Illustrator as Artist
Norman Rockwell once said: "Some people have been kind enough to call me a fine artist, I've always called myself an illustrator. I'm not sure what the difference is. All I know is that whatever type of work I've done...art has been my life."
Welcome to the Norman Rockwell Museum, in Stockbridge, MA. This location opened to the public in 1993 (the original museum, located on the main street, opened in 1969). In addition to Rockwell's artwork, it also contains 100,000 items of his personal affects, along with a collection of other illustrators' works, and is considered to encompass the best examples of American illustration.
Born Norman Perceval Rockwell on February 3, 1894, in NYC, and known primarily for his cover illustrations of the Saturday Evening Post (SEP)—a collaboration that spanned more than 4 decades, Rockwell, is regarded simultaneously as both a master graphic designer and preeminent fine artist. Some of his most well known works include, "Rosie the Riveter", "The Four Freedoms", and "The Problem We All Live With", to name just a few.
At just 22 years old Rockwell painted "Boy with Baby Carriage" (1916), his first cover for the Saturday Evening Post. There would be 322 covers altogether spanning a period of 47 years.
A 1917 illustration for a McCall's magazine fiction story. Having been paid only $75 for his "Boy with Baby Carriage" illustration, Rockwell continued to work for several publishers in order to make ends meet. This oil on canvas was painted in tones of gray as the 4-color printing process had not yet been developed, making monochromatic painting a more economical choice.
"I'm Thinking About My Kiddie" (1922), oil on canvas, Raybestos Brake advertisement. With its direct perspective, the viewer is confronted with a "crisis of conscience" when thinking about their loved-ones' safety—an effective marketing tool, indeed!
"Fruit of the Vine" (1922), oil on canvas, Sun Maid Raisin advertisement. Rockwell used his mother-in-law as a model for this painting (seated figure); utilizing family and friends for this purpose was a practice he would employ for many of his paintings. Stylistically more evolved, this later illustration evokes similar characteristics and elements of 17th century Dutch painting (see below for a comparative).
"The Milkmaid" (1658), Johannes Vermeer, Dutch, oil on canvas.
Detail of "Fruit of the Vine".
"The Gossips" (1948), oil on canvas, SEP, March cover.
Photo montage for "The Gossips", featuring Rockwell's Arlington, VT neighbors.
Detail of photo montage for "The Gossips". Some of his neighbors depicted in the painting were upset and offended at being portrayed as gossips, so, Rockwell cleverly included himself among them to calm their concerns and avoid being perceived as "beyond reproach".
Begun in 1957, this commission for McCall's magazine took Rockwell 10 years to complete (note the 10 year span of car models). For the last 30 years, the "Main St. at Christmas" event has dazzled spectators who come to Stockbridge to participate in this annual re-creation of the painting replete with the various car models included in the painting.
"Stained Glass Window" (1960), oil on canvas, SEP, April cover. Inspired by a trip to England where he visited Westminster Abbey, Rockwell loved the juxtaposition of the common man set against the glory of the stained glass masterpiece for this Easter cover.
Visitors enjoying the galleries located on the main floor.
This was one of Rockwell's last covers for The Post in 1961. "The Cheerleader", captures the emotional and physical calisthenics the cheerleader experiences during a game, and suggests that the output is on par with that exhibited by the team for which she is championing.
"Golden Rule" (1961), oil on canvas, SEP, April edition. Rockwell sought to change his perceived image as old and out of touch during the approaching social revolution of the 1960s. He was liberal and compassionate in his social convictions, and took full advantage of the opportunity to set the record straight with this painting.
A wall with a partial display of the 322 SEP covers Rockwell completed between 1916 and 1963.
In addition to Rockwell, the Museum, also, displays from their permanent collection, works from other famous 20th century illustrators. "The Chase" by Robert Fawcett (1903-1967), gouache on board, from the Museum's collection, captures the illustrator's incredible skill depicting space, action, and time frozen. Fawcett was trained as a fine artist but had his greatest success illustrating books and magazine stories. He was known for his complex compositions.
"Second Best Man", 1952, by Edwin A Georgi (1896-1964), oil on illustration board. Typical of the women's magazine illustrations of the day, this painting features attractive, modern-looking people captured in a snapshot-style frame. Georgi was the leader of "pretty girl" painters who modernized the pin-up after WWII.
The Museum is currently hosting a special, temporary retrospective of illustrations by Edward Hopper, now through the end of October 2014. Hopper grew up in Nyack, NY, in a comfortable middle class home. At a very young age, he displayed an artistic aptitude for which his parents provided all the necessary art supplies and instruction to cultivate his talent. When he reached adulthood, and decided to pursue higher education in the art field, his parents insisted that rather than studying fine art he should focus his education on illustration to ensure that he could earn a living.
Edward Hopper, 1882 –1967 (high school portrait), is a celebrated American painter and printmaker of the Realist tradition, who eloquently captured, in his art, the place of solitude that all humans experience, where..."in the innermost room, the holy of holies, the soul sits alone."~from The Ghost Stories of Edith Wharton.
An early self-portrait of Edward Hopper executed while a student at the New York Institute of Art and Design. There he received instruction from William Merritt Chase, a leading artist of the American Impressionist movement, and Robert Henri, one of the founders of the Ashcan School known for depicting everyday life in New York that featured, especially, society's marginalized—highly unusual and controversial subject matter at the time. Henri encouraged his students to "make a stir in the world".
Gallery: Artist as Illustrator
In the early part of the 20th century, Henri established an art colony on Monhegan Island, off the coast of ME. Important, up-and-coming artists (and fellow students of Henri) Rockwell Kent, George Bellows, and eventually, Hopper, would all make the pilgrimage to paint there during the summers between 1905-1920.
Hopper would make the sojourn down east to commune with fellow artists, who, like himself, were looking for opportunities to explore, experience and create their own fine art without the restrictions set by their respective publishing firms. They all regarded themselves first as fine artists, and secondly as illustrators. Hopper, particularly, continued to grow in his disdain of the latter profession.
"Blackhead", Monhegan (1916-19), oil on panel, Edward Hopper.
"Nighthawks" (1942), oil on canvas, is considered Hopper's most famous work and recognized as an American masterpiece. It harkens his departure from illustrator to artist. It was purchased by the Art Institute of Chicago for $3,000 the year it was completed, and catapulted Hopper into his long awaited career as a successful and much sought after fine artist.
Image: courtesy of the Art Institute of Chicago
Outside, the Museum grounds encompass what was once the 36 acre Linwood estate. Throughout the property there are sculptures by Rockwell's youngest son, Peter.
Approaching the Norman Rockwell studio.
View of the north light window. North light casts the least amount of shadow--very important for the artist when painting or drawing. All great artist studios incorporate a northern light source as the main form of illumination.
Interior of the Rockwell's studio relocated and recreated on the grounds of the Museum. Look closely—some of the props here can be found in the Museum's paintings.
Looking east over the Housatonic Valley from Rockwell's studio.
Linwood House was the country home of NYC attorney, Charles Butler, built in 1859, and designed by Calvert Vaux (landscape architect Fredrick Law Olmsted's designing partner for Central Park). Norman Rockwell would ride his bike daily from Stockbridge center, where he lived, winding his way around the grounds, never realizing that one day the largest collection of his artwork would reside on this property.
Side view of the Linwood House, which now serves as the Museum's administration office, and, unfortunately, is not open to the public.
Holding court: marble statues grace the walls of an interior room in Linwood House.
Through the garden door: the back courtyard to Linwood House is completely enclosed by these unpolished marble walls.
Side flower garden at the Linwood House.
Another Peter Rockwell sculpture at Linwood House.
As the day comes to a close, Mark enjoys the park-like grounds before heading home.
What's currently on view at the Norman Rockwell Museum?
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