Transcript הצייר האמריקאי נורמן רוקוול

‫נורמן רוקוול (‪ 3‬בפברואר ‪ 8 - 1894‬בנובמבר ‪)1978‬‬
‫היה צייר אמריקאי‪ .‬עבודותיו זכה לפופולאריות רבה‬
‫בארצות הברית‪ ,‬שם היה מוכר במיוחד בזכות ציורי‬
‫שער שיצר עבור מגזין "סאטרדיי איבנינג פוסט"‬
‫במשך יותר מארבעה עשורים‪.‬‬
‫‪Norman Rockwell‬‬
‫קורות חייו‬
‫נורמן רוקוול נולד ב‪ 1894-‬בניו יורק‪ .‬בגיל ‪16‬‬
‫עבר מבית הספר התיכון לבית ספר לאמנות‪.‬‬
‫לאחר מכן למד באקדמיה הלאומית לעיצוב‬
‫ולבסוף בליגת הסטודנטים לאמנות‪ .‬עבודותיו‬
‫המוקדמות נוצרו עבור מגזין סיינט ניקולס‪,‬‬
‫"בוי'ז לייף"‪ ,‬מגזין שמוציאה תנועת הצופים‬
‫האמריקנית‪ ,‬ועוד עיתונים לקהל הצעיר‪.‬‬
‫פריצת הדרך הראשונה של רוקוול הייתה‬
‫ב‪ ,1912-‬כשאיוריו פורסמו בספר ילדים‪.‬‬
‫בזמן מלחמת העולם הראשונה ניסה רוקוול‬
‫להתגייס לצי האמריקני‪ ,‬אך נתקל בסירוב‬
‫בטענה שסבל מתת משקל‪ .‬הוא בילה לילה שלם‬
‫באכילת בננות‪ ,‬נוזלים וסופגניות‪ ,‬ולמחרת שקל‬
‫מספיק כדי להתגייס‪ .‬הוא קיבל תפקיד של אמן‬
‫צבאי ולא לחם בזמן שירותו הצבאי‪.‬‬
‫‪Scout at Ship's Wheel, 1913‬‬
‫בגיל ‪ 21‬עבר לניו יורק וחלק סטודיו עם קלייד‬
‫פורסיית'‪ ,‬אמן קומיקס שעבד ב"סאטרדיי איבנינג‬
‫פוסט"‪ .‬בסיועו של פורסיית' הגיש את איור השער‬
‫הראשון שלו למגזין‪ ,‬נער עם עגלת תינוק‪ ,‬שפורסם‬
‫ב‪ 20-‬במאי ‪ .1916‬בשנה הראשונה להעסקתו‬
‫במגזין צייר ‪ 8‬שערים‪ .‬הוא צייר עוד ‪ 321‬שערים‬
‫במגזין זה ב‪ 47-‬השנים הבאות‪.‬‬
‫ב‪ 1916-‬נשא את אשתו הראשונה‪ ,‬איירין‬
‫אוקונור‪ .‬ב‪ 1921-‬שימשה אוקונור דוגמנית‬
‫לציור "אם מכסה את בנה לפני השינה"‬
‫שפורסם במגזין "ליטררי דייג'סט"‪.‬‬
‫ב‪ 1930-‬התגרש הזוג‪ .‬במהרה נשא רוקוול‬
‫את אשתו השנייה‪ ,‬המורה מרי בארסטו‪,‬‬
‫ממנה נולדו לו ‪ 3‬ילדים‪ .‬ב‪ 1939-‬עברה‬
‫משפחת רוקוול לארלינגטון‪ ,‬ורמונט‪.‬‬
‫עיר זו נתנה לו השראה לציורים בהם תיאר‬
‫את החיים בעיר אמריקנית קטנה‪.‬‬
‫‪Grandpa's Little Ballerina, Evening Post Cover‬‬
‫‪1923‬‬
‫בנוסף לאלה צייר גם בעשרות לוחות שנה‪,‬‬
‫קטלוגים‪ ,‬כרזות לסרטי קולנוע‪ ,‬בולים‪ ,‬קלפי משחק‪,‬‬
‫ואף ציורי קיר‪.‬‬
‫)‪His first Scouting calendar (1925‬‬
Doctor and Doll 1929
‫ב‪ ,1943-‬בזמן מלחמת העולם השנייה‪,‬‬
‫צייר רוקוול סדרה של ציורים בשם‬
‫"ארבע החירויות"‪ .‬ההשראה לציורים‬
‫אלה נבעה מנאום ארבע החירויות שנשא‬
‫הנשיא דאז‪ ,‬פרנקלין דלאנו רוזוולט‪ ,‬בו‬
‫טען שישנם ארבעה יסודות לזכויות‬
‫בינלאומיות‪ :‬חופש ביטוי‪ ,‬חופש דת‪,‬‬
‫חופש ממחסור וחופש מפחד‪ .‬רוקוול עבד‬
‫על הציורים במשך ‪ 7‬חודשים‪ ,‬ועקב כך‬
‫איבד כ‪ 7-‬קילוגרם ממשקלו‪.‬‬
‫לאחר פרסומם‪ ,‬השתמש משרד האוצר‬
‫האמריקני בציורים לשם קידום קניית‬
‫אגרות חוב‪.‬‬
‫‪Freedom of Speech 1943‬‬
"In the future days, which we seek to make secure,
we look forward to a world founded upon four
essential human freedoms.
The first is freedom of speech and expression—
everywhere in the world.
The second is freedom of every person to worship
God in his own way—everywhere in the world.
The third is freedom from want—which, translated
into world terms, means economic understandings
which will secure to every nation a healthy peacetime
life for its inhabitants—everywhere in the world.
The fourth is freedom from fear—which, translated
into world terms, means a world-wide reduction of
armaments to such a point and in such a thorough
fashion that no nation will be in a position to commit
an act of physical aggression against any neighbor—
anywhere in the world.
That is no vision of a distant millennium. It is a
definite basis for a kind of world attainable in our
own time and generation. That kind of world is the
very antithesis of the so-called new order of tyranny
which the dictators seek to create with the crash of a
bomb."
Franklin Delano] Roosevelt
Freedom of Worship 1943
‫"בימים הקרובים‪ ,‬שאנו עמלים קשה על מנת‬
‫להפכם לבטוחים‪ ,‬אנו נושאים את עינינו אל עולם‬
‫המבוסס על ארבע חירויות אדם חיוניות‪.‬‬
‫החירות הראשונה היא חירות הביטוי וההבעה‪,‬‬
‫בכל מקום בעולם‪.‬‬
‫השנייה היא חירותו של כל אדם לעבוד את אלוהיו‬
‫לפי דרכו‪ ,‬בכל מקום בעולם‪.‬‬
‫השלישית היא חירות ממחסור‪ ,‬שכאשר מתרגמים‬
‫אותה למונחים כלל‪-‬עולמיים‪ ,‬הכוונה היא להבנות‬
‫כלכליות שיבטיחו לכל אומה חיים בריאים ושלווים‬
‫לתושביה‪ ,‬בכל מקום בעולם‪.‬‬
‫הרביעית היא חירות מפחד‪ ,‬שכאשר מתרגמים‬
‫אותה למונחים כלל‪-‬עולמיים‪ ,‬הכוונה היא‬
‫להפחתה כלל‪-‬עולמית בכמויות הנשק בצורה כה‬
‫יסודית עד שנגיע לנקודה שבה אף מדינה לא‬
‫תהיה בעמדה שתאפשר לה לבצע תוקפנות‬
‫צבאית כנגד מדינה שכנה כלשהי‪ ,‬בכל מקום‬
‫בעולם‪.‬‬
‫זהו לא חזון למילניום רחוק כלשהו‪ .‬זהו בסיס‬
‫ברור לעולם בר‪-‬השגה בזמננו ובדורנו‪ .‬עולם כזה‬
‫עומד בסתירה למה שנקרא סדר חדש של עריצות‬
‫שהרודנים שואפים ליצור בעזרת הפלת פצצה‪".‬‬
‫פרנקלין דלאנו רוזוולט ‪ -‬קטע מנאום מצב האומה‬
‫‪Freedom from Want 1943‬‬
Freedom from Fear 1943
On the evening of June 6, 1994, the 50-year anniversary of
D-Day, Jay Leno did a special tribute on The Tonight Show.
He introduced several World War II veterans who were
sitting in the audience before he presented his next guest,
Mary Doyle Keefe. Mary was the model for Rockwell’s May
29, 1943, cover Rosie the Riveter. As Vicki Randle, a member
of The Tonight Show band, sang the song “Rosie the
Riveter,” Mary drilled several screws into a board making
the drill sound at the end of the song.
Mary was a 19-year-old phone operator in Arlington,
Vermont, when Rockwell called and asked if she “wouldn’t
mind posing for a painting.” She posed twice because the
white blouse and shoes for the first sitting were not what he
was looking for. Mary explains that yes, she did hold a ham
sandwich while posing; she did have the white handkerchief
that peeked from a pocket; she never saw Hitler’s book Mein
Kampf; and the rivet gun was a lightweight fake. “I’ve had
people come to me and say, ‘How did you ever hold that
rivet machine?’ ‘Oh,’ I said, ‘it wasn’t too bad.’” Rockwell
had transformed the petite, 110-pound Mary into a brawny,
muscular woman for the painting. She says,
During the war, Rosie the Riveter and Rockwell’s Four
Freedoms toured the country raising money for the war
bond drive. “I was very pleased that they could make all this
money for the war.” She adds, “I am proud of this painting.
It’s a symbol of what the women did for the war, to do their
part, and to give up their nail polish.”
Plus-sized? Mary Doyle Keefe, who posed for this
painting, was a petite woman in real life. Rockwell
would apologize for painting her so large.
Mary was also a special guest at Sotheby’s when they
auctioned Rosie the Riveter on May 23, 2002. The painting
sold for $4.9 million to the Elliot Yeary Gallery in Colorado,
and has since been sold to the Crystal Bridges Museum of
American Art in Arkansas.“He called me and apologized for
making me so large.”
After the Prom, 1957
‫באותה שנה פרצה שריפה בסטודיו של רוקוול‪,‬‬
‫והשמידה מספר יצירות מקוריות‪ ,‬תחפושות‬
‫ואביזרים‪ .‬ב‪ 1953-‬מתה אשתו באופן לא צפוי‬
‫ורוקוול החליט לצאת להפסקה לשם אבלות‪.‬‬
‫בזמן הפסקה זו כתב יחד עם בנו את‬
‫האוטוביוגרפיה שלו‪" ,‬הרפתקאותיי כמאייר"‪,‬‬
‫שפורסמה ב‪.1960-‬‬
‫"סאטרדיי איבנינג פוסט" פרסם קטעים‬
‫מהאוטוביוגרפיה ב‪ 8-‬גליונות עוקבים‪ ,‬ובראשון נכלל‬
‫"דיוקן עצמי משולש"‪ ,‬ציורו המפורסם של רוקוול‪.‬‬
‫ב‪ 1961-‬נשא את אשתו השלישית‪ ,‬מולי פאנדרסון‪.‬‬
‫ציורו האחרון ב"סאטרדיי איבנינג פוסט" פורסם‬
‫ב‪ .1963-‬ב‪ 10-‬השנים הבאות צייר רוקוול איורים‬
‫עבור "מגזין לוק"‪ .‬באיורים אלה התבטא עניינו‬
‫בזכויות האזרח‪ ,‬עוני וחקר החלל‪.‬‬
‫‪Triple Self-Portrait, Norman Rockwell,‬‬
‫‪Cover illustration for The Saturday‬‬
‫‪Evening Post, February 13, 1960.‬‬
‫במשך הקריירה הארוכה שלו‪ ,‬צייר רוקוול דיוקנאות של הנשיאים האמריקניים דווייט אייזנהאואר‪ ,‬ג'ון פ‪ .‬קנדי‪,‬‬
‫לינדון ג'ונסון וריצ'רד ניקסון‪ ,‬וכן של אישים נוספים מהעולם‪ ,‬בהם גמאל עבד אל נאצר וג'ווהרלל נהרו‪.‬‬
‫יכולתו של רוקוול "להעביר את הנקודה" בתמונה אחת‪ ,‬וכן כשרונו לדייק בפרטים הקטנים עשו אותו למאייר‬
‫פופולרי גם בעולם הפרסום‪ .‬הוזמנו ממנו גם איורים למעל ל‪ 40-‬ספרים‪ ,‬בהם טום סוייר והאקלברי פין‪.‬‬
‫‪John F Kennedy 1960‬‬
‫בשנותיו המאוחרות קיבל רוקוול יותר‬
‫תשומת לב כצייר אחרי שבחר‬
‫נושאים רציניים יותר לציור‪ ,‬כמו‬
‫הסדרה על גזענות במגזין "לוק"‪.‬‬
‫‪The Golden Rule, 1961‬‬
‫‪Oil on canvas‬‬
‫‪Norman Rockwell Museum,‬‬
‫‪Massachusetts‬‬
The Problem We All Live With, 1964
Rockwell's first assignment for Look magazine was an illustration of a six-year-old AfricanAmerican school girl being escorted by four U.S. marshals to her first day at an all-white school in
New Orleans. Ordered to proceed with school desegregation after the 1954 Brown v. Board of
Education ruling, Louisiana lagged behind until pressure from Federal Judge Skelly Wright forced
the school board to begin desegregation on November 14, 1960.
Letters to the editor were a mix of praise and criticism. One Florida reader wrote, "Rockwell's
picture is worth a thousand words...I am saving this issue for my children with the hope that by the
time they become old enough to comprehend its meaning, the subject matter will have become
history." Other readers objected to Rockwell's image. A man from Texas wrote "Just where does
Norman Rockwell live? Just where does your editor live? Probably both of these men live in allwhite, highly expensive, highly exclusive neighborhoods. Oh what hypocrites all of you are!" The
most shocking letter came from a man in New Orleans who called Rockwell's work, "just some more
vicious lying propaganda being used for the crime of racial integration by such black journals as
Look, Life, etc." But irate opinions did not stop Rockwell from pursuing his course. In 1965, he
illustrated the murder of civil rights workers in Philadelphia, Mississippi, and in 1967, he chose
children, once again, to illustrate desegregation, this time in our suburbs.
‘Photographs for The Problem We All Live With’1964
In an interview later in his life,
Rockwell recalled that he once had to
paint out an African-American person
in a group picture since The Saturday
Evening Post policy dictated showing
African-Americans in service industry
jobs only. Freed from such restraints,
Rockwell seemed to look for
opportunities to correct the editorial
prejudices reflected in his previous
work. The Problem We All Live With
and Murder in Mississippi ushered in
that new era for Rockwell.
"Murder in Mississippi" - 1964.
Intended as the illustration for the
Look magazine article titled, "Southern
Justice," by Charles Morgan, Jr.
Norman Rockwell Family Agency
A lot of stupid fanboys have recently been
mocking some Marvel and DC comics artists
for using photographs to create realistic art, as
if the artists are somehow "cheating."
Well, guess what, morons? We all do it. It's
what they teach you in art school; How to trace
and copy to make art.
My job as an illustrator is to entertain, not to
make things up out of my head. It's not a
memory test.
New Kids in the Neighborhood
1967
Man on the Moon
1967
Smithsonian Institution, Washington DC
‫ב‪ 1977-‬קיבל רוקוול את מדליית החירות הנשיאותית‪ ,‬עבור "דיוקנאות חדים‬
‫ומלאי חיבה של מדינתנו"‪ .‬מדליה זו היא הפרס האזרחי הגבוה ביותר בארצות‬
‫הברית‪ .‬הוא קיבל גם את "פרס ביזון הכסף"‪ ,‬הפרס הגבוה ביותר שנותן ארגון‬
‫הצופים האמריקאי למבוגרים‪.‬‬
‫רוקוול מת ב‪ ,1978-‬בגיל ‪ ,84‬מנפחת‪.‬‬
‫רוקוול היה אמן פורה מאוד‪ ,‬ויצר מעל ל‪ 2,000-‬עבודות מקוריות‪ ,‬רבות מהן‬
‫נשרפו או נמצאות באוספים פרטיים‪ .‬מגזינים מקוריים במצב כמו חדש עם‬
‫עבודותיו הם נדירים מאוד ועשויים להיות שווים אלפי דולרים‪ .‬קרוב לביתו של‬
‫רוקוול‪ ,‬בסטוקברידג'‪ ,‬מסצ'וסטס‪ ,‬ישנו מוזיאון המציג ‪ 574‬מעבודותיו המקוריות‬
‫מעבודותיו במשך השנים‬
‫‪“The Graduate” – June 6, 1959‬‬
Back in 1917, Rockwell painted a very
attractive teacher. The boy has to stay after
school and write, “Knowledge is Power” on
the blackboard an infinite number of times
for some misdeed. It appears the student
has acquired some unintended knowledge.
A suitor (notice the box of candy behind
his back) calling on a schoolmistress was
juicy stuff indeed.
"After School"
October 27, 1917
Collier's
1919
Boy Asleep with Hoe
Cover of October 1920 issue of Popular Science magazine
Little boy writing a letter, 1920
The Puppeteer, 1923
“Boy and Girl Gazing at Moon (Puppy Love),”
1926. Cover illustration for “The Saturday
Evening Post,” April 24, 1926. Oil on canvas.
Rockwell was not terribly fond of school
himself, which was perhaps why he
depicted this young scholar as a nerd. To
have the schoolmaster drone on and on
about your intellectual achievements? I
suspect Rockwell would have preferred
having to write something on the
chalkboard a bazillion times.
"First in His Class"
June 6, 1926
Posts' first full-color cover
1926
Ticonderoga, "You're a lucky lad..."
1929
Rockwell loved costumes such as
these 1870s dresses, but moved
away from that since people just
didn’t care for these covers as they
did the modern covers that depicted
everyday life and dress. The artist
felt that every schoolteacher in the
country complained about how
homely he made this schoolmarm.
One must observe that the contrast
with the friendly, pretty mother is
significant. One might also think the
teacher may seem a little eager to
use that stick behind her back for
any errant behavior. The pupil with
his “boys-will-be-boys” bandage
may have met his match.
"First Day of School"
September 14, 1935
The Tattoo Artist
Gene Pelham
‘Photograph for The
Tattoo Artist’
Ardis Edgerton was the typical tomboy; she climbed
trees, had skinned knees and torn dresses, and had a
huge mass of red hair that was the exasperation of her
mother and herself. It was that hair that Norman
Rockwell appreciated; especially the bright red color.
When Rockwell painted this May 26, 1945, cover,
Homecoming G.I., Ardis was at its center, but the
painter didn’t stop there. He also turned every one of
the central characters into redheads.
Ardis is the girl leaning on the rail (next to the mom
with outstretched arms). The little girl behind her,
Yvonne Cross, was a blonde in real life, just like her
brother John who plays the returning soldier, and her
father who is repairing the roof overhead. Even Ardis’
black and white dog Spot is chromatically transformed
for the picture.
Rockwell’s inspiration for this scene came from a
series of Post articles from 1944 by Sgt. Charles E.
“Commando” Kelly in which he describes winning the
Medal of Honor in Italy—with a special emphasis on
how much he yearned for home.
Rockwell had used a homecoming theme for several
covers, but this one was selected as the U.S.
Treasury’s official poster for their eighth and final war
bond drive. On January 3, 1946, at the end of the war
bond campaign, $187.7 billion had been raised, and
over half of America’s citizens, more than 85 million
people, had bought bonds to support the war. Rockwell
and the Post were proud to have been a part of that.
This illustration, one of Rockwell’s better-known
covers, can’t fail to evoke a sense memory common to
all of us. Who can fail to be moved by a soldier’s
homecoming to family, to friends, and possibly to a
red-headed girl quietly standing to the side?
45
Welcome back: One of Rockwell’s most
celebrated covers,
Homecoming G.I. appeared on the May 26, 1945
Going and Coming
After WWII ended, America was on the move. With an economy on an upswing and higher levels
of disposable income, record numbers of families packed up the station wagon, loaded kids in
the backseat, and hit the open highway.
Norman Rockwell celebrated the emerging trend in the August 30, 1947, Post cover Going and
Coming. While seasonal or topical subjects often inspired Rockwell’s covers, in this two-panel
portrait of a family en route to and from a summertime trip we find an example that’s both.
In Going, Dad confidently grips the wheel leading the expedition with Mom at his side cradling
the youngest. Anticipation spills into the backseat where big brother and pooch lean into the
wind, while little sister blows a bubble about to pop as her brother razzes oncoming cars.
Unfazed by it all, Grandma sits stone-faced, staring straight ahead.
In Coming, the excitement has fizzled. Pop struggles to keep his eyes open. Mom, still cradling
little sis, drifted off miles ago, while the boys, pooch, even the wide-eyed bubble blower are
running out of steam. Unfazed by it all, Grandma sits stone-faced, staring straight ahead — did
she even get out of the car?
To help readers unravel the story line, Rockwell provides clues. In the lower panel, to signify
nighttime, he shows the tiniest portion of a lighted lamppost through the car window. Another
clue: The pennant dangling from the door tells us the outing was to Bennington Lake, where —
judging from the fishing pole sticking out the rear window and weathered rowboat lashed to the
roof — Dad managed to get in some angling. Rockwell also lets us know Grandma indeed exited
the car — if only for a souvenir plant.
There’s a familiar feeling to the entire scene. )We’ve all been on family outings like this.( You
can almost hear the eternal refrain, “Are we there yet?”
Going and Coming
Tear sheet, The Saturday Evening
Post, August 30, 1947
Gene Pelham
‘Photograph for Going and Coming’
“The Gossips” 1948
Earlier in 1952, Rockwell did a
cover called “A Day in the Life of
a Boy,” which follows a boy
getting up and ready for school,
playing baseball, getting
distracted by a pretty girl, and so
on. A few months later, the
summer version, “A Day in the
life of a Girl” appeared. Both
covers featured Charles Marsh,
Jr. and Mary Whalen. Mary
awakens, then it’s off to go
swimming, where a young man
promptly tries to drown her. The
spirited lass returns the gesture,
and it was love at first fight.
The last row shows a chaste
kiss, which Marsh just couldn’t
pull off. “I considered her my
girlfriend then,” he said later, but
I had never built up enough
courage to kiss her. Mr. Rockwell
finally gave up on trying to get
me to kiss her and posed us
puckering separately.” The
ordeals of being a model!
Day in the life of a little Girl, 1952
Road Block", 1949
“All the world’s a stage, and all the men and women merely players,” wrote Shakespeare. Rings
true in this urban scene starring a balky bulldog that brings the world to a halt while the
supporting cast tries to coax him out of the way.
In Norman Rockwell’s Road Block that appeared on the July 9, 1949, issue of the Post, we see the
great American visual storyteller at his best. With only a split second to reach his audience on
newsstands, Rockwell understood that every cover had to deliver an entire narrative in a flash.
And as filmmaker George Lucas noted, Rockwell was a true master “at telling a story in one
frame.”
Like a great movie director, Rockwell instinctively knew how to orchestrate each frame for
maximum impact — casting models, directing each character’s pose and facial expression,
positioning props, and capturing the best lighting for optimal effect. In the late ’30s, Rockwell
began using photographs to develop his compositions, at times selecting elements from as many
as 100 photographs into color sketches and pencil drawings before painting the final canvas.
Nothing is accidental in a Rockwell painting.
Employing a pyramidal composition, Rockwell directs the attention of all 20 figures in the painting
— and ours — to the central character. The artist’s pointed brush, a window washer’s downward
glance, the pet owner’s distraught expression on the balcony, bicyclist and postman on standby,
neighborhood kids facing forward, and of course the delayed driver’s urgent pleas, every detail
meticulously selected and rendered to capture the viewer’s attention.
In a flash, we get it — no explanation required. George Lucas was right. For Rockwell, one frame
was all he needed.
Alley oops! Road Block was
staged in the MacArthur Park
neighborhood of Los
Angeles. Recognize the violin
teacher, upper right? It’s
Norman Rockwell making a
cameo appearance.
Dumont Television
1950
Gene Pelham
Photograph for ‘Shuffleton’s
Barbershop’
Shuffleton’s Barbershop
Cover Illustration for The Saturday Evening Post, April 29, 1950
It’s a busy day for Charles Marsh Jr., the
model for this cover: Get up; brush teeth;
then, of course, there’s that bothersome
school to deal with. Baseball and a charming
lass provide diversions until it’s time to go
home, do homework, and turn in.
Marsh modeled for Rockwell from the time he
was a baby until he was 12 when Rockwell
moved from Arlington, Vermont, to
Stockbridge, Massachusetts
A good friend to him, Marsh considered the
artist outgoing and community-minded. But no
one knew just how community-minded until
Rockwell donated the original painting A Day
in the Life of a Boy to the Community Club for
their annual raffle. Today, Rockwell’s Willie
Gillis’ Package from Home, up for auction in
Chicago, may fetch $3 to 5 million. But in the
early 1950s, this particular painting went for a
grand total of 50 cents.
A few months after the cover was published,
there was a follow-up called A Day in the Life
of a Girl, which featured Marsh in what he
called “the toughest time I had posing”—
because he was supposed to kiss the girl
A Day in the Life of a Boy
May 24, 1952
"Triumph in Defeat"
From May 23, 1953
“The Art Critic” 1955
Rockwell arranged this “surprise”
party for Miss Jones, of course. He
posed the children in their seats
and arranged the humble birthday
gifts on the desk: an apple, an
orange, a flower or two, and
packages tied with string. I like the
“Happy Birthday Jonesy” on the
blackboard. Also the Rockwell
details: an eraser and chalk dust on
the floor indicate there was an
eraser fight while waiting for the
teacher to show up. The kid with
the red shirt still has an eraser on
his head.
Happy Birthday, Miss Jones
March 17, 1956 -
Rockwell organizó esta fiesta "sorpresa"
por la señorita Jones, por supuesto.
Planteó a los niños en sus asientos y
arregló los regalos de cumpleaños
humildes en el escritorio: una manzana,
una naranja, una flor o dos, y paquetes
atados con una cuerda. Me gusta el
"Feliz Cumpleaños Jonesy" en la pizarra.
También detalla el Rockwell: una goma
de borrar y el polvo de tiza en el suelo
indican que hubo una pelea borrador a la
espera de que el maestro aparece. El
chico con la camiseta roja todavía tiene
una goma de borrar en la cabeza.
At the Optometrist 1956
Rockwell’s famous painting The Runaway depicts a
child literally on a pedestal–well, barstool–
surrounded by a protective and understanding
community.
The setting is pristine; this is no ordinary diner. It’s
the Platonic ideal of a diner, where the floor is
immaculate, the counter gleams, and even the
waiter’s clothing and towel are unsullied.
The only prop that suggests a disturbance is the
wannabe hobo’s stick and handkerchief.
Normally a scene featuring a runaway child evokes
anxiety. Instead, Rockwell’s painting radiates
comfort and safety in the form of a triangle of
protection surrounding the boy. To the left is the
fatherly state-police officer, at the top is the
counterman, and to the right is an empty coffee cup,
suggesting another good Samaritan had been sitting
there not long ago. Perhaps the anonymous diner
made the initial call to police and then stayed with
the boy until the officer’s arrival. The complete
narrative depicts a cocoon-like community taking
shifts to watch over a child in trouble.
In the painting, Rockwell portrayed an idyllic version
of small-town America. In his sweet, safe universe,
no child is ever in danger and no task is more
pressing for an officer of the law than to spend a
morning with a young runaway. After appearing on
the September 20, 1958, cover of the Post, The
Runaway began to grace the walls of countless
diners and police stations throughout the country.
Runaway
At the Doctors
Before the Shot1958
The Connoisseur - Saturday Evening
Post Cover
1962
Rockwell pokes fun at himself in 1960’s “Triple
Self-Portrait.” The Rockwell in the mirror has foggy
glasses. Rockwell’s reasoning for that was so “I
couldn’t actually see what I looked like—a homely,
lanky fellow—and therefore, I could stretch the
truth just a bit and paint myself looking more
suave and debonair than I actually am.”
There are a lot of interesting details other than the
debonair gent at the easel. A student of great
artists, Rockwell had self-portraits of masters
pinned to the upper right of his work. We see
Durer, Rembrandt, Van Gogh, and a funky postcubist Picasso, all of which Rockwell himself
painted.
Rockwell was thrilled when, on a trip to Paris, he
saw the helmet that sits atop his easel in an
antique shop. He was sure it was centuries old, of
Greek origin…or perhaps Roman. After purchasing
it, he stopped to observe a fire. He realized the
same helmet he was sure was a precious antique
was typical Parisian fireman’s gear.
Triple Self-Portrait, Norman Rockwell,
1960.
:‫מקורות‬
%/https://he.wikipedia.org/wiki
http://www.wikiart.org/en/norman-rockwell/
http://www.wikiart.org/en/norman-rockwell
http://www.poulwebb.blogspot.co.uk/2011/03
http://art-for-a-change.com/blog/2014/06/
https://en.wikipedia.org/wiki/Norman_Rockwell
http://oseculoprodigioso.blogspot.co.il/2007/04
http://www.saturdayeveningpost.com/artists
http://www.saturdayeveningpost.com/2011/08/26
‫קלריטה ואפרים‬
:‫הנכם מוזמנים להיכנס לאתר שלנו‬
www.clarita-efraim.com
‫נשמח לתגובות‬
http://www.poulwebb.blogspot.co.uk/2011/03
http://www.saturdayeveningpost.com/sections