Saturday Evening Post » Norman Rockwell

America’s Artist

Pamela V. Krol — Mon, 05 Apr 2010 16:19:48 +0000

Norman Rockwell didn’t create his celebrated images using only brush and paint. They often took shape first as scenes that Rockwell literally acted out, not only for his editors at the Post, but his real-life models, too. “It was strenuous,” he once explained, “but I felt it was the best way to get across my meaning.” And so he would enthusiastically play out his visions and ideas, a one-man show packed with just the right expressions, giving enough details of each persona in the scene to inspire his models and, more importantly, get his editors to buy his ideas.

Now, more than 30 years after his death, Rockwell is still acknowledged for deftly chronicling the best of 20th century American life with vignettes of simple emotions evoked by everyday people. This phenomenon is a resounding testament to Rockwell’s prowess as a storyteller and is the subject of another kind of one-man show: the upcoming exhibition at the Smithsonian American Art Museum in Washington, D.C., titled Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg. The exhibit, assembled from the private collections of these two popular film directors, will feature rarely viewed pieces of Rockwell’s work, including George Lucas’ favorite, Lands of Enchantment, which shows a youngster imagining himself as an armor-clad knight riding away with a beautiful girl. The point is not the boy reading, but how the book inspires the boy’s imagination, taking him, in idealized form, to another time and place.

“It’s a painting celebrating literature, the magic that happens when you read a story and the story comes alive for you,” notes Lucas.

Lands of Enchantment
by Norman Rockwell
November 10, 1923
© SEPS.

And that’s just one of the 50-plus images from the highly anticipated exhibit, which runs from July 2, 2010 through January 2, 2011. The exhibit will also explore the artist’s elaborate creative process while spotlighting Rockwell’s ability to capture the range of human expression and distill whole episodes of American life into single and broadly accessible moments by drawing upon a full arsenal of skills that would have served him well as a filmmaker.

According to Virginia Mecklenburg, the museum’s senior curator, both Lucas and Spielberg were inspired by Rockwell’s creativity and tender subject matter, as well as his warm depictions of America without cynicism.

“Both filmmakers grew up in the 1950s, enjoying Rockwell’s illustrations on the cover of The Saturday Evening Post,” says Mecklenburg. “They share the artist’s sensibilities in many ways, and have sought to express similar values, such as loyalty, courage, and friendship, in their own work.”

When working on Star Wars, Lucas said that he realized there needed to be a kind of film that expresses those values, as well as the mythological realities of life—the deeper psychological movements of the way we conduct our lives—that are evident in fairy tales. “Once I got into Star Wars, it struck me that we had lost all that—a whole generation was growing up without fairy tales. You just don’t get them anymore, and that’s the best stuff in the world,” Lucas explains.

Like Lucas, Rockwell was an original. He grew up on the Upper West Side of Manhattan, living in a rough-and-tumble New York boarding house. He quit high school to attend classes at the Art Students League in New York, and was already a working, if occasionally struggling, artist in his teens. But in 1916, when he sold his first cover to the Post, he began to carve what would become a unique niche in the American psyche. Throughout the course of 323 Post covers over the next 50 years, he would stoke and affirm our pride in who and what we are at our very best moments, even if most of us rarely experienced the fresh-faced version of the world.

“Storytelling was very important to Norman Rockwell,” says Lucas. “Every image has either the middle or the end of a story, and you can already see the beginning even though it’s not there. You can see all the missing parts of the story because he took that one frame that sort of tells you everything you need to know.

Knuckles Down
by Norman Rockwell
September 2, 1939
© 1939 SEPS.

“And, of course, in filmmaking we strive for that. We strive to get images that convey, visually, a lot of information without having to spend a lot of time at it. Norman Rockwell was a master at that—he was a master at telling a story in one frame,” explains Lucas.

That concentration of information as well as emotion is something inherent in Rockwell’s art. Emotion certainly spoke to Steven Spielberg when he first saw one of his favorite Rockwell paintings, High Dive, the August 16, 1947 Post cover that depicts a boy at the top of what must be (or  so we imagine from the boy’s expression) a towering diving board. He crouches high above a swimming pool, too afraid to either jump or climb back down. The painting hangs in Spielberg’s office at Amblin Entertainment because it holds  a great deal of meaning for the filmmaker.

“That painting spoke to me the second I saw it … and  when I was able to buy it, I said, ‘Not only is that going in  my collection, but it’s going in my office so I can look at it every day of my life.’ We are all on diving boards hundreds of times during our lives. Taking the plunge or pulling back from the abyss … it is something that we must face. For me, that painting represents every motion picture, just before I commit to directing it—that one moment before I say, ‘Yes, I am going to direct that movie,’ ” says Spielberg.

In the case of his Oscar-winning film Schindler’s List, Spielberg remarked, “I lived on that diving board for 11 years before I eventually took the plunge.”

Even in the creation of their work, Spielberg and Rockwell were more similar than is immediately evident. To create his meticulously detailed recollections of everyday American life, Rockwell worked much like a film director, not just acting out the scenes in his imagination, but scouting locations, casting everyday people from his town for particular parts, choosing costumes and props, and directing his performers to make them instantly familiar to the public. Little wonder then, that filmmakers like Spielberg and Lucas, as well as others, should be so inspired by his work.

In directing his own scenes, Rockwell had a specific focus, just not one based on the stark realism in which he grew up. Instead, Rockwell aimed to depict life in a kind of realistic fantasy. He later remarked in his autobiography, My Adventures as an Illustrator, “I paint the world not as it is, but as I would like it to be.”

Rockwell's youngest son Peter (sitting by the marine) and oldest son Jarvis (the blond boy in the sweater) posed for this wonderfully narrative work, set in Benedict's Garage, a local hangout in Rockwell's home of Arlington, Vermont.
© SEPS

This desire to “make” the real world a better place, at least in his images, was a sentiment that Rockwell would voice throughout his life. Eventually, he sought something of the idealized world he imagined, when he moved out of the city, first to New Rochelle, New York, then later settling in Vermont with his family. Rockwell found new models in the form of neighbors, as well as his children.

“All of us, my brothers, my mother, and myself, as well as our friends, served as characters in my father’s illustrations at one time or another,” says his son Tom, himself a writer, perhaps best known for his popular children’s book, How to Eat Fried Worms.

A study of Rockwell’s creative process reveals that composing each of his simple-to-understand works wasn’t simply a matter of grabbing whoever was handy and drawing them into a picture. In fact, each image was a highly involved endeavor requiring masterful ability as an illustrator and painter, as well as his unique skill to create “scenes” that would be instantly understood by the viewer.

“Everything I have ever seen or done has gone into my pictures in one way or another. The story of my life is really the story of my pictures and how I made them,” Rockwell said. “I store up things in my mind, and when I need something  for a picture—a feeling, a character, a wry smile—there it is. And I draw it out and paint it.”

In the act of describing his work, Rockwell, the artist, embodied his characters, just as his work now embodies aspects of the American character that still strikes a chord, inspiring both other artists and Americans from all walks of life today.

The fact that Rockwell’s canvases are populated with  such real-looking people is likely what gives them such resonance, making them believable. Still, there is something in the facial expressions that Rockwell not only captures,  but exaggerates—youthful enthusiasm, boyish eagerness, pride, yearning, determination, and more—that transcends location, time period, and situation and makes the works both easy to connect with and ripe for repeated rediscovery, generation after generation.

In this context, Rockwell becomes as significant as any American artist has ever been, and can arguably be credited not only with recounting the American experience but to a large extent, with constructing the collective “memory” of the good old days that we still yearn for, whether we ever personally experienced them or not.

"Everything I have ever seen or done has gone into my pictures in one way or another," Rockwell once said.
© SEPS.

Rockwell’s opinion of his work during his life was decidedly more humble, however. Certainly he was conscious of his role in the art world. He was an illustrator, not a modern artist or fine arts painter, and he had to satisfy not only himself, but his clients and audience alike. He needed  to create scenes that people would get in a matter of seconds. He had to meet deadlines and stick to magazine proportions. And within those strict parameters, he wanted to convey this sense of idealized life. “I guess I had a bad case of the American nostalgia for the clean, simple country life, as opposed to the complicated world of a city,” he explained.

Rockwell’s insight and anything-but-easy process is itself the subject of a new, in-depth book, Norman Rockwell: Behind the Camera, by author and historian, Ron Schick.

“In order to ensure that every detail was perfect, Rockwell first used models and drew from life. Eventually, though, he switched to photographing his subjects in a variety of poses and with varying props, locations, and models. Every minute detail was deliberate, a means of convincing the viewer that they were eavesdropping,” says Schick, who describes Rockwell as a narrative artist with a Jeffersonian sense of America and its modest, everyday heroes.

“The world needed comfort, something  to believe in, and Rockwell gave it to them  in a way that people from all walks could understand,” Schick says. Understand, yes, but also be emboldened. The moments of inspiration that the artist captured, the tacit encouragement to move forward and celebrate life with all its challenges, setbacks, and triumphs—these ultimately may be Rockwell’s best legacy.

In a nation with cultures as disparate as ours, that Rockwell consistently managed to find patches of common ground for us to build on is a testament to his enduring work, not only for the generations of Americans who grew up seeing his art when it was new, but for future generations who are seeing Norman Rockwell’s America for the first time.

For more information, check out our Post retrospective Norman Rockwell and American Idealist Art or browse our Norman Rockwell art section.

To purchase a copy of the March/April 2010 issue, order online at shopthepost.com or subscribe here.

Covers: Love Hurts

Diana Denny — Fri, 10 Feb 2012 14:00:21 +0000

“God Bless You” by Norman Rockwell

"God Bless You"
by Norman Rockwell
From October 1, 1921

The road to courtship and romance is sometimes a bumpy one, as artists from the Post and sister publication Country Gentleman have shown in these covers from 1914 – 1956.

“Schoolboy Crush” by Charles A. MacLellan

"Schoolboy Crush"
by Charles A. MacLellan
From January 17, 1914

Poor Red! From 1914, this is one of nearly fifty covers that artist Charles A. MacLellan did for the Post. And like this one, many of them resemble Rockwell’s work.

“My Secret Valentine” by Henry Hintermeister

"My Secret Valentine"
by Henry Hintermeister
From February 1, 1938

The look on her face says it all: she has poured her heart out in a Valentine to a special boy, and he’s sending one to every girl in town! This adorable 1938 cover was on our sister publication, Country Gentleman.

“ God Bless You” by Norman Rockwell

"God Bless You"
by Norman Rockwell
From October 1 1921)

Just when you are making romantic progress, you find you are not alone. The snooping brother was not an uncommon theme for covers, and this one from 1921 was by Norman Rockwell.

“First Valentine” by Richard Sargent

"First Valentine"
by Richard Sargent
From February 11, 1956

Great cover artist Dick Sargent captured the look on this young man’s face perfectly: he is dealing with new feelings (didn’t he hate girls just last week?) and he is a little embarrassed. The colorful Valentine cover is from 1956.

“Two Boys Bringing Girl Ice Cream” by George Brehm

"Two Boys Bringing Girl Ice Cream"
by George Brehm
From July 5, 1924

Nice to be waited on—if you’re the girl. The boys vying for the young lady’s attention in 1924 are not alone in this situation. Rockwell painted young rivals two years earlier (below).

“Rivals” by Norman Rockwell

"Rivals"by Norman Rockwell
From September 9, 1922

These would-be romancers showed up at the same time. In the coat of arms above the door, is Rockwell suggesting that if this were 1822 instead of modern, civilized 1922, that a duel might be the solution? Fortunately, it shouldn’t come to that, but someone might just walk away with a black eye.

We hope your Valentine’s Day romances do run smoothly.

Happy Birthday, Norman Rockwell!

Diana Denny — Thu, 02 Feb 2012 21:00:58 +0000

Baby Carriage
By: Norman Rockwell
From May 20, 1916

It was a brush with destiny. A young artist named Norman Rockwell had a dream: to do a Saturday Evening Post cover. To this end, he showed a painting of a lovely ballerina to his buddy, Clyde Forsythe. His friend’s reaction: “C-R-U-D! Terrible. Awful. Hopeless.” Apparently, Forsythe was not one to mince words. Then Forsythe picked up one of the illustrations Rockwell had done for Boys’ Life magazine. “Do that,” he said. Do what you’re best at—kids.”

Following his friend’s suggestion, Rockwell was over the moon when “Baby Carriage” appeared as his first Post cover in 1916. He was twenty-two. It was the beginning of a beautiful friendship that lasted a remarkable 47 years and over 300 covers.

Celebrating Norman’s 84th birthday in 1978, the Saturday Evening Post collected a variety of quotes from celebrities:

Leapfrog
By: Norman Rockwell
From June 28, 1919

“A Norman Rockwell painting makes you feel happy and warm.” – Bob Hope

“When I was a boy, I used to deliver the Saturday Evening Post in our neighborhood on Long Island. With what joy and excitement I opened the bundles of magazines and studied each new Norman Rockwell cover. I’m so glad that the Post is honoring him on his 84th birthday and I would like to add my personal message to him, “Happy Birthday, Mr. Rockwell, all the way from the Aloha State.” – Jack Lord

“Norman Rockwell is timeless and without a doubt, universal. His warmth and humanity cover you like a winter quilt. Norman Rockwell celebrates life, and it is a wonderful feeling to help celebrate his.” – Henry Winkler

Rockwell Portrait
by Gene Boyer

In 1978 a “new Post cover artist,” Gene Boyer, wished Norman Rockwell happy birthday in his own special way with this portrait.

“For his openness, his goodness and honesty and intelligence, the world thanks him and wishes him a great birthday. He is a great man. And would be embarrassed to be so called.” – Ronald Reagan

“Norman Rockwell is, I think, the most thoroughly American artist of all. Historians a thousand years from now will be able to learn a great deal of what life was like in the United States in the 20th century from studying the warm, human impressions by an artist who obviously loved his subjects.” – Steve Allen

Gramps at the Plate
By: Norman Rockwell
From August 5, 1916

“Norman Rockwell’s name has become synonymous with a whole age of innocence in America, and his great paintings evoke in all of us a nostalgia for a simpler and happier time.” – Walter Cronkite

“Norman Rockwell has always had a way of staying in touch with the feelings and hearts of the American people. In this time of constant hunting by the news fraternity for the provocative, the thoughts and moods and illustrations of Norman are most welcome and refreshing.” – John Wayne

“Norman Rockwell is America’s greatest, and I wish my home was full of everything he ever painted. Love, Lucy.” – Lucille Ball

“Some of us grew up thinking that Uncle Sam’s real name was Norman Rockwell; I still do.” – Paul Harvey

Rockwell Painting Nasser

At right, Norman Rockwell works on a portrait of Egyptian President Nasser, which appeared as a Post cover on May 25, 1963. It was his last Post cover. He passed away in November 1978.

Rockwell in the 1950s – Part I of III

Diana Denny — Fri, 27 Jan 2012 14:00:29 +0000

“Rockwell Models”

Rockwell Models in "Progress?"
From August 21, 1954

One advantage of living near Rockwell in the 1950s is that you had a good chance of being forever remembered in a Saturday Evening Post cover.

“Progress?” – August 21, 1954

"Progress?"
From August 21, 1954

This is progress? The construction crew is meant to build a cellar, but along come the local would-be All Stars pleading, “Gee, mister, this is our baseball lot!”

Rockwell gathered up models for this scene in midwinter by knocking on doors (in Stockbridge, Mass.) and rousting up members of the Little League team. My favorite touch is tiny Scott Ingram sucking his fingers as the negotiations proceed. The boy in the baseball suit is big brother, Kenneth Ingram. We’ll see Scott again.

The workers appear sympathetic, but we suspect things do not bode well for the great American pastime.

According to Kenneth, Scott’s best buddy was Eddie Locke (below).

“Before the Shot”– March 15, 1958

"Before the Shot"
From March 15, 1958

We recently showed you Eddie Locke as “The Runaway” (see: ROCKWELL: BEHIND THE CANVAS). The young man shows up on yet another classic Rockwell cover: as the boy checking out the doctor’s credentials before getting a shot.

The physician preparing the shot was Donald Campbell, a real local doctor. “Norman lived across the street from me for a number of years, said Dr. Campbell in a 1976 issue of the Post. “It was a familiar sight to see his long legs carrying him down to the studio regularly before eight a.m. “

Dr. Campbell continued, “Norman couldn’t help being nice to people, especially children. When my five-year-old Betsy fell from her bike because a little dog followed her, barking, Norman gathered her up, stopped her tears and took her home with him. With Betsy on his knee, he drew a series of pictures as in a cartoon, showing a little dog chasing a little child on a bike. The picture showed the little girl’s face with the caption, ‘See. The nice little dog only wanted to play.’”

“Girl at the Mirror” – March 6, 1954

"Girl at the Mirror"
From March 6, 1954

Rockwell once called Mary Whalen his favorite model, even if the young girl on the cover didn’t think she measured up to Jane Russell (who did?). The artist captures the “in-between” age well between the cast away doll and the closer “necessities” of lipstick and hairbrush.

Mary’s first memory of the artist “was at a high school basketball game in Arlington, Vermont, about 1950. His son Tommy was on the local team, so along with nearly everybody else in town, Norman was there to cheer them on. When I harassed my Dad for a Coke, a friendly man sitting behind us gallantly reached over my shoulder and invited me to drink some of his Coke. That was the beginning of my admiration for Norman Rockwell.”

How did Rockwell get the facial expressions he wanted from the kids? “He would laugh and shout, pound the floor, or jump up and down,” Mary recalled. “He did the acting while I reacted. What a wonderful moment of joy when Norman drew forth from me the expressions he wanted. He would burst out laughing, with happy shouts. It is the memory of those triumphant, creative moments which I treasure most,” she recalled, more than twenty years later. “I can still hear deep within me his laugh of celebration.”

“A Day in the Life of a Girl” – August 30, 1952

"A Day in the Life of a Girl"
From August 30, 1952

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!

“The Missing Tooth”- September 7, 1957

"The Missing Tooth"
From September 7, 1957

When Rockwell needed a child for a Crest ad (“Look, Ma! No Cavities!”), he asked his friends, the Morgans, if he could borrow their daughter. When cute little Ann Morgan showed up at the studio, she was missing two front teeth. Oops. “Mr. Rockwell went ahead and painted my front teeth in for the ad,” said grown-up Ann Morgan Baker in 1976, “but my missing teeth may have given him the idea for a Post cover.”

Living near a famous artist had its perks: “Being on the cover changed my life,” Ann said, “People were always saying, ‘I saw you in Chicago,’ or ‘I saw you in a drugstore window in New York.’ I thought of myself as a tiny little international star.” And the modeling fee? “$25 when you’re six is a lot of money.” Famous AND rich—what more could you ask for?

Having Rockwell as a family friend has its odd moments, too. The artist would call Ann’s mother “at 7 a.m. and say, ‘Don’t make the beds. I want to come and look at some messy rooms.’ Then he would come and wander through our morning rubble.”

Ann’s first love? Neighbor and fellow Rockwell model, Scott Ingram (above as the littlest ball player and below).

“The Discovery” – December 29, 1956

"The Discovery"
From December 29, 1956

Poor little Scott Ingram—this unexpected discovery is suddenly answering a lot of questions. The good news is that this 1956 cover also made him a celebrity of sorts. He actually got fan mail and even made a television appearance with the famous artist. He enjoyed working with Rockwell, and looked forward to the end of each session, when he would be treated to a milkshake.

The painting is more multi-faceted than the first glance would indicate. The way Rockwell captured the burling of the wood of the dresser is one such detail. And life for the artist would have been easier had he just closed the door. Instead, he replicated the patterned wallpaper outside the room, illuminated by the light of a window we have the barest glimpse of.

Next: Rockwell in the 1950s Part II —including a controversial topless model.

Rockwell in the 1960s – Part II

Diana Denny — Fri, 13 Jan 2012 14:00:57 +0000

The man with his pipe makes a cameo appearance.

We’re continuing our tour of Rockwell by decades with Part Two of his 1960s illustrations, featuring covers that don’t exactly look like “Rockwells.”

“In Fellowship Lies Friendship”– August 27, 1960

"In Fellowship Lies Friendship"
from August 27, 1960

This rather daunting edifice is the University Club of New York. The club’s motto was “In Fellowship Lies Friendship,” and the fellows inside seem to be interested in the “friendship” developing outside.

Also interested in the tall sailor chatting up the shapely blonde are a few bystanders. Two of those rather non-pedestrian pedestrians are in the lower left corner—Mr. Rockwell, we presume, walking alongside his daughter-in-law, Gail.

What appears to be a simple scene is actually quite detailed. I for one am amazed at the “texture” in the stone. The birds flying by are easy to miss, and leave it to Rockwell to be faithful to the Italian Renaissance details, including the unusual keystones above the windows. The building is still an architectural landmark today.

“Well!” (Jack Benny) –March 2, 1963

"Well!"
(Jack Benny)
from March 2, 1963

Well! What else can one say about Jack Benny? Okay, for you younger readers, the delightful Jack Benny had a way of saying, “Well!” that…well, you just had to be there. This painting could also be called, “I’m thinking, I’m thinking!” as in his standard response to the line “Your money or your life!” Really, this stuff wasn’t that corny at the time…

As we saw in the previous feature, Rockwell painted world figures in far-flung places, but, interestingly, he was nervous about meeting the beloved comedian. He called Bill Davidson of the Post and told him, “I’m really nervous about meeting this Benny fellow. Would you be good enough to help me over the hurdle?” Ironically, about a half an hour earlier, Benny, who was beloved by millions and the friend of presidents and kings, called Davidson with the same request. He was nervous about meeting the great Norman Rockwell. So Davidson was there for the meeting. Hey, world leaders come and go. Benny and Rockwell were classics!

“The Golden Rule”– April 1, 1961

"The Golden Rule"
from April 1, 1961

Norman Rockwell, whose first Saturday Evening Post cover appeared in 1916, was still painting classics 45 years later in 1961. Taking a serious turn, he created “The Golden Rule,” which is, of course, “Do unto others as you would have them do unto you.”

Oddly enough, the models who depicted the humanity of many nations, all came from the general area of Rockwell’s studio. Rockwell had a passion for costumes and had collected many from his travels abroad. Of the rabbi, the artist chuckled, “he’s Mr. Lawless, our retired postmaster. I put whiskers on him, and I think he fits the part quite well, even if he is a Catholic.” Barely visible in the upper right corner is a face painted by memory: Rockwell’s late wife, holding their first grandson, a child she hadn’t lived to know.

Rockwell received the Interfaith Award from the National Conference of Christians and Jews for this cover.

“Stained Glass Artistry”– April 16, 1960

"Stained Glass Artistry"
from April 16, 1960

Among our Rockwells that don’t look like Rockwells, we have this Easter 1960 cover. The idea came from a trip Norman took to Westminster Abbey in London, where a craftsman was high on a scaffold repairing a stained glass window.

Oh how the artist toiled to capture that luminosity of the backlit stained glass. He just couldn’t do it. Finally, he found stained glass designers Rowan and Irene LeCompet of New York and they traveled to Rockwell’s studio bearing detailed plans of a window they had designed for a Washington church. That’s Rowan LeCompet up on the scaffold repairing a break. Rockwell studied church window after church window, inside and out, before he finally captured that radiant quality.

“Midnight Snack”– November 3, 1962

"Midnight Snack"
from November 3, 1962

This cover is another example of Rockwell’s attention to minute detail, and an example of his wild sense of humor. The scene takes place at the Higgins Armory Museum in Worcester, Massachusetts, which must be a fascinating place to visit. The knight in shining armor atop the horse was a display that caught Rockwell’s fancy. The detail in the tapestry is wonderful. Not part of the collection, but a figment of Norman’s imagination, is the guard having a midnight snack. And we really, really hope the disapproving glare of the horse was part of Norman’s fancy, too!

COMING UP: A three-part series of the 1950s Rockwell, with some classics and some surprises.

Rockwell in the 1960s – Part I of II

Diana Denny — Fri, 06 Jan 2012 14:00:35 +0000

We’re beginning a tour of Rockwell by decades, beginning with the 1960s and traveling back to the 19-teens. We hope you’ll join us for the whole fascinating journey!

“Rockwell Paints Nehru”– Feb 13, 1960

"Rockwell Paints Nehru"
from January 19, 1963

Forget freckle-faced boys, scruffy dogs and swimming holes. Rockwell was a seasoned traveler in the 1960s, often painting world leaders along the way.

“The Connoisseur”– January 13, 1962

"The Connoisseur"
from January 13, 1962

You can stare at the man staring at the Jackson Pollock-like picture all day and still not decide if he is thinking of whipping out his checkbook to buy it, or wondering, “What in blue blazes is going on here?”

Rockwell himself attended some classes “in modern art techniques. I learned a lot and loved it.” He had fun with this one. He put the canvas on the floor, dipping into paints and splashing them far and wide. It happened that a worker was washing the windows of his studio, so the artist invited him to help. The man climbed to the top of a ladder and obligingly dumped a can of white paint on the canvas below. One can’t help but wonder whatever happened to the laborer who actually helped Norman Rockwell paint a Post cover!

“Gamal Abdel Nasser”– May 15, 1963

"Gamal Abdel Nasser"
from May 15, 1963

Not what you think of as a “Rockwell,” is it? But Norman Rockwell was a great portrait painter (see the paintings he did of candidates Richard Nixon and John F. Kennedy in “Presidential Post Covers” from February 19, 2011). Nasser of Egypt was a pivotal figure in world politics since becoming president in 1954.

Nasser knew he was a handsome man and insisted on a frontal view with a toothpaste smile. Rockwell was just as insistent on a profile portrait. The artist would pose him the way he wished and begin sketching and Nasser would turn around and flash that big smile again. Now, clearly Norman was dealing with a powerful world figure, and not one to trifle with. This was a man who had helped organize the overthrow of the Egyptian royal family—a man with many guards around. Big guards. But Rockwell persisted in posing the President as he wanted, and, uncharacteristically, Nasser finally gave in.

“Nehru”– January 19, 1963

"Nehru"
from January 19 1960

Another day, another hot spot in the world. Rockwell accompanied Post Editor Robert Sherrod to India to report on “the epical struggle between China and India, which engages a third of mankind.” The article included photos of India of the early sixties, including one of college girls getting “emergency rifle training” from an army instructor.

Rockwell and his wife Molly enjoyed India and were invited to Nehru’s home. There they met Nehru’s daughter, Indira Ghandi, a future Prime Minister. The Rockwells were flattered and more than a little startled to find that Madame Gandhi had a room lined with Rockwell prints for her children.

“The Window Washer”– September 17, 1960

"The Window Washer"
from September 17, 1960

“Sakes alive! What ever has come over Norman Rockwell?” mused Post editors. “Does he hold with this sort of behavior?” Actually, Rockwell initially envisioned a different type of woman. He had in mind “a very prim girl, looking shocked,” he told us. “But the idea of youth calling to youth worked out more effectively. The girl isn’t going to date the fellow, however. You may assure the public of that.” Aw, Norman, that would have made a nice ending!

“Modernizing the Post”– September 16, 1961

"Modernizing the Post"
from September 16, 1961

The Pennsylvania Gazette was started in 1729 by an innovative young man named Benjamin Franklin. The Gazette is one of the many mastheads on display on the easel. Although it was the most successful newspaper in the colonies in 1815, long after Franklin’s death, it ceased publication and reportedly became a paper called The Saturday Evening Post. The connection is nebulous, but we remain determined to say we were started by Ben Franklin, so work with us here. Said paper was in dire financial straits by the 1890s and was purchased for $1,000 in 1897 by Cyrus Curtis, publisher of The Ladies’ Home Journal. From time to time, the Post changed its appearance; hence, the varied mastheads you see here.

Norman Rockwell, himself a rather important piece of Post history, depicts art designer Herbert Lubalin deciding on a clean, streamlined “POST.”

NEXT WEEK: The portrait with the title: “Well!” Part II of II of Rockwell in the 1960s.

Rockwell Paints Rockwell

Diana Denny — Fri, 16 Dec 2011 14:00:36 +0000

We showed you how Rockwell painted himself into his famous cover, “The Gossips” (see Rockwell: Behind the Canvas). Where else has our favorite artist popped up?

“Triple Self Portrait”– Feb 13, 1960

"Triple Self Portrait"
From Feb 13, 1960

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 post-cubist 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.

“Blank Canvas” – Oct 8, 1938

"Blank Canvas"
From Oct 8, 1938

Rockwell had done approximately one hundred and forty covers by the time of this whimsical 1938 painting. The Post wasn’t the same without renowned editor George Horace Lorimer (who passed away the previous year) and the great artist was restless. So he did a cover about running dry of ideas because…well, he was. The young artist is a parody of himself: tall, lanky and with the ever-present pipe tucked into a back pocket. There sits that danged blank canvas atop of which rests a pocket watch and lurking deadline. Even the horseshoe isn’t bringing any help…perhaps because it’s upside down.

“The Holdout” – Feb 14, 1959

"The Holdout"
From Feb 14, 1959

There is a holdout in this tense jury scene. It has been a long hard deliberation if we read the table detritus and debris on the floor. A lone but determined female is wreaking havoc in the man’s world of 1959.

Most of the models are Rockwell’s friends and neighbors. The artist enjoyed small-town life as he knew many of the faces and could often find just the right one for a particular scene right at home. The gentleman leaning down behind the woman and attempting to be persuasive is our beloved artist and model himself. Rockwell made a sort of Jack Benny joke about it—he appeared in the painting because he wouldn’t have to pay himself a model’s fee. But, we’re sorry, Norman; it appears the lady is immovable.

“A Family Tree” -October 24, 1959

"A Family Tree"
From October 24, 1959

This family tree is a regular “Where’s Waldo?” Okay, “Where’s Norman?” Who is in your family tree? A saloon gal? An aristocrat? A pirate? The possibilities intrigued Rockwell. Before reading on, click on the cover for a close look and see if you can pick out Rockwell. Hint: It’s hard!

Here’s another hint: Most of the men: the gentleman in the cowboy hat, the prospector with the full beard, the Confederate and Yankee soldiers, the pirate, etc., are the same man, and that model was not the artist. How the artist could do so much with one face defies belief. The dour woman with the cameo at her neck (middle right) is…are you ready…the same man! The rather sour, straight-laced minister next to her is Mr. Rockwell himself.

“The Homecoming” -December 25, 1948

"The Homecoming"
From December 25, 1948

How I love this cover! Not only do we see Norman (upper right with his pipe), but the whole family! Hugging the blond young man is Rockwell’s wife, Mary, and yes, although we only see his back, that is eldest son, Jerry, on the receiving end of the embrace. The happy young man in the plaid shirt is middle son, Tommy, and the youngest boy, Peter can be seen with glasses at the far left.

Besides the Rockwell clan, there are various friends and neighbors. One of these was little Sharon O’Neill in the red skirt. Rockwell thought she was so darn cute he painted her twice – as twins! And next to Tommy Plaidshirt is another delightful artist playing the role of Grandma in this happy scene—Rockwell’s friend, Grandma Moses.

Legendary Thanksgiving Post Covers

Diana Denny — Tue, 22 Nov 2011 13:30:09 +0000

No, “Freedom from Want” was never a Post cover. It appeared inside the magazine in 1943 as one of the four freedoms we were fighting for.

“Freedom from Want” by Norman Rockwell

"Freedom from Want"
by Norman Rockwell
From March 3, 1942

Franklin Roosevelt outlined “four essential human freedoms” in 1941: “Freedom of speech and expression, freedom of worship, freedom from want, and freedom from fear.” An artist named Rockwell set out to depict these on canvas. “In six feverish months during the war days in 1942,” wrote Maynard Good Stoddard in the Post in 1995, Rockwell worked diligently on the “images of those freedoms, images destined to become enduring national symbols.”

The artist himself was more succinct about this classic depiction of a Thanksgiving turkey: “our cook, Mrs. Wheaton, roasted it, I painted it, and we ate it.”

“Boy Watching Grandmother Trim Pie” by JC Leyendecker

"Boy Watching Grandmother Trim Pie"
by JC Leyendecker
From November 21, 1908

This cover by J.C. Leyendecker goes clear back to 1908 and will spawn memories of Thanksgivings in the 1940s, 50s, 60s and so on. In other words, it is timeless. Somewhere this Thanksgiving is a little boy who can’t wait for grandma’s pies to be done.

Leyendecker’s first Post cover was a dark black and white story illustration in May of 1899. The story began right on the front page in those days, when the issue was a cross between a newspaper and what we think of as a magazine today. He did 322 Post covers, ending with his final New Year’s baby in 1943. Norman Rockwell did 321 Post covers, not wanting to break his idol’s record.

“A Thankful Mother” by Norman Rockwell

"A Thankful Mother"
by Norman Rockwell
From November 24, 1945

Truly a painting to make us thankful for Norman Rockwell. The artist went to Maine for this 1945 cover, harboring the belief that that state boasted the most homelike kitchens to be found. Note that the table isn’t “cleaned up” or artfully arranged, but looks like it might for a big Thanksgiving meal preparation. The artist did his preliminary sketches in Maine and returned to Vermont for his model search. The result: Dick Hagelberg, who was a bombardier with sixty-five missions over Germany to his credit, is happily pulling K.P. duty with his real-life mother.

“Childhood Thanksgiving” by JC Leyendecker

"Childhood Thanksgiving"
by JC Leyendecker
From November 26 1927

What a treat rediscovering this obscure but delightful 1927 Leyendecker. The old gent dozes after perhaps reading something that triggers memories of his childhood Thanksgivings.

“Make a Wish” by Norman Rockwell

"Make a Wish"
Norman Rockwell
From November 19, 1921

Make a wish! Whoever got the biggest piece of the wishbone after pulling it apart got their wish. The young lady is giving it a lot of thought. Perhaps she wishes to catch the eye of a special boy or is dreaming of something pretty for Christmas. The boy, and we’re just guessing here, is wishing for more turkey…or another slice of pie. This was a Rockwell cover in 1921 for The Country Gentleman, the Post‘s sister publication.

“After Turkey Nap” by J.C. Leyendecker

"After Turkey Nap"
by J.C. Leyendecker
From November 26, 1938

Ah, what we all wish for—an after turkey nap. But at least most of us make it up from the table first. This is a Leyendecker from 1938.

A Closer Look at Classic Rockwells

Diana Denny — Fri, 04 Nov 2011 12:00:47 +0000

“The Barbershop Quartet”

"The Barbershop Quartet"
by Norman Rockwell
Sept 26, 1936

Did you know that there’s a Barbershop Harmony Society dedicated to preserving the history and art of the old-fashioned singing style? And did you further know that a large mural of this 1936 Rockwell classic graces the outside of the society’s beautiful headquarters in Nashville, Tennessee? If you click on the cover for a close-up and observe how Rockwell captured each face at the point of a crucial note, you can just hear the faint strains of “Let Me Call You Sweetheart.” Or perhaps “Sweet Adeline.” And it sounds good!

I’m catching some details I hadn’t before noticed. I can’t believe I never noticed the old copy of “Police Gazette” with a scantily clad woman on the front page. And the Rockwell attention to detail includes a shaving mug, straight razor, and even a comb missing a few teeth.

“Rosie the Riveter”

: “Rosie the Riveter”
by Norman Rockwell
May 29, 1943

With her strong arms and dirty face, Rosie the Riveter serves as the symbol for the more-than-capable World War II working woman. This was 1943, and it was no time for the delicate, coddled female beauty. But Rosie is still a girl, as shown by easy-to-miss details such as the compact and scalloped hankie sticking out of her coveralls pocket. The feminine touches notwithstanding, she is all business with the patriotic buttons on her overalls and—something else I’ve missed before—a copy of Hitler’s “Mein Kampf” being crushed under her sensible brown shoe. You go, girl!

“The Great Debate”

"lThe Great Debate"
by Norman Rockwell
Oct 30, 1948

When looking at this cover, I’ve always noticed the poor kid left to cry on the floor while his parents argue candidates. Get used to it, kid! This cover may be from the 1940s, but politics is still ugly business today. I’ve also always noticed that the sulking wife is determined the winner should be Harry S. Truman while hubby is adamantly for Thomas E. Dewey. What I haven’t noticed before are the overturned glass on the table, the kickin’ red slippers she’s wearing, and the dog and cat. The dog on the floor is just about as upset as the poor toddler! The cat on the back of the lady’s chair is in “fight or flight” mode—do I run or will I have to lash out at someone? “The dog,” said Rockwell, “is mine and so is the cat. The canary is straight off a picture in a bird-seed catalog.” It looks to me like that canary would like to fly away from the scene. Oh, and I love the old-fashioned toaster.

“The Doctor and the Doll”

: “The Doctor and the Doll”
by Norman Rockwell
March 9, 1929

Talk about a classic! This 1929 cover is one of the most beloved of all time. If you’ve ever had to wait in a doctor’s office, you’ve probably had time to study this scene. You no doubt recall the anxious look on the little girl’s face and the kindly, patient look of the delightful doctor. After much serious consideration, we think the prognosis is good for the doll. What I just noticed is the set of candles atop the desk and that—leave it to Rockwell—the right candle is not quite straight.

The “doctor” was model Pop Fredericks who had ambitions of becoming an actor, a dream that never quite panned out. But Pop was immortalized on Post covers if not the stage. Rockwell used him as a model time after time. He appeared on the canvasses of the great artist as a cellist, a tourist, a politician, Ben Franklin, Santa Claus, and, of course, one of America’s most beloved doctors.

“The Babysitter”

: “The Babysitter”
by Norman Rockwell
November 8, 1947

The poor babysitter! It doesn’t look like she’ll get any homework done tonight. Her history and geometry books are neglected, but, ever the good student, she is studying a babysitter’s guide to figure out—well, frankly—how to shut this kid up. And it appears that much has been tried already; cast aside are a teddy bear, a well-worn doll, a rattle, a coloring book, and a mostly finished baby bottle. Rockwell’s mania for detail even extended to the slipcover and the exceedingly detailed wallpaper. One feels for the baby, but the viewer can’t help but hope for relief for the beleaguered young lady soon. You could look at this painting time and again without noticing the cola bottle almost hidden by the book in the upper left. It’s almost a shame she’s too young for something stronger.

Rockwell’s Silly Side

Diana Denny — Fri, 14 Oct 2011 15:18:55 +0000

What happens when a fireman (even in a painting) smells smoke or plumbers are turned loose in a fancy boudoir? Our favorite artist has the answers.

“The Fireman”

"The Fireman" From May 27, 1944

This may be the only known time when a picture frame inspired the painting that went into it. Rockwell found this unique frame while browsing through a junk store. Well, if you have an empty frame, you have to fill it, right? Carved into the old find were some artifacts of the fire-fighting profession: axes, ladders, and so on. It practically begged for an old-fashioned fireman to occupy it. So the artist conjured up this gent in the turn-of-the-century uniform, complete with a big, bushy mustache. In a fit of pure goofiness, he added a stiffly disapproving glare and displayed a lit cigar beneath the painting for picture-within-picture fun.

“The Plumbers”

"The Plumbers" From June 2, 1951

For pure silliness, you can’t beat “The Plumbers” from 1951. Who but Rockwell would come up with a couple of working stiffs in a fancy boudoir? The homeowner is out for the day, but not the indignant, pink-bowed Pekingese. While crawling under dank sinks and unclogging who-knows-what is all well and good, why not have a little fun? “Here, Clyde, let me make you smell pretty!”

As usual, the details are terrific: look at that wallpaper, the grubby coveralls, and the plumbers’ tools (you can click on the cover for a closer view). These guys were actual plumber acquaintances of the artist, and they were asked to bring along their gear. Who else would have friends who looked like Laurel and Hardy?

“Tattoo Artist”

"Tattoo Artist" From March 4, 1944

During the WWII years, there were many, many serious Post covers with soldiers. If you look up artist Mead Schaeffer at Curtis Publishing, you’ll see armed paratroopers, jungle commandos, and military personnel in a myriad of war activities. Oh, speaking of Mead Schaeffer, he was a buddy of Rockwell’s and posed for this painting as the tattoo artist. He staunchly maintained that Rockwell made his posterior larger than in real life, which Rockwell denied. By the way, Mr. Schaeffer, I dig those socks. Apparently, the issue remains unresolved to this day. The sailor in the painting had apparently been in many ports, but Rosietta, Olga, and the rest are ancient history. This is a new port, and there is a new love-of-his-life. Rockwell even used a sheet of available tattoos as the background.

“The Critic”

"The Critic" From April 16, 1955

The young art student is studying a painting that is studying him—an “unstill life,” if you will. Except for the frowning Dutch masters in the other painting, it is all in the family. The art critic studying a locket in the painting is Jerry Rockwell, the oldest son of the artist. The whimsical lady in the painting is his mother, Mary (Rockwell added flaming red hair for fun). Should the student notice the painting looking back at him or look over his shoulder to see the Dutch gents glaring at him, I suspect he would run screaming from the museum and take up another subject to study.

Rockwell’s School Teachers

Diana Denny — Fri, 26 Aug 2011 13:00:05 +0000

"Happy Birthday, Miss Jones"

"Happy Birthday, Miss Jones"
by Norman Rockwell
March 17, 1956

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.

But just as with the 1935 cover (below) of a teacher, Rockwell received complaints about how he portrayed teachers. Although a reader wrote that the artist captured “the full loving beauty of what is called ‘teaching’ in that sweet face,” another complained, why did he “make the schoolteacher so mousy looking”? Alas, even Norman Rockwell couldn’t please everyone.

"First Day of School"

"First Day of School"
by Norman Rockwell
September 14, 1935

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.

"After School"

"After School"
by Norman Rockwell
October 27, 1917

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.

"First in His Class"

"First in His Class"
by Norman Rockwell
June 6, 1926

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.

Norman Rockwell & Mark Twain: American Storytellers

Allison Lynn — Tue, 22 Mar 2011 18:18:56 +0000

If you love Norman Rockwell, you’ve likely got a thing for Mark Twain, too. They’re both popular American masters who captured their respective eras with a mix of verité and humor. Now, for the first time, their works are being exhibited together.

American Storytellers: Norman Rockwell & Mark Twain is on view through September 6 at the Mark Twain House & Museum in Hartford, CT. Organized with the help of the Norman Rockwell Museum in Stockbridge, Mass., the show looks into both artists’ idealized depictions of childhood, and offers a chance to get an up-close peek at a number of rarely seen Rockwells. In addition to paintings on loan from the Rockwell Museum and the New Britain Museum of American Art, the exhibit features limited-edition lithographs of Rockwell’s pencil drawings, originally commissioned by the Massachusetts Mutual Life Insurance Company in the 1950s and ’60s.

Also on view, naturally, are Rockwell’s illustrations for Twain’s Tom Sawyer and Huckleberry Finn. Walking through the exhibit, it’s easy to forget, for a moment, that the writer and the artist never crossed paths in real life. In fact, the two were born nearly 60 years apart, and by the time Rockwell’s first Saturday Evening Post cover was published (in 1916, when he was 22-years-old), Twain had been dead for six years. That fact makes this in-gallery meeting of their works, and the resulting synchronicity, especially captivating.

Intrigued? Tickets to the exhibit cost $6, but are free for members of the Norman Rockwell Museum and the Mark Twain House & Museum. For directions and hours, visit the Twain Museum website.

Flirting With Norman Rockwell

Diana Denny — Fri, 04 Feb 2011 21:44:01 +0000

Rockwell loved flirts. He must have, because he painted enough of them. Our flirtatious folks span the decades from 1917 to 1960 – an incredible forty-three years of chronicling people giving other people the eye. Happy Valentine’s Day, Norman!

In Fellowship Lies Friendship

In Fellowship Lies Friendship
Norman Rockwell
August 27, 1960

The name of this painting is the motto of the University Club of New York: “In Fellowship Lies Friendship”. The gentlemen inside the club seem less interested in the fellowship within than the “friendship” outside the window. If you look closely, you’ll see in the lower left-hand of the cover a distinguished gentleman with his ever-present pipe walking alongside his real-life daughter-in-law. Mr. Rockwell, we presume. Like Alfred Hitchcock in his films, the artist sometimes made a cameo appearance in his own paintings.

The Window Washer

The Window Washer
Norman Rockwell
September 17, 1960

What a fun cover! As in the last cover, rather than average folks, Rockwell seems to have suddenly discovered lovely young ladies. “Without shapely young ladies to admire,” Rockwell said, “the only thing left to look at would be flowers and trees.” Well, a guy can paint only so many flowers and trees. The handsome young window washer is brazenly winking at the pretty secretary, and Mr. Boss Man is, thankfully, oblivious. Actually, the artist originally “had a very prim girl looking shocked, but the idea of youth calling to youth worked out more effectively.” We agree. Like the previous cover, this one is from 1960.

After School

After School
Norman Rockwell
October 27, 1917

Having to write “Knowledge is Power” a hundred times on the blackboard for some misdeed, the detainee is gleaning a little unintended knowledge. This is important because the life of the unmarried schoolmistress in 1917 would have been closely guarded, and any hint of scandal costly. But catch the look in her eyes. Even the child can tell she’s a goner!

Serenade

Serenade
Norman Rockwell
September 22, 1928

Rockwell liked his models in well-worn attire, but this couple was allowed to pose in their Sunday best. The Bard of Avon watches the action, while rather irreverently being used as a hat rack. Note the lighting from a nearby, but unseen lamppost. This cover is from 1928. Perhaps he is singing that year’s popular, “I Want to Be Loved by You”. She seems to be giving it some serious thought.

The Flirts

The Flirts
Norman Rockwell
July 26, 1941

What happens when a couple of guys driving a truck stop at a stoplight beside a beautiful blonde in a convertible? Love at first sight, of course. She loves me…not. She isn’t giving them the time of day. Note how Rockwell did the masthead and the fact that this is the first cover where he didn’t sign his name – just his initials. This is from 1941.

Milkmaid

Milkmaid
Norman Rockwell
July 25, 1931

Oh, my, was flirting allowed in colonial times? Well, when a handsome young lad meets a pretty milkmaid on a bridge, perhaps there was a toll kiss in order to proceed. As we’ve stated before, Rockwell loved costumes and painting them. Note the girl tip-toeing for her kiss. This is from 1931.

Questions on Saturday Evening Post covers can be directed to Diana at d.denny@satevepost.org or by commenting below. We love your feedback!

A Soldier’s Christmas

Diana Denny — Sat, 18 Dec 2010 13:00:52 +0000

Shopping, decorating and lots of Santas: that’s what Saturday Evening Post Christmas covers are made of. But we wanted to remember those serving overseas this holiday season.

Santa’s in the News – Norman Rockwell

Santa's in the NewsNorman RockwellDecember 26, 1942

Norman Rockwell wanted to remind us amidst the horrible 1942 war news, that it was still Christmas. Rockwell finished his famous “Four Freedoms” paintings about this time: Freedom of Speech, Freedom from Want, Freedom of Worship and Freedom from Fear. Whoever purchased a war bond would receive a set of the Four Freedom prints, and the original paintings were exhibited in a special tour, a way the artist helped rack up millions in war bond sales.

Lone Soldier – Mead Schaeffer

Lone SoldierMead SchaefferDecember 25, 1943

Nor were our WWII troops forgotten by Rockwell’s friend, fellow cover artist Mead Schaeffer. Schaeffer painted dozens of soldiers for Post covers during these years, although this is perhaps the most touching. A lone soldier standing guard on December 25, 1943. Like Rockwell, Schaeffer was a stickler for details. A WWII cover of the crow’s nest of a patrol boat was changed after the Navy took a look at it. The fear was the enemy could determine the location of our Russian convoy route on the basis of the stars in the Arctic night sky. So the heavens were scrambled for the actual Post cover. Presumably, these Christmas stars passed muster.

Hanging Holly – J.C. Leyendecker

Hanging HollyJC LeyendeckerDecember 21, 1918

Back to the first war to end all wars. Remembering her sweetheart at Christmas time, this lady keeps his photo first and foremost among the decorations. Beginning in 1899 and continuing to 1943, J.C. Leyendecker did a remarkable 322 Saturday Evening Post covers, one more than Norman Rockwell. It is said that Rockwell deliberately did one less, out of deference to his idol.

A Soldier’s Christmas – J.C. Leyendecker

A Soldier's ChristmasJC LeyendeckerDecember 22, 1917

Leyendecker did many covers of the WWI soldier, writing a letter by campfire, throwing a grenade, praying at a memorial. One we can never resist is this soldier sharing his meager holiday with a little French cutie. By now the prolific artist was famous for his iconic Arrow Shirt ads featuring remarkably handsome men and elegant ladies.

A Soldier’s Thanksgiving – J.C. Leyendecker

A Soldier's ThanksgivingJC LeyendeckerDecember 8, 1917

This happy soldier, also from 1917, lucked out for his holiday feast. Is that perhaps a plum pudding? Although Leyendecker’s art career was waning by World War II, he received commissions from the U.S. War Department to paint posters of officers like Eisenhower and MacArthur encouraging the purchase of war bonds.

Saluting Santa – J.C. Leyendecker

Saluting SantaJC LeyendeckerDecember 7, 1918

Again by J.C. Leyendecker, this cover sums it up. Wherever our troops are serving, along with our Post artists and Santa himself, we would like to salute them.

How to Handle a Turkey

Diana Denny — Wed, 24 Nov 2010 13:00:02 +0000

It isn’t just the farmers and poultry truck drivers who have a hard time handling turkeys. Sometimes the big birds were a handful for our cover artists and models. Why did one famous cover artist start “to feel like an assassin”?

Turkey Loose Atop Truck by Constantin Alajalov

Turkey Loose Atop Truck
Constantin Alajalov
November 27, 1948

“When I wanted to sketch turkeys as they look in a crate,” said cover artist Constantin Alajalov, “I found a wholesaler who sells a lot of them. For the turkey on the lam…he said, ‘Take your pick’. Every time I started to sketch a model, somebody bought it and bang, it was a dead bird. I began to feel like an assassin.” Our artist got the delightful Thanksgiving cover done, but said, “For Thanksgiving I may skip turkey…and have hamburger that I’m sure I don’t know, socially.”

Squawking Turkey by Tony Sarg

Squawking Turkey
Tony Sarg
November 13, 1915

This youngster managed to catch the turkey, but now what? The boy with arms full of squawking fowl is from 1915.

Cousin Reginald Catches the Thanksgiving Turkey by Norman Rockwell

Cousin Reginald Catches the Thanksgiving Turkey
Norman Rockwell
December 1, 1917

Norman Rockwell painted a lad he called Cousin Reginald, a city slicker. As we’ve shown you before, his mischief-loving country cousins often made a fool of Reginald. Now, we just know those rural boys told Reggie that catching the turkey would be a breeze. They are in the background being royally entertained.

Where’s That Turkey? by Wm. Meade Prince

Where';s That Turkey
Wm. Meade Prince
November 1, 1927

This is no dumb Tom Turkey. When someone with an ax is looking for you, hiding is a good option. This colorful cover was painted for the Post’s sister publication, Country Gentleman by artist William Mead Prince.

Pilgrim Stalking Tom Turkey by J.C. Leyendecker

Pilgrim Stalking Tom Turkey
J.C. Leyendecker
November 23, 1907

Would you believe this beautiful cover is from 1907? Artist J.C. Leyendecker did much more than paint ridiculously handsome men for Arrow Shirt ads. He did more Saturday Evening Post covers than any other artist. One of the earliest, and smartest, acts of George Horace Lorimer after taking charge of the Post was to hire J.C. Leyendecker to do a cover in 1899. Between then and 1943, Leyendecker did 322 Post covers, one more than Norman Rockwell. To honor his mentor, Rockwell chose to do one fewer cover.

Thanksgiving by J.F. Kernan

Thanksgiving
J.F. Kernan
November 24. 1923

There’s an old myth that if you sprinkle salt on a turkey’s tail, you can catch it. Also, if you sprinkle pepper on a hen’s tail, she will lead you to her nest. These tricks may work, but only because if you’re close enough to sprinkle salt on a turkey’s tail, you’re close enough to catch it anyway and if you pepper a hen’s tail, she’ll probably get disgusted with you and stalk off….back to her nest.

Be Very Afraid…

Diana Denny — Thu, 28 Oct 2010 17:43:50 +0000

A large shadow lurks…a cat screeches…and is that a ghoul or just the crazy neighbor trying to scare us? Halloween covers through the years have given us delicious scares!

What’s That Noise? by Frederick Stanley

What&rquot;s That Noise
Frederick Stanley
November 7, 1925

What’s that noise? Maybe a book about Captain Kidd isn’t the best bedtime reading. Has Johnny gotten to the part where Kidd is executed for piracy? Could that be the sound of the hangman’s gallows he hears? The clopping sound of a wooden leg? Hopefully, Johnny will discover, sooner rather than later, that Fido is under his bed chomping on his shoes.

Halloween, 1926 by Edgar Franklin Wittmack

Halloween, 1926
Edgar Franklin Wittmack
October 30, 1926

It’s Halloween 1926. You’re dressed up in your finest and on your way to a friend’s party. It’s very, very dark out. And frankly, we don’t know what that shadow is, but we have one piece of advice for this young man: vamoose!

Halloween Scare by Frederic Stanley

Halloween Scare
Frederic Stanley
November 2, 1935

If you’re ever felt the dank chill of an October night and then heard the bloodcurdling screeching of cats, you know it’s scary. Frederick Stanley did seventeen Post covers and was great at showing kids being scared.

Witch’s Mask by Charles Kaiser

Witch&rquot;s Mask
Charles Kaiser
October 31, 1942

The little girl wanted to see what her witch’s mask look like in the dark window, but we think she’s managed to scare herself. Wait a minute…was the mask winking before?

Tricking Trick or Treaters by Amos Sewell

Tricky Trick or Treaters
Amos Sewell
November 3, 1951

There’s one in every neighborhood – the guy who jumps out of a makeshift coffin or poses as a scarecrow only to leap to life as trick-or-treaters walk by. Sure, we little goblins are fleeing now, but it’s guys like you, mister, who drive us to bars of soap or rolls of toilet paper.

Halloween by Norman Rockwell

Halloween
Norman Rockwell
October 23, 1920

Grandpa is very afraid. There’s a leering jack-o-lantern coming at him and if you look closely, you’ll see it’s wearing a little dress and shiny Mary Jane shoes. Speaking of shoes, I dig the spats on gramps. I know this 1920 Norman Rockwell cover is more cute than scary, but who can resist it?

What’s Your Favorite Rockwell Cover?

Post Editors — Wed, 22 Sep 2010 18:14:03 +0000

The Saturday Evening Post editors want to hear your choice for best Rockwell cover, from the ones shown here, or a personal favorite. Tell us your favorite in the comments below!

The RunawaySeptember 20, 1958

Before the Shot
March 15, 1958

Happy Birthday, Miss Jones
March 17, 1956

Breaking Home Ties
September 25, 1954

The Shiner
May 23, 1953

A Day in the Life of a Boy
May 24, 1952

Saying Grace
November 24, 1951

Plumbers
June 2, 1951

Before the Date
September 24, 1949

Prom Dress
March 19, 1949

Gossips
March 6, 1948

Going and Coming
August 30, 1947

Swimming Hole
August 11, 1945

Homecoming G.I.
May 26, 1945

Cover Girl
March 3, 1941

Marbles Champion
September 2, 1939

Going Out
October 21, 1933

Making Friends
September 28, 1929

Doctor and the Doll
March 9, 1929

Hobo Stealing Pie
August 18, 1928

Answers to Rockwell’s April Fools Covers

Post Editors — Wed, 22 Sep 2010 18:13:03 +0000

After six grueling months of hard work on his famous Four Freedoms, Rockwell did a whimsical cover to relax. Although lighthearted in nature, Rockwell’s 1943 April Fools cover still features the painstaking amount of detail for which the artist was known, packing odd and amusing details into almost every square inch. The cover concept proved so popular with readers that Rockwell did two more such April covers for that decade, in 1945 and 1948. Today, readers still delight in scrutinizing these covers—and even find new errors from time to time. Can you spot all of them?

If you would like to enlarge a cover, click on its image below.

April 1943

April Fool, 1943
Norman Rockwell
April 3, 1943

The principal April fooleries in the painting are:
1. the trout, the fishhook and the water, all on the stairway;
2. the stairway running behind the fireplace,
an architectural impossibility;
3. the mailbox;
4. the faucet;
5. wall-paper upside down;
6. wallpaper has two designs;
7. the scissors candlestick;
8. silhouettes upside down;
9. bacon and egg on the decorative plate;
10. the April-fool clock;
11. the portraits;
12. ducks in the living room;
13. zebra looking out of the frame;
14. mouse looking out of the mantelpiece;
15. a tire for the iron rim of the mantelpiece;
16. medicine bottle and glass floating in the air;
17. fork in-stead of a spoon on the bottle;
18. the old lady’s hip pocket;
19. the newspaper in her pocket;
20. her wedding ring on the wrong hand;
21. buttons on the wrong aide of her sweater;
22. crown on her head;
23. stillson wrench for a nutcracker in her hand;
24. skunk on her lap;
25. she is wearing trousers;
26. she has on ice skates;
27. no checkers on checkerboard;
28. wrong number of squares on checkerboard;
29. too many fingers on old man’s hand;
30. erasers on both ends of his pencil;
31. he is wearing a skirt;
32. he has a bird in his pocket;
33. he is wearing roller skates;
34. he has a hoe for a cane;
35. billfold on string tied to his finger;
36. milkweed growing in room;
37. milk bottle on milkweed;
38. deer under chair;
39. dog’s paws on deer;
40. mushrooms;
41. woodpecker pecking chair;
42. buckle on man’s slipper;
43. artist’s signature in reverse.

Check out the interactive cover we ran back in 2009. It shows the level of detail Rockwell put into these whimsical paintings.

March 1945

April Fool, 1945
Norman Rockwell
March 31, 1945

1. Apples on maple tree.
2. Different-color apples.
3. Baseball among apples.
4. Pine boughs.
5. Pine cone should point down under bough.
6. Horse-chestnut leaves.
7. Grapes.
8. April 1st comes on Sunday, not Monday.
9. Penguins don’t fly.
10. Halo.
11. Nest on phone.
12. Different-color eggs.
13. Phone wire on wrong end of receiver.
14. Different or wrong color butterflies.
15. Books on tree.
16. Castle in landscape.
17. Lighthouse and ship.
18. Earmuffs.
19. Fur collar on velvet jacket.
20. Two different designs on shirt.
21. Shirt buttoned wrong way.
22. Life jacket.
23. Three hands.
24. Cigarette and pipe used at same time.
25. Collar and necktie on bird.
26. Fly-casting reel on bait-casting rod.
27. Cloth patches on waders.
28. Rod upside down.
29. Alligators as roots.
30. Cobra in mandolin.
31. Ribbon on mandolin.
32. Post heading on wrong side of magazine.
33. Snow scene.
34. Horizons different on two scenes.
35. Horns on mouse’s head.
36. Animal head on turtle.
37. You’re wrong; there are blue lobsters although they are
extremely unusual freaks of nature.
38. Tomato picture on plum can.
39. House slippers on skis.
40. Shells.
41. Dutchman’s-breeches.
42. Lady’s-slipper.
43. Buttercup.
44. Thimbleweed.
45. Bachelor-buttons.
46. Poison ivy.
47. Signature upside down.
48. Skis without backs.
49. Lead sinkers on line should be below floater.
50. Floater upside down.
51. Red should be at top of floater in right position.

April 1948

April Fool, 1948
Norman Rockwell
April 3, 1948

1. Two kinds of molding on cupboard.
2. North American Pileated Woodpecker head on
crane’s body.
3. Coffeepot spout upside down.
4. Barbed wire instead of clothesline.
5. Insigne on back of fireman’s helmet.
6. Green and red lights re¬versed on ship’s lantern.
7. Beast crouched on upper shelf.
8. Cup not hanging by handle.
9. Electric bulbs growing on plant.
10. Head of little girl on man’s bust.
11. Rat’s tail on chipmunk.
12. Penholder with pencil eraser.
13. Top of brass vase suspended.
14. Face in clock.
15. Candle where kerosene lamp should be.
16. Sampler dated 1216.
17. Winter seen through left window, summer through right.
18. Antique dealer’s head on dolls.
19. Nine branches on traditional seven-branch candelabra.
20. Girl’s hair in pigtail on one side, loose on other.
21. Titles on books vertical instead of horizontal.
22. Girl’s sweater buttoned wrong way.
23. Mouthpiece on both ends of phone.
24. Phone not connected.
25. Goat’s head, deer’s antlers.
26. No shelf under books.
27. Lace cuff on man’s shirt.
28. Five fingers and thumb on girl’s hand.
29. Gun barrel in wrong place.
30. Saddle on animal.
31. Potted plant on lighted stove.
32. Girl’s purse is a book.
33. Only half a strap on girl’s purse.
34. Skunk in girl’s arms.
35. Sea gull with crane’s legs.
36. Stovepipe missing.
37. Mona Lisa has halo.
38. Mona Lisa facing wrong way.
39. Abraham Lincoln with General Grant’s military coat.
40. Stove has April Fool on it.
41. Hoofs instead of feet on doll.
42. Little girl sitting on nothing.
43. Rogers group is combination of soldier from
Our Hero and girl from “Blushing Bride.”
44. Brass kettle has two spouts.
45. Spur on antique dealer’s shoe.
46. Mouse and ground mole conferring.
47. Ground mole’s tracks in wooden floor.
48. Dog’s head on cat’s body.
49. Raccoon’s tail on eat’s body.
50. Ball fringe standing straight up at angle.
51. Stove minus one leg.
52. Two kinds of floor.
53. Signature reversed.
54. Last name spelled wrong.
55. Flowers growing in floor.
56. Girl’s socks don’t match.

Football is Rough on Everyone!

Diana Denny — Sat, 18 Sep 2010 12:00:25 +0000

Are you ready for some football? Since 1900, The Saturday Evening Post has featured football and football fans on its covers, so grab a cold one and some chips and enjoy!

Rainy Football Game by Douglas Crockwell

Rainy Football Game
Douglas Crockwell
November 15, 1941

Are you ready for some football? Since 1900, The Saturday Evening Post has featured football and football fans on its covers, so grab a cold one and some chips and enjoy!

Quarterback Pass by Maurice Bower

Quarterback Pass
Maurice Bower
October 12, 1935

Maurice Bower (1889-1980) was an artist who could capture action: racing horses, men jumping hurdles and, of course, a quarterback making a pass. He was a medical illustrator for the army in World War I. He did fourteen covers for the Post, and this one from 1935 takes you right to the heart of the action. Love the strain on the guy’s face.

Tackled by Norman Rockwell

Tackled
Norman Rockwell
November 21, 1925

Omphf! Norman Rockwell shows just what a rough sport this can be. After this hard tackle in 1925, somebody is going to have a sore belly…if not a cracked rib or two. And this is just a kids’ game.

Dog on the Field by Lonie Bee

Dog on the Field
Lonie Bee
October 18, 1941

Players aren’t the only ones who have a rough time of it. The ref has a hard job too, especially when Spot decides he’s in to play. This cover by artist Lonie Bee is from 1941.

Ref Out Cold by Stevan Dohanos

Ref Out Cold
Stevan Dohanos
November 25, 1950

Talk about a tough job! Artist Stevan Dohanos “witnessed this catastrophe at a Yale-Dartmouth conflict last year,” wrote the Post editors in 1950. “Everybody but the wounded man was amused, and Dohanos reflected callously, Ah a delightful cover scene!” The poor ref in real life was Leo Weinrott who “suffered disengaged leg muscles when a young giant accidentally steam-rollered over him. He tottered on about his terrifying duties until, stubbing a cleat while running backward, he had to be removed from the battlefield on a litter.” Fortunately, there’s a happy ending: “This fall,” noted the editors, “he survived the Yale-Cornell and other Donnybrooks with hardly a contusion. He thinks the cover is droll.”

Cheerleaders After a Losing Game by Lonie Bee

Cheerleaders After Losing a Game
Lonie Bee
November 18, 1939

And don’t think being a cheerleader is all fun and games, either. When you cheer your heart out and the team loses, it’s a sad day. These cheerleaders (all male!) from a 1939 cover are completely bummed. Even the adorable mascot is down and out.

Sitting on the Wrong Side by Gene Pelham

Sitting on the Wrong Side
Gene Pelham
November 15, 1941

We would never forget you, the great American football fan. How you have suffered! You bundle up against the cold, tough it out and root for your team and your little blue pennant is being overwhelmed by the sea of yellow pennants belonging to the winning team. Great facial expression by little known artist Gene Pelham. It says it all. There’s always the next game!

Dogs Hate School!

Diana Denny — Sat, 28 Aug 2010 12:40:07 +0000

If there’s anything I’ve learned from studying hundreds of magazine covers for the Post and Country Gentleman, a sister publication, it is that dogs hate school! If you’re bummed about returning to school, you’re not the only one.

Dog Waiting for Somebody by Robert C. Kauffmann

Dog Waiting for Somebody
Robert C Kauffmann
September 10, 1938

Watching, watching…when is that door going to open and reveal my buddy? This Robert C. Kauffmann painting is one of my favorite dog covers, and we have decades and decades of dog covers. How long that sweet mutt is going to stare at the door, nobody knows, but best friends are loyal.

Faithful Friends by Alan Foster

Faithful Friends
Alan Foster
September 14, 1929

These guys have been at it longer; they’re at least sitting down and waiting. If they’re teaching them something useful like fishing or stick-throwing in there, we could understand, but what’s taking so long? Artist Alan Foster did thirty Post covers in the years 1923-1933.

Patient Friend by Norman Rockwell

Patient Friend
Norman Rockwell
June 10, 1922

Speaking of fishing…the pole is ready, the bait is read, Rover is ready. So why can’t Tommy come out and do it already? But nooo, he’s stuck at his desk in this stupid school reading a stupid book. And he doesn’t even look like he wants to be there. Maybe if I lift my paw and look pathetic enough… This is one of ten Saturday Evening Post covers Rockwell did in 1922, along with two Country Gentleman covers, along with whatever ad work and other art assignments he was had. I’ve often wondered when the man slept.

School Bus by Stevan Dohanos

School Bus
Stevan Dohanos
September 2, 1944

“Dear Editor: I know this may be a stretch, but I have a special request. I am looking for an issue of your magazine from September 2, 1944. It is special to me because I am the Boy Scout in the painting by Stephen Dohanos. His son was a pal of mine and, in the 6th grade, I was asked to pose in my scout uniform. I think I got paid $10! Plus I spent the night at his house and had a great time. I can still remember the shoot.” This e-mail from a couple of years ago was signed “George”. We’re glad George enjoyed the shoot, because the dogs are clearly not enjoying having their pals carted away in that big yellow thing.

Math Problems by Henry Hintermeister

Math Problems
Henry Hintermeister

The Country Gentleman
September 1, 1936

If there’s one thing dogs hate more than school, it’s homework – or at least math homework. If nothing else, Rover can provide moral support. Artist Henry Hintermeister certainly wasn’t a household name, but he did at least sixteen Country Gentleman covers, all terrific ones, of kids.

School’s Out by Ray C. Strang

School&rquot;s Out
Ray C. Strang
The Country Gentleman
June 1, 1930

If there’s one thing about school dogs love, it’s when Billy gets off that bus! We should all have a welcoming committee like this one. Love the pastels in this painting. And dig that 1930 school bus in the background.

Saturday Evening Post » Norman Rockwell

America’s Artist

Covers: Love Hurts

“God Bless You” by Norman Rockwell

"God Bless You" by Norman Rockwell From October 1, 1921

“Schoolboy Crush” by Charles A. MacLellan

"Schoolboy Crush" by Charles A. MacLellan From January 17, 1914

“My Secret Valentine” by Henry Hintermeister

"My Secret Valentine" by Henry Hintermeister From February 1, 1938

“ God Bless You” by Norman Rockwell

"God Bless You" by Norman Rockwell From October 1 1921)

“First Valentine” by Richard Sargent

"First Valentine"by Richard Sargent From February 11, 1956

“Two Boys Bringing Girl Ice Cream” by George Brehm

"Two Boys Bringing Girl Ice Cream"by George Brehm From July 5, 1924

“Rivals” by Norman Rockwell

"Rivals"by Norman Rockwell From September 9, 1922