Grant Wood – American Gothic

Inspired by Grant Wood – American Gothic – 1930

Wood's inspiration came from what is now known as the American Gothic House, and his decision to paint the house along with "the kind of people I fancied should live in that house." When asked what, American Gothic was about, Wood often said that it was really about architecture. The house seemed to him typically American. He found the house in Eldon, Iowa and made several sketches. In the painting the pitch fork and the shirt connect us to the lines of the building behind. The pattern on the woman’s dress relates to the shades in the window. The elongated faces of the models go with the elongated windows.

The figures were modeled by Wood's sister, Nan Wood Graham, and his dentist, Dr. Byron McKeeby. Wood’s first choice for a female model was his mother, Hattie. However, he was concerned that posing at length would be too much for her. So, in her stead his sister Nan sat in. Nan, was embarrassed at being depicted as the wife of someone twice her age - and began telling people that the painting was of a man and his daughter. 

The painting came to be seen in the Great Depression as a depiction of steadfast American pioneer spirit. Wood was quoted as saying, "All the good ideas I've ever had came to me while I was milking a cow."  Wood entered his painting in a competition at the Art Institute of Chicago. It received the bronze medal and a $300 cash prize.  As the painting gained attention it was reproduced in newspapers. Iowans were furious at their depiction.  One farm-wife threatened to bite Wood's ear off.  To that Wood said, He didn't paint a caricature of Iowans but rather “a depiction of Americans”.

Francisco Goya - The Third of May

I would consider this one of my more controversial, if not irreverent Santa Classics. But I wanted to bring attention to it, because this painting is one of the great anti-war paintings of all time, followed 125 years later by Picasso's Guernica.

On May 3rd, 1808, hundreds of Madrid civilians were executed for revolting against the invading Napoleonic French army. This painting was commissioned by the interim government in 1814, after Napoleonic forces had withdrawn from Spain.  It is the second in a pair of paintings depicting uprising. The first painting was The Second of May 1808. Together they represent the day of the insurrection and the next day’s consequence. The two very large paintings were almost the exact same size, 9x11’, but they took Goya only two months to complete. And that is no small feat.
To see original: https://bit.ly/3kaT973

Paul Gaugin - Tahitian Women on the Beach

Paul Gaugin - Tahitian Women on the Beach

Gaugin lived for 10 years in Tahiti. He married three Tahitian women and used them as models frequently.

Henry Fuseli – The Nightmare

The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone.

Caravaggio – Conversion on the Way to Damascus

This represents the conversion of Saul of Tarsus. He was a Roman, big on persecuting the Christians. In this painting he is temporarily blinded by the light of Christ and hearing Jesus words, which admonish him for his persecution. Saul became St Paul one of the early and most important apostles. His writings were the foundation for the New Testament.
Caravaggio was paid 300 scudi for this painting. Which was a pretty good chunk of change in its day. At the time a painters assistant might make about 30 scudi a year. The Scudo may have been worth about 75¢, but it converts to more than 20 times that in today’s currency. One hundred years before, Leonardo was paid about 100 scudi for a painting and Michelangelo was paid 200-450 per statue.
To see the original: https://bit.ly/2EqfuYX

Caravaggio – Conversion on the Way to Damascus – 1601
Santa Maria del Popolo

Edward Hopper - Nighthawks

Hopper said the painting "was suggested by a restaurant on Greenwich Avenue where two streets meet. I simplified the scene a great deal and made the restaurant bigger."  Hopper posed for the two men in a mirror and wife Jo for the girl. Nighthawks was probably Hopper’s most ambitious essay in capturing the night-time effects of manmade light. This interior light comes from more than a single lightbulb, with the result that multiple shadows are cast, and some spots are brighter than others as a consequence of being lit from more than one angle. Light was the most powerful and personal of Hopper's expressive means. He used it as an active element in his paintings to model forms, define the time of day, establish a mood, and create pictorial drama by contrasting it with areas of shadow and darkness.

Hopper made many small sketches of concepts and details of his pictures before working on the final paintings. Many of the sketches for this painting still remain. To see the original : https://www.wikiart.org/en/edward-hopper/nighthawks

Edward Hopper – Nighthawks - 1942 - Art Institute of Chicago

Claude Monet - The Japanese Footbridge and the Water Lily Pool, Giverny

I was honored that the Monet Foundation Giverny used the Santa Classics version of the Japanese Bridge for their holiday card to their sponsors in 2016. The Philadelphia Museum of Art used it for a holiday post in 2017 and got over 10,000 views.

 Monet spent much of the 1890s cultivating a garden, complete with a pond, water lilies and a Japanese footbridge, on his farmhouse property in Giverny. He did it just so he could paint beautiful motifs. This is one of the 18 paintings he did of this view. The Japanese footbridge can be found in museums all over the world. This version was from the Philadelphia Museum of Art. See the original: https://bit.ly/2VOWNFb

Claude Monet – The Japanese Bridge and Water Lily Pool, Giverny – 1889
Philadelphia Museum of art