NORMAN ROCKWELL SIGNED THE CRITIC FROM PAINTING SATURDAY EVENING POST COLLOTYPE

NORMAN ROCKWELL SIGNED THE CRITIC FROM PAINTING SATURDAY EVENING POST COLLOTYPE
NORMAN ROCKWELL SIGNED THE CRITIC FROM PAINTING SATURDAY EVENING POST COLLOTYPE
NORMAN ROCKWELL SIGNED THE CRITIC FROM PAINTING SATURDAY EVENING POST COLLOTYPE
NORMAN ROCKWELL SIGNED THE CRITIC FROM PAINTING SATURDAY EVENING POST COLLOTYPE
NORMAN ROCKWELL SIGNED THE CRITIC FROM PAINTING SATURDAY EVENING POST COLLOTYPE


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Norman RockwellThe Critic Collotype after the 1955 painting for the Saturday Evening PostSheet 32 x 28 inchesSigned in pen lower right (has fading) Collotype on glossy paper ON BOARD Saturday Evening Post Cover April 16, 1955.The Art Critic may be one of Rockwell’s most popular and analyzed works. The scene’s subtle movement from reality to fantasy is a classic example of the artist’s charm and humor. Rockwell used his wife Mary and eldest son Jarvis as his final models.The original oil painting is part of the Norman Rockwell Museum Collection, and featured in the exhibition Rockwell and Realism in an Abstract World, on view June 17 through October 29, 2016. Norman Rockwell once said he envied students who swooned when viewing the Mona Lisa because he never felt such passion. Rockwell may have seen himself as a more analytical artist, such as the one examining a seventeenth-century Dutch painting in his 1955 Art Critic. His original draft depicts a student studying painter Frans Hals’ technique in a portrait of a Dutch housewife. In that study, a Dutch landscape on an adjacent wall places the student in a gallery of Dutch artwork. But a recurring Rockwell theme – of reality and fantasy exchanging placesm – seems to have taken over and the painting changed course. With typical humor, Rockwell replaces the homely woman with one more alluring – based on a Peter Paul Rubens’ portrait of his wife. The Dutch landscape became a group of Dutch cavaliers, brought to life by animated facial expressions. They are wary and concerned. Is the student getting too close to the painting? Is he being too personal with their gallery colleague? The scene’s movement from reality to fantasy refutes the view that Rockwell’s work is only photographic. Odds & Ends: On the student’s palette, three-dimensional dollops of paint remind us that we too are standing in a gallery looking at a painting. Art Critic, Norman Rockwell, 1955. Oil on canvas, 39½” x 36¼” Cover illustration for The Saturday Evening Post, April 16, 1955. From the permanent collection of Norman Rockwell Museum. Art Critic (studies), Norman Rockwell, 1955. Reference photos for Art Critic by Bill Scovill, 1954. It is often assumed that Norman Rockwell did not like “modern art.” This is definitely false. He liked it very much. On his studio wall, Rockwell had a print of a work by Picasso: on the bookshelves in his studio he had books on painters such as Roualt, Matisse, Munch, Seurat, Dali, Toulouse-Lautrec and other moderns. In fact, he made several attempts to pursue modern art professionally. For example, he spent several months in Paris shortly after his second marriage, studying modern art and producing some pictures. We don’t know what became of these modern works. Two covers he made for the Saturday Evening Post in the modern style were rejected—perhaps the canvases were destroyed in the fire that ravaged his studio somewhat later. But despite his interest in it, and his occasional attempts to practice it, at heart Rockwell was definitively non-modern. And he was almost always happy with that. For the most part, he simply laughed off the modernist-leaning critics who either completely ignored him, or viciously attacked him. But sometimes, he admitted to wanting approval not just from his legions of fans, but from those who really knew art. He complained that people would often say things like “I don’t know anything about art, but I sure like your paintings.” Fine, thanks, but wouldn’t it be nice if once in awhile someone would say “I do know something about art, and I like your paintings!” So: Rockwell is a non-modernist, who studies and understands modernism, but stands in a slightly uncomfortable relationship to it. I want to show that a grasp of Rockwell’s relationship to modernism can help make sense of one of Rockwell’s most famous pictures. The image is his 1955 Saturday Evening Post cover, “The Art Critic.” Rockwell biographer Laura Claridge begins her (generally excellent) book with the picture, and quotes Rockwell’s son Peter saying “I think the painting is cruel, though my father was not a cruel man.” Cruel? Why cruel? Well, Rockwell’s wife Mary posed for the lady in the painting. And Rockwell’s son Jarvis—which of course means Norman and Mary Rockwell’s son Jarvis—posed for the man. So here we have a picture of a young man staring at a pendant necklace that rests on the chest of his mother. (Although, of course, we don’t really have that. It’s not a painting of Jarvis looking at Mary. It’s a painting of a young artist, for whom Jarvis modeled, looking at a painting of a woman, for whom Mary modeled. But put the complexities aside.) It is easy to fall into the idea that there’s something uncomfortably Oedipal about the picture, once you know who the models were. And, according to Jarvis, “My father made it very plain that the sexual joke was important to the painting.” So it might seem the Oedipal imagery is fully deliberate: that somehow this is a crudely literal picture of a young artist studying his mother’s cleavage, while she reacts with apparent pleasure to the attention. (This supposed Oedipal element is strongly emphasized by other recent critics, especially Richard Halpern.) I tend to think that if Rockwell wasn’t a cruel man, it would be very unusual for him to make such an obviously cruel painting. But everyone agrees that Rockwell was not a cruel man. So let’s push beyond the (apparently) obvious and see if there’s a better way to understand this image. In fact, there is. The sexual joke is that there is no sexual joke. Here is where modernism makes its entry. As I said at the outset, Rockwell knew modernist art well. And Jarvis, by the time this painting was made, was a modernist artist himself. And Rockwell had something of a bumpy relationship with the modernist art world. So while Rockwell supported and generally endorsed his son’s artistic endeavors, it’s also clear that he didn’t always see them as above criticism. Claridge reports, for example, that “Rockwell could slide from speaking of ‘Jerry’s’ terrific modern art one minute to referring to his son’s local installation piece as the ‘string mess up the hill’ the next.” And for Rockwell, for whom narrative—the story!—was always the center of any picture, the modern clearly was a radical departure. For one principle on which the modernist project is strongly based is the idea that the work of art is and must be seen as a work of art. It’s not a woman, it’s a flat surface with color on it. Relatedly, the painting is flat, and the modernist painter wishes to avoid the illusionism that attempts to create “space” in the picture: the modernist wishes to glory in the flatness of the canvas. (In this piece, I am not especially concerned with fine-grained analysis of the characteristic doctrines of the moderns: I am presenting what is clearly a flat footed account, simply because it appears to be the kind of things that filtered through to non-academics, such as Rockwell or Tom Wolfe.) This doctrine of flatness was theoretically expressed by Clement Greenberg in his famous essay “Modernist Painting” (and elsewhere) a few years after Rockwell completed “The Art Critic.” But these notions had some much earlier expressions in, for example, Maurice Denis, who wrote in his essay “Definition of Neo-Traditionalism”: “Remember that a picture, before being a battle horse, a nude, an anecdote or whatnot, is essentially a flat surface covered with colors assembled in a certain order.” Or as Piet Mondrian later put it, “I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness.” This focus on the flatness of the canvas was to change the act of looking at a painting from an act as if of looking through a frame into a three dimensional space containing familiar objects, into an act of looking at the surface itself with its lines and colors—not “objects,” not stories. So by this standard, it would be an error for an artist to look at the illusionary space in the picture frame. The artist should not be looking at the painting as a “picture of a lady,” but rather as an arrangement of line and color on a flat surface. And Jarvis, the young modernist, would know this perfectly well. Insofar as we think of the young man in Rockwell’s picture as a modernist artist, we should charitably assume that he eschews hypocrisy, and looks as he preaches: he’s not looking at a necklace; he’s certainly not looking at cleavage. Cleavage would be an illusory representation brought about through the denial of flatness! That is, in order to have cleavage, there need to be protrusions from the surface. But on the painting, there are no such protrusions. Only the illusion of them. Considered in this light, Rockwell’s picture can’t be seen (at least from the side of Jarvis) as having any lurking Oedipal overtones. The whole point is that Jarvis is not looking at his mother’s cleavage. Or, perhaps better, that he is looking at a painting of his mother, but in such a way that he can’t see her in it. He’s so detached from the fact that it’s his mother—or a woman at all—that he quite unaffectedly inspects her cleavage without any sense of impropriety at all. This is an unusual, and indeed unnatural situation. But it’s not an Oedipal situation. It’s a modernist situation. art-critic-the-saturday-evening-post-cover-by-norman-rockwell-1955But there is much more to see in this picture. I’ve said that the woman’s “cleavage” is not cleavage, since cleavage requires protrusions. And the woman’s breasts do not protrude. But in fact, there is a protrusion in this painting. Jarvis’s palate has a very large dollop of white paint that stands out from the flat surface of the canvas a good half inch at least. This cannot be seen, of course, in reproductions of the work, but in person, it is strikingly obvious. It’s not a little impasto that stands out a bit more than the surrounding paint. It’s a large pile of paint: the white paint on the palette is piled on as a huge protruding mass. In short: the paint itself isn’t flat. I suspect this is a very clever joke on Rockwell’s part. He’s thinking: these modernists are always going on about the flatness of the canvas, but the paint itself isn’t flat. And he makes the point by heaping up paint absurdly high on the canvas—precisely where it is a painting of paint. If that’s so, he anticipated Morris Louis, who, on Tom Wolfe’s telling, was so impressed by the need for flatness, and the problem posed by the depth of the paint on the canvas, that he took to watering his paint down so much that it soaked into the canvas instead of standing on top of it. Ha! Perfect flatness! Rockwell takes the thought in the opposite direction. Instead of following the flatness doctrine to its logical, and insane, conclusion, he simply mocks the flatness doctrine and continues on with his beautiful narrative painting. So we have an unfortunate result here. Because critics have failed to dig deeply enough into the picture, the persistent and disturbing notion that the painting involves some kind of incestuous element runs rampant. In fact, that notion dates back to Jarvis himself, who said “I was disgusted by the painting, because I was looking at a bosom, which my mother had posed for, and my father knew that I knew.” Jarvis didn’t give his father enough credit. To reiterate: the joke here is that if the modernist artist is true to his doctrine, he’ll deny the illusory part of the image, and care only about the colors and lines on the flat surface. The joke is that he’s really not seeing the lady’s cleavage: he’s not seeing a lady at all. It would not surprise me to learn that as he planned out this picture, Rockwell had been giving some thought to the famous picture often referred to, by us non-modernist philistines, as “Whistler’s Mother,” but actually named by Whistler, “Arrangement in Grey and Black, No. 1.” While we look at the picture and see the artist’s mother, the artist himself saw only the colors on the flat surface. (Or so his title tries to suggest, at any rate.) Rockwell, I suspect, was trying to nudge Jarvis out of such pretentions. At least, that strikes me as the most plausible take on this element of the picture. And it’s a comical, fatherly nudge, not a meanspirited or ugly nudge. Remember that Rockwell on the whole was fully supportive of Jarvis’s modernist art. This is just a loving tweak, not a bitter sexually charged smirk. Mary’s Role in the PaintingBut so far we’ve only covered half of it. We’ve talked about Jarvis’s side of things, but not Mary’s. So, as to the lady’s reaction: Rockwell had a devil of a time figuring out what it should be. He sketched many wildly different reactions on the face of the lady. It’s not clear why he settled on the kind of leer he went with, rather than with a frown, or a shocked look. But here’s what I think. I think the leering lady and the looking lad, in a sense, belong to two different stories. (In this, I agree with Halpern, though of course his take on what the stories are is dramatically different from mine.) First, there’s the private story—the commentary on modern art; the little joke on Jarvis—that is served by having Jarvis look at a picture of his mother without seeing it. This was the heart of the picture—it’s the part that never changed in substance during the whole long development of the details. But, second, there’s the public story, the story that will be taken in by Post readers who don’t know this is Rockwell’s wife and son. They need to be able to “get” the picture. And the leer helps to create a second joke—the joke that people tend to get. Again, this is the joke for people on the outside: people who don’t look at the image and see Mary and Jarvis, mother and son. They see a man looking at cleavage, and a lady leering back in pleased response. I really think that when he finally settled on painting Mary with a leer, Rockwell just abstracted from the fact that the models were his wife and son, and made the picture into a great Post cover. I don’t think this was cruel at all, though I think it was definitely somewhat self-absorbed: I don’t think it occurred to him that the two distinct stories might blend together for some viewers, including his son! There is a third element in “The Art Critic”—namely, the second picture. On the right side of Rockwell’s canvas, we see a representation of a Dutch group portrait. The men react to the scene in front of them with disdain. This was another part of the picture that Rockwell struggled with—though not as much as he struggled with the lady’s expression. At times, he had a landscape painting in place of the Dutch portrait. But the Dutch portrait is a wonderful part of both stories. First, in the public story, it just adds a fun element, of boring old guys taking offense to the little odd story being played out before them. But, second, in the private story—the story where modernist art is being upbraided, you see the reaction of the denizens of the illusory world of art reacting against their unjust exclusion from the realm of what matters. In ignoring even his own mother, Jarvis is signaling his indifference to all of the human element in painting. The old masters—and their creations—rightly rebel. Seeing Rockwell’s “The Art Critic” as a clever joke on modernism allows us to avoid seeing it as a crude and cruel invocation of incest. That’s reason in itself to prefer my take. But leaving aside such personal considerations, there’s the additional fact that my take gets us inside the mind of the artist, and allows us to see layers of artistic meaning and insight that the crude and cruel Oedipal reading simply shuts down entirely. I don’t say that the interpretation that takes the artwork to be more rich is always to be preferred to the interpretation that takes it to be less rich. But other things equal, it certainly should. Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was an American painter and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades.[1] Among the best-known of Rockwell’s works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys’ Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent[2] and A Guiding Hand,[3] among many others. Norman Rockwell was a prolific artist, producing more than 4,000 original works in his lifetime. Most of his works are either in public collections, or have been destroyed in fire or other misfortunes. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His annual contributions for the Boy Scouts calendars between 1925 and 1976 (Rockwell was a 1939 recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America[4]), were only slightly overshadowed by his most popular of calendar works: the “Four Seasons” illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He painted six images for Coca-Cola advertising.[5] Illustrations for booklets, catalogs, posters (particularly movie promotions), sheet music, stamps, playing cards, and murals (including “Yankee Doodle Dandy” and “God Bless the Hills”, which was completed in 1936 for the Nassau Inn in Princeton, New Jersey) rounded out Rockwell’s œuvre as an illustrator. Rockwell’s work was dismissed by serious art critics in his lifetime.[6] Many of his works appear overly sweet in the opinion of modern critics,[7] especially the Saturday Evening Post covers, which tend toward idealistic or sentimentalized portrayals of American life. This has led to the often-deprecatory adjective, “Rockwellesque”. Consequently, Rockwell is not considered a “serious painter” by some contemporary artists, who regard his work as bourgeois and kitsch. Writer Vladimir Nabokov stated that Rockwell’s brilliant technique was put to “banal” use, and wrote in his book Pnin: “That Dalí is really Norman Rockwell’s twin brother kidnapped by Gypsies in babyhood”. He is called an “illustrator” instead of an artist by some critics, a designation he did not mind, as that was what he called himself.[8] In his later years, however, Rockwell began receiving more attention as a painter when he chose more serious subjects such as the series on racism for Look magazine.[9] One example of this more serious work is The Problem We All Live With, which dealt with the issue of school racial integration. The painting depicts a young black girl, Ruby Bridges, flanked by white federal marshals, walking to school past a wall defaced by racist graffiti.[10] This painting was displayed in the White House when Bridges met with President Barack Obama in 2011.[11] Contents1Life1.1Early years1.2Painting years1.3World War II1.4Later career1.4.1Death1.5Personal life2Legacy3Major works4Film posters and album covers5Displays6See also7References8Sources9Further reading10External linksLifeEarly years Scout at Ship’s Wheel, 1913Norman Rockwell was born on February 3, 1894, in New York City, to Jarvis Waring Rockwell and Anne Mary “Nancy” Rockwell, born Hill.[12][13][14] His earliest American ancestor was John Rockwell (1588–1662), from Somerset, England, who immigrated to colonial North America, probably in 1635, aboard the ship Hopewell and became one of the first settlers of Windsor, Connecticut. He had one brother, Jarvis Waring Rockwell, Jr., older by a year and a half.[15][16] Jarvis Waring, Sr., was the manager of the New York office of a Philadelphia textile firm, George Wood, Sons & Company, where he spent his entire career.[15][17][18] Rockwell transferred from high school to the Chase Art School at the age of 14. He then went on to the National Academy of Design and finally to the Art Students League. There, he was taught by Thomas Fogarty, George Bridgman, and Frank Vincent DuMond; his early works were produced for St. Nicholas Magazine, the Boy Scouts of America (BSA) magazine Boys’ Life, and other youth publications. As a student, Rockwell was given small jobs of minor importance. His first major breakthrough came at age 18 with his first book illustration for Carl H. Claudy’s Tell Me Why: Stories about Mother Nature. After that, Rockwell was hired as a staff artist for Boys’ Life magazine. In this role, he received 50 dollars’ compensation each month for one completed cover and a set of story illustrations. It is said to have been his first paying job as an artist.[19] At 19, he became the art editor for Boys’ Life, published by the Boy Scouts of America. He held the job for three years,[20] during which he painted several covers, beginning with his first published magazine cover, Scout at Ship’s Wheel, which appeared on the Boys’ Life September 1913 edition. Painting years Rockwell’s first Scouting calendar, 1925Rockwell’s family moved to New Rochelle, New York, when Norman was 21 years old. They shared a studio with the cartoonist Clyde Forsythe, who worked for The Saturday Evening Post. With Forsythe’s help, Rockwell submitted his first successful cover painting to the Post in 1916, Mother’s Day Off (published on May 20). He followed that success with Circus Barker and Strongman (published on June 3), Gramps at the Plate (August 5), Redhead Loves Hatty Perkins (September 16), People in a Theatre Balcony (October 14), and Man Playing Santa (December 9). Rockwell was published eight times on the Post cover within the first year. Ultimately, Rockwell published 323 original covers for The Saturday Evening Post over 47 years. His Sharp Harmony appeared on the cover of the issue dated September 26, 1936; it depicts a barber and three clients, enjoying an a cappella song. The image was adopted by SPEBSQSA in its promotion of the art. Rockwell’s success on the cover of the Post led to covers for other magazines of the day, most notably the Literary Digest, the Country Gentleman, Leslie’s Weekly, Judge, Peoples Popular Monthly and Life magazine. When Rockwell’s tenure began with The Saturday Evening Post in 1916, he left his salaried position at Boys’ Life, but continued to include scouts in Post cover images and the monthly magazine of the American Red Cross. He resumed work with the Boy Scouts of America in 1926 with production of his first of fifty-one original illustrations for the official Boy Scouts of America annual calendar, which still may be seen in the Norman Rockwell Art Gallery at the National Scouting Museum[21] in the city of Cimarron in New Mexico. During World War I, he tried to enlist into the U.S. Navy but was refused entry because, at 140 pounds (64 kg), he was eight pounds underweight for someone 6 feet (1.8 m) tall. To compensate, he spent one night gorging himself on bananas, liquids and doughnuts, and weighed enough to enlist the next day. He was given the role of a military artist, however, and did not see any action during his tour of duty.[22] World War II Freedom of Speech, 1943In 1943, during World War II, Rockwell painted the Four Freedoms series, which was completed in seven months and resulted in him losing fifteen pounds. The series was inspired by a speech by Franklin D. Roosevelt, wherein Roosevelt described and articulated Four Freedoms for universal rights. Rockwell then painted Freedom from Want, Freedom of Speech, Freedom of Worship[23] and Freedom from Fear. The paintings were published in 1943 by The Saturday Evening Post. Rockwell used the Pennell shipbuilding family from Brunswick, Maine as models for two of the paintings, Freedom from Want and A Thankful Mother, and would combine models from photographs and his own vision to create his idealistic paintings. The United States Department of the Treasury later promoted war bonds by exhibiting the originals in sixteen cities. Rockwell considered Freedom of Speech to be the best of the four. Freedom from Want, 1943That same year, a fire in his studio destroyed numerous original paintings, costumes, and props.[24] Because the period costumes and props were irreplaceable, the fire split his career into two phases, the second phase depicting modern characters and situations. Rockwell was contacted by writer Elliott Caplin, brother of cartoonist Al Capp, with the suggestion that the three of them should make a daily comic strip together, with Caplin and his brother writing and Rockwell drawing. King Features Syndicate is reported to have promised a $1,000 per week deal, knowing that a Capp-Rockwell collaboration would gain strong public interest. The project was ultimately aborted, however, as it turned out that Rockwell, known for his perfectionism as an artist, could not deliver material so quickly as would be required of him for a daily comic strip.[24] Later careerDuring the late 1940s, Norman Rockwell spent the winter months as artist-in-residence at Otis College of Art and Design. Students occasionally were models for his Saturday Evening Post covers. In 1949, Rockwell donated an original Post cover, April Fool, to be raffled off in a library fund raiser. In 1959, after his wife Mary died suddenly from a heart attack,[25][page needed] Rockwell took time off from his work to grieve. It was during that break that he and his son Thomas produced Rockwell’s autobiography, My Adventures as an Illustrator, which was published in 1960. The Post printed excerpts from this book in eight consecutive issues, the first containing Rockwell’s famous Triple Self-Portrait. Norman Rockwell’s studioRockwell’s last painting for the Post was published in 1963, marking the end of a publishing relationship that had included 321 cover paintings. He spent the next 10 years painting for Look magazine, where his work depicted his interests in civil rights, poverty, and space exploration. In 1966, Rockwell was invited to Hollywood to paint portraits of the stars of the film Stagecoach, and also found himself appearing as an extra in the film, playing a “mangy old gambler”.[26] In 1968, Rockwell was commissioned to do an album cover portrait of Mike Bloomfield and Al Kooper for their record, The Live Adventures of Mike Bloomfield and Al Kooper.[27] In 1969, as a tribute to Rockwell’s 75th anniversary of his birth, officials of Brown & Bigelow and the Boy Scouts of America asked Rockwell to pose in Beyond the Easel, the calendar illustration that year.[28] Beyond the Easel, 1969 calendarIn 1969 the U. S. Bureau of Reclamation commissioned Rockwell to paint the Glen Canyon Dam.[29] His last commission for the Boy Scouts of America was a calendar illustration entitled The Spirit of 1976, which was completed when Rockwell was 82, concluding a partnership which generated 471 images for periodicals, guidebooks, calendars, and promotional materials. His connection to the BSA spanned 64 years, marking the longest professional association of his career. His legacy and style for the BSA has been carried on by Joseph Csatari. For “vivid and affectionate portraits of our country”, Rockwell was awarded the Presidential Medal of Freedom, the United States of America’s highest civilian honor, in 1977 by President Gerald Ford. Rockwell’s son, Jarvis, accepted the award.[30] DeathRockwell died on November 8, 1978, of emphysema at age 84 in his Stockbridge, Massachusetts home. First Lady Rosalynn Carter attended his funeral. Personal life Undated photo of the artistRockwell married his first wife, Irene O’Connor, in 1916. Irene was Rockwell’s model in Mother Tucking Children into Bed, published on the cover of The Literary Digest on January 19, 1921. The couple divorced in 1930. Depressed, he moved briefly to Alhambra, California as a guest of his old friend Clyde Forsythe. There he painted some of his best-known paintings including The Doctor and the Doll. While there he met and married schoolteacher Mary Barstow in 1930.[31] The couple returned to New York shortly after their marriage. They had three children: Jarvis Waring, Thomas Rhodes, and Peter Barstow. The family lived at 24 Lord Kitchener Road in the Bonnie Crest neighborhood of New Rochelle, New York. For multiple reasons,[vague] Rockwell and his wife were not regular church attendees, although they were members of St. John’s Wilmot Church, an Episcopal church near their home, where their sons were baptized. Rockwell moved to Arlington, Vermont, in 1939 where his work began to reflect small-town life.[31] In 1953, the Rockwell family moved to Stockbridge, Massachusetts, so that his wife could be treated at the Austen Riggs Center, a psychiatric hospital at 25 Main Street, close to where Rockwell set up his studio.[32] Rockwell also received psychiatric treatment, seeing the analyst Erik Erikson, who was on staff at Riggs. Erikson is said to have told the artist that he painted his happiness, but did not live it.[33] In 1959, Mary died unexpectedly of a heart attack. Rockwell married his third wife, retired Milton Academy English teacher, Mary Leete “Mollie” Punderson (1896-1985), on October 25, 1961.[34] His Stockbridge studio was located on the second floor of a row of buildings; directly underneath Rockwell’s studio was, for a time in 1966, the Back Room Rest, better known as the famous “Alice’s Restaurant.” During his time in Stockbridge, chief of police William Obanhein was a frequent model for Rockwell’s paintings.[35] From 1961 until his death, Rockwell was a member of the Monday Evening Club, a men’s literary group based in Pittsfield, Massachusetts. At his funeral, five members of the club served as pallbearers, along with Jarvis Rockwell.[36] Legacy The Problem We All Live With – in 2011, this painting was displayed in the White House when President Barack Obama met the subject, Ruby Bridges, at age 56 (video)A custodianship of his original paintings and drawings was established with Rockwell’s help near his home in Stockbridge, Massachusetts, and the Norman Rockwell Museum still is open today year-round. The museum’s collection includes more than 700 original Rockwell paintings, drawings, and studies. The Rockwell Center for American Visual Studies at the Norman Rockwell Museum is a national research institute dedicated to American illustration art. Rockwell’s work was exhibited at the Solomon R. Guggenheim Museum in 2001.[37][38] Rockwell’s Breaking Home Ties sold for $15.4 million at a 2006 Sotheby’s auction.[6] A 12-city U.S. tour of Rockwell’s works took place in 2008.[20] In 2008, Rockwell was named the official state artist of the Commonwealth of Massachusetts.[39] The 2013 sale of Saying Grace for $46 million (including buyer’s premium) established a new record price for Rockwell.[40] Rockwell’s work was exhibited at the Reading Public Museum and the Church History Museum in 2013–2014. Cover of October 1920 issue of Popular Science magazineIn 1981, Rockwell’s painting Girl at Mirror was used for the cover of Prism’s fifth studio album Small Change.In the film Empire of the Sun, a young boy (played by Christian Bale) is put to bed by his loving parents in a scene also inspired by a Rockwell painting—a reproduction of which is later kept by the young boy during his captivity in a prison camp (“Freedom from Fear”, 1943).[41]The 1994 film Forrest Gump includes a shot in a school that re-creates Rockwell’s “Girl with Black Eye” with young Forrest in place of the girl. Much of the film drew heavy visual inspiration from Rockwell’s art.[42]Film director George Lucas owns Rockwell’s original of “The Peach Crop”, and his colleague Steven Spielberg owns a sketch of Rockwell’s Triple Self-Portrait. Each of the artworks hangs in the respective filmmaker’s work space.[6] Rockwell is a major character in an episode of Lucas’ Young Indiana Jones Chronicles, “Passion for Life.”In 2005, May Corporation, that previously bought Marshall Field’s from Target Corp., was bought by Federated Department Stores. After the sale, Federated discovered that Rockwell’s The Clock Mender displayed in the store was a reproduction.[43][44] Rockwell had donated the painting, which depicts a repairman setting the time on one of the Marshall Field and Company Building clocks, and was depicted on the cover of the November 3, 1945 Saturday Evening Post, to the store in 1948.[43] Target had since donated the original to the Chicago History Museum.[45]On an anniversary of Norman Rockwell’s birth, on February 3, 2010, Google featured Rockwell’s iconic image of young love “Boy and Girl Gazing at the Moon”, which is also known as “Puppy Love”, on its home page. The response was so great that day that the Norman Rockwell museum’s servers went down under the onslaught.[citation needed]”Dreamland”, a track from Canadian alternative rock band Our Lady Peace’s 2009 album Burn Burn, was inspired by Rockwell’s paintings.[46]The cover for the Oingo Boingo album Only a Lad is a parody of the Boy Scouts of America 1960 official handbook cover illustrated by Rockwell.Lana Del Rey named her sixth studio album Norman Fucking Rockwell! (2019) as a tribute.Major works The Rookie, 1957, one of many Saturday Evening Post coversScout at Ship’s Wheel (first published magazine cover illustration, Boys’ Life, September 1913)Santa and Scouts in Snow (1913)Boy and Baby Carriage (1916; first Saturday Evening Post cover)Circus Barker and Strongman (1916)Gramps at the Plate (1916)Redhead Loves Hatty Perkins (1916)People in a Theatre Balcony (1916)Tain’t You (1917; first Life magazine cover)Cousin Reginald Goes to the Country (1917; first Country Gentleman cover)Santa and Expense Book (1920)Mother Tucking Children into Bed (1921; first wife Irene is the model)No Swimming (1921)Santa with Elves (1922)The Love Song (1926, Ladies Home Journal)Doctor and Doll (1929)Deadline (1938)The Four Freedoms (1943)Freedom of Speech (1943)Freedom of Worship (1943)Freedom from Want (1943)Freedom from Fear (1943)Rosie the Riveter (1943)[47]We, Too, Have a Job to Do (1944)Going and Coming (1947)Tough Call (also known as Game Called Because of Rain, Bottom of the Sixth, or The Three Umpires; 1948)[48]The New Television Set (1949)Saying Grace (1951)Waiting for the Vet (1952)The Young Lady with a Shiner (1953)Walking to Church (1953)Girl at Mirror (1954)Breaking Home Ties (1954)[49]The Marriage License (1955)The Scoutmaster (1956)[50]The Rookie (1957)The Runaway (1958)A Family Tree (1959)Triple Self-Portrait (1960)Golden Rule (1961)The Connoisseur (1962)The Problem We All Live With (1964)Southern Justice (Murder in Mississippi) (1965)[51]New Kids in the Neighborhood (1967)Russian Schoolroom (1967)The Spirit of 1976 (1976)[52] (stolen in 1978, recovered in 2001 by the FBI’s Robert King Wittman)Film posters and album coversRockwell designed six film posters during his career, and one album cover. The Magnificent Ambersons (1942)The Song of Bernadette (1943)Along Came Jones (1945)The Razor’s Edge (1946)Cinderfella (1960)Stagecoach (1966)The Live Adventures of Mike Bloomfield and Al Kooper (album cover; 1969)In addition to the above, Rockwell was also commissioned by English musician David Bowie to design the cover artwork for his 1975 album Young Americans; Bowie ultimately retracted the offer, however, after Rockwell informed him that he would need at least half a year to complete a painting for the album.[53] DisplaysNorman Rockwell Museum in Stockbridge, MassachusettsRockwell Collection at the National Museum of American IllustrationNorman Rockwell World War II posters, hosted by the University of North Texas Libraries Digital CollectionsNorman Rockwell and the Art of Scouting at the National Scouting Museum, Irving, Texas[54]Norman Rockwell Exhibit in Arlington, Vermont[55]See alsoiconArts portalJ. C. Leyendecker, Rockwell’s predecessor and stylistic inspirationJames K. Van Brunt, a frequent model for RockwellWilliam Obanhein, another one of Rockwell’s models who would later become famous elsewhereNorman Rockwell’s World… An American Dream, a 1972 short documentary film Born in New York City in 1894, Norman Rockwell always wanted to be an artist. At age 14, Rockwell enrolled in art classes at The New York School of Art (formerly The Chase School of Art). Two years later, in 1910, he left high school to study art at The National Academy of Design. He soon transferred to The Art Students League, where he studied with Thomas Fogarty and George Bridgman. Fogarty’s instruction in illustration prepared Rockwell for his first commercial commissions. From Bridgman, Rockwell learned the technical skills on which he relied throughout his long career. Rockwell found success early. He painted his first commission of four Christmas cards before his sixteenth birthday. While still in his teens, he was hired as art director of Boys’ Life, the official publication of the Boy Scouts of America, and began a successful freelance career illustrating a variety of young people’s publications. At age 21, Rockwell’s family moved to New Rochelle, New York, a community whose residents included such famous illustrators as J.C. and Frank Leyendecker and Howard Chandler Christy. There, Rockwell set up a studio with the cartoonist Clyde Forsythe and produced work for such magazines as Life, Literary Digest, and Country Gentleman. In 1916, the 22-year-old Rockwell painted his first cover for The Saturday Evening Post, the magazine considered by Rockwell to be the “greatest show window in America.” Over the next 47 years, another 321 Rockwell covers would appear on the cover of the Post. Also in 1916, Rockwell married Irene O’Connor; they divorced in 1930. The 1930s and 1940s are generally considered to be the most fruitful decades of Rockwell’s career. In 1930 he married Mary Barstow, a schoolteacher, and the couple had three sons, Jarvis, Thomas, and Peter. The family moved to Arlington, Vermont, in 1939, and Rockwell’s work began to reflect small-town American life. In 1943, inspired by President Franklin Roosevelt’s address to Congress, Rockwell painted the Four Freedoms paintings. They were reproduced in four consecutive issues of The Saturday Evening Post with essays by contemporary writers. Rockwell’s interpretations ofFreedom of Speech, Freedom to Worship, Freedom from Want, and Freedom from Fear proved to be enormously popular. The works toured the United States in an exhibition that was jointly sponsored by the Post and the U.S. Treasury Department and, through the sale of war bonds, raised more than $130 million for the war effort. Norman Rockwell (1894-1978), “Freedom of Speech,” 1943Norman Rockwell (1894-1978), Freedom of Speech, 1943. Illustration for The Saturday Evening Post, February 20, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. “Freedom of Worship,” 1943, Norman Rockwell (1894-1978). Oil on canvas, 46” x 35 ½”. Story illustration for “The Saturday Evening Post,” February 27, 1943. Norman Rockwell Museum Collections. ©1943 SEPS: Curtis Publishing, Indianapolis, INNorman Rockwell (1894-1978), Freedom of Workship, 1943. Illustration for The Saturday Evening Post, February 27, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. “Freedom from Want,” Norman Rockwell, 1943. Norman Rockwell Museum Collections. ©1943 SEPS: Curtis Publishing, Indianapolis, INNorman Rockwell (1894-1978), Freedom From Want, 1943. Illustration for The Saturday Evening Post, March, 6, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. Norman Rockwell (1894-1978), “Freedom From Fear,” 1943Norman Rockwell (1894-1978), Freedom From Fear, 1943. Illustration for The Saturday Evening Post, March, 13, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. Although the Four Freedoms series was a great success, 1943 also brought Rockwell an enormous loss. A fire destroyed his Arlington studio as well as numerous paintings and his collection of historical costumes and props. In 1953, the Rockwell family moved from Arlington, Vermont, to Stockbridge, Massachusetts. Six years later, Mary Barstow Rockwell died unexpectedly. In collaboration with his son Thomas, Rockwell published his autobiography, My Adventures as an Illustrator, in 1960. The Saturday Evening Post carried excerpts from the best-selling book in eight consecutive issues, with Rockwell’s Triple Self-Portrait on the cover of the first. In 1961, Rockwell married Molly Punderson, a retired teacher. Two years later, he ended his 47-year association with The Saturday Evening Post and began to work for Look magazine. During his 10-year association with Look, Rockwell painted pictures illustrating some of his deepest concerns and interests, including civil rights, America’s war on poverty, and the exploration of space. In 1973, Rockwell established a trust to preserve his artistic legacy by placing his works in the custodianship of the Old Corner House Stockbridge Historical Society, later to become Norman Rockwell Museum at Stockbridge. The trust now forms the core of the Museum’s permanent collections. In 1976, in failing health, Rockwell became concerned about the future of his studio. He arranged to have his studio and its contents added to the trust. In 1977, Rockwell received the nation’s highest civilian honor, the Presidential Medal of Freedom. He died peacefully at his home in Stockbridge on November 8, 1978, at the age of 84. In 2008, Rockwell was named the official state artist of the Commonwealth of Massachusetts, thanks to a dedicated effort from students in Berkshire County, where Rockwell lived for the last 25 years of his life. Born in New York City in 1894, Norman Rockwell always wanted to be an artist. At age 14, Rockwell enrolled in art classes at The New York School of Art (formerly The Chase School of Art). Two years later, in 1910, he left high school to study art at The National Academy of Design. He soon transferred to The Art Students League, where he studied with Thomas Fogarty and George Bridgman. Fogarty’s instruction in illustration prepared Rockwell for his first commercial commissions. From Bridgman, Rockwell learned the technical skills on which he relied throughout his long career. Rockwell found success early. He painted his first commission of four Christmas cards before his sixteenth birthday. While still in his teens, he was hired as art director of Boys’ Life, the official publication of the Boy Scouts of America, and began a successful freelance career illustrating a variety of young people’s publications. At age 21, Rockwell’s family moved to New Rochelle, New York, a community whose residents included such famous illustrators as J.C. and Frank Leyendecker and Howard Chandler Christy. There, Rockwell set up a studio with the cartoonist Clyde Forsythe and produced work for such magazines as Life, Literary Digest, and Country Gentleman. In 1916, the 22-year-old Rockwell painted his first cover for The Saturday Evening Post, the magazine considered by Rockwell to be the “greatest show window in America.” Over the next 47 years, another 321 Rockwell covers would appear on the cover of the Post. Also in 1916, Rockwell married Irene O’Connor; they divorced in 1930. The 1930s and 1940s are generally considered to be the most fruitful decades of Rockwell’s career. In 1930 he married Mary Barstow, a schoolteacher, and the couple had three sons, Jarvis, Thomas, and Peter. The family moved to Arlington, Vermont, in 1939, and Rockwell’s work began to reflect small-town American life. In 1943, inspired by President Franklin Roosevelt’s address to Congress, Rockwell painted the Four Freedoms paintings. They were reproduced in four consecutive issues of The Saturday Evening Post with essays by contemporary writers. Rockwell’s interpretations ofFreedom of Speech, Freedom to Worship, Freedom from Want, and Freedom from Fear proved to be enormously popular. The works toured the United States in an exhibition that was jointly sponsored by the Post and the U.S. Treasury Department and, through the sale of war bonds, raised more than $130 million for the war effort. Norman Rockwell (1894-1978), “Freedom of Speech,” 1943Norman Rockwell (1894-1978), Freedom of Speech, 1943. Illustration for The Saturday Evening Post, February 20, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. “Freedom of Worship,” 1943, Norman Rockwell (1894-1978). Oil on canvas, 46” x 35 ½”. Story illustration for “The Saturday Evening Post,” February 27, 1943. Norman Rockwell Museum Collections. ©1943 SEPS: Curtis Publishing, Indianapolis, INNorman Rockwell (1894-1978), Freedom of Workship, 1943. Illustration for The Saturday Evening Post, February 27, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. “Freedom from Want,” Norman Rockwell, 1943. Norman Rockwell Museum Collections. ©1943 SEPS: Curtis Publishing, Indianapolis, INNorman Rockwell (1894-1978), Freedom From Want, 1943. Illustration for The Saturday Evening Post, March, 6, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. Norman Rockwell (1894-1978), “Freedom From Fear,” 1943Norman Rockwell (1894-1978), Freedom From Fear, 1943. Illustration for The Saturday Evening Post, March, 13, 1943. From the collection of Norman Rockwell Museum. © 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved. Although the Four Freedoms series was a great success, 1943 also brought Rockwell an enormous loss. A fire destroyed his Arlington studio as well as numerous paintings and his collection of historical costumes and props. In 1953, the Rockwell family moved from Arlington, Vermont, to Stockbridge, Massachusetts. Six years later, Mary Barstow Rockwell died unexpectedly. In collaboration with his son Thomas, Rockwell published his autobiography, My Adventures as an Illustrator, in 1960. The Saturday Evening Post carried excerpts from the best-selling book in eight consecutive issues, with Rockwell’s Triple Self-Portrait on the cover of the first. In 1961, Rockwell married Molly Punderson, a retired teacher. Two years later, he ended his 47-year association with The Saturday Evening Post and began to work for Look magazine. During his 10-year association with Look, Rockwell painted pictures illustrating some of his deepest concerns and interests, including civil rights, America’s war on poverty, and the exploration of space. In 1973, Rockwell established a trust to preserve his artistic legacy by placing his works in the custodianship of the Old Corner House Stockbridge Historical Society, later to become Norman Rockwell Museum at Stockbridge. The trust now forms the core of the Museum’s permanent collections. In 1976, in failing health, Rockwell became concerned about the future of his studio. He arranged to have his studio and its contents added to the trust. In 1977, Rockwell received the nation’s highest civilian honor, the Presidential Medal of Freedom. He died peacefully at his home in Stockbridge on November 8, 1978, at the age of 84. In 2008, Rockwell was named the official state artist of the Commonwealth of Massachusetts, thanks to a dedicated effort from students in Berkshire County, where Rockwell lived for the last 25 years of his life. Pictureanationofpatrioticcitizensunencumberedbywantorfear,freetospeaktheirmindsandworshipastheychose.Inasimpleroom,generationsgatherforabountifulThanksgivingfeast.Inadimlylitbedroom,amotherandfathertucktheirchildsafelyintobed.Atatownmeeting,amanstandstallandproudamonghisneighbors.Inacrowd,everyheadisbentinferventprayer.ThisisNormanRockwell’sAmericaasdepictedinhisfamous“FourFreedoms”series.Althoughhisvastbodyofworkhasoftenbeendismissedorstereotyped,Rockwellremainsoneof20th-centuryAmerica’smostenduringandpopularartists.Now,morethanonehundredyearsafterhisbirth,heisachievinganewlevelofrecognitionandrespectaround theworld.NormanRockwellthoughtofhimselffirstandforemostacommercialillustrator.Hesitanttoconsideritart,heharboreddeepinsecuritiesabouthiswork.Whatisunmistakable,however,isthatRockwelltappedintothenostalgiaofapeopleforatimethatwaskinderandsimpler.Hisabilitytocreatevisualstoriesthatexpressedthewantsofanationhelpedtoclarifyand,inasense,createthatnation’svision.Hisprolificcareerspannedthedaysofhorse-drawncarriagestothemomentousleapthatlandedmankindonthemoon.Whilehistorywasinthemakingallaroundhim,Rockwellchosetofillhiscanvaseswiththesmalldetailsandnuancesofordinarypeopleineverydaylife.Takentogether,hismanypaintingscapturesomethingmuchmoreelusiveandtranscendent— theessenceoftheAmericanspirit.“IpaintlifeasIwouldlikeittobe,”Rockwelloncesaid.Mythical,idealistic,innocent,hispaintingsevokealongingforatimeandplacethatexistedonlyintherarefiedrealmofhisrichimaginationandinthehopesandaspirationsofthenation.AccordingtofilmmakerStevenSpielberg,“RockwellpaintedtheAmericandream— betterthananyone.”BorninNewYorkin1894,Rockwellhadearlyhopesofbecominganartist.Asayoungmanhe lehighschooltoattendartschool.AdiligentstudentattheArtStudent’sLeagueinNewYork,hegraduatedtofindimmediateworkasanillustratorforBOY’SLIFEmagazine.By1916RockwellhadcreatedhisfirstofmanySATURDAYEVENINGPOSTcovers.He wouldcontinuetocreatememorablecoversforthemfornearlyfiyyears— makingthreehundredandseventeeninall.Bytheearly1920s,Rockwellhadworkedillustratingadvertisementsformanybusinesses,includingJell-OandOrangeCrush.Hisworkformagazineswasgrowinginpopularityandbringinginnumerousrequests.In1920hemadeapaintingfortheBoyScoutsofAmericacalendar.Clearlyoneofthemorewell-knownprojects,hecontinuedtoworkontheircalendarsuntiljustbeforehisdeath.In1942,Rockwellpaintedoneofhismostovertlypoliticalandimportantpieces.InresponsetoaspeechgivenbyPresidentFranklinRoosevelt,RockwellmadeaseriesofpaintingsthatdealtwiththeFreedomofSpeech,FreedomofWorship,FreedomfromWant,andFreedomfromFear.Throughoutthemid-1940sthesepaintingstraveledaroundthecountrybeingshowninconjunctionwiththesaleofbonds.Viewedbymorethanamillionpeople,theirpopularitywasconsideredanimportantpartofthewareffortathome. Duringthelate1940sand1950sRockwellcontinuedasoneofthemostprolificandrecognizedillustratorsinthecountry.WhilehisallegiancetotheSATURDAYEVENINGPOSTremained,heproducedworkforothermagazinesINCLUDINGLADIES’HOMEJOURNAL,MCCALL’S,LITERARYDIGEST,andLOOK.Inthe1960s,promptedbyhisthirdwife,newmarkets,andbythetimes,Rockwellbegantoexhibitastrongsenseofsocialconsciousness.Hisimages,whichhadprimarilydealtwithautopianvisionofthecountry,begantoaddressrealisticconcerns.“TheProblemWeAllLiveWith,”showsanAfricanAmericanschoolgirl,escortedbysafetyofficers,walkingpastawallsmearedwiththejuicesofathrowntomato.Inadditiontocivilrights,Rockwell’slatersubjectsrangedfrompovertytotheSpaceAge,fromthePeaceCorpstothepresidents.Today,morethantwentyyearsafterhisdeathin1978,NormanRockwell’sstarisonceagainrising.“FreedomFromWant,”thatinvitingportraitofaNewEnglandThanksgivingdinner,was recentlythecenterpieceofanexhibitattheNationalMuseumofAmericanArtinWashington,D.C.InaneraofAbstractExpressionism,RockwellneverachievedthecriticalstatureofcontemporarieslikeJacksonPollock,buthisfamiliarimageshavefoundapermanentplaceintheAmericanPsyche.

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