Abbeville Press, publisher of fine art and illustrated books
Home Norman Rockwell
[ Cover Image ]
Send as an e-postcard!
Table of Contents
Excerpt
Click to enlarge
Cigar Butt, Post Cover, July 11, 1925.It is perhaps easier to find parallels for Rockwell in the world of literature than in the world of painting. His world is full of echoes of Dickens and Twain, and he has much in common with O. Henry. It seems to me, though, that the writer Rockwell most resembles--despite enormous differences in cultural background--is P.G. Wodehouse, another perennial contributor to The Saturday Evening Post and Rockwells senior by eleven years.
Hometown News, Post Cover, April 11, 1942.Early examples of Rockwells mature technique (which might be described as ”fictional” documentary, or synthetic documentary) are to be found in the Willie Gillis covers, a series that Rockwell painted between October 1941 and October 1946. Rockwell was concerned in those covers with portraying the plight of ”an ordinary inoffensive little guy thrown into the chaos of war.”
Planning the Home, Literary Digest Cover, May 8, 1920.Most of Rockwells finest covers are, in effect, anecdotes. With occasional exceptions, he can give us only one scene--an isolated episode--but, in his mature work especially, he knows how to pack that scene with so much significant detail that the events that precede it, and follow from it, are, so to speak, latent in the single image.
Springtime, Post Cover, April 25, 1936.Rockwell never seems to have had much trouble sustaining such a rapport. His utopia and that of his audience were, to all intents and purposes, the same thing. He portrayed Americans as they chose to see themselves. It is easier to recognize this in his earlier covers--those painted prior to the late thirties, say--because, with few exceptions, they make no pretense at being anything but stylized representations of situations, amusing or touching, that play some more or less clever variation on an archetypal theme--the vagaries of young love, the compensation of old age, and so forth.
Triple Self Portrait, Post Cover, February 13, 1960.Often in his later work, Rockwell uses a rather artificial kind of texture to give the illusion of painterliness to what is, in fact, a tinted drawing. In particular, he is fond of a very deliberate kind of impasto (physical buildup of pigment), often applying it in what seems at first glance like a wholly inappropriate way, as for example in his treatment of the mirror in ”Triple Self Portrait.”
Norman Rockwell
332 Magazine Covers

By Christopher Finch 
Size: 4 x 4 3/8" 376 pages
332 full-color illustrations
Published 1997
ISBN: 978-0-7892-0409-7
In Stock
Available
Hardcover $11.95

Also as a full-size book for $75.00


Quantity:
 
 Send page to a friend
 Print this page

At the outset of his career, Norman Rockwell was not the most likely candidate for long-term celebrity; he was just one of many skillful illustrators working within the conventions of the day. But there was something tenacious about his vision, and something uncanny about his access to the wellsprings of public taste. Although technically he was an academic painter, he had the eye of a photographer and, as he became a mature artist, he used this eye to give us a picture of America that was familiar-astonishingly so-and at the same time unique.

It seems familiar because it was everyones dream of America; and it was unique because only Rockwell managed to bring it to life with such authority. This was, perhaps, an America that never existed, but it was an America the public wanted to exist. And Rockwell put it together from elements that were there for everyone to see.

Rockwell helped preserve American myths, but, more than that, he recreated them and made them palatable for new generations. His function was to reassure people, to remind them of old values in times of rapid change.

Explore
Related Titles
 border=
Related Links