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Grant Wood became famous pretty much overnight in October 1930, when American Gothic was included (a last-minute choice after being initially rejected) in the annual exhibition of the Art Institute of Chicago. The Chicago Evening Post slapped a photo of it on the front page of its art section under the headline: “American Normalcy Displayed in Annual Show; Iowa Farm Folks Hit Highest Spot”; the image was picked up by newspapers across the country, all quick to underscore the painting’s corn belt authenticity. Wood—whose most notable previous achievements had been successive first prizes in art at the Iowa State Fair—found himself at thirty-nine not only a celebrity but the embodiment of a movement, or at least the journalistic notion of a movement, steeped in patriotic overtones. Few artists have been worse served by their defenders.
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