BGuthrie Photos: DC -- GWU -- Museum and Textile Museum -- Exhibit: Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms -- 1 Before 4Freedom paintings

DC -- GWU -- Museum and Textile Museum -- Exhibit: Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms -- 1 Before 4Freedom paintings:

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Description of Pictures: Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms
February 13, 2019 through April 29, 2019
Norman Rockwell’s masterpieces make their way to Washington as part of a major international traveling exhibition on the Four Freedoms famously outlined by Franklin D. Roosevelt: freedom of speech; freedom of worship; freedom from want; and freedom from fear. In Enduring Ideals, Rockwell’s iconic paintings and works by other artists capture expressions of freedom from World War II to today.
Docents lead free walk-in tours of the galleries on Saturdays and Sundays at 1:30 p.m. You can also register online for a private tour of the exhibition for groups of six to forty people.
Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms has been organized by Norman Rockwell Museum in Stockbridge, Massachusetts. Leadership support is provided by Jay Alix, the Alix Foundation, and the George Lucas Family Foundation.

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. 4FRPRE_190214_031.JPG: Norman Rockwell Deadline (Artist Facing Blank Canvas), 1938 Cover illustration for The Saturday Evening Post, October 8, 1938 "Meeting deadlines and thinking up ideas are the scourges of an illustrator's life," Rockwell said of this painting. "This is not a caricature of myself; I really look like this." He had never used an artist facing a deadline as a cover concept before, but in 1938, after returning from an extended family vacation in England, it was a theme that made sense. Though he often posed for his own paintings when "extras" were needed. Rockwell did few paintings in which he was the sole character. Artist Facing Blank Canvas is one.
2. 4FRPRE_190214_056.JPG: Norman Rockwell "OK" the Pause that Refreshes, 1931 Though Rockwell preferred the relative autonomy of magazine cover illustration, advertising was more lucrative. He created imagery for more than 150 corporations and institutions, including Coca-Cola, which commissioned from the artist six original illustrations. In this Depression-era work, a barefoot boy enjoys life's simple pleasures, including a bottle of Coke.
3. 4FRPRE_190214_066.JPG: Norman Rockwell Marble Champion, 1939 Cover illustration for The Saturday Evening Post, September 2, 1939 Strong women and girls are a mainstay of Rockwell's art, and in this Post cover illustration, his female protagonist dominates a game of marbles to the chagrin of two male friends. Her stuffed marble bag contrasts with those of the boys, and her determination expression indicates that she has only just begun. Kneeling on the ground in scuffed shoes, she is decidely un-ladylike. Assertive females also made regular appearances in the movies of the era, which featured stars like Jean Arthur, Jean Harlow, and Joan Crawford.
4. 4FRPRE_190214_086.JPG: Norman Rockwell Family Home from Vacation, 1930 Cover illustration for The Saturday Evening Post, September 13, 1930 Despite the Depression-era downturn, The Saturday Evening Post and other magazines presented uplifting images and hope for better times. Published almost a year after the crash, Rockwell's 1930 cover illustration portrays a weary family that has managed to vacation despite challenging times. The box camera at the woman's feet recorded their adventures, and clues like the pail and shovel, wilted bouquet, deflated balloon, and frog struggling to escape, give us a sense of the family's experience.
5. 4FRPRE_190214_101.JPG: Norman Rockwell Ticket Seller, 1937 Cover illustration for The Saturday Evening Post, April 24, 1937 As the Depression wore on, Rockwell's perspective on the vacation theme took a turn. In this cover painting, a bored ticket seller seems unable to entice anyone to purchase fares to any destination, near or far. Travel was Rockwell's only passion other than art, and it is the subject of many of his paintings. By 1930, he had been to South America, made three trips to Europe, and taken an extended trip to California where he met and married his second wife, Mary Barstow. In 1932, the Rockwell's, then including infant son Jarvis and pet German shepherd Raleigh, boarded the Mauretania for Paris. There, Rockwell hoped to find inspiration for his art, but five months into their eight-month stay the family returned to New Rochelle, New York -- their second child, Thomas, was on the way.
6. 4FRPRE_190214_114.JPG: Norman Rockwell Barbershop Quartet, 1936 Cover illustration for The Saturday Evening Post, September 26, 1936 During the 1930s, Norman Rockwell celebrated life's simple pleasures in artworks filled with pathos and humor. This work was likely inspired by the professional and amateur barbershop quartets that were popular from the 1890s through the 1930s. Facial expression and hand gestures tell Rockwell's story, as do details like the straight razor, shaving cup and mug, and well-worn comb. When Rockwell painted this work, he was living in New Rochelle, New York, a hug for noted illustrators. Fellow Post artist, Walter Beach Humphrey, appears on the far right, his face half-covered with shaving cream. In Humphrey's hand is a copy of The Police Gazette, an early twentieth century gentleman's magazine featuring tales about the seamier side of life.
7. 4FRPRE_190214_134.JPG: Norman Rockwell Brass Merchant, 1934 Cover illustration for The Saturday Evening Post, May 19, 1934 In Brass Merchant, Rockwell's shopper, though elegantly dressed, is driving a hard bargain for a coffee pot -- perhaps an appropriate theme during the Depression. Surrounding the merchant's feet are objects typical of Rockwell's studio inventory -- antiques collected to decorate his studio according to the fashion of the day or for use as needed in a painting. As he sat at his drawing table sketching ideas, perhaps Rockwell's eye fell upon his own samovar, suggesting the idea for this cover. The painting's composition leaves us to guess what the outcome of the bargaining session will be.
8. 4FRPRE_190214_154.JPG: Norman Rockwell Back to Civvies, 1945 Cover illustration for The Saturday Evening Post, December 15, 1945 By the end of World War II, many lives had been changed, but Rockwell's artworks did not betray the emotional struggles of servicemen and women or their families. This portrayal of Lieutenant A. H. Beckloft, a Flying Fortress pilot, focuses on his joyous return to the childhood bedroom that remains unchanged and the clothing that he has now outgrown. Youthful dreams of flying are reflected in the poster of a Boeing B-17 on the wall and the model Martin B-26 Marauder that sits on top of the cluttered dresser.
9. 4FRPRE_190214_172.JPG: Private Willie Gillis: Rockwell's American GI Distant from the activities of the war raging in Europe, Norman Rockwell was challenged to record his interpretation of the effects of World War II on servicemen, and on Americans at home. His unassuming fictional private named Willie Gillis told the story of one man's army in a series of popular Saturday Evening Post covers depicting him engaged in mundane tasks like receiving a care package from home, peeling potatoes, reading the hometown news. Rockwell met his Willie Gillis model, Robert Otis "Bob" Buck, at an Arlington, Vermont square dance. Then fifteen years of age, Buck was exempt from the draft, but he eventually began his service in 1943 as a naval aviator in the South Seas. The name Willis Gillis was coined by Rockwell's wife, Mary Barstow Rockwell, an avid reader who drew inspiration from the story of Wee Gillis, a 1938 book about an orphan boy by Munro Leaf. The first Willie Gillis cover appeared on October 4, 1941, and the last after the war when this then familiar character enrolled in college on the GI Bill. Distributed widely, Willie Gillis enlargements were distributed by the USO, for posting in USO clubs at home and abroad, and railway stations and bus terminals.
10. 4FRPRE_190214_175.JPG: Norman Rockwell Willie Gillis in Church, 1942 Cover illustration for The Saturday Evening Post, July 25, 1942 Images portraying soldiers in service to God and country were prevalent during World War II. Here, Rockwell's GI sits solemnly in a church pew surrounded by others in the armed forces. Widely circulated, this and others in the Willie Gillis series appeared as posters in USO clubs at home and abroad, and in public buildings and transportation hubs like railway stations and bus terminals.
11. 4FRPRE_190214_186.JPG: Norman Rockwell Willie Gillis in Convoy, ca 1941 Unpublished cover for The Saturday Evening Post In this unpublished work featuring Willie Gillis being transported by convoy truck, Rockwell brought the war more explicitly into view. Realistically rather than heroically portrayed, soldiers nap, smoke, and eat during transport, while wide-eye Gillis, wearing a rabbit's foot around his neck, stares dreamily into the distance. This youthful character's innocence may have contrasted too greatly with the older, more experienced troops, who understood what was ahead.
12. 4FRPRE_190214_196.JPG: Norman Rockwell Willie Gillis: Food Package, 1941 Cover illustration for The Saturday Evening Post, October 4, 1941 Distant from the activities of the battles raging in Europe and Asia, Rockwell's unassuming fictional private, Willie Gillis, told the story of one man's army in a series of popular Saturday Evening Post covers. Engaged in mundane but reassuring tasks life receiving a care package from home, peeling potatoes, or reading his hometown news, Rockwell's character was modeled by Robert Otis "Bob" Buck, who he met at an Arlington, Vermont, square dance. The first cover appeared on October 4, 1941, and the last after the war, when Willie Gillis enrolled in college on the GI Bill.
13. 4FRPRE_190214_214.JPG: Norman Rockwell Tattoo Artist, 1944 Cover illustration for The Saturday Evening Post, March 4, 1944 After Rockwell completed his Four Freedoms, he returned to creating more lighthearted covers for the Post, but maintained a focus on the American soldier. Rockwell researched the subject for this painting at a tattoo parlor on New York's Bowery. Standing in front of a tattooist's flash -- a decorative design sheet from which clients select their tattoos -- is a sailor who has been commemorating a new love interest at every port. Illustrator Mead Schaeffer modeled as Rockwell's tattoo artist. After Rockwell completed his Four Freedoms, he returned to creating more lighthearted covers for the Post, but maintained a focus on the American soldier.
14. 4FRPRE_190214_230.JPG: Rosie the Riveter and Women in the Work Force Rosie the Riveter emerged as an emblem of the working woman during World War II. She was the heart of a campaign aimed at recruiting female workers for defense industries. Visualized in the early 1940s by American illustrators J. Howard Miller and Norman Rockwell, Rosie represented women who entered the workforce in unprecedented numbers during the war as widespread male enlistment greatly diminished the industrial labor force. In 1943, when Rockwell painted his overall-clad icon, more than 310,000 women were employed in the U.S. aircraft industry alone, making up sixty-five percent of its total workforce compared to just one percent in the pre-war years. As a popular song by Redd Evans and John Jacob Loeb recounted: All the day long whether rain or shine She's a part of the assembly line She's making history, working for victory Rosie the Riveter By 1945, nearly one out of every four married women worked outside the home. Gains were transitory for many, however, as female workers were demobilized to make way for returning servicemen after the war. In later years, Rosie the Riveter came to symbolize women's rights and feminist causes.
15. 4FRPRE_190214_235.JPG: Norman Rockwell Liberty Girl, 1943 Cover study for The Saturday Evening Post, September 4, 1943 The embodiment of the new roles that belonged to the American woman during World War II, Liberty Girl symbolizes the ability of Americans to mobilize and transform themselves in the interest of society. Rockwell hired a professional model to play the part in this work, but portrayed her as a motivated girl-next-door, underscoring her authenticity. Large scale charcoal drawings, such as the one seen here, were important to Rockwell's artistic process. They allowed him to visualize compositional structure, narrative details, and tonal areas before beginning work on the final canvas.
16. 4FRPRE_190214_241.JPG: Norman Rockwell War News, 1944 Intended illustration of The Saturday Evening Post, March 4, 1944 Intended as a cover for the Saturday Evening Post but never completed, War News pictures a restaurant counterman and his customers listening to a radio news report. Though newspaper text is not evident in this work, the headline of the January 17, 1944 Times Record of Troy, New York, appeared in the artist's preliminary drawing. Calling attention to the proposed invasion of Normandy, it read, "Invasion Plans at France Possible." Rockwell decided not to submit War News to the Post, perhaps because it was hard to convey what the men were hearing. He instead went on to create a second painting, the more clearly articulated Man Charting War Maneuvers, which was published on April 29, 1944.
17. 4FRPRE_190214_256.JPG: Norman Rockwell Armchair General, c 1944 Cover illustration for The Saturday Evening Post, April 29, 1944 In this work, a man listens intently on his radio to news of the war. A map of Europe hangs on the wall, as do photographs of Generals Dwight D. Eisenhower and Douglas MacArthur. A white flag with three blue stars positioned above three small photographs of men in the uniforms of the US Army, Navy , and Army Air Corps indicate that this is a concerned parent following the battles and movements of his children. The Windsor chair that the man sits in is identical to the one Rockwell used as his easel -- his studio furnishings frequently served as props in is art.
18. 4FRPRE_190214_272.JPG: Norman Rockwell Thanksgiving: Mother and Son Peeling Potatoes, 1945 Cover illustration for The Saturday Evening Post, November 24, 1945 For The Saturday Evening Post's 1945 Thanksgiving cover, Rockwell had planned to portray a group of people giving thanks. With the end of the war in sight, however, he decided instead of paint a soldier's homecoming. His subject seems happy to peel potatoes in the warmth of his admiring mother's kitchen, a task that would have been less pleasant in the army. Though still in uniform, he has slipped back into civilian shoes, and is seated on a chair that appears almost child-size -- perhaps a remnant of years past.
19. 4FRPRE_190214_281.JPG: Norman Rockwell Norman Rockwell Visits a Ration Board, 1944 Study illustration for The Saturday Evening Post, July 15, 1944 In the spring of 1942, volunteer ration boards weer formed throughout the country to evaluate the claims of citizens who felt their rations were insufficient. Rockwell used the board members and citizens in Manchester, Vermont, as models to document this wartime situation. This study reveals the artist's attention to the details of expression, gesture, color, and setting in his composition, though areas of the painting are finished to varying degrees.
20. 4FRPRE_190214_315.JPG: The Great Depression The longest and most severe economic downturn of the twentieth century, the Great Depression began on Black Tuesday with the stock market crash of October 29, 1929, and lasted for a decade. Though it originated in the United States, it prompted deflation and unemployment in almost every country in the world. Nationally, this represented the harshest adversity faced by Americans since the Civil War. By 1933, when President Franklin D. Roosevelt took office, a quarter of the labor force was without work, wages had fallen dramatically, and nearly half of the country's banks had failed, with dire consequences for the poor and the wealthy across urban and rural communities. The photographs of the Farm Security Administration establish a gripping pictorial record of life at the time. Headed by Roy E. Stryker, this government agency employed such noted photographers as Walker Evans, Dorothea Lange, Gordon Parks, and Arthur Rothstein, among others. Among the most compelling images are those created from 1937 to 1942 focusing on the lives of southern sharecroppers, and on migratory agricultural workers in the Midwest and western United States. As the scope of the project expanded, photographers began recording "the American way of life" more broadly, as well as mobilization efforts for World War II. During the Depression, Illustrators and cartoonists found ways to provide lighthearted reflections on difficult times, using pathos and humor to express our common humanity.
21. 4FRPRE_190214_318.JPG: The War Generation President Franklin D. Roosevelt famously told Americans in 1933 that "the only thing we have to fear is fear itself," but the nation was justified in its concerns during that turbulent time. The stock market crash of 1929 had swiftly transformed the Roaring Twenties into the Great Depression. Banks closed their doors, bread lines became a common sight, and so-called Hoovervilles dotted the landscape. Jim Crow policies and racial inequality were facts of life for millions, and much of the nation's grain belt became a dusty wasteland, fostering a mass exodus of destitute migrants seeking jobs that were no longer available. Dorothea Lange's timeless photograph of a forlorn pea picker and her daughters came to represent a generation and a nation that seemed to have lost its way. The President and his New Deal team worked intensively to address the emergency, but they were simultaneously becoming concerned about the international situation. As they were well aware, much of the world shared in America's economic misery, and by the mid-1930s as number of aggressive dictators in Europe and Asia -- who addressed the global malaise by offering a kid of new fascism -- had begun to emerge. Americans were overwhelmingly isolationist at the time, and concerned about solving their domestic problems first. FDR had to be content with speaking out against international lawlessness. Yet as the end of the decade neared, he also began to muse about the meaning of freedom on a worldwide scale.
22. 4FRPRE_190214_322.JPG: Dorothea Lange Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California. 1936 In 1936, Dorothea Lange met Florence Owens Thompson in a California camp of field workers whose livelihoods had been devastated by crop failure. Lange's timeless photograph of the forlorn migrant mother and her children came to represent a generation and a nation that seemed to have lost its way. Published widely in magazines and newspapers, Lange's documentary photography for the Farm Security Administration (FSA) humanized the Depression's consequences. She had been operating a successful San Francisco portrait studio, but moved by the homeless and unemployed, began capturing images of the urban scene that reflected her social concerns.
23. 4FRPRE_190214_326.JPG: New York Daily News photographer Central Park Hooverville with Central Park West in the background, 1932 During the Depression, Shanty towns, called Hoovervilles after President Herbert Hoover, sprung up on vacant lots and public land. The largest of these in New York City was on what would become Central Park's Great Lawn -- construction on a drained reservoir bed north of Belvedere Castle had been delayed due to the economic crisis.
24. 4FRPRE_190214_332.JPG: John Collier Jr. Family of a Portuguese Dory Fisherman, Spring 1942
25. 4FRPRE_190214_342.JPG: Unknown Photographer Franklin D. Roosevelt Leads Reporters Out under the Trees of the Family Picnic Grounds and with a Kettle of Hot Dogs on the Table in Hyde Park, September 11, 1935 Franklin D. Roosevelt enjoyed a cordial and open relationship with the press throughout his presidency. In 1940, at a press conference held in his Hyde Park library, he told reporters that he had come to cherish "freedom of information," "freedom of religion," "freedom to express one's self," and "freedom from fear." However, Richard Harkness, a reporter for the Philadelphia Inquirer, suggested to the president that a fifth freedom, "freedom from want," might be equally important in the aftermath of the war. FDR immediately agreed. "Freedom from want," he concluded, "is the fifth, very definitely."
26. 4FRPRE_190214_348.JPG: J.C. Leyendecker 1933 Baby New Year Charting Cover illustration for The Saturday Evening Post, December 13, 1932 J.C. Leyendecker's most iconic images, created for The Saturday Evening Post from 1903 to 1943, were his New Year's babies -- chubby infants who looked ahead to the joys and challenges of the coming year. These symbolic figures were an annual tradition for Americans, who anticipated each new baby's arrival.
27. 4FRPRE_190214_352.JPG: J.C. Leyendecker 1935 Baby New Year Balances the Budget Cover illustration for The Saturday Evening Post, January 3, 1935 Inspired by the events of the day, Leyendecker's New Year's babies took on an array of issues, from women's suffrage and women in politics to balancing the budget during the Great Depression, seen here. Leyendecker was twenty years Rockwell's senior, an early inspiration who also became a friend.
28. 4FRPRE_190214_363.JPG: Illustration and the American Magazine In the first half of the twentieth century, general-interest magazines like the Saturday Evening Post and Collier's, and popular women's magazines such as Ladies' Home Journal, Good Housekeeping, and McCall's, had built vast, loyal followings. Emerging from a long period of political and economic transformation following the Great Depression and World War II Americans began to re-imagine themselves and the new lives that they hoped to lead. Production, finely tuned by wartime necessity, enabled a booming peacetime economy with a plethora of new products and modern, time-saving conveniences. Directly linked to commerce and to selling the notion of affluence for everyone, richly illustrated magazines featured aspirational images depicting ideal standards of living, reflecting and shaping visual culture, public perception, and consumption. Top publications boasted subscriptions of two to nine million in the 1940s and 1950s, and copies were shared among family and friends, bringing readership even higher. J.C. Leyendecker, Norman Rockwell, Al Parker, and other popular illustrators working at the time were far more than picture makers -- they had a crucial role in affecting cultural beliefs and desires. Their influence in shaping the American character as we know it is linked to the development of an industry that embraced the aspirations of a nation and created the American dream.
29. 4FRPRE_190214_367.JPG: Denys Wortman When mother says "More?" Say no, 'cause there's just a little left for her, February 6, 1943
30. 4FRPRE_190214_376.JPG: Denys Wortman "If you're going home, I'll give you a lift." "Thanks, Bill, I'd rather walk. It'll kill more time that way." November 15, 1938 Captions for many of Denys Wortman's images came from chatter that was overheard and later refined by the artist's wife, Hilda Renbold Wortman. His popular single-panel comics offered running commentary about the joys, and mostly trials, of city life.
31. 4FRPRE_190214_385.JPG: Dorothea Lange Mississippi Delta Negro Children, July 1936 In the early twentieth century, many southern African Americans had to resort to sharecropping and tenant farming to survive, a difficult and rarely profitable endeavor that replaced the slave-dependent plantation system.
32. 4FRPRE_190214_389.JPG: Arthur Rothstein Evicted sharecroppers along Highway 60, New Madrid Country, Missouri, January 1939 In January 1939, travelers on the highway of southern Missouri encountered an alarming sight -- thousands of sharecroppers and their families were camped out on the sides of the road with piles of their possessions beside them. Almost all were African Americans who had been evicted by farm owners. Sharecroppers were entitled to a portion of the harvest of the land they worked, and they had recently been made eligible for federal farm subsidies. Preferring to keep these for themselves, many farm owners evicted sharecroppers, hiring day laborers to work the fields. Leaders of the Southern Tenant Farmers' Union used this dramatic moment to capture public attention and encourage the government to step in. Reporters, including Farm Security Administration (FSA) photographer Arthur Rothstein, were there to cover the story. Rothstein's portraits humanized his subjects, presenting them as individuals who deserved to be heard.
33. 4FRPRE_190214_393.JPG: William Galbraith Crawford "Be nice to him, he's about to be drafted," March 3, 1942 Editorial cartoon for NEA Service, INC, March 1942 During World War II, the draft was on everyone's mind. The Selective Training and Service Act of 1940 initiated the first peacetime draft in United States history, requiring all men between the ages of 21 and 45 to register for service. Illustrator William Galbraith Crawford had first-hand experience with the draft -- commissioned by the Army at the start of World War I, he later served in France in an air reconnaissance unit in the Army Air Corps.
34. 4FRPRE_190214_405.JPG: Jerry Aloysius Doyle Roosevelt Favors Old Age Pensions, ca 1935 Editorial cartoon for The Philadelphia Record, ca 1935 After Franklin D. Roosevelt became president in 1933, millions of hopeful Americans wrote him offering advice and requesting help. Appeals for old-age pensions were especially frequent and often quite poignant. As governor of New York, Roosevelt signed an Old Age Pension Bill, an action popular with voters as evidenced in this cartoon. On August 14, 1935, the Social Security Bill became law, promising a plan for social insurance as a safeguard "against the hazards and vicissitudes of life."
35. 4FRPRE_190214_423.JPG: Alfred Charles Parker Mother, Daughter, and Son, 1950 Cover illustration for Ladies' Home Journal, December 1950 When the first of Al Parker's mother and daughter covers for Ladies' Home Journal appeared in February 1939, they created a sensation and inspired a matching outfit fashion trend. Over the next thirteen years, Parker's mothers and daughters celebrated holiday traditions, shared a love of sport, and played their part during World War II. In July 1945, they welcomed their returning soldier and signaled the start of the baby boomer generation. By that December, two knitted booties -- one pink and one blue -- were already underway, and in 1946 a son was born.
36. 4FRPRE_190214_429.JPG: Alfred Charles Parker Mother and Daughter Swimmers, 1940 Cover illustration for Ladies' Home Journal, July 1940 A founder of the modern glamour aesthetic, Al Parker defined the progressive look and feel of published imagery at a time of sweeping change, when following the Great Depression, Americans sought symbols of hope on the pages of periodicals. His innovative artworks created for mass-appear women's magazines like Ladies' Home Journal, Good Housekeeping, and Cosmopolitan captivated upwardly mobile readers, reflecting and influencing the values and aspirations of women and their families during and after World War II.
37. 4FRPRE_190214_439.JPG: Unidentified photographer President Franklin D. Roosevelt Receiving Norman Rockwell's Children's Crusade for Children Painting, 1940 The Children's Crusade for Children was a charitable organization whose purpose was to teach American children about the advantages of living in a democratic country and give them an opportunity to express, through their contributions, concern for the plight of children in war-torn nations. Norman Rockwell was commissioned to create the s=poster illustration for the Crusade's charitable drive. He is seen here with his oldest son, Jarvis (far right), as he presents his painting President Roosevelt during their only known meeting.
38. 4FRPRE_190214_447.JPG: Norman Rockwell Children's Crusade for Children collection can, 1940 Lithograph on tin
39. 4FRPRE_190214_459.JPG: Valentino Sarra Give 'em the stuff to fight with..., 1942 Office of War Information -- Office of Facts and Figures, US Government Printing Office Poster Posters were one of the most effective media for wartime propaganda. Because they were inexpensive to design and print, they could reach a wide audience. Government posters, typically printed in the millions, were by far the most common. They often featured the designs of established artists like the popular commercial photographer Valentino Sarra.
40. 4FRPRE_190214_462.JPG: Zudor More Production, USA, 1942 War Production Board, US Government Printing Office Poster American production was essential during World War II. Without it, the war would have been lost. United States factories produced over 300,000 planes, 88,000 tanks, and 1,400 war ships over the course of the war -- a miraculous feat that gave the Allies a decisive advantage. Wartime posters targeting munitions workers were designed to emphasize the importance of supporting the war effort through industry.
41. 4FRPRE_190214_480.JPG: Mead Schaeffer Flight Controller on Aircraft Carrier, 1943 Cover illustration for The Saturday Evening Post, June 12, 1943
42. 4FRPRE_190214_487.JPG: Mead Schaeffer Paratrooper, 1942 Cover illustration for The Saturday Evening Post, September 12, 1942 Norman Rockwell and Mead Schaeffer were neighbors and friends who shared models and scrutinized each other's work. Both artists sought to contribute their talents to the war effort and traveled together to present their wartime sketches to government official in Washington, D.C. After being turned down, they stopped in Philadelphia to see Post editor Ben Hibbs, who commissioned their work. Schaeffer abandoned the romantic and literary themes that had been his focus before the war, and embraced instead the reportorial spirit of the Post.
43. 4FRPRE_190214_495.JPG: Mead Schaeffer Medical Corps, 1944 Cover illustration for The Saturday Evening Post, November 6, 1944 Illustrator Mead Schaeffer's careful research and technical proficiency, combined with his instinctive sense of design and ability to portray action, are reflected in his armed forces commemorative cover series for the Post, highlighting the work of every military branch. His emphasis on the heroism and professionalism of the American soldier reassured the public during unstable times.
44. 4FRPRE_190214_510.JPG: Mead Schaeffer Naval Lookout, 1942 Cover illustration for The Saturday Evening Post, November 7, 1942
45. 4FRPRE_190214_520.JPG: Thomas Lea That 2,000 Yard Stare, 1945 Illustration for Peleliu, Tom Lea Paints Island Invasion, Life, June 11, 1945 This painting was inspired by Tom Lea's experiences as an artist and war correspondent with the First Marine Division in the battle of Peleliu, Palau, in September 1944. It portrays a war-weary soldier whom Lea met after the fight on Bloody Nose Ridge, one of Japan's most staunchly defended redoubts on the western Pacific Island. The "two-thousand-year stare" describes the appearance of soldiers who have been forced to detach themselves from the trauma of their experiences with violent combat. After Lea's painting was published in Life, the image became synonymous with the phrase and the residual effects of war on the human psyche.
46. 4FRPRE_190214_535.JPG: Boris Artzybasheff Heinrich Himmler, Nazi Gestapo Chief (1936-1945), 1943 Cover illustration for Time, October 11, 1943 During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.
47. 4FRPRE_190214_551.JPG: Boris Artzybasheff Witches' Sabbath, 1942 Illustration for Life, September 14, 1942 In Artzybasheff's Witches Sabbath, Hitler oversees a grotesque world filled with living swastikas. As described in the work's caption, "Creatures of Hitler's turgid nightmare swamp are a medal-heavy Goring, a prating Goebbels, a smirking Himmler, and, trapped by swastika, a simian Pierre Laval." Vehemently anti-Fascist, Artzybasheff sought to pull back the curtain on society's ills, an approach that differed from Rockwell's aspirational visual statements.
48. 4FRPRE_190214_564.JPG: John Falter By His Deeds... Measure Yours, 1942 Advertising illustration for Magazine Publishers of America Published in Coronet, January 1943 Public-service announcements of World War II urged civilians to actively support the war effort by reminding them of the life and death struggles that faced the military. This painting compares the soldier's sacrifice to that of Jesus. The fallen soldiers's head is wrapped in barbed wire that recalls the crown of thorns, and a broken fence on the upper right forms the shape of a cross. A popular Saturday Evening Post illustrator, Falter created numerous advertisements and art for more than three hundred recruiting posters. He enlisted in the US Navy in 1943, and was promoted from chief boatswain's mate to lieutenant on special assignment as an artist. His final rank was chief petty officer.
49. 4FRPRE_190214_579.JPG: Ben Shann This is Nazi Brutality, 1942 Office of War Information, US Government Printing Office Poster This poster by social realist Ben Shahn was inspired by atrocities in Lidice, a Czech mining village that was destroyed in retaliation for the 1942 shooting of a Nazi official. It was designed to instill fear of Nazi brutality and make clear that losing the war to the Axis powers would be a global catastrophe.
50. 4FRPRE_190214_585.JPG: Martha Sawyers United China Relief, ca 1944 Poster illustration for the United China Relief Foundation Martha Sawyers was born and raised in Cuero, Texas. After moving to New York City to study at the Art Students League, she moved farther afield to a region that had long fascinated her: the Far East. She settled in Beijing but returned to the United States after Japan's 1937 invasion of China and was commissioned by such magazines as Collier's and Liberty to focus on the Asian subjects she cared so deeply about. Toward the end of World War II, Sawyers returned to China as a US Army was correspondent. This sensitive portrayal of a Chinese family suffering the impacts of war appeared on a United States Relief Foundations poster. Aid to the war-torn country was a popular cause in the United States.
51. 4FRPRE_190214_592.JPG: George L. Rapp I've found the job where I fit best! 1943 Post illustration for Office of War Information This poster was a prominent appeal in the United States government's Womanpower campaign, which aimed to increase the domestic labor supply by convincing women that war work was both necessary and desirable. Its model resembles starlet Veronica Lake, whose flowing, peekaboo hairstyle was a popular fashion early in the war. When the style proved to be unsafe around moving machinery, the government asked Lake to shorter her locks to popularize a look more appropriate for factory work. The head scarf seen here was one of many means used by factories to avoid hair-related accidents while maintaining a sense of style. J. Howard Miller We Can Do It! 1943 Poster illustration for Westinghouse for the War Production Co-Ordinating Committee Pittsburgh graphic artist J. Howard Miller created this poster for display in Westinghouse's industrial facilities for a two-week period in February 1943. One in a series of in-house motivational images, it portrays a confident woman wearing blue overalls and a red bandanna. Her upraised fist would have been meaningful to the original Westinghouse viewers, since a similar gesture was used as a symbol of solidarity in the corporation's labor force. Westinghouse did not employ riveters; the woman's affirming statement likely referred to the broader wartime task of providing support for the nation's fighting forces. J. Howard Miller It's a Tradition with Us, Mister! 1943 Poster illustration for Westinghouse for the War Production Co-Ordinating Committee J. Howard Miller's series of motivational posters for the Westinghouse Corporation included this image, which appeared for two weeks in April 1943. Through the visual analogy of a revolutionary-era musket and a 1940s rivet gun, it highlights the supporting role of women on the home front throughout the history of American conflicts. Although the model's features and attire are similar in appearance to those in Miller's "We Can Do It!" poster, this image has not been similarly viewed through the lens of feminist empowerment.
52. 4FRPRE_190214_603.JPG: Alfred Charles Parker Mother and Daughter Changing Tire, 1943 Cover illustration for Ladies' Home Journal, March 1943 Tearsheet
53. 4FRPRE_190214_614.JPG: Alfred Charles Parker Mother and Daughter Soldiers' Homecoming, 1945 Cover illustration for Ladies' Home Journal, July 1945
54. 4FRPRE_190214_625.JPG: Norman Rockwell Let's Give Him Enough and on Time, 1942 United States Army, US Government Printing Office Poster "One time, for a picture on the Army Ordnance Corps, I needed a machine gun as part of the model," Rockwell said. "I got one, all right, and just to show how cooperative the Army is, they sent along a soldier, a jeep and several rounds of ammunition for the machine gun." Created prior to his Four Freedoms paintings, Rockwell's only image of a soldier in battle was designed to stimulate ammunition production at munitions factories. Rockwell later wrote that he "didn't like to do pictures that glorified killing, even in a good cause."
55. 4FRPRE_190214_632.JPG: Know Your War Planes, 1943 Published by The Coca-Cola Company During World War II, plane spotting -- watching the skies for enemy aircraft -- was a popular hobby for people of all ages in the United States and abroad. Children quickly learned how to identify planes, and in many places, Civil Defense relied on civilian reports of enemy aircraft. Manuals like this popular booklet issued by The Coca-Cola Company were available for ten cents and often kept close at hand.
56. 4FRPRE_190214_644.JPG: Don't Let It Happen Over Here, 1938 Collectible trading cards of the World War II era engaged a public eager for news about the events of the day. No less influential because of their diminutive size, they featured dramatic scenes and propagandistic messages, and were acquired as premiums with the purchase of tobacco products, chewing gum, and candy. Notable international figures, military heroes, weapons and insignia, accounts of world events at home and abroad, and motivational slogans were among the most popular series themes. This series displeased some parents who were concerned about the children's exposure to such graphic material.
57. 4FRPRE_190214_649.JPG: Bombs Rain from Air -- 400 Killed Don't Let it Happen Over Here #2
58. 4FRPRE_190214_654.JPG: One Million Fighting Men Don't Let it Happen Over Here #13
59. 4FRPRE_190214_661.JPG: Horror Camps in Naziland Don't Let it Happen Over Here #17
60. 4FRPRE_190214_666.JPG: They are Gone Forever Don't Let it Happen Over Here #24
61. 4FRPRE_190214_671.JPG: Uncle Sam's HOME DEFENSE, 1941 As anticipation of American involvement in World War II mounted, some gum card sets took on a patriotic tone and emphasized the need for national preparedness. Beginning in 1941, Gum Inc. issued a series of 96 Uncle Same -- Soldier and 148 Uncle Sam -- Home Defense cards. Army, Navy, Marine Corps, and Air Corps troops were depicted in training during mock warfare; homefront activities like rationing gas and dispersing school children in the event of an attack were clearly illustrated.
62. 4FRPRE_190214_676.JPG: Uncle Sam's HOME DEFENSE #112 Test Blackout
63. 4FRPRE_190214_681.JPG: Uncle Sam's HOME DEFENSE #114 Civilian Type Gas Mask
64. 4FRPRE_190214_687.JPG: Uncle Sam's HOME DEFENSE #117 Street Shelter
65. 4FRPRE_190214_697.JPG: Uncle Sam's HOME DEFENSE #126 Lighting Supervision
66. 4FRPRE_190214_701.JPG: J.C. Leyendecker 1943 Baby New Year at War Cover illustration for The Saturday Evening Post, January 2, 1943 In 1943, Leyendecker's New Year's Baby was fighting against symbols of the Axis powers. Unfortunately, this icon would not see peacetime, for this image was the last of the series and the artist's final cover illustration for the Post.
67. 4FRPRE_190214_705.JPG: J.C. Leyendecker 1940 Baby New Year Ready for War Cover illustration for The Saturday Evening Post, December 30, 1939 Though the nation was at peace in 1940, Americans were concerned about involvement in the European conflict. No longer a picture of innocence, this New Year's baby has his bags packed, and is ready to take actions at a moment's notice. Wearing a gas mask and clutching an umbrella, the child references British Prime Minister Neville Chamberlain, whose assurances of "peace in our time" proved illusory.
68. 4FRPRE_190214_711.JPG: Hugh M. Hutton The Funeral Oration for Poland, September 20, 1939 Editorial cartoon for The Philadelphia Inquirer, September 20, 1939 American cartoonist Hugh M. Hutton worked at the Philadelphia Inquirer for more than thirty years, exercising freedom of expression in powerful visual commentary addressing social and political issues. Born in Lincoln, Nebraska, he served in the armed forces during World War I. In Funeral Oration for Poland, Hutton employs recognizable symbols to comment upon the invasion of Poland, which began on September 1, 1939, marking the beginning of World War II. In the work, a motionless woman lying face down is closely observed by predatory buzzards representing Germany and the Soviet Union.
69. 4FRPRE_190214_722.JPG: Denys Wortman I'm worried about post-war conditions. I'll probably be back home mopping, dusting, and cleaning again. October 18, 1943
70. 4FRPRE_190214_727.JPG: Arthur Szyk Arsenal of Democracy II, 1942 In this drawing, Szyk describes Franklin D. Roosevelt's vision of American industry as an "arsenal of democracy" that arms the Allies with military supplies. The work challenges American workers to forge and fortify weapons of freedom.
71. 4FRPRE_190214_741.JPG: Franklin D. Roosevelt and Winston Churchill Atlantic Charter Meeting Cigarette Box, c 1941 After the August 14, 1941 signing of the Atlantic Charter, many objects were designed to commemorate the event, from cigarette boxes, plates, and thimbles to specially minted coins.
72. 4FRPRE_190214_745.JPG: Roosevelt, Churchill, and The Atlantic Charter Roosevelt's White House continued to highlight the Four Freedoms theme throughout the spring of 1941, and when FDR and British Prime Minister Winston Churchill met near the coast of Newfoundland that August, the President proposed including them in the resulting Atlantic Charter. This pivotal policy statement defined Allied goals for the post-war world: no territorial aggrandizement or changes made against the wishes of the people, restoration of self-government to those deprived of it reduction of trade restrictions, global cooperation to secure better economic and social conditions for all, freedom from fear and want, freedom of the seas, abandonment of the use of force, and the disarmament of aggressor nations. Unfortunately, the document did not include freedom of speech and freedom of worship. Though sources within the administration claimed that their omission was a simple oversight, it was a troubling sign that the campaign to promote the president's ideals was not functioning efficiently. Less than six months later, in the aftermath of the Japanese attack on Pearl Harbor, 26 governments signaled their support for the charter by signing the Declaration by United Nations on January 1, 1942. The agreement would establish the basis for the modern United Nations.
73. 4FRPRE_190214_746.JPG: The Atlantic Charter, 1943 Office of War Information, US Government Printing Office Poster The Roosevelt administration publicized the Atlantic Charter widely, but although the document was widely recognized, few Americans actually read it. Norman Rockwell, expected to be inspired by the text, instead found it "platitudinous" and was unable "to get beyond the first paragraph." Others were upset that only two of the president's Four Freedoms -- Freedom from Want and Freedom from Fear -- had made it into the document. This poster, disseminated by the Office of War Information in 1943, suggests that the White House continued to promote the virtues of the Atlantic Charter long after the nation was at war.
74. 4FRPRE_190214_747.JPG: Unknown photographer President Roosevelt and Prime Minister Winston Churchill aboard the "HMS Prince of Wales" during the Atlantic Conference in Placentia Bay, Newfoundland, August 10, 1941 The secret meeting near the coast of Newfoundland between President Franklin D. Roosevelt and Prime Minister Winston Churchill was risky for both men. For Churchill, it was a safety risk, forcing him to cross Atlantic waters that were under constant patrol by German U-boats. For Roosevelt, the risk was political. The United States was not at war in August 1941, and vocal isolationists were insistent on maintaining American neutrality. By signing a document of mutual aims with the United Kingdom's leadership, the president was arguably bringing his country several steps closer to direct involvement in the war. In addition to Roosevelt and Churchill, Harry Hopkins, W. Averell Harriman, Ernest King, George Marshall, General Dill, Admiral Starck and Admiral Pound are seen here.
75. 4FRPRE_190214_752.JPG: Jo Davidson Franklin D. Roosevelt, 1934 One of the most renowned American sculptors of the twentieth century, Jo Davidson spent his career creating likenesses of many world figures. In December 1933, he arrived in Washington DC at the invitation of of Sara Roosevelt to create a bust of her son, President Franklin D. Roosevelt, who had been elected that year. Davidson completed the piece quickly and went on to create others, which weer admired by the president and his family. "President Roosevelt won me completely with his charm, his beautiful voice and his freedom from constraint," Davidson said. "He had an unshakable faith in man... In Roosevelt's tremendous relief program, the artist too was included..." In 1936, small busts of Roosevelt by the sculptor were presented as gifts to prominent supporters during his reelection campaign.
76. 4FRPRE_190214_757.JPG: FDR's Freedoms Although the nation was not yet at war in January 1941, President Franklin D. Roosevelt used his annual message to Congress to proclaim the Four Freedoms as a de facto war standard to one and all. Building on his reflections into the nature of freedom in the months beforehand, he enumerated for his audience each of the freedoms, stressing that they were not just a national ideal, but one that was needed "everywhere in the world." Seven months later, in a secret meeting with Winston Churchill at sea, the two leaders signed the Atlantic Charter, whose principals built on the Four Freedoms and gave the president's notion even more publicity. Despite these highly public moments, however, the concept of the Four Freedoms failed to resonate on Capitol Hill, in journalistic reports, or even with the American public. Not even the government's official Four Freedoms pamphlet, released six months after Pearl Harbor, was able to attract much attention. As pollster George Gallup noted, the president's rallying cry had still "not registered a very deep imprint here at home." By early 1943, staffers within the Office of War Information had begun to conclude in internal memoranda that FDR's Four Freedoms theme had turned into an embarrassing flop.
77. 4FRPRE_190214_761.JPG: 1944 Roosevelt Presidential Campaign Sticker Franklin D. Roosevelt was the only president to have served more than two terms in United States history. In 1944, he won reelection, but his physical health steadily declined, and he died in April 1945, less than three months into his fourth term in office. Harry S. Truman was Roosevelt's Vice President at the time, and his successor.
78. 4FRPRE_190214_770.JPG: Carolyn Palmer Busts of Franklin D. Roosevelt and Eleanor Roosevelt, 2013 The originals for these later casts were commissioned for the lobby of the Franklin D. Roosevelt Presidential Library and Museum in Hyde Park, New York. Carolyn Palmer based her lifelike sculptures of Franklin and Eleanor Roosevelt upon photographs of the president and first lady during the World War II era, when they were in their 50s.
79. 4FRPRE_190214_791.JPG: The Artistic Response to the Four Freedoms Ideals Recognizing that his Four Freedoms were not capturing public attention, President Roosevelt and his team considered alternative ways to publicize them on the home front. In 1942, the White House invited the art world to lend a hand in raising public awareness, and the nation's artists, writers, actors, designers, composers, and musicians vigorously took up the challenge of promoting the war effort and advancing the Four Freedoms. By encouraging artists across the country to offer interpretations through art, music, and writing, the president hoped that the Four Freedoms would finally resonate in a nation distracted by the stresses of wartime. America's artists vigorously took up the challenge. A flood of Four Freedoms tributes resulted -- in the form of sculptures, paintings, drawings, quilts, poems, plays, exhibitions, and even a full-length symphony. A series of Four Freedoms stamps was announced, and artists submitted their creative proposals for those designs as well. Many had been engaged in the New Deal through the Works Progress Administration's Federal One projects for Art, Theater, Music, and Writers. Drawing on those experiences, they now brought their creative energies to a new cause. Despite the quality and volume of the works produced, most failed to gain a widespread following. Like the president's words, the impact of the Four Freedoms remained intangible for most observers. Though the art world had valiantly championed the cause of the Four Freedoms, true engagement with the president's idealistic notions was still elusive.
80. 4FRPRE_190214_796.JPG: Freedom of Choice, 1944 Advertising illustration for General Electric, Schenectady, NY The Saturday Evening Post, March 18, 1944 Tearsheet During World War II, many corporations created patriotic advertisements in support of the war effort. In Freedom of Choice, General Electric promotes the sale of war bonds and reminds the public that "when victory is won, the kind of America we have fought and worked to preserve must be a country in which every man and woman, and every boy and girl, will have freedom of choice in even greater measure."
81. 4FRPRE_190214_804.JPG: Four Freedoms Envelope The 4 Freedoms / Freedom of Speech / of Religion / from Want / from Fear / Nations United Fighting / for Freedom, 1943
82. 4FRPRE_190214_812.JPG: US #933 5 cent FDR and Four Freedoms Postage stamp block, issued January 30, 1946 After FDR's death in April 1945, the US Postal Service made plans to issue four new stamp series -- the so-called Roosevelt Memorial stamps -- to commemorate his service to the nation and the world. The fourth issue was this five-cent Four Freedoms stamp. It was released on January 30, 1946, the late president's 64th birthday. By superimposing all four of the freedoms over an image of the world, the stamp presented a visual echo of FDR's January 1941 address, which suggested that the Four Freedoms should thrive "everywhere in the world."
83. 4FRPRE_190214_824.JPG: Arthur Szyk Four Freedoms stamps, c 1940s Issued by the Emergency Committee to Save the Jewish People of Europe The prolific and gifted Polish Jewish illustrator Arthur Szyk was passionate about Roosevelt's Four Freedoms and considered himself the president's Soldier in Art. His Four Freedoms images reflect his spirit as a fighting artist -- the central figure in all four paintings is a medieval knight. The swords, daggers, and lances acknowledge that freedom must be defended, and the shield emblazoned with stars and stripes call upon the United States to be its guardian. Szyk's Four Freedoms images were widely circulated in sheets of stamps and oversize postcards.
84. 4FRPRE_190214_839.JPG: David Karp The Voice of the Four Freedoms, 1944 Produced soon after the death of Franklin D. Roosevelt on April 12, 1945 -- just months before World War II ended in an Allied victory -- this poster features a 1944 Four Freedoms illustration by David Karp and a photo of the president by Pach Brothers, one of the oldest photographic firms in New York City.
85. 4FRPRE_190304_011.JPG: Norman Rockwell War News, 1944 Intended illustration of The Saturday Evening Post, March 4, 1944 Intended as a cover for the Saturday Evening Post but never completed, War News pictures a restaurant counterman and his customers listening to a radio news report. Though newspaper text is not evident in this work, the headline of the January 17, 1944 Times Record of Troy, New York, appeared in the artist's preliminary drawing. Calling attention to the proposed invasion of Normandy, it read, "Invasion Plans at France Possible." Rockwell decided not to submit War News to the Post, perhaps because it was hard to convey what the men were hearing. He instead went on to create a second painting, the more clearly articulated Man Charting War Maneuvers, which was published on April 29, 1944.
86. 4FRPRE_190304_030.JPG: Norman Rockwell Armchair General, c 1944 Cover illustration for The Saturday Evening Post, April 29, 1944 In this work, a man listens intently on his radio to news of the war. A map of Europe hangs on the wall, as do photographs of Generals Dwight D. Eisenhower and Douglas MacArthur. A white flag with three blue stars positioned above three small photographs of men in the uniforms of the US Army, Navy , and Army Air Corps indicate that this is a concerned parent following the battles and movements of his children. The Windsor chair that the man sits in is identical to the one Rockwell used as his easel -- his studio furnishings frequently served as props in is art.
87. 4FRPRE_190304_051.JPG: My best wishes to "Pete" and Dan Miller and the Staff of the Eagle Norman Rockwell
88. 4FRPRE_190304_054.JPG: The Berkshire Eagle
89. 4FRPRE_190304_074.JPG: Wings Over the World: Mankind Must Resolve to Make This the Last War Advertisement for Pan American Airlines, Life, September 21, 1942 This Pan American Clippers advertisement pairs the words of the Chinese philosopher, essayist, and diplomat Dr. Hu Shih with an illustration of a mother and child to ask: "What kind of future are we fighting for?"
90. 4FRPRE_190304_081.JPG: Arthur Szyk Four Freedoms stamps, c 1940s Issued by the Emergency Committee to Save the Jewish People of Europe The prolific and gifted Polish Jewish illustrator Arthur Szyk was passionate about Roosevelt's Four Freedoms and considered himself the president's Soldier in Art. His Four Freedoms images reflect his spirit as a fighting artist -- the central figure in all four paintings is a medieval knight. The swords, daggers, and lances acknowledge that freedom must be defended, and the shield emblazoned with stars and stripes call upon the United States to be its guardian. Szyk's Four Freedoms images were widely circulated in sheets of stamps and oversize postcards.
91. 4FRPRE_190304_114.JPG: Peter Van Amelsfoort, Warren Bernard
92. 4FRPRE_190313_10.JPG: George L. Rapp I've found the job where I fit best! 1943 Post illustration for Office of War Information This poster was a prominent appeal in the United States government's Womanpower campaign, which aimed to increase the domestic labor supply by convincing women that war work was both necessary and desirable. Its model resembles starlet Veronica Lake, whose flowing, peekaboo hairstyle was a popular fashion early in the war. When the style proved to be unsafe around moving machinery, the government asked Lake to shorter her locks to popularize a look more appropriate for factory work. The head scarf seen here was one of many means used by factories to avoid hair-related accidents while maintaining a sense of style.
93. 4FRPRE_190313_16.JPG: J. Howard Miller We Can Do It! 1943 Poster illustration for Westinghouse for the War Production Co-Ordinating Committee Pittsburgh graphic artist J. Howard Miller created this poster for display in Westinghouse's industrial facilities for a two-week period in February 1943. One in a series of in-house motivational images, it portrays a confident woman wearing blue overalls and a red bandanna. Her upraised fist would have been meaningful to the original Westinghouse viewers, since a similar gesture was used as a symbol of solidarity in the corporation's labor force. Westinghouse did not employ riveters; the woman's affirming statement likely referred to the broader wartime task of providing support for the nation's fighting forces.
94. 4FRPRE_190313_20.JPG: J. Howard Miller It's a Tradition with Us, Mister! 1943 Poster illustration for Westinghouse for the War Production Co-Ordinating Committee J. Howard Miller's series of motivational posters for the Westinghouse Corporation included this image, which appeared for two weeks in April 1943. Through the visual analogy of a revolutionary-era musket and a 1940s rivet gun, it highlights the supporting role of women on the home front throughout the history of American conflicts. Although the model's features and attire are similar in appearance to those in Miller's "We Can Do It!" poster, this image has not been similarly viewed through the lens of feminist empowerment.
95. 4FRPRE_190401_004.JPG: Mailing Addresses: U.S. House of Representatives
96. 4FRPRE_190401_010.JPG: What does Freedom mean to you? Take a postcard and write your reflections on freedom after visiting the exhibition. You can leave your postcard with the receptionist to have the museum mail it to one of your elected officials. #FourFreedomsToday
97. 4FRPRE_190401_018.JPG: Freedom of... The Press We need journalists to tell us what our government is doing. THEY key us free!
98. 4FRPRE_190401_031.JPG: Norman Rockwell Norman Rockwell Visits a Ration Board, 1944 Study illustration for The Saturday Evening Post, July 15, 1944 In the spring of 1942, volunteer ration boards weer formed throughout the country to evaluate the claims of citizens who felt their rations were insufficient. Rockwell used the board members and citizens in Manchester, Vermont, as models to document this wartime situation. This study reveals the artist's attention to the details of expression, gesture, color, and setting in his composition, though areas of the painting are finished to varying degrees.
99. 4FRPRE_190401_037.JPG: rough sketch for my friend Bill Loos sincerely Norman Rockwell
100. 4FRPRE_190401_046.JPG: Norman Rockwell Thanksgiving: Mother and Son Peeling Potatoes, 1945 Cover illustration for The Saturday Evening Post, November 24, 1945 For The Saturday Evening Post's 1945 Thanksgiving cover, Rockwell had planned to portray a group of people giving thanks. With the end of the war in sight, however, he decided instead of paint a soldier's homecoming. His subject seems happy to peel potatoes in the warmth of his admiring mother's kitchen, a task that would have been less pleasant in the army. Though still in uniform, he has slipped back into civilian shoes, and is seated on a chair that appears almost child-size -- perhaps a remnant of years past.
101. 4FRPRE_190401_070.JPG: Norman Rockwell "OK" the Pause that Refreshes, 1931 Though Rockwell preferred the relative autonomy of magazine cover illustration, advertising was more lucrative. He created imagery for more than 150 corporations and institutions, including Coca-Cola, which commissioned from the artist six original illustrations. In this Depression-era work, a barefoot boy enjoys life's simple pleasures, including a bottle of Coke.
102. 4FRPRE_190401_092.JPG: Norman Rockwell Family Home from Vacation, 1930 Cover illustration for The Saturday Evening Post, September 13, 1930 Despite the Depression-era downturn, The Saturday Evening Post and other magazines presented uplifting images and hope for better times. Published almost a year after the crash, Rockwell's 1930 cover illustration portrays a weary family that has managed to vacation despite challenging times. The box camera at the woman's feet recorded their adventures, and clues like the pail and shovel, wilted bouquet, deflated balloon, and frog struggling to escape, give us a sense of the family's experience.
103. 4FRPRE_190401_120.JPG: Norman Rockwell Ticket Seller, 1937 Cover illustration for The Saturday Evening Post, April 24, 1937 As the Depression wore on, Rockwell's perspective on the vacation theme took a turn. In this cover painting, a bored ticket seller seems unable to entice anyone to purchase fares to any destination, near or far. Travel was Rockwell's only passion other than art, and it is the subject of many of his paintings. By 1930, he had been to South America, made three trips to Europe, and taken an extended trip to California where he met and married his second wife, Mary Barstow. In 1932, the Rockwell's, then including infant son Jarvis and pet German shepherd Raleigh, boarded the Mauretania for Paris. There, Rockwell hoped to find inspiration for his art, but five months into their eight-month stay the family returned to New Rochelle, New York -- their second child, Thomas, was on the way.
104. 4FRPRE_190401_151.JPG: Norman Rockwell Barbershop Quartet, 1936 Cover illustration for The Saturday Evening Post, September 26, 1936 During the 1930s, Norman Rockwell celebrated life's simple pleasures in artworks filled with pathos and humor. This work was likely inspired by the professional and amateur barbershop quartets that were popular from the 1890s through the 1930s. Facial expression and hand gestures tell Rockwell's story, as do details like the straight razor, shaving cup and mug, and well-worn comb. When Rockwell painted this work, he was living in New Rochelle, New York, a hug for noted illustrators. Fellow Post artist, Walter Beach Humphrey, appears on the far right, his face half-covered with shaving cream. In Humphrey's hand is a copy of The Police Gazette, an early twentieth century gentleman's magazine featuring tales about the seamier side of life.
105. 4FRPRE_190401_200.JPG: Norman Rockwell Back to Civvies, 1945 Cover illustration for The Saturday Evening Post, December 15, 1945 By the end of World War II, many lives had been changed, but Rockwell's artworks did not betray the emotional struggles of servicemen and women or their families. This portrayal of Lieutenant A. H. Beckloft, a Flying Fortress pilot, focuses on his joyous return to the childhood bedroom that remains unchanged and the clothing that he has now outgrown. Youthful dreams of flying are reflected in the poster of a Boeing B-17 on the wall and the model Martin B-26 Marauder that sits on top of the cluttered dresser.
106. 4FRPRE_190401_233.JPG: Norman Rockwell Tattoo Artist, 1944 Cover illustration for The Saturday Evening Post, March 4, 1944 After Rockwell completed his Four Freedoms, he returned to creating more lighthearted covers for the Post, but maintained a focus on the American soldier. Rockwell researched the subject for this painting at a tattoo parlor on New York's Bowery. Standing in front of a tattooist's flash -- a decorative design sheet from which clients select their tattoos -- is a sailor who has been commemorating a new love interest at every port. Illustrator Mead Schaeffer modeled as Rockwell's tattoo artist. After Rockwell completed his Four Freedoms, he returned to creating more lighthearted covers for the Post, but maintained a focus on the American soldier.
107. 4FRPRE_190401_280.JPG: Carolyn Palmer Busts of Franklin D. Roosevelt and Eleanor Roosevelt, 2013 The originals for these later casts were commissioned for the lobby of the Franklin D. Roosevelt Presidential Library and Museum in Hyde Park, New York. Carolyn Palmer based her lifelike sculptures of Franklin and Eleanor Roosevelt upon photographs of the president and first lady during the World War II era, when they were in their 50s.
108. 4FRPRE_190401_298.JPG: Cigarette holder, ca 1945 Band inscribed "To the Father of the Four Freedoms, the Master-Builder of Glorious America and Free Humility, Alexander Isserman, FDR" President Franklin D. Roosevelt was frequently seen and photographed with a cigarette and holder clenched in his teeth. Generally held at a forty-five degree angle, it became a symbol of presidential confidence. This is one of the many cigarette holders that were gifted to Roosevelt, but it is unique in its inscription relating to the Four Freedoms.
109. 4FRPRE_190401_322.JPG: New York Daily News photographer Central Park Hooverville with Central Park West in the background, 1932 During the Depression, Shanty towns, called Hoovervilles after President Herbert Hoover, sprung up on vacant lots and public land. The largest of these in New York City was on what would become Central Park's Great Lawn -- construction on a drained reservoir bed north of Belvedere Castle had been delayed due to the economic crisis.
110. 4FRPRE_190401_333.JPG: Dorothea Lange Mississippi Delta Negro Children, July 1936 In the early twentieth century, many southern African Americans had to resort to sharecropping and tenant farming to survive, a difficult and rarely profitable endeavor that replaced the slave-dependent plantation system.
111. 4FRPRE_190401_338.JPG: Arthur Rothstein Evicted sharecroppers along Highway 60, New Madrid Country, Missouri, January 1939 In January 1939, travelers on the highway of southern Missouri encountered an alarming sight -- thousands of sharecroppers and their families were camped out on the sides of the road with piles of their possessions beside them. Almost all were African Americans who had been evicted by farm owners. Sharecroppers were entitled to a portion of the harvest of the land they worked, and they had recently been made eligible for federal farm subsidies. Preferring to keep these for themselves, many farm owners evicted sharecroppers, hiring day laborers to work the fields. Leaders of the Southern Tenant Farmers' Union used this dramatic moment to capture public attention and encourage the government to step in. Reporters, including Farm Security Administration (FSA) photographer Arthur Rothstein, were there to cover the story. Rothstein's portraits humanized his subjects, presenting them as individuals who deserved to be heard.
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