Question: What did Grant Wool make a sketch of after getting permission from the Jones Family?
About the article "American Gothic", section "Creation".

Candidate passages:
In August 1930, Grant Wood, an American painter with European training, was driven around Eldon, Iowa by a young painter from Eldon, John Sharp, looking for inspiration.
Wood noticed the Dibble House, a small white house built in the Carpenter Gothic architectural style.
Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope.
Wood's earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house."
At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable".
After obtaining permission from the Jones family, the house's owners, Wood made a sketch the next day in oil on paperboard from the house's front yard.
This sketch displayed a steeper roof and a longer window with a more pronounced ogive than on the actual house, features which eventually adorned the final work.
Wood decided to paint the house along with "the kind of people I fancied should live in that house."
He recruited his sister Nan (1899–1990) to model the woman, dressing her in a colonial print apron mimicking 19th-century Americana.
The man is modeled on Wood's dentist, Dr. Byron McKeeby (1867–1950) from Cedar Rapids, Iowa.
The three-pronged hay fork is echoed in the stitching of the man's overalls, the Gothic window of the house, and the structure of the man's face.
However, Wood did not add figures to his sketch until he returned to his studio in Cedar Rapids.
He would not return to Eldon again before his death in 1942, although he did request a photograph of the home to complete his painting.
During the summer of 1930, Edward Rowan, a young gallery director from Cedar Rapids, a large city approximately to the northwest of Eldon, attempted to promote fine arts in the rural town by opening a gallery and library and leading art classes in Eldon.
Rowan's attempts were met with success—the "Eldon Forum" called the exhibitions "an unusual treat."
This, along with an indebtedness Wood felt toward Rowan, drew the painter (himself a native of Anamosa, Iowa) to come to Eldon.
In August, Wood was driven around the town by a young painter from Eldon, John Sharp, looking for inspiration.
Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope.
Wood did not immediately regard the house as beautiful, but he did find it captivating.
His earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house."
At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable."
After obtaining the permission of the Jones family, Wood made a sketch the next day in oil on paperboard from the house's front yard.
This sketch displayed a steeper roof and a longer window with a more pronounced ogive than the actual house, features which eventually adorned the final work; however, Wood did not add figures to the sketch until he returned to Cedar Rapids.
He would not return to Eldon again before his death in 1942, although he did request a photograph of the home to complete his painting. 
Wild sheep were more hairy than woolly.
Although sheep were domesticated nine to eleven thousand years ago, archaeological evidence from statuary found at sites in Iran suggests that selection for woolly sheep may have begun around 6000 BC, with the earliest woven wool garments having only been dated to two to three thousand years later.
Woolly-sheep were introduced into Europe from the Near East in the early part of the 4th millennium BC.
The oldest known European wool textile, ca.
1500 BC, was preserved in a Danish bog.
Prior to invention of shears—probably in the Iron Age—the wool was plucked out by hand or by bronze combs.
In Roman times, wool, linen, and leather clothed the European population; the cotton of India was a curiosity that only naturalists had heard of; and silk, imported along the Silk Road from China, was an extravagant luxury.
Pliny the Elder records in his Natural History that the reputation for producing the finest wool was enjoyed by Tarentum, where selective breeding had produced sheep with a superior fleece, but which required special care.
In medieval times, as trade connections expanded, the Champagne fairs revolved around the production of wool cloth in small centers such as Provins.
The network developed by the annual fairs meant that the woolens of Provins might find their way to Naples, Sicily, Cyprus, Majorca, Spain, and even Constantinople.
The wool trade developed into serious business, a generator of capital.
In the 13th century, the wool trade became the economic engine of the Low Countries and central Italy.
By the end of the 14th century, Italy predominated, though Italian production turned to silk in the 16th century.
Both pre-industries, based on the export of English raw wool, were rivaled only by the 15th century sheepwalks of Castile and were a significant source of income to the English crown, which in 1275 had imposed an export tax on wool called the "Great Custom".
The importance of wool to the English economy can be seen in the fact that since the 14th century the presiding officer of the House of Lords has sat on the "Woolsack", a chair stuffed with wool.
Economies of scale were instituted in the Cistercian houses, which had accumulated great tracts of land during the 12th and early 13th centuries, when land prices were low and labor still scarce.
Raw wool was baled and shipped from North Sea ports to the textile cities of Flanders, notably Ypres and Ghent, where it was dyed and worked up as cloth.
At the time of the Black Death, English textile industries accounted for about 10% of English wool production; the English textile trade grew during the 15th century, to the point where export of wool was discouraged.
Over the centuries, various British laws controlled the wool trade or required the use of wool even in burials.
The smuggling of wool out of the country, known as owling, was at one time punishable by the cutting off of a hand.
After the Restoration, fine English woolens began to compete with silks in the international market, partly aided by the Navigation Acts; in 1699, the English crown forbade its American colonies to trade wool with anyone but England herself.
A great deal of the value of woolen textiles was in the dyeing and finishing of the woven product.
In each of the centers of the textile trade, the manufacturing process came to be subdivided into a collection of trades, overseen by an entrepreneur in a system called by the English the "putting-out" system, or "cottage industry", and the "Verlagssystem" by the Germans.
In this system of producing wool cloth, until recently perpetuated in the production of Harris tweeds, the entrepreneur provides the raw materials and an advance, the remainder being paid upon delivery of the product.
Written contracts bound the artisans to specified terms.
Fernand Braudel traces the appearance of the system in the 13th-century economic boom, quoting a document of 1275.
The system effectively bypassed the guilds' restrictions.
Before the flowering of the Renaissance, the Medici and other great banking houses of Florence had built their wealth and banking system on their textile industry based on wool, overseen by the Arte della Lana, the wool guild: wool textile interests guided Florentine policies.
Francesco Datini, the "merchant of Prato", established in 1383 an "Arte della Lana" for that small Tuscan city.
The sheepwalks of Castile shaped the landscape and the fortunes of the "meseta" that lies in the heart of the Iberian peninsula; in the 16th century, a unified Spain allowed export of Merino lambs only with royal permission.
The German wool market – based on sheep of Spanish origin – did not overtake British wool until comparatively late.
The Industrial Revolution introduced mass production technology into wool and wool cloth manufacturing.
Australia's colonial economy was based on sheep raising, and the Australian wool trade eventually overtook that of the Germans by 1845, furnishing wool for Bradford, which developed as the heart of industrialized woolens production.
Due to decreasing demand with increased use of synthetic fibers, wool production is much less than what it was in the past.
The collapse in the price of wool began in late 1966 with a 40% drop; with occasional interruptions, the price has tended down.
The result has been sharply reduced production and movement of resources into production of other commodities, in the case of sheep growers, to production of meat.
Superwash wool (or washable wool) technology first appeared in the early 1970s to produce wool that has been specially treated so it is machine washable and may be tumble-dried.
This wool is produced using an acid bath that removes the "scales" from the fiber, or by coating the fiber with a polymer that prevents the scales from attaching to each other and causing shrinkage.
This process results in a fiber that holds longevity and durability over synthetic materials, while retaining its shape.
In December 2004, a bale of the world's finest wool, averaging 11.8 microns, sold for $3,000 per kilogram at auction in Melbourne, Victoria.
This fleece wool tested with an average yield of 74.5%, 68 mm long, and had 40 newtons per kilotex strength.
The result was A$279,000 for the bale.
The finest bale of wool ever auctioned was sold for a seasonal record of 269,000 cents per kilo during June 2008.
This bale was produced by the Hillcreston Pinehill Partnership and measured 11.6 microns, 72.1% yield and had a 43 newtons per kilotex strength measurement.
The bale realized $247,480 and was exported to India.
In 2007, a new wool suit was developed and sold in Japan that can be washed in the shower, and which dries off ready to wear within hours with no ironing required.
The suit was developed using Australian Merino wool, and it enables woven products made from wool, such as suits, trousers, and skirts, to be cleaned using a domestic shower at home.
In December 2006, the General Assembly of the United Nations proclaimed 2009 to be the International Year of Natural Fibres, so as to raise the profile of wool and other natural fibers. 
Character History.
"The Catherine Tate Show".
Joannie is always referred to as "Nan".
She is an old, cockney woman who constantly swears at and criticises other people.
She is always visited by her well-mannered grandson, Jamie (Mathew Horne) whom she refers to when visitors come "'e ain't got a job", even though Jamie is in fact at university.
His visits usually start off well enough, with Nan showing how grateful she is that he has come to see her.
However, the situation usually takes a turn for the worst after she starts to make unfavourable comments about her neighbours, family, or home help visitors.
Joannie is mostly very pleasant to visitors, but after they leave, she criticises and rants about them.
Sketches in series one show Jamie taking her to a pound shop, which ends with shambolic consequences.
Joannie complains to her grandson about her home help visitor, whom she refers to as a "fucking thief".
She also calls her new great-grandchild ugly.
Her catchphrase, delivered at the crucial point of each sketch, is "What a fucking liberty!
"In series two, Nan spends less time in her flat.
She makes a disastrous visit to the doctor and spends two weeks in hospital.
True to form, she does not suffer in silence, complaining about her fellow patients, accusing a nurse of stealing from her and caustically surveying the food menu.
While in hospital, her grandson brings his first girlfriend to visit her.
Unfortunately, his girlfriend has an abnormally large nose, provoking Nan's insulting behaviour as she becomes fixated with it, even offering her some old sheets to use for tissues.
Another sketch sees Joannie arrive home from her friend Lena's funeral, where she is very upset, until she realises that the deceased actually owed her £15.
She quickly gets over her grief and is overcome with rage, coupled by the fact she had spent another £25 on a wreath.
In the last episode of Series 2, Peter Kay guest stars as one of Nan's friends who thinks Jamie is gay and describes it as a disability.
In the 2005 Christmas special, a sketch features Nan attending a Christmas party in an old people's care home.
Charlotte Church makes a guest appearance as herself, where she starts to sing a Christmas song for the guests, which prompts Nan to exclaim, "what a load of ole' shit!"
In series three, Leslie Phillips plays another of Nan's friends, who is himself very much like her, evident when he says "What a fucking liberty" after Nan visits him in hospital and leaves him a present which he did not like.
Sheila Hancock appears as Nan's sister June, who lives in Spain and is equally as foul-mouthed as Nan.
They reveal that most of their family were London gangland career criminals and mass murderers, with nicknames such as "Clownface", "Wallopnuts" and "Longsocks".
Nan also made a characteristic appearance on "The Paul O'Grady Show", in which she was pleased to discover his show had bought her a new armchair, but soon got annoyed when she learned that they had entered her house without her permission to deliver it, upon which she stormed off the set, exclaiming "Paul O'Grady?
What a load of old shit!"
Nan has at least one daughter, Diane, who is the mother of Jamie and a granddaughter, Gail, who bore Nan's "ugly" great-grandchild Francesca (she initially believes the child to have been named Tesco's).
The Christmas 2007 special introduced us to Diane herself (played by Kathy Burke), who was exactly like Nan in that she swore at and criticised people behind their backs.
The sketch ends with both of them saying "What a fucking liberty!"
together. 
  "Sit on My Face" – A ribald parody of Gracie Fields' "Sing as We Go" from "Monty Python's Contractual Obligation Album", performed by Cleese, Chapman, Gilliam and Jones in waiter outfits, sans trousers or underwear.
"Colin 'Bomber' Harris" – Chapman is his own opponent in the wrestling ring as Palin delivers play-by-play.
This is a mime piece that dates back to Chapman's college days.
"Never Be Rude to an Arab" – Jones performs an ostensibly anti-racism song filled with demeaning epithets, and is subsequently blown up.
This sketch has two parts at different points in the show.
In the first part, he's blown up and dragged offstage by Kim Johnson dressed as a large frog.
In the second, he's blown up and dragged off by Johnson dressed as a Christmas tree.
Also from "Monty Python's Contractual Obligation Album".
"The Last Supper" – Michelangelo (Idle) defends his creative first draft of The Last Supper painting against the objections of the Pope (Cleese).
Was originally written for the TV series by Cleese and Chapman but somehow never got on the air (although its punchline, "I don't know much about art but I know what I like" was featured in a different Season 1 skit), and was first performed for one of the Secret Policeman's Ball shows.
It's based on a historical incident involving the Renaissance painter Paolo Veronese.
"Silly Olympics" – In a filmed section, athletes compete in absurd sporting events of the "Silly Olympiad," an event traditionally held every 3.7 years.
The events include *The 100m for Runners with No Sense of Direction.
On the starting gun, the runners run off in every single direction.
*The 1500m for the Deaf.
They don't move because they can't hear the starting gun.
*The 200m Freestyle for Non-Swimmers.
At the starting whistle, they all jump into the water and immediately sink without surfacing, to which the commentator remarks that they'll return to the swimming when they start "fishing the corpses out".
*The Marathon for Incontients with extremely weak bladders.
In this, runners fall away from the group every couple of metres to relieve themselves, giving others the lead.
*The 3000m Steeplechase for People Who Think They're Chickens.
In this, the runners are all doing chicken movements all over the course, and seem to be trying desperately to lay eggs on the hurdles.
*The High Jump briefly features, with one of the Pythons, perhaps Cleese, dressed as a woman.
He takes a run-up, then jumps ridiculously high over a wall and onto a high balcony.
Sketches and songs.
The "Silly Olympics" sketch is from the first "Monty Python's Fliegender Zirkus" episode, dubbed into English.
"Bruces' Philosophers Song" – The University of Woolloomooloo's Philosophy Department throws cans of Foster's Lager at the audience and perform "The Philosophers' Song", accompanied by large Gilliam cutouts, detailing the drinking habits of history's great thinkers and project lyrics for the audience and viewers to sing along to.
Eric Idle, Michael Palin, and Neil Innes play three Bruces.
"The Ministry of Silly Walks" – Palin has difficulty gaining funding for his (only slightly) silly walk.
This also contains colour footage of the same archival 'silly walks' film seen in the first episode of the second Python television series.
"Camp Judges" – British judges (Idle and Palin) behave unconventionally outside the courtroom.
"World Forum" – Important historical socialist figures are asked British football trivia questions in a quiz show game hosted by Idle.
"I'm the Urban Spaceman" – Neil Innes performs the Bonzo Dog Doo-Dah Band number as Carol Cleveland tap dances and constantly loses timing of the song.
"Crunchy Frog" – Candymaker Jones answers to the police (Chapman and Gilliam, who vomits into his helmet) for his disgusting varieties of chocolates.
"Albatross" – Cleese, dressed as a waitress, attempts to vend a wandering albatross to audience member Jones.
The sketch is stopped by the colonel (Chapman) for being too silly, who then orders Jones to report on stage for the next sketch.
Originally performed during Season 1, although the film version uses adult language.
"Nudge Nudge" – Idle pesters Jones with perplexing innuendo.
Originally performed in the third episode of "Monty Python".
"International Philosophy" – In a filmed bit, German philosophers take on Greek philosophers on a football field.
This piece is from the second "Monty Python's Fliegender Zirkus" episode.
It is shown in two parts, with "Four Yorkshiremen" in between each.
"Four Yorkshiremen sketch" – Well-to-do Yorkshiremen (Palin, Idle, Chapman and Jones) try to top one another's tales of their austere beginnings, each story getting more exaggerated and absurd.
Originally written for "At Last the 1948 Show".
The Argument Sketch – Palin pays Cleese to disagree with him.
Sketch interrupted by Gilliam suspended from wires performing "I've Got Two Legs."
Cleese ends Gilliam's singing by shooting him with a shotgun.
The sketch originates from the TV series, though Gilliam's song was not part of the TV sketch.
"How Sweet to Be an Idiot" – Neil Innes sings an ode to lunacy.
"Travel Agency" – Palin attempts to sell a package tour to Mr. Smoketoomuch (Idle), who will not stop talking about travel difficulties, even as he is chased by an asylum orderly (Cleese) all about the stadium.
He even interrupts the next sketch.
"Comedy Lecture" – Chapman explains slapstick comedy fundamentals in an extremely highbrow manner as Palin, Gilliam, and Jones demonstrate, with Jones invariably becoming the jokes' victim.
"Little Red Riding Hood" – In a filmed bit, Cleese as Little Red Riding Hood endures a fractured retelling of the classic fairy tale.
This piece is from the first "Monty Python's Fliegender Zirkus" episode, dubbed into English.
(Some VHS versions of Hollywood Bowl omit this piece.)
"Bishop on the Landing" (aka "Salvation Fuzz") – A dead bishop on the landing disrupts a family's mealtime.
* During the performance of this sketch, technical difficulties (a microphone starts feeding back) make Terry Jones lose his place (he temporarily looks up with a smirk on his face).
Eric Idle has trouble keeping a straight face while delivering his lines with an extraordinarily overwrought Yorkshire accent, which also causes Terry Jones to openly burst out laughing.
At one point, Jones loses his Pepperpot wig, which goes flying across the stage.
Graham Chapman and Michael Palin slide across the stage to hide Jones as he replaces the wig, after which they all have trouble keeping a straight face (particularly Palin).
This was always a difficult sketch to perform live—on other occasions, the 'Hand of God' (a large Gilliam-designed cut-out) fingered the wrong character.
Idle describes the sketch as "shambolic" as he segues into:  "The Lumberjack Song" – A rugged, masculine outdoorsman (Idle, as opposed to Palin in the original BBC series; Palin had also performed it in "Monty Python's Fliegender Zirkus") unsettles the chorus by revealing his fondness for women's clothes.
According to the Live at the Hollywood Bowl book, quite early on, there is also a Spanish band singing an absurd song about llamas, and a Gumby performing flower arranging.
He does this by gathering his flowers, and then arranging them neatly in a vase.
However, after saying this, he smashes the plants in with a hammer until he is dragged off by two men in white coats (based on a skit from the original series).