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inn.' So John Curry has gone to
Wisconsin State university where they have provided a job for him and where he is known as 'an in residence.' They have built him a small studio on the campus and have turned him loose without much schedule and are making him an influence rather than an instructor. He teaches little and talks a lot, paints when he wants to, makes what he can on the side, and gets $ 4,000 a year as a salary. Wisconsin will reap the seed of his genius which was sown in Kansas.
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726:, was not someone most Kansans felt proud of, nor was the Bleeding Kansas period as a whole. Adding to public consternation was Curry's plan to portray ruinous soil erosion, in Kansas a very controversial and political topic, in another mural. The Legislature could not fire Curry since he was being paid out of funds newspaper editors raised from the public. However, they withdrew permission for Curry's works to be hung in the Capitol.
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John
Steuart Curry never forgot that he came off a Kansas farm, that his folks were plain Kansas folks whose lives were spent with the plain, simple, elemental things of the earth and sky. His art and the meanings of his art were never cut loose from this background. To the end his ideal audience was
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completed in 1940, was first witnessed near his home in 1918, and a similar study was made in France during 1926. Schmeckebier relates this painting to the ceremony of baptism: "a rural religious ceremony whose tragedy is intensified by the realization that this son of the fresh green Kansas prairies
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Curry painted Kansas as he saw it, warts and all. His planned pieces for the first-floor rotunda of the Kansas
Capitol, which never got beyond preliminary sketches, included one on conservation and erosion. Curry expressed the view of the professors in the College of Agriculture, that Kansas farmers'
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John Curry wanted to come home to Kansas last year , tried to get some sort of a status in some Kansas college. Hard times and one thing or another kept him out. His heart turned back to Kansas and much good it did him. He wanted to honor the state by coming here to live but 'there was no room at the
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Curry was thought of in his day as the great Kansas painter, and it was no secret that he wanted to paint murals for Kansas; he confirmed this to a reporter. However, his relationship with Kansas was complicated. He lived in
Connecticut and declined repeated suggestions that he move back to his home
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and there are plans to make a museum of it. He was the eldest of five children to parents Thomas Smith Curry and
Margaret Steuart Curry. Despite living on a Midwestern farm, both of Curry's parents were college educated and had even visited Europe for their honeymoon. Curry's early life consisted of
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Despite popularity in the rest of the country, Curry's works did not find favor in Kansas. He was taken as ridiculing the worst aspects of the state. Kansans felt the inclusion of outdoor baptisms and tornadoes perpetuated negative stereotypes about the state. When these paintings were displayed in
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No well-known
Baptismal representations by old world masters employ the unique compositional layout that Curry favors. Curry's painting was a shock to Easterners who would have never associated a baptism with full immersion or with a barnyard setting, but Curry painted what he was familiar with, as
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The
University of Wisconsin hired him in 1936 as artist-in-residence, something no Kansas university would do. At Wisconsin, based in the College of Agriculture, Curry became a conservationist. What some Kansans found particularly offensive was his stated plan to portray the tragedy of soil erosion
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In contrast with Wood, who lived in Iowa, and Benton in
Missouri, Curry did not live in Kansas as an adult. As seen by Curry, nostalgia for rural Kansan life ignored its shortcomings: tornados, prairie fires, dust storms, plagues of insects, and life-threatening floods. The depiction of the same in
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popularized in the 1930s. Curry avoided exploiting the controversial subjects in which Rivera became involved because he did not believe they added any artistic quality to his work. However, Curry did create a few political sketches or studies, but these were never expanded on for larger projects.
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in
October and provided those in the city with the romance of man versus nature themes. Typical of Curry's work of the 1930s, he depicted scenes of labor, family, and land, in order to demonstrate peace, struggle, and perseverance that he had come to believe was the essence of American life, the
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Curry's works were painted with movement, which was conveyed by the free brush work and energized forms that characterized his style. His control over brushstrokes created excited emotions such as fear and despair in his paintings. His fellow
Regionalists, who also painted action and movement,
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which he considered his greatest. Reaction was so negative that the Kansas Legislature passed a measure to keep them, or future works of his, from being hung on the capitol walls. As a result, Curry did not sign the works, which were not hung during his lifetime. He left Topeka in disgust; his
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state; instead, he moved to Wisconsin when its University offered him in 1936 what no Kansas institution would: a position as artist-in-residence. He remained there until his death in 1946. While at Wisconsin he completed in 1942 a 37 feet (11 m) by 14 feet (4.3 m) mural on the
782:(which never passed; anti-lynching legislation was only passed at the federal level in 2022). These earlier political works would influence later Curry's mural work in the Department of Justice Building. Located "above the entrance to the Justice Department library" is Curry's painting,
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Curry was Kansas's best-known painter, but his works were not popular with Kansans, who felt that he did not portray the state positively. Curry's paintings often depicted farm life and animals, tornadoes, prairie fires, and the violent Bleeding Kansas period (featuring abolitionist
539:. The opposition grew so bitter that Curry abandoned his great Kansas Capitol project in disgust. He refused to sign the two works completed or allow them to be hung, as he said they were intended to be seen as part of a group. They were hung in the Capitol after his death.
304:, which built him a small studio. He had no classes to teach nor any specific duties; he was free to travel throughout the state and promote art in farming communities by providing personal instruction to students. As seen later, the experience turned Curry into a
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New York galleries many Kansans felt belittled. However, the New York public was fascinated by Curry's paintings. Curry's paintings were entertaining and easy to grasp, and allowed viewers to see a more primitive, isolated, non-commercial version of America.
637:. It presents a fictional agrarian utopia. The farmer is at leisure; the farm, its crops, and its animals are marvels of order, and seem to run themselves. The manual labor of the farm woman is no longer needed, and she can devote herself to the home.
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Lawrence Shmeckebrier said he "saw this scene as conceived and executed with sincere reverence and understanding of one who had lived it." Curry's religious painting is therefore an observance rather than a satire on religious fundamentalism.
480:, but sketches were rejected by federal officials, who told Curry that they feared that “serious difficulties...might arise as a result of the racial implications of the subject matter.” Curry painted two other murals in that building,
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Centralization of manufacturing permitted mass production, with efficient factories and assembly-line production. This reduced the cost of manufactured goods, but at the expense of regional or local variety and initiative. The
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conductor—was not widely remembered outside of Kansas. However, his name was familiar to anyone who had had a course in American history, as he was widely believed to have helped cause the Civil War, and on purpose, with his
158:, he was hailed as one of the three great painters of American Regionalism of the first half of the twentieth century. Curry's artistic production was varied, including paintings, book illustrations, prints, and posters.
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puts Brown in front of the troops killing each other. In the background, approaching tornado and prairie fires suggest the calamity, the Civil War, that was fast approaching, and that Brown seemed to be calling for.
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Along with war scenes, Curry also produced manhunt and fugitive subjects. These ideas were inspired by remembrances from his own childhood, but were also observed from publicized events during the early 1930s. The
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was sacrificed on a battlefield whose ideological remoteness was as dramatic as its geographical makeup." The painting does not express a political spectacle, rather Curry's personal feelings. Conversely,
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In his many Kansas-themed works, he wanted to present a "personal view" of Kansas history. "I want to picture what I feel about my native state." In preparation for the crowning project of his career, the
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Mayer, Lance and Gay Myers. "Old Master Recipes in the 1920s, 1930s, and 1940s: Curry, Marsh, Doerner, and Maroger." Journal of the American Institute for Conservation 41, no. 1 (Spring, 2002): 21–42.
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This displeased many Kansans, who did not want soil erosion, or the alleged errors of Kansas farmers, in their Capitol. Furthermore, John Brown was a convicted traitor, and in the opinion of many, a
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his paintings had as consequence the reservations some Kansans felt about seeing him, without qualification, as Kansas's great painter. In fact, as he well knew, his works did not sell in Kansas.
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His family was very religious, as were most people in Dunavant. Curry was encouraged to paint animals around the farm, and at the age of twelve he had his first art lesson. In 1916 he entered the
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reflected the religious sects that held open-air baptisms. These popular religious groups were part of the scene of rural life that Curry saw in Kansas. He presents the scene with reverence.
146:(November 14, 1897 – August 29, 1946) was an American painter whose career spanned the years from 1924 until his death. He was noted for his paintings depicting rural life in his home state,
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as an Associate Member, and became a full Academician in 1943. This was followed with what might have been the crown of his career, a commission to paint murals on Kansas topics for the
615:, which depicts a farmer facing an approaching tornado while he and his wife help the family and animals into the tornado shelter. The painting was unveiled in 1929 just before the
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Curry's art, in general, was conservative in political content. He believed that art was for the common person. He did not believe in political propaganda, particularly the
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676:, believing he was doing the Lord's work, and well-armed, led anti-slavery settlers in resisting, with violence if unfortunately necessary, the attempts to make Kansas a
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This was devastating to Curry. He left Kansas in disgust and refused to sign the two murals he did complete, saying that they could not be understood in isolation.
426:, providing a "significant warning" to Kansas farmers that they had brought on an ecological disaster. He was surprised when these plans met with local resentment.
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680:. Kansas' status was not resolved until the beginning of the Civil War, when six slave states had seceded, and it could come into the Union as a free state.
386:. Their art presents a nostalgic look at rural life in the American heartland. Regionalism was essentially a revolt against at least one major evil of the
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caring for the animals on the farm, attending the nearby high school and excelling in athletics. His childhood home was filled with many reproductions of
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281:. After his return to the United States he settled in New York City and married Clara Derrick; shortly thereafter, they moved to an artists' colony in
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a Kansas audience. Dealing with what that audience experienced and knew about, John wanted its appreciation more than anything else. He didn't get it.
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were often the result of such crimes. In addition, the plight of black male victims of lynching became a focus of attention. Curry's painting,
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Curry's few semi-political paintings evolved out of his personal experiences rather than created as a display of social commentary.
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285:. Clara died in June 1932 and for the next two years Curry devoted his time to working in his studio. He traveled briefly with the
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The painting produced a negative reaction in advance of its being hung. (It was not hung until after Curry's death.) John Brown,
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showing a black man hiding from a mob, appeared in a 1935 exhibition, "An Art Commentary on Lynching," organized in support of
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1320:. New York: Hudson Hills Press in association with the Elvehjem Museum of Art, University of Wisconsin-Madison. p. 227.
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Curry continued to work at the University of Wisconsin until he died of a heart attack in Madison in 1946, at the age of 48.
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Schmeckebier, Laurence. "John Steuart Curry" Obituaries, College Art Journal. College Art Association v.6.1 (1946): 59–60.
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In 1992, the Kansas Legislature apologized for its treatment of Curry and purchased the drawings related to his murals.
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period of 1854–1861. During this period, when Kansas was the focus of national attention like no time before or since,
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238:. After he graduated, Curry worked as an illustrator from 1921 to 1926. He worked for several magazines, including
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in which a judge in black robes protects a man who has collapsed on the courthouse steps from a lynch mob.
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406:. Rugged depictions of regional, independent life in wide-open spaces provided an alternative. As put by
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Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry
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Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry
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Teach close reading skills, symbolism, and shifting historical 'truths' with John Steuart Curry's
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Jaffe, Irma B. (Spring 1987). "Religious Content in the Painting of John Steuart Curry".
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on the first floor never went beyond sketches, now held by the Kansas Museum of History.
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1036:"Collective Images: the sketchbooks of John Steuart Curry," February 23, – May 5, 2002,
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1043:"Illusions of Eden: Visions of the American Heartland," February 18, – April 30, 2000,
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414:, and provided entertaining distractions from the realities facing oppressed people."
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Baigell, Matthew (Fall 1970). "The Relevancy of Curry's Paintings of Black Freedom".
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1514:. Columbia: University of Missouri Press and Cedar Rapids Art Association, 1981.
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studying Kansas history. As he put it, he wanted to "wreak good" upon Kansas.
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1057:"John Steuart Curry: Inventing the Middle West," June 13, – August 30, 1998,
871:, oil on canvas, 1929, F.M. Hall Collection, University of Nebraska, Lincoln.
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1168:
Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy'
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Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy
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499:, who had it installed in the Reading Room of the new Law School library.
959:, oil and tempera on panel, 1934, collection of Sidney Howard, New York.
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Rather, he enjoyed observing public events and capturing them on paper.
488:. However, the design caught the attention of Wisconsin Law School dean
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1507:, edited by Sylvan Cole Jr. New York: Basso Printing Corporation, 1976.
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This is a list of some of Curry's most notable works, arranged by date.
563:, and met with almost instant success. The painting was praised in the
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363:
308:, especially concerned with Kansas's man-made ecological disaster, the
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1412:"Two Measure by John Steuart Curry Define Rejection by Fellow Kansans"
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depicts departing soldiers rather than the return of a victim of war.
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1050:"The American Century: Art & Culture 1900–2000," April 23, 1999,
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410:, "Regionalism obscured the crucial forces of history, as defined by
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1029:"A Celebration of Rural America," September 9, – October 28, 2007,
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573:. In 1931 Mrs. Vanderbilt Whitney purchased the painting for the
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1501:, edited by Mongerson Wunderlich. Chicago: ACA Galleries, 1991.
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has Curry's preliminary sketches for the State Capitol murals.
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John Steuart Curry and Grant Wood: A Portrait of Rural America
877:, oil on canvas, 1929, collection of Mrs. Polly Thayer Starr,
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Brown's role during the Bleeding Kansas period—he was also an
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Don Anderson papers relating to John Steuart Curry, 1942–1973
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at www.davidrumsey.com| The AMICA Library- John Steuart Curry
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463:. Reading Room, Law Library, University of Wisconsin–Madison.
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in New York City, thus establishing him as a major artist.
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The same year he was commissioned to paint a mural for the
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In 1926, Curry spent a year in Paris studying the works of
1528:. Arizona: Traditional Fine Arts Organization Inc., 2005.
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presents a visual history of Kansas: the first Europeans,
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770:'s crime spree were well known and public deaths such as
708:, murder, and fomenting a slave insurrection, and hung. "
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Washington, D.C.: Smithsonian Institutian Press, 1986.
1246:. Vol. 40, no. 2. July 13, 1942 – via
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John Steuart Curry and Curry family papers, 1848-1999
1437:"My Experience With John Steuart Curry and His Widow"
1022:"Weathering the storm," May 23, - September 2, 2024,
919:, oil on canvas, 1931, collection of William Benton,
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that produced horrible erosion in Kansas, along with
230:, where he stayed for two years. In 1918 he attended
226:, but after only a month there he transferred to the
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Members of the American Academy of Arts and Letters
476:. It was originally intended, in 1936, for the new
289:and during his time with them created his painting
724:convicted of treason against the state of Virginia
1521:. Wisconsin: University of Wisconsin Press, 1998.
1290:. Wisconsin: University of Wisconsin Press, 1998.
206:, November 14, 1897; the house has been moved to
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889:, oil on canvas, 1929, Muskegon Museum of Art,
459:Army, marching through, has just delivered the
1306:. New York: American Artists Group Inc., 1943.
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1263:"The 75th Anniversary of John Steuart Curry's
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178:, and his most famous and controversial work,
1878:School of the Art Institute of Chicago alumni
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1639:John Steuart Curry / Baptism in Kansas / 1928
1526:John Steuart Curry: Inventing the Middle West
1318:John Steuart Curry: Inventing the Middle West
633:is the first of two murals completed for the
609:Under Mrs. Whitney's patronage Curry painted
402:demonstrated the limitations and failures of
354:Curry was one of the three great painters of
186:planned eight smaller murals for the Capitol
166:, who at the time was derided as a fanatical
1667:John Steuart Curry boyhood home & museum
1465:"PBS "Online News Hour: John Steuart Curry""
712:" was the marching song of Union soldiers.
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1608:"Cross-Curricular Connect: Tragic Prelude"
861:(Mother and Father), oil on canvas, 1929,
296:In 1936, Curry was appointed as the first
293:. He remarried in 1934 to Kathleen Gould.
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1645:PBS Online News Hour – John Steuart Curry
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1505:John Steuart Curry: A Catalogue of Reason
1362:"What an anti-lynching law means in 2022"
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1382:Kennedy, Roger G.; David Larkin (2009).
1031:Danville Museum of Fine Arts and History
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1843:Art Students League of New York faculty
1572:John Steuart Curry's Pageant of America
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1304:John Steuart Curry's Pageant of America
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569:and earned Curry the attention of Mrs.
343:, on which abortive project see below.
19:For other people named John Curry, see
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1672:John Curry Artwork Examples on AskART.
1657:Muskegon (Michigan, USA) Museum of Art
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989:The Oklahoma Land Rush, April 22, 1889
829:The Oklahoma Land Rush, April 22, 1889
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1868:University of Wisconsin–Madison staff
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1606:McQuillen, Charles (March 25, 2017).
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1386:. New York: Rizzoli. pp. 63–64.
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949:, oil on canvas, 1932, collection of
836:List of artwork by John Steuart Curry
512:murals, he spent several days in the
422:in one of his planned murals for the
300:at the College of Agriculture of the
273:, as well as the color techniques of
1818:People from Jefferson County, Kansas
1586:Online News Hour: John Steuart Curry
1574:. American Artists Group Inc., 1943.
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1008:, oil and tempera on canvas, 1941,
991:, commissioned 1937, installed 1939
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482:Movement of the Population Westward
478:U.S. Department of Justice Building
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1883:20th-century American male artists
1873:Artists from Westport, Connecticut
1581:" Kansas State Historical Society.
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1010:Madison Museum of Contemporary Art
939:, oil and tempera on panel, 1932,
780:national anti-lynching legislation
668:hunting buffalos, and finally the
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331:. In 1937 he was elected into the
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1499:John Steuart Curry: Rural America
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1853:Kansas City Art Institute alumni
1261:Shucha, Bonnie (November 2017).
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983:Smithsonian American Art Museum
700:). He was quickly convicted of
492:, great-grandson of the famous
1833:20th-century American painters
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1059:M. H. de Young Memorial Museum
1052:Whitney Museum of American Art
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941:Whitney Museum of American Art
853:Whitney Museum of American Art
575:Whitney Museum of American Art
549:In August 1928, Curry painted
321:Department of Justice Building
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1542:Kroiz, Lauren (Spring 2015).
1316:Patricia Junker, ed. (1998).
1172:Smithsonian Institution Press
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555:, which was exhibited at the
455:, by John Steuart Curry. The
1240:"Murals, with Curry Sauce".
1061:, San Francisco, California.
751:The Return of Private Davis,
202:Curry was born on a farm in
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16:American painter (1897–1946)
7:
1863:Federal Art Project artists
1544:"A Jolly Lark for Amateurs"
1040:, Worcester, Massachusetts.
690:raid on the federal arsenal
571:Gertrude Vanderbilt Whitney
530:dust storms of 1930s Kansas
350:Curry and regionalistic art
21:John Curry (disambiguation)
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1858:United States Army artists
1579:Curry's Statehouse Studies
1570:Schmeckebier, Lawrence E.
1302:Schmeckebier, Laurence E.
981:, oil on canvas, 1936–37,
953:, Bryn Mawr, Pennsylvania.
931:Metropolitan Museum of Art
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366:. All three were from the
356:American regionalistic art
333:National Academy of Design
236:Beaver Falls, Pennsylvania
194:influenced Curry's style.
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1650:January 22, 2014, at the
1591:January 22, 2014, at the
1510:Czestochowski, Joseph S.
1435:Lambert, Don (May 2004).
1420:. p. 20 – via
1166:Kendall, M. Sue. (1986).
1108:. First published in the
1072:Kansas Historical Society
909:, oil on canvas, c.1930,
514:Kansas Historical Society
470:Emancipation Proclamation
461:Emancipation Proclamation
396:Wall Street Crash of 1929
259:The Saturday Evening Post
224:Kansas City Art Institute
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1681:Archives of American Art
1634:Archives of American Art
1558:Academic Search Complete
1451:Academic Search Complete
1248:Academic Search Complete
1132:. p. 4 – via
1128:White was editor of the
1114:, then reprinted in the
911:Art Institute of Chicago
287:Ringling Brothers Circus
228:Art Institute of Chicago
174:, and he completed two:
965:, oil on canvas, 1935,
929:, oil on canvas, 1931,
899:, oil on canvas, 1929,
851:, oil on canvas, 1928,
694:Harpers Ferry, Virginia
528:caused the erosion and
302:University of Wisconsin
1838:American male painters
1045:Columbus Museum of Art
1024:Muskegon Museum of Art
875:Storm Over Lake Otsego
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325:Main Interior Building
1848:Geneva College alumni
1769:Freeing of the Slaves
1679:from the Smithsonian
1632:from the Smithsonian
1410:(November 27, 1946).
1265:Freeing of the Slaves
1054:, New York, New York.
1033:, Danville, Virginia.
1026:, Muskegon, Michigan.
879:Boston, Massachusetts
863:Cincinnati Art Museum
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704:against the state of
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518:Topeka Public Library
474:Freeing of the Slaves
453:Freeing of the Slaves
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388:Industrial Revolution
283:Westport, Connecticut
253:The Country Gentleman
247:St. Nicholas Magazine
1823:Painters from Kansas
1198:Winterthur Portfolio
1170:. Washington, D.C.:
1093:(November 6, 1936).
1091:White, William Allen
1038:Worcester Art Museum
1001:Kansas State Capitol
907:Hogs Killing a Snake
869:The Roadworkers Camp
790:Reactions and legacy
764:Lindbergh kidnapping
685:Underground Railroad
337:Kansas State Capitol
172:Kansas State Capitol
1745:Tornado over Kansas
1661:Tornado over Kansas
1477:on January 22, 2014
1408:Benton, Thomas Hart
886:Tornado over Kansas
612:Tornado over Kansas
603:Tornado over Kansas
592:Tornado over Kansas
486:Law versus Mob Rule
442:William Allen White
430:Curry and Wisconsin
398:and the subsequent
298:artist-in-residence
118:Tornado over Kansas
44:Self-portrait, 1937
1828:American muralists
1717:John Steuart Curry
1524:Junker, Patricia.
1449:(742) – via
1104:Winchester, Kansas
985:, Washington, D.C.
967:Wichita Art Museum
937:The Flying Cadonas
901:Huntington Library
891:Muskegon, Michigan
832:
822:
620:spirit of Kansas.
607:
497:Wm. Lloyd Garrison
465:
390:: centralization.
360:Thomas Hart Benton
358:; the others were
291:The Flying Cadonas
152:Thomas Hart Benton
144:John Steuart Curry
87:Madison, Wisconsin
54:John Steuart Curry
32:John Steuart Curry
1795:
1794:
1787:Regionalism (art)
1737:Baptism in Kansas
1531:Kendall, M. Sue.
1517:Dennis, James M.
1417:Kansas City Times
1393:978-0-8478-3089-3
1360:Cineas, Fabiola.
1286:Dennis, James M.
1066:Archival material
1047:, Columbus, Ohio.
1006:Madison Landscape
951:Bryn Mawr College
921:Chicago, Illinois
903:, San Marino, CA.
865:, Cincinnati, OH.
848:Baptism in Kansas
808:List of art works
710:John Brown's Body
617:Wall Street Crash
581:Baptism in Kansas
552:Baptism in Kansas
544:Baptism in Kansas
490:Lloyd K. Garrison
382:, and Curry from
213:Peter Paul Rubens
141:
140:
112:Baptism in Kansas
64:November 14, 1897
1895:
1710:
1703:
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1687:
1686:
1626:
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1561:
1556:(1) – via
1487:
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1473:. Archived from
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1343:Kansas Quarterly
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943:, New York City.
933:, New York City.
917:The Medicine Man
855:, New York City.
784:Law vs. Mob Rule
674:"old" John Brown
664:, followed by a
561:Washington, D.C.
557:Corcoran Gallery
503:Curry and Kansas
444:
400:Great Depression
204:Dunavant, Kansas
107:
82:
68:Dunavant, Kansas
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1731:List of artwork
1719:
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1652:Wayback Machine
1613:
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1593:Wayback Machine
1495:
1493:Further reading
1490:
1480:
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1442:American Artist
1433:
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1384:When art worked
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1130:Emporia Gazette
1124:Winchester Star
1111:Emporia Gazette
1100:Winchester Star
1088:
1084:
1080:
1068:
1019:
971:Wichita, Kansas
838:
810:
792:
735:
670:Bleeding Kansas
658:Juan de Padilla
651:
645:
631:Kansas Pastoral
628:
625:Kansas Pastoral
595:
547:
526:soil management
505:
445:
440:
432:
352:
306:conservationist
267:Gustave Courbet
200:
176:Kansas Pastoral
105:
90:
84:
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79:August 29, 1946
71:
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1761:Tragic Prelude
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1610:. For teachers
1601:
1600:External links
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716:Tragic Prelude
654:Tragic Prelude
649:Tragic Prelude
647:Main article:
644:
642:Tragic Prelude
639:
635:Kansas Capitol
627:
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566:New York Times
546:
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510:Kansas Capitol
504:
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438:
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424:Kansas Capitol
408:Meyer Schapiro
378:, Benton from
370:, west of the
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271:Honoré Daumier
232:Geneva College
199:
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181:Tragic Prelude
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733:Political art
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696:(since 1863,
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150:. Along with
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1619:
1612:. Retrieved
1571:
1553:
1549:American Art
1547:
1536:
1532:
1525:
1518:
1511:
1504:
1498:
1481:September 2,
1479:. Retrieved
1475:the original
1468:
1459:
1446:
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1402:
1383:
1377:
1365:. Retrieved
1355:
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1205:(1): 23–45.
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494:abolitionist
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374:: Wood from
353:
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217:Gustave Doré
201:
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116:
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106:Notable work
81:(1946-08-29)
25:
1813:1946 deaths
1808:1897 births
1764:(1937–1942)
1756:(1936–1937)
1017:Exhibitions
947:The Runaway
678:slave state
372:Mississippi
136:Regionalism
127:(1937–1942)
1802:Categories
1181:0874745683
1078:References
897:State Fair
741:kind that
404:capitalism
364:Grant Wood
329:Washington
241:Boys' Life
164:John Brown
156:Grant Wood
60:1897-11-14
1724:Paintings
1614:March 15,
1367:April 17,
1274:Libraries
1227:161509928
772:lynchings
666:plainsman
472:, titled
314:Dust Bowl
208:Oskaloosa
198:Biography
1659:housing
1648:Archived
1589:Archived
1349:(4): 21.
1276:: 24–25.
1250:(Ebsco).
706:Virginia
662:Coronado
516:and the
439:—
380:Missouri
316:storms.
132:Movement
121:(1929),
115:(1928),
99:Painting
1780:Related
739:Marxist
702:treason
368:Midwest
310:plowing
188:rotunda
168:traitor
1772:(1942)
1748:(1929)
1740:(1928)
1663:(1929)
1595:" PBS.
1584:PBS. "
1577:KSHS."
1390:
1324:
1267:mural"
1225:
1219:118146
1217:
1178:
384:Kansas
341:Topeka
279:Rubens
275:Titian
256:, and
148:Kansas
1270:(PDF)
1223:S2CID
1215:JSTOR
524:poor
457:Union
1753:Ajax
1616:2020
1483:2017
1388:ISBN
1369:2023
1322:ISBN
1243:Time
1176:ISBN
1070:The
978:Ajax
963:Corn
818:Ajax
766:and
660:and
537:kook
484:and
412:Marx
376:Iowa
362:and
323:and
277:and
269:and
215:and
154:and
89:, US
76:Died
70:, US
50:Born
1470:PBS
1207:doi
692:in
559:in
339:at
327:in
234:in
1804::
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1295:^
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1213:.
1203:22
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881:.
183:,
62:)
58:(
23:.
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