The+Creative+Life+of+Norman+Rockwell



// This work is collaboratively written essay that tells the life story of Norman Rockwell. The essay focuses broadly on Rockwell's personal life, his creative life, the changes in technology that shaped his work, themes that emerged in his work, the changes and currents in American history that may have shaped Rockwell's work, and includes anecdotes as well as descriptions of Rockwell's work. Images are included from []. //


 * The Story**

Norman Perceval Rockwell was born on February 3, 1894 in New York City to his parents, Jarvis Waring Rockwell and Anne Mary “Nancy” Rockwell. This little boy would eventually grow up to become one of America's most loved and remembered artists and illustrators. He would not only create pieces that caused his audience to smile and laugh, but he would also move a nation to join together to buy much needed war bonds. But, before we know the man, let us understand the boy. His father worked for a textile mill as an office boy, but he eventually moved up to manager of the New York office. Rockwell’s parents were very religious and Rockwell sang in the church choir when he was a young boy (NR Bio, 2010). It has been said that Rockwell's famous childhood works were made to compensate for the childhood he did not have: "I paint what I want to see." Rockwell’s family spent their summers at farms in the country until he was about ten years old. Rockwell once stated that he had no bad memories of his summers spent in the country and he believed that those summers had a lot to do with what he would eventually paint later on (NR Bio, 2010).

Growing up wearing corrective shoes because of his pigeon-toed feet, young Norman was very awkward and thin, making him poor at sports. Despite his physical inabilities, he hoped to impress his friends with bedazzling art. Rockwell really enjoyed drawing at a young age and always knew that he wanted to become an artist. By the time Rockwell was fourteen years old, he enrolled in art classes at The New York School of Art, formerly known as The Chase School of Art, in New York. He was nicknamed "The Deacon" by the other students, because he was so serious when he painted. While in high school, he received his first commission for Christmas cards. Two years later, he left high school to study art at the National Academy of Design (NR Bio, 2010). During this time, Rockwell created some of his early pieces. Two of his best known are his works for St. Nicholas Magazine and the Boy Scouts of America Calenders. He held this position for three years. His first illustration for the Boy Scouts magazine was for their Scouts at Ships Wheel. For this, he featured a young scout proudly standing at the helm of ship. Also, during this time, Rockwell was only around 19 and the school gave him "smaller" jobs to work on. In 1912, he was given his first big opportunity -- he was asked to illustrate for Carl Harry Claudy's book, //Tell Me Why: Stories about Mother Nature//. This would be his first of many illustrations within books, including two of his most well known - //The Adventures of Tom Sawyer// and //Huckleberry Finn.//

Upon completing this great adventure of illustrating, Norman Rockwell was given another great opportunity -- to begin illustrating for //The Saturday Evening Post//. For his first cover on May 20, 1916, he created the "Boy with the Baby Carriage", and would end this part of his career in his final original cover on May 25, 1963 of a "Portrait of Nasser" (the actual final cover was a reprinting of his "Portrait of John F. Kennedy" on December 16, which was a memorial reprint), Rockwell created 323 covers for //The Post//. In his 47 years of creating magazine covers, Rockwell became known all across America, because his paintings were of what America was and what he thought it ought to be in the future. Most of the paintings at the beginning of his tenure with //The Post// were of children and dogs, as he had been an illustrator for magazines primarily intended for children. Over time, Norman Rockwell believed that the faces of older Americans had more character, so he eventually incorporated the paintings of prominent figures in history, including his many depictions of Presidents Eisenhower and Kennedy, in his later career. In fact, Rockwell became so popular during this time, that //The Saturday Evening Post// became more popular. This became recognizable when Rockwell's covers sold more of //The Saturday Evening Post// than it's stands could hold.

To further the discussion on the covers, Norman Rockwell designed for //The Saturday Evening Post//, which became noticeably more realistic over time. Starting in 1916, the majority of his covers portrayed people, but they looked similar to characters. Interestingly, this year marked the beginning of his first marriage to Irene O'Connor; they later divorced in 1929.. Rockwell's //Saturday Evening Post// covers depicted the life of the time period and his paintings evolved as the eras passed. Through the years his covers gained more and more attention for their amazing style and use of the cover in its entirety. His covers looked like real pictures, rather than paintings, and actually told a story without even including words. In the 1920s, the paintings were bright and colorful. They were as roaring as the people American people were during that time. The 1930s' covers depict a shift in the artwork and are much darker and without as much spunk. As the country enters a time of crisis, Rockwell's covers enter a more political realm. Here images of war and propaganda are noted through covers with military men and his rendition of 'Rosie the Riviter'. Post war painting in the 1950s shows more empty space and his characters appear lonely, as much of the country felt. Finally, in Rockwell's last decade with //The Post//, Rockwell explored themes of religion and his paintings were more widely covered with people. Interestingly enough, African Americans were prohibited to be painted on the Saturday Evening Post unless painted in a position of servanthood, continuing the oppressive race relations between whites and blacks. Over the years, a direct correlation between the time period and Rockwell's covers can be viewed. As the country went through dark times, his paintings followed suit. If things were light and airy, so were his paintings. Another interesting fact about the covers he designed for //The Saturday Evening Post// is that before 1930, Rockwell was only able to use two colors; he was using black and red. This obviously restricted his creativity and the attractiveness of the works, but he was sure to make as many colors as he could out of the black and red he was able to use. By the 1960's, his covers included backgrounds. Before then, every cover he did was on a white canvas, where only a small portion of the cover was depicting his illustration. Rockwell was able to take advantage of the break through in technology for printing and appeal to his audience-the American public.

In 1930, Rockwell married his second wife, Mary Barstow, and together they had three sons: Jarvis, Thomas, and Peter. Rockwell's use of models for his paintings often included himself, family members, and neighbors. Rockwell once said that he liked working with children and older adults. He said that these people were less self conscious and freer with their emotions. In "Christmas Homecoming", Rockwell paints in his children, wife (Mary), and other close family members as they greet a son who has been away at college. Sadly enough, in 1959, Mary Barstow Rockwell died unexpectedly of a heart attack and devastated Norman. He grieved for a while but eventually in Rockwell married Molly Punderson, a retired English teacher in 1961. Moving to Arlington rejuvenated Rockwell's spirit. Here, Rockwell found "the sincere, honest, homespun types that [he loved] to paint. " There was just something very honest and wholesome about Arlington. Rockwell often reused the same models for different pieces. Robert Buck, a widely known model for Rockwell, appeared in 11 Post covers portraying an average WWII soldier, Willie Gillis. Popular ones include "Willie Gillis Goes to College" and "Package from Home". Rockwell really wanted to make his paintings accessible to the public. Rockwell would also give paintings to some of his models or sell them to his neighbors for $1.

"I paint life as I would like it to be," stated Normal Rockwell, prolific American artist who created over 4,000 works in his lifetime. Rockwell's body of work stretches over all aspects of life. He captured many milestones, particularly in "The Discovery" of Santa Claus, while also creating cereal advertisements appealing to all ages, satirical pieces of work making fun of gluttons, all the while concentrating on the commonplaces of the American eye. Rockwell was able to make leaps and mature as an artist from his original works in the 1920's. Initially, his paintings looked rushed and sloppy-possibly even being completed in one sitting. This is certainly evident in "Artists Costume Ball" in 1921. The letters displayed on the painting were not neatly painted, nor did it look as though much time was spent. However, by the 1950's Rockwell continued to paint in ways which help define the 'norms' of the times and began having pieces of work which the public believed were realistic and a honest representation of society.

Rockwell drew inspiration from various sources, one especially known being then-President Roosevelt's State of the Union Address in January 1941. Roosevelt offered his vision for the world and the four essential freedoms he desired for all. In response, Rockwell developed a series of four oil paintings two years later. Each painting is about 45 by 35 inches and features Rockwell's interpretation of one of Roosevelt's freedoms. The series was displayed in an exhibition sponsored by the Saturday Evening Post and the United States Department of the Treasury. Over $132 million was raised in war bonds derived from the sales. While immensely popular and well-known, these paintings are also some of Rockwell's most controversial work. At the time, they were displayed in schools, post offices, railroad stations, etc, promoting unity and accountability as a country. However, critics note the one-dimensional tone in the series due to the sole portrayal of Caucasian, middle-class people in peaceful settings.

In 1943 a tragic event took place, Rockwell's studio burnt to the ground and he lost all of his paintings and drawings. Rockwell and his family were forced to move to West Arlington, Vermont where he began working on special stamps for the Postal Service. He also worked on posters for the Treasury Department, military, and Hollywood movies. As mentioned earlier in his younger years he enjoyed books such as The Adventures of Huckleberry Finn, he did illustrations for that book as well as illustrations for Sears mail-order catalogs and Hallmark greeting cards. In 1953, the next step from Rockwell was to move to Stockbridge, Massachusetts. Some say that the couple moved to Stockbridge so that his wife could receive treatment from the Austen Riggs psychiatric hospital. Rockwell later joined his wife at the center, and began to receive treatment. The hospital was located right down the street from Rockwell's studio and claimed to be "helping treatment-resistant people taking charge of their lives." The couple both were looking to treat their depression; Mary Rockwell also had troubles with alcoholism. Rockwell was speculated to be a workaholic who became obsessed and driven by the need for positive public opinion. His own son described this desire as an addiction. While at the hospital, Norman was treated by renowned psychologist and developmental theorist, Erik Erickson, who coined the term "identity crisis." The theorist claimed that Rockwell "painted happiness, but didn't live it."

Along with political inspiration, Rockwell seemed to also keep his hand in the commercial world, using his creations for advertisements and product art. This can be seen throughout his career, and an interesting fact about his work in advertisement is that he rarely included the product's name, letting his art do the work. There were quite a few pieces that showed up during the 1920s for a range of different products. In 1922, Rockwell created five advertisements for a brake company, Raybestos, in 1922 alone. Each advertisement played up the fear of Americans for their family's safety, including one printed in March, named "'I'm Thinking About My Kiddie" depicting a mother, with her daughter behind the wheel. In the 1950s, Rockwell's work made it directly onto the product, when he created a collection of for Kellogg's Corn Flakes boxes, depicting Caucasian boys and girls of different ages, with little difference in coloring. Some contemporary artists dismissed Rockwell as a "serious painter" due to his art being overly sweet - but he made firm believers out of many when he started producing powerful images about integration and the unfair treatment of African Americans.

Norman Rockwell seemed to find a way to show his issues with the white man's treatment of African American's even before he was allowed to do so. Rockwell's 1946 painting, "A Boy in a Dining Car" illustrated a young boy about the age of ten calculating the tip for an older smiling African American server. At this time, //The Saturday Evening Post// forbade Rockwell from including African Americans in his cover art unless they were portrayed as servants; therefore, Rockwell found a way to illustrate the man as a server, but there is a definite underlying emotion provoked in this painting. It is easy to see that Rockwell is almost mocking the event since the white child is so young and innocent, which is illustrated by the toy in his pocket and the socks he is wearing. He is illustrating in a very understated way, the ridiculousness that was present in our racial relations of the times.

It would not be until the 1960s though, when Rockwell would turn his work from lighthearted and scenic to more representative of the actual American society that existed at the time. His works for the //Saturday Evening Post// were often criticized by serious artists of the era, as they were too idealistic and sentimental compared to real life. Rockwell was limited by the //Post// in what he could paint however, and once he left for //Look// magazine in 1963, he began to tap deeper into the currents of real society and reflect them in his work. Some of his famous works from this period are "The Problem We All Live With" and "Murder in Mississippi." In "The Problem We All Live With", Rockwell shows a young black girl, Ruby Bridges, walking past a wall defaced by racist graffiti, and she is being escorted by four white United States deputy marshals. This painting depicted the scene that occurred a few years after the Brown vs. Board of Education ruled separate but equal public schools. Ruby Bridges was on her way to William Franz Public School in New Orleans after it became an integrated school. In "Murder in Mississippi", Rockwell depicts a white man holding up a bleeding black man, while shadows of other people (presumably the KKK) stand around them waiting to fulfill their hate. Both paintings highlight the Civil Rights battle that was going on in the 1960s. Norman Rockwell confronted this cultural theme head-on with his work in the 60s. While he was not able to do this when working at the //Post//, his move to //Look// allowed him to use his skills in a more realistic, and much less idealistic manner. Rockwell himself stated that he was ashamed to not have looked at these issues sooner, as social concerns had been bothering him for several years while working under the //Post//.

Rockwell's final painting for the //Saturday Evening Post// was in 1963, and then he began illustrating for Look magazine. Rockwell was able to express his interest in the aforementioned civil rights and poverty issues. Another career high was painting portraits for several presidents including Kennedy and Nixon. In 1977, Rockwell received the Presidential Medal of Freedom for "vivid and affectionate portraits of our country."

Not only did Rockwell depict civil rights issues for African Americans in his work; he also explored the issue of feminism. “Girl Reading the Post” from 1941 and “Girl at Mirror” from 1954 explore the societal pressures placed on females to be beautiful. “Girl at Mirror,” is especially poignant in its portrayal of the loss of innocence and the carefree ways of childhood; the young girl casting aside her doll for red lipstick, a photo of Jayne Russell on her lap. On May 29th, 1943 The //Saturday Evening Post// cover featured Rockwell’s painting of “Rosie the Riveter.” His painting was the first widely publicized visual representation of Rosie the Riveter, the personification of American women going into the workplace as part of the war effort. Rockwell’s Rosie was a commanding image in overalls and a matching work shirt. With her sleeves rolled up, Rosie was muscular and ready to work. A powerful figure, Rockwell’s Rosie balances a riveting gun across her knee while using Hitler’s //Mein Kampf// as a foot stool. At the same time, she’s beautiful - with red lips and fingernails and an air of confidence. Looking at the artwork through a 21st century viewpoint, Rockwell’s belief in and promotion of women’s capability is clear - yet naive. The harassment, unequal wage earnings, sexism, and lack of civil rights women faced would not be addressed until well into the 20th century.

Overall, it is clear after exploring Rockwell's Chronicles of Art, that media styles developed through the ages, but Rockwell also developed as an artist. Social ills awakened his conscious to oppression, diversity, and the rapidly changing social structures of our modern world. Its almost sad to walk through exhibits of his work. Hanging on the walls, we see our culture move from happy-go-lucky traditionalism to the darkness of war and racism. As his paintings move from light into the dark, so too did our history. He morphed from paintings of whimsical childish innocence to the darkness of realism, as he came to grips with the reality that 'the other half' of America dealt with daily.  Rockwell passed away November 8, 1978 at age 84, due to emphysema. His service was attended by thousands, including First Lady Rosalynn Carter.

Norman Rockwell remains an icon in American Society and in the hearts of many Americans. The popularized statement, "As American as Apple Pie" could easily be changed into "As American as a Norman Rockwell painting" as stated in a Norman Rockwell biography (Notable Biographies). Although the Four Freedom's paintings premiered at the store in 1943, Macy's Department Store in New York City have used Norman Rockwell's art as a theme for their Christmas window settings in the early 2000s. The Four Freedom's paintings were intended to rally support for the Allied cause in WWII and the purchase of war bonds. Even though, many critics are not obsessed and captivated by the brush strokes of Norman Rockwell that many of the readers of the newspaper fell in love with. Rockwell, to this day, remains an icon of what American stands for and what it should represent and creates an artistic atmosphere that I believe can definitely persuade viewers to have a more optimistic taking on life, war, freedom and religion. He did accomplish his early hopes of becoming a great artist. He had painted the American dream with the best of his ability, and he made it seem alive. He reminds us of all the goodness that lies within us. Even with the problems we face today, from the never ending self doubt that we live in to the need to loved, he was able to present positive reinforcements through his paintings. As the New Yorker art critic Peter Schjedahl said in the ArtNews: "Rockwell is terrific. It becomes too tedious to pretend he isn't."

__**References**__

Fun Facts about Norman Rockwell. Retrieved December 13, 2010, from []

//Norman Rockwell Biography// (2010). Retrieved November 30, 2010, from [|http://www.notablebiographies.com/Pu-Ro/Rockwell-Norm overan.html]

Norman Rockwell Biography (2010). Retrieved December 7, 2010, from http://www.notablebiographies.com/Pu-Ro/Rockwell-Norman.html

//Norman Rockwell Art: A Complete Covers List from The Saturday Evening Post// (2010). Retrieved November 30, 2010 from []

//Introduction to the Artist: Norman Rockwell (1894 – 1978)//(2009). Retrieved December 1, 2010 from []

//Discovering Rockwell, through his models// (2008). Retrieved December 1, 2010 from []

//Four Freedoms (Norman Rockwell)// (2010). Retrieved December 6, 2010 from [|http://en.wikipedia.org/wiki/Four_Freedoms_(Norman_Rockwell])

//Norman Rockwell Museum// (2010). Retrieved December 14, 2010 from http://www.nrm.org/

//Norman Rockwell//: Biography, posters, and paintings of American Illustrators. Retrieved from: []