Grant Wood lived and worked in here from 1924 to 1935, when he achieved his mature style. Visitors have the opportunity to stand where American Gothic was painted. The building itself was heavily modified by Grant Wood to feature more living space and unexpected but useful design features.
This is the home and studio of John Frederick Peto, the nineteenth century still–life painter and master of the trompe l’oeil style. Following a multi-year preservation project completed in 2011, the Peto-designed house, studio, and gardens are now presented as they looked during his lifetime. Visitors can compare the very furniture and artifacts that Peto owned with the paintings and photographs in which they appear.
From 1968 until his death in 1994, the sculptor Donald Judd used this 1870 cast-iron loft building as his home and studio. Here he had the opportunity to demonstrate his ideas about art installation. Judd’s use of the building is seen as part of the rise of the SoHo artistic community in New York City.
The Kirkland Museum of Fine & Decorative Art, housed in an historic Arts and Crafts style building, displays the work of abstract painter Vance Kirkland in vignettes composed of artwork by other Colorado artists, and a major collection of international decorative art from the modern era. Vance Kirkland’s studio space regularly inspires exclamations of awe from visitors, who are able to see his painting table and the straps Kirkland sometimes used to suspend himself above his paintings to create his large oil paint and water compositions, and later his Dot paintings.
Manitoga is the modern home, studio and 75-acre woodland garden of mid-20th century American industrial designer, Russel Wright (1904-1976). Once a ravaged industrial site, Wright transformed Manitoga into a place of extraordinary beauty.
African American folk artist Clementine Hunter (1887-1988), who lived and worked for 75 years at Melrose Plantation, attracted the attention of the world with her colorful memory paintings of life on a rural southern plantation during the first half of the 20th century. She worked at night by the light of a kerosene lantern, in a simple wooden cabin, located in the shadow of the plantation’s Big House. In these humble circumstances, she found her talent and made an unlikely and extraordinary career as an artist.
N. C. Wyeth spent much of his life and career here as one of the most successful illustrators of the first half of the 20th century. Experience the studio where Wyeth created many of his memorable works of art, and the home where he and his wife Carolyn raised their extraordinarily creative children. The dramatic space in which Wyeth worked reflects the robust, outsized personality that shaped his art. Standing in the main studio, one can easily imagine the great illustrator at work, creating characters that would become icons for generations of readers.
Olana is a 250-acre artist-designed landscape with a Persian-inspired house at its summit, embracing unrivaled panoramic views of the vast Hudson River Valley. The eminent Hudson River School painter Frederic Edwin Church designed Olana, his family home, studio, and estate as an integrated environment embracing architecture, art, landscape, and conservation ideals.
The former home and studio of two of America’s foremost abstract painters, a National Historic Landmark, preserves the environment that inspired them and contains evidence of their creative processes. Wearing special padded slippers, visitors walk on the studio floor covered with the brilliant colors and rhythmic gestures found in Pollock’s masterpieces. On the studio walls, evidence of Krasner’s dynamic painting technique is visible.
The Renee & Chaim Gross Foundation preserves and interprets the historic home, studio, and art collections of renowned American sculptor Chaim Gross and his wife Renee. The Grosses purchased the Foundation’s Greenwich Village building in 1962, renovating the industrial space into a modernist home and ground floor sculpture studio. In addition to being a prolific artist, Gross was also a collector, educator, and designer. Gross worked with two architects, Arthur Malsin and Don Reiman, on the 1962-63 Modernist renovations of the LaGuardia Place building. Included in the design decisions made by Gross are the end-grain floor in the studio and oak handrails in the stairwell. He collected widely and the Foundation preserves and interprets his collections. Gross collected African, American, European, Oceanic, Pre-Columbian, and decorative arts. He also amassed an extensive art history library.