Difference between revisions of "Norman Rockwell"
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'''Norman Rockwell''' (1894-1978) referred to himself as an ''illustrator.'' He worked in the mid-1900s. He painted many scenes of American life, including "The Four Freedoms" and "The Family Dinner". In particular, he did 317 which were used as covers for the [[Saturday Evening Post]]. His work was widely reprinted after his death, such as in ''[[Reader's Digest]]'' and on [[stamps]]. | '''Norman Rockwell''' (1894-1978) referred to himself as an ''illustrator.'' He worked in the mid-1900s. He painted many scenes of American life, including "The Four Freedoms" and "The Family Dinner". In particular, he did 317 which were used as covers for the [[Saturday Evening Post]]. His work was widely reprinted after his death, such as in ''[[Reader's Digest]]'' and on [[stamps]]. | ||
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| + | LIke the pre-Raphaelites, his pictures tell a story, and the people in them have easily readable, dramatic facial expressions. Unlike the pre-Raphaelites, they frequently show a keen sense of humor. His work was direct, popular, and commercial. His pictures of plain people in small-town settings are sometimes derided as sentimental or "cornball," but he tackled serious themes as well. His 1964 ''Look'' magazine illustration, "The Problem We All Live With," showed U. S. marshalls escorting a six-year-old black girl into a previously segregated school. | ||
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| + | ==External link== | ||
| + | *[http://www.guggenheim.org/exhibitions/past_exhibitions/rockwell/problem_lg.html The Problem We All Live With], Guggenheim museum. | ||
[[Category:Artists|Rockwell, Norman]] | [[Category:Artists|Rockwell, Norman]] | ||
[[Category:Artist]] | [[Category:Artist]] | ||
Revision as of 00:13, March 30, 2007
Norman Rockwell (1894-1978) referred to himself as an illustrator. He worked in the mid-1900s. He painted many scenes of American life, including "The Four Freedoms" and "The Family Dinner". In particular, he did 317 which were used as covers for the Saturday Evening Post. His work was widely reprinted after his death, such as in Reader's Digest and on stamps.
LIke the pre-Raphaelites, his pictures tell a story, and the people in them have easily readable, dramatic facial expressions. Unlike the pre-Raphaelites, they frequently show a keen sense of humor. His work was direct, popular, and commercial. His pictures of plain people in small-town settings are sometimes derided as sentimental or "cornball," but he tackled serious themes as well. His 1964 Look magazine illustration, "The Problem We All Live With," showed U. S. marshalls escorting a six-year-old black girl into a previously segregated school.
External link
- The Problem We All Live With, Guggenheim museum.