a nu man bathg by a horse trough “pornographic.” Wood, a homosexual artist scribed phemistilly as a “shy bachelor,” was surprised and afonted, and cropped the nu figure out of a patg based on the same image, leavg a visn of a dark tree agast a rollg green landspe.</p></div></div><div></div><div class="article-body" data-qa="article-body"><div class="db dn-ns mr-neg-gutter ml-neg-gutter mb-md hi-for-prt" data-qa="subscribe-promo"><div data-orientatn="horizontal" role="separator" class="wpds-c-dbVHzF wpds-c-dbVHzF-hDkAcj-variant-flt"></div><a class="pt-sm pb-sm flex ems-center bold font-xxxs font-xxs-ns jtify-center" href=" target="_blank" rel="noreferrer noopener" style="lor:#166dfc;borr:none"><svg class="ntent-box" width="24" height="24" viewBox="0 0 24 24" xmlns=" aria-hidn="te" focable="false" role="img"><tle>Wp</tle><path d="M11.055 8.728l-1.018-1.019-.782.782v6.292l1.782 1.564.018-.019v-7.6zm-4.11.236L5.674 7.71l-.836.855v6.237l1.545 1.327.564-.636V8.964zm2.656 9.074l-2.528-2.182-1.927 2.182-2.619-2.255v-3.564h-.509c-.454 0-.672.273-.745.636H1.09a2.89 2.89 0 0 1-.091-.69c0-.473.2-1.71 1.527-1.71V7.691c0-1.073-.709-1.127-.709-2.054 0-1.037.982-2 2.782-2.637l.164.145c-.6.291-1.09.655-1.09 1.437 0 1.2 1.163.89 1.163 2.782v.727l2.127-2.236 2.237 2.2 2.109-2.2 2.036 2v6.728l-3.745 3.455zm11.108-9.625l-1.073-.982-.964 1.018v6.6c.855.11 1.491.4 2.019.964l.018-.018V8.413zm-2.382.418l-.528.545v10.237l.528.492V8.83zm1.49 9.055c-.308-.382-.69-.709-1.145-.836v3.782l-.036.018-1-.927-2.11 1.945-.036-.018V16.96c-.636.145-1.327.545-1.854 1.2l-.146-.091c.127-1.4.818-2.436 2-2.837v-3.545h-.382c-.527 0-.89.363-.963.763h-.219c-.054-.145-.127-.381-.127-.836 0-.891.6-1.564 1.582-1.564h.11V8.085l-.655-.582-.51.51-.254-.237 2.018-2.073 1.71 1.564V9.05l.527-.564v-2.09h.345v1.727l2.273-2.419L23 7.576v7.91l-3.182 2.4z" fill-le="evenodd"></path></svg><span class="mr-xs ml-xs gray-darkt flex ems-center">Get the full experience.<span class="ml-xs subs-theme blue">Choose your plan</span></span><svg class="ntent-box" width="16" height="16" viewBox="0 0 16 16" xmlns=" style="fill:#166dfc" aria-hidn="te" focable="false" role="img"><tle>ArrowRight</tle><path d="M7.664 1.25l6 6a1 1 0 010 1.414l-6 6L6.25 13.25 10.499 9H2V7h8.585L6.25 2.664 7.664 1.25z" fill-le="nonzero"></path></svg></a><div data-orientatn="horizontal" role="separator" class="wpds-c-dbVHzF wpds-c-dbVHzF-hDkAcj-variant-flt"></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">The lhograph is clud the Whney Mm of Amerin Art’s retrospective of the artist’s reer, “Grant Wood: Amerin Gothic and Other Fabl,” a prehensive overview that clus most of his major patgs, cludg “Amerin Gothic,” the work that rocketed him to natnal promence 1930. Wh s dour farm figur portrayed wh the flat but meticulo tail of a Northern Renaissance masterwork, the patg seemed a natural extensn of the pater himself, who cultivated a hompun, folksy persona. Like the old man “Amerin Gothic,” the artist was often photographed wearg overalls, and, for a while, this lculated prentatn of generic masculy helped sulate Wood om the whisperg and suatn about his private life. </p></div><div class="article-body" data-qa="article-body"><div data-qa="article-image" class="hi-for-prt"><div style="m-height:640px"></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">Like Thornton Wilr’s “Our Town” and Aaron Copland’s “Appalachian Sprg,” Wood’s “Amerin Gothic” both f and fi Amerina, tablishg a sense of Amerin inty that was far more plex and ambiguo than most Amerins were willg to acknowledge. Like both Wilr and Copland, Wood probably drew upon his sexual difference to mata a productive cril distance om the world he was pictg. When he returned to his own untry after travel Europe and study France, he me back as an ternal emigré, creatively charged by never beg pletely at home aga. </p></div><div class="article-body" data-qa="article-body"><div class="cb dn db-ns" data-qa="article-body-ad" data-ttid="article-body-ad-sktop"><div aria-hidn="te" class="hi-for-prt relative flex jtify-center ntent-box ems-center b bh mb-md mt-none pt-lg pb-lg" style="m-height:250px;borr-top-lor:;borr-bottom-lor:"><div class="center absolute w-100 borr-box" style="top:"><div class="dib gray-dark pl-xs pr-xs font-sans-serif light font-xxxxs lh-md" style="--primary-borr-lor:"></div></div><div data-ttid="placeholr-box" class="w-100 h-100 absolute flex flex-lumn jtify-center borr-box bg-offwhe" style="width:300px;height:250px"><div class="flex flex-lumn jtify-center font-sans-serif center font-xxs light gray-dark lh-md"><div>Advertisement</div></div></div></div></div></div><div class="article-body" data-qa="article-body"><div class="cb db dn-ns" data-qa="article-body-ad" data-ttid="article-body-ad-mobile"><div aria-hidn="te" class="hi-for-prt relative flex jtify-center ntent-box ems-center b bh mb-md mt-sm pt-sm pb-sm" style="m-height:250px;borr-top-lor:;borr-bottom-lor:"><div class="center absolute w-100 borr-box" style="top:"><div class="dib gray-dark pl-xs pr-xs font-sans-serif light font-xxxxs lh-md" style="--primary-borr-lor:"></div></div><div data-ttid="placeholr-box" class="w-100 h-100 absolute flex flex-lumn jtify-center borr-box bg-offwhe" style="width:300px;height:250px"><div class="flex flex-lumn jtify-center font-sans-serif center font-xxs light gray-dark lh-md"></div></div></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">The exhibn trac his reer chronologilly, om his early work as a signer and craftsman to imprsnist patgs he ma before the emergence of his self-nscly Amerin style, wh s hard-edge, dreamlike enchantment and the more geometric rctnism works he fished before his premature ath om pancreatic ncer 1942. Essays the talogue take up the central issu of his reer: his relatn to “magil realist” paters Europe workg durg the same perd, cludg artists later embraced by the Nazis; his lerary spiratn (he illtrated an edn of Sclair Lewis’s “Ma Street,” among other projects); and his sexualy, which Stanford Universy art historian Richard Meyer argu “nnot be unrstood wh the herent, nfint terms of what we now ll gay inty.”</p></div><div class="article-body" data-qa="article-body"><p><span class="wpds-c-gnhuPA wpds-c-gnhuPA-hqeSyH-variant-terstial wpds-c-gnhuPA-iPJLV-css hi-for-prt"><a data-qa="terstial-lk" href=">At the Guggenhim, Danh Vo’s memoir of lonialism, fay and sexualy</a></span></p></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">One don’t need a ntemporary sense of gay inty to see that there is somethg wonrfully queer Wood’s world. Lay asi the many imag wh overtly homoerotic subject matter and you still have a large body of work which l are beg crossed, tegori jumbled and expectatns nfound. The idsyncrasi of his ovre seem to flow not simply om the fact that Wood was homosexual, but om a eper, transformative sense of genr. His Ameri n never be neatly sorted to tradnal ias about mascule and feme, and that, even more than the nudy of the man picted the problematic 1939 lhograph, may have been what unsettled the U.S. Post Office ps.</p></div><div class="article-body" data-qa="article-body"><div data-qa="article-image" class="hi-for-prt"><div style="m-height:218px"></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">Take a closer look at that image, tled “Sultry Night,” and you see not so much a man wh his pants off, but a man bathg. In many imag that seem to celebrate the tradnally mascule ia of hard work, his workers are, fact, rtg. In one of his major patgs, the 1934 “Dner for Thrhers,” you also fd a man bg his hair before enterg a long dg room filled wh workers stg a table. Women work and nont the viewer wh termatn, while men bathe and play and sg. </p></div><div class="article-body" data-qa="article-body"><div class="cb dn db-ns" data-qa="article-body-ad" data-ttid="article-body-ad-sktop"><div aria-hidn="te" class="hi-for-prt relative flex jtify-center ntent-box ems-center b bh mb-md mt-none pt-lg pb-lg" style="m-height:250px;borr-top-lor:;borr-bottom-lor:"><div class="center absolute w-100 borr-box" style="top:"><div class="dib gray-dark pl-xs pr-xs font-sans-serif light font-xxxxs lh-md" style="--primary-borr-lor:"></div></div><div data-ttid="placeholr-box" class="w-100 h-100 absolute flex flex-lumn jtify-center borr-box bg-offwhe" style="width:300px;height:250px"><div class="flex flex-lumn jtify-center font-sans-serif center font-xxs light gray-dark lh-md"><div>Advertisement</div></div></div></div></div></div><div class="article-body" data-qa="article-body"><div class="cb db dn-ns" data-qa="article-body-ad" data-ttid="article-body-ad-mobile"><div aria-hidn="te" class="hi-for-prt relative flex jtify-center ntent-box ems-center b bh mb-md mt-sm pt-sm pb-sm" style="m-height:250px;borr-top-lor:;borr-bottom-lor:"><div class="center absolute w-100 borr-box" style="top:"><div class="dib gray-dark pl-xs pr-xs font-sans-serif light font-xxxxs lh-md" style="--primary-borr-lor:"></div></div><div data-ttid="placeholr-box" class="w-100 h-100 absolute flex flex-lumn jtify-center borr-box bg-offwhe" style="width:300px;height:250px"><div class="flex flex-lumn jtify-center font-sans-serif center font-xxs light gray-dark lh-md"></div></div></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">In both “Dner for Thrhers” and “Sultry Night,” the artist has refully renred the effect of sun on the sk: The thrhers have pale, pasty foreheads wh bronze cheeks below, markg the le of their hats, while the bathg man has a darkened neck and arms agast a whe torso. Sun-kissed sk stands for the imprs of the artist’s gaze on their bodi. The Post Office Department probably saw that, too, clear evince not jt of a naked man, but the keen, noticg eye of the artist.</p></div><div class="article-body" data-qa="article-body"><div id="gift-share-le" data-ttid="gift-share-le" class="PJLV PJLV-ilotWTr-css hi-for-prt"><button aria-haspopup="dialog" aria-expand="false" aria-ntrols="gift-share-drawer" role="button" tabx="0" aria-label="Share this article" id="gift-share-drawer-ntrol-le" data-ttid="gift-share-drawer-ntrol-le" class="wpds-c-PJLV wpds-c-gsmDXe wpds-c-gsmDXe-goNocI-placement-Inle foc-highlight"><div data-ttid="gift-share-terstial-trigger" class="wpds-c-kPqOkS wpds-c-kPqOkS-jtSXsT-hasSubsText-false"><span class="wpds-c-hBJqc"><span class="wpds-c-dzSncg">Share this article</span></span><span class="wpds-c-eCvK"><span class="wpds-c-enedHQ wpds-c-enedHQ-cCdK-isShown-false">Share</span><svg xmlns=" fill="currentColor" viewBox="0 0 16 16" aria-hidn="te" focable="false" role="img" class="wpds-c-fBqPWp wpds-c-fDHGth"><path fill="currentColor" d="M8 .6v3.8h.1c-4.4 0-7.3 4.5-6.9 8.8.1.8.2 1.2.2 1.2l.2 1 .4-1.3c.8-2 2-4 6.2-3.9H8v4l7-6.9L8 .6Zm1 11.3V9.3h-.9c-3 0-4.8.5-6.2 2.9.5-3.3 2.7-6.8 6.2-6.8H9V3l4.5 4.4L9 11.9Z"></path></svg></span></div></button></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">The reactn of postal officials to Wood’s lhograph unrsr the soclogil plexy of the cultural moment which he lived. He would claim, or perhaps feign, nocence about the sexual ntent of the image, sayg was based on nothg more prient than a childhood memory. Wood probably did see this image as no more provotive than the male nus one found patgs by Thomas Eaks or Gee Bellows a few s earlier, when the surveillance of sexualy was ls severe. As an artist, Wood was often astonishgly good at judgg the natnal mood, but as a man, he seemed to live a fictnal past, gentler and more playful, than the world he was forced to negotiate the 1930s and ’40s. </p></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">After “Amerin Gothic” tablished his popular reputatn, and as crics on the East Coast were pelled to grapple wh him serly, Wood attracted as much spicn and loathg as love and admiratn. He was persecuted by lleagu who thought his work was athetilly nservative, and acced of fascist sympathi by one of the giants of 20th-century art scholarship, H.W. Janson, thor of the bt-sellg “History of Art,” studied by lns of unrgraduat. Wood’s work fell out of favor by the middle of the last century, and even today, as this exhibn monstrat, he is an artist fated to be perpetually redisvered.</p></div><div class="article-body" data-qa="article-body"><p><span class="wpds-c-gnhuPA wpds-c-gnhuPA-hqeSyH-variant-terstial wpds-c-gnhuPA-iPJLV-css hi-for-prt"><a data-qa="terstial-lk" href=">Thomas Moran at the Metropolan Mm: A nflicted landspe</a></span></p></div><div class="article-body" data-qa="article-body"><div data-qa="article-image" class="hi-for-prt"><div style="m-height:593px"></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">But do his work a disservice to see s rise and fall as merely llateral damage of the 20th-century culture wars over mornism, regnalism, sexualy, or the supposed nflict between ral and urban valu. Nor do make sense to lim him as merely a sly and subversive pater, although this gets closer to the tth. Like Wilr and Copland, and perhaps Willa Cather before them, Wood was as affirmative as he was transgrsive. When he looked at the rollg and cultivated landspe around him, and pated like fabric stretched over flh, he disvered a world that was neher soft and sensuo nor strong and mcular, but all of the above. When he pated men nurturg tre and offerg up rn, or a boy tenrly leang his head agast the w he was kg, he was unverg facts about who we are, not who he sisted we should be. </p></div><div class="article-body" data-qa="article-body"><div class="cb dn db-ns" data-qa="article-body-ad" data-ttid="article-body-ad-sktop"><div aria-hidn="te" class="hi-for-prt relative flex jtify-center ntent-box ems-center b bh mb-md mt-none pt-lg pb-lg" style="m-height:250px;borr-top-lor:;borr-bottom-lor:"><div class="center absolute w-100 borr-box" style="top:"><div class="dib gray-dark pl-xs pr-xs font-sans-serif light font-xxxxs lh-md" style="--primary-borr-lor:"></div></div><div data-ttid="placeholr-box" class="w-100 h-100 absolute flex flex-lumn jtify-center borr-box bg-offwhe" style="width:300px;height:250px"><div class="flex flex-lumn jtify-center font-sans-serif center font-xxs light gray-dark lh-md"><div>Advertisement</div></div></div></div></div></div><div class="article-body" data-qa="article-body"><div class="cb db dn-ns" data-qa="article-body-ad" data-ttid="article-body-ad-mobile"><div aria-hidn="te" class="hi-for-prt relative flex jtify-center ntent-box ems-center b bh mb-md mt-sm pt-sm pb-sm" style="m-height:250px;borr-top-lor:;borr-bottom-lor:"><div class="center absolute w-100 borr-box" style="top:"><div class="dib gray-dark pl-xs pr-xs font-sans-serif light font-xxxxs lh-md" style="--primary-borr-lor:"></div></div><div data-ttid="placeholr-box" class="w-100 h-100 absolute flex flex-lumn jtify-center borr-box bg-offwhe" style="width:300px;height:250px"><div class="flex flex-lumn jtify-center font-sans-serif center font-xxs light gray-dark lh-md"></div></div></div></div></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">One patg, ma 1935, stands out among the others for s symbolic power. “Death on the Ridge Road” shows two passenger rs headg up a steeply cled road while a large red tck screamg toward them round a bld curve. An angled wedge of dark storm clouds release torrents of ra the background. It is an omo image, and also one of the most genr-fluid he ever ma, for along the right si of the patg, there is a send drama, of wir crossed and cultural nfn. Three l of barbed wire are stapled to fence pol alongsi the road, while telephone wir are stretched tt above them. </p></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">There’s no clean or simple way to sort out the dichotomi, between thgs that are barbed and bound and thgs that are nnected and morn, the blunt power of posssn and the fluid power of munitn. The fence le, which might suggt mascule power, curv and sways, followg the round ntours of the landspe, while the l for the telephone (which one patg Wood nnects wh the feme prence of his great-nt) bisect them wh a precipo geometril rigor. </p></div><div class="article-body" data-qa="article-body"><p data-ttid="drop-p-letter" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl font-py" dir="null">If this landspe is genred, seems to be both, not one or the other. The rs and tck might be headg toward the fatal accint implied the patg’s tle, but the mash-up next to them seems jt as signifint. In , we disver the existence of different forc and potentials Wood’s Amerina, l and curv as unrolved their tersectns as our sense of both the past and future. </p></div><div class="article-body" data-qa="article-body"><p data-ttid="letter-or-trailer" data-el="text" class="wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overriStyl" dir="null"><b>Grant Wood: Amerin Gothic and Other Fabl</b> Through June 10 at the Whney Mm of Amerin Art New York. For rmatn, vis <a class="showlk" href=" tle=""></a>.</p></div><div class="wpds-c-ipATMk wpds-c-ipATMk-hCiGAB-removeMobileStyl-te"><div class="wpds-c-dhzjXW wpds-c-dhzjXW-iPJLV-css overriStyl mt-md tt"><div id="gift-share-end" data-ttid="gift-share-end" class="PJLV PJLV-idiqKOk-css hi-for-prt"><button aria-haspopup="dialog" aria-expand="false" aria-ntrols="gift-share-drawer" role="button" tabx="0" aria-label="Share this article" id="gift-share-drawer-ntrol-end" data-ttid="gift-share-drawer-ntrol-end" class="wpds-c-PJLV wpds-c-gsmDXe wpds-c-gsmDXe-iIVoLq-placement-Shortcut foc-highlight"><div class="wpds-c-UazGY" id="gift-share-shortcut" data-ttid="gift-share-shortcut"><svg xmlns=" fill="var(--wpds-lors-primary)" viewBox="0 0 16 16" aria-hidn="te" focable="false" role="img" class="wpds-c-fVfumU "><path fill="currentColor" d="M8 .6v3.8h.1c-4.4 0-7.3 4.5-6.9 8.8.1.8.2 1.2.2 1.2l.2 1 .4-1.3c.8-2 2-4 6.2-3.9H8v4l7-6.9L8 .6Zm1 11.3V9.3h-.9c-3 0-4.8.5-6.2 2.9.5-3.3 2.7-6.8 6.2-6.8H9V3l4.5 4.4L9 11.9Z"></path></svg><div class="PJLV wpds-c-kwcHlj">Share</div></div></button></div><div class="wpds-c-hcekgi"><div class="mb-lg-mod" data-qa="ments-btn-div"><button aria-label="Scroll to the ments sectn" data-qa="ments-btn" class="wpds-c-kSOqLF wpds-c-kSOqLF-SQjOY-variant-sendary wpds-c-kSOqLF-eHdizY-nsy-flt wpds-c-kSOqLF-ejCoEP-in-left wpds-c-kSOqLF-igqYgPb-css ments hi-for-prt"><svg xmlns=" viewBox="0 0 16 16" fill="currentColor" aria-hidn="te" focable="false" role="img" class="wpds-c-fBqPWp "><path d="M14 14V2H2v9.47h8.18L12.43 13ZM3 10.52V3h10v9.23l-2.5-1.66Z"></path></svg><span></span> Comments</button></div></div></div><div class="PJLV PJLV-iipsdti-css"><div></div></div><div class="PJLV PJLV-iipsdti-css"><div></div></div><sectn class="PJLV PJLV-iipsdti-css dn-ns hi-for-prt" data-ttid="mostRead" subscriptns-sectn="ntent"><div data-ttid="lazy-most-read-parent" class=""><div style="m-height:800px"></div></div></sectn><div class="PJLV PJLV-ickXkbz-css"><div data-qa="newsletter" class="hi-for-prt relative"><div class="dib w-100"><div><div class="flex jtify-center align self-center center transn-all duratn-400 ease--out" data-qa="sc-newsletter-signup" aria-label=""><svg aria-labelledby="react-aria-1-aria" role="img" viewBox="0 0 100 80"><tle id="react-aria-1-aria">Loadg...