Artwork By Rockwell

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Art Work by Norman Rockwell

Norman Rockwell was born in the city of New York and was very talented at a tender

age, where he later received his first commission at the age of 17. Rockwell’s American images

were loved by the public but were not fully embraced by critics. A smart visual storyteller and a

masterful painter with a unique personal message to convey compelling pictures of life to which

many Americans aspired. Rockwell’s images were understood by a vast and eager audience who

saw the reflection of their lives in his art and in all the stories he told. His work was present in

the nation’s periodicals rather than the walls of museums hence Americans culture was

experienced in the comfort of their homes at the end of a long day.

Rockwell loved to paint pictures that conveyed stories about people; he admired

humanity’s attitudes towards each other and his feelings about them. American people had

characteristics that were between the love of realism and the tendency to idealize which was very

compromising for him (Schick, 224). Freedom from want is one of Norman Rockwell painting

that depicts friends and families of Rockwell that were painted in the scene. The picture

symbolized family togetherness, peace and plenty. The Americans were very inspired by the art,

and they valued the art as it was a symbol of thanksgiving and others referred to it as “I’ll be

Home for Christmas”.

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One of the most famous and acclaimed paintings of Norman Rockwell is the problems

we all live with. It is an image of Civil Rights Movement in the United States, where there is an

African-American girl who was the primarily black child to unify the Elementary school after it

was ruled to be unauthorized by the Supreme Court. In the painting, she was escorted by

Marshals due to threats of violence against her. The art shows Americans history and the Civil

Rights that were adopted to avoid racism and unite the State. The picture was named the

problems we live with because the situation was as portrayed in the art where black people were

discriminated, and others even suffered violence due to the color of their skin.

Norman Rockwell used his painting to show Americans historically as it happened every

day of their lives. In 1943, the cover of the Saturday Evening Post had art that was popular as it

symbolized the strength and contribution of women during the World War II (Spectrum, 160).

The picture was named Rosie the Riveter after a woman who in the painting was wearing denim

wear eating lunch and a gun on her lap. It symbolized that women were also willing to fight and

safeguard their children’s future. Freedom of speech is another painting that Norman Rockwell

used to convey the message that had been renowned by the US president Franklin D. Roosevelt

in the year 1941. The art showed a working-class man standing in the audience at a town hall,

and everybody was listening to him. This picture became very popular as the message was clear

that democracy was entirely taking place all over. People were allowed to communicate and air

their views. He brought the news to the people in a more straightforward language and with

which they would fully embrace, and to others, it acted as inspiration.

In the year 1952, Norman Rockwell revisited an idea he had a decade ago but decided to

make it as realistic as he could. He named the portrayed the Golden rule because in his painting

he had featured men, women, and families who had congregated in diverse races, conviction, and

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ethnicity and portrayed one message of peace. He wrote a simple phrase that said: “do unto

others as you would have them do to you.” It was a Golden Rule that applied to everybody big or

small to respect and love their neighbor to value each other and live in peace with one another.

The painting was represented as a gift on behalf of the US by the then First lady Nancy Regan as

since then it has remained on display in the UN’S New York City headquarters.

To idealize a small town in America where the community watched over a child in

trouble, Norman Rockwell painted a painting named the Runaway child. The art was a symbol of

love and protection to our children even in times of crisis. He wanted to send a message of the

welfare to children by the community (Rockwell, 64). He featured a child on a stool and a state

police officer on his left and the counterman on his front. The painting symbolized that the child

had been abandoned or had run away and the police were on the lookout. Norman used the

sketch to show communities to look after their children in good and bad times to watch over

them and keep them safe as they were the future generations.

“Saying the Grace”, was a painting on the covers of The Saturday Evening Posts by

Norman Rockwell. In this art, he featured a woman and a boy saying the Grace in a restaurant

the people glanced their direction. This picture sent the message that Praying was a symbol of

togetherness and thanksgiving, and those who participated in it were always admired by many.

In conclusion, Rockwell was the most widely known and famous commercial artist in the

mid-20

century America. He valued his painting and every day was an inspiration for him. In

everything he painted, it relayed a message, and he shared it with the World. The words were

inspiring as they showed people their history and their day to day challenges. The paintings

displayed both their weaknesses and strengths and the best part of it is that they received the

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messages with love. His everyday life painting was inspiring and gave hope to those that had

given up; it strengthened those communities that were falling apart and relayed a message of

peace and love for one another.

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Work Cited

Schick, Ron. Norman Rockwell: Behind the Camera. New York: Little, Brown and Co,

2009:224. Print.

Rockwell.N & Jackson .S Creative Haven Norman Rockwell Classics from The Saturday

Evening Post-New York. Courier Dover Publications, 2017: 64. Print.

Spectrum. Spectrum Reading Workbook, Grade 7, United States. Carson-Dellosa

Publishing 2014:160. Print.

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