BGuthrie Photos: MA -- Stockbridge -- Norman Rockwell Museum -- Downstairs Area (Saturday Evening Post cover tear sheets plus some extra pieces)

MA -- Stockbridge -- Norman Rockwell Museum -- Downstairs Area (Saturday Evening Post cover tear sheets plus some extra pieces):

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Description of Pictures: Norman Rockwell’S 323 “Saturday Evening Post” Covers
For nearly 50 years, millions of Americans brought Norman Rockwell’s art into their homes, enjoying the artist’s Saturday Evening Post covers while seated in their favorite chairs, surrounded by their belongings in the company of their families. This intimate connection with Rockwell’s art made his images a part of the fabric of American lives. This comprehensive exhibition of original Saturday Evening Post cover tear sheets features each of Norman Rockwell’s illustrations for the publication, created between 1916 and 1963.

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[1] NRMDWN_210722_001.JPG	[2] NRMDWN_210722_004.JPG	[3] NRMDWN_210722_008.JPG
[4] NRMDWN_210722_013.JPG	[5] NRMDWN_210722_015.JPG	[6] NRMDWN_210722_016.JPG
[7] NRMDWN_210722_020.JPG	[8] NRMDWN_210722_026.JPG	[9] NRMDWN_210722_031.JPG
[10] NRMDWN_210722_037.JPG	[11] NRMDWN_210722_042.JPG	[12] NRMDWN_210722_046.JPG
[13] NRMDWN_210722_051.JPG	[14] NRMDWN_210722_053.JPG	[15] NRMDWN_210722_055.JPG
[16] NRMDWN_210722_062.JPG	[17] NRMDWN_210722_065.JPG	[18] NRMDWN_210722_068.JPG
[19] NRMDWN_210722_070.JPG	[20] NRMDWN_210722_073.JPG	[21] NRMDWN_210722_075.JPG
[22] NRMDWN_210722_077.JPG	[23] NRMDWN_210722_079.JPG	[24] NRMDWN_210722_081.JPG
[25] NRMDWN_210722_083.JPG	[26] NRMDWN_210722_088.JPG	[27] NRMDWN_210722_090.JPG
[28] NRMDWN_210722_096.JPG	[29] NRMDWN_210722_099.JPG	[30] NRMDWN_210722_104.JPG
[31] NRMDWN_210722_107.JPG	[32] NRMDWN_210722_111.JPG	[33] NRMDWN_210722_120.JPG
[34] NRMDWN_210722_123.JPG	[35] NRMDWN_210722_130.JPG	[36] NRMDWN_210722_133.JPG
[37] NRMDWN_210722_137.JPG	[38] NRMDWN_210722_143.JPG	[39] NRMDWN_210722_148.JPG
[40] NRMDWN_210722_154.JPG	[41] NRMDWN_210722_162.JPG	[42] NRMDWN_210722_181.JPG
[43] NRMDWN_210722_187.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. NRMDWN_210722_001.JPG: Lower Level Galleries
2. NRMDWN_210722_004.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 -- 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 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, richly illustrated magazines featured aspirational images depicting idealized standards of living. Top publications boasted two to nine million subscribers in the 1940s and 1950s making Rockwell and other popular illustrators prominent taste-makers -- their art played a crucial role in affecting cultural beliefs and desires and in envisioning the American dream. In observing the art on view, it's important to note that during Rockwell's time American periodicals were marketed to a largely white demographic. In 1940, the population in the United States was 89.8 percent white and 9.8 percent black, with other races and ethnicities falling within the category of "other." Until the Civil Rights Movement, people of color were almost completely invisible on the pages of American magazines. Prevailing attitudes toward race and damaging representations of African Americans during the Jim Crow era and beyond were reinforced in mass-circulated periodicals like the Post, Rockwell's primary publisher from 1916 to 1963, which portrayed people of color in distinctly subservient roles.
3. NRMDWN_210722_008.JPG: Norman Rockwell Day in the Life of a Little Girl, 1962 Cover study for The Saturday Evening Post, August 30, 1952
4. NRMDWN_210722_016.JPG: Norman Rockwell Runaway 1958 Oil on canvas Cover illustration for The Saturday Evening Post, September 20, 1958 "I like to paint kids ... people think of their own youth," Rockwell once said and he had first hand experience as reference for this work. "I ran away from home when I was a kid in Mamaroneck and mooned around the shore; kicking stones and watching the whitecaps on Long Island Sound. Pretty soon it began to get dark and a cold wind sprang up and moaned in the trees. So I went home."
5. NRMDWN_210722_026.JPG: Norman Rockwell Runaway, 1958 Cover study for The Saturday Evening Post, September 20, 1958
6. NRMDWN_210722_037.JPG: Norman Rockwell Family Tree, 1959 Cover study for The Saturday Evening Post
7. NRMDWN_210722_055.JPG: Norman Rockwell Day in the Life of a Little Girl 1952 Oil on canvas Painting for The Saturday Evening Post cover, August 30, 1952 Norman Rockwell Museum Collection This is a companion painting to Day in the Life of a Little Boy, Rockwell's prior cover painting for the Post published three months earlier. It would seem that painting thirty-two heads is far more work than one or two, but to Rockwell whose forte was portraiture, telling a complete story using this method was far less work than a cover with a detailed background. The events of the girl's day were so typical to the American child that this cover could be appreciated by large numbers of viewers. In other countries, Rockwell's Post covers were popular because their images were easily interpreted as the essence of American culture.
8. NRMDWN_210722_090.JPG: Norman Rockwell Checkers 1928 Oil on canvas Painting for Ladies' Home Journal story illustration, July 1929 Checkers, published in 1929 for Ladies' Home Journal, illustrates a story by Courtney Riley Cooper about a circus clown named Pokey Joe who feels he's no longer funny. His circus pals decide to lift his spirits and renew his confidence by letting him win a high-stakes game of checkers-the only thing he really cares about. The subject of circus characters is fertile ground for Rockwell to create dimensional characters in exotic costumes. The drama and flair of the circus world are expressed through the richness of his colors and in a painterly style found most often in Rockwell's earlier work of the 1920s and 1930s. It is a true illustration in the sense that it describes the text of a story and adds to our enjoyment and appreciation of the story through its visual richness. Circus life and performers are favored themes in Rockwell's repertoire; his childhood experience of going to the circus and his experience of being around performers at the Metropolitan Opera during his art student days are fondly recalled through these images.
9. NRMDWN_210722_111.JPG: Norman Rockwell Welcome to Elmville 1929 Oil on canvas Painting for The Saturday Evening Post cover, April 20, 1929 Norman Rockwell Museum Collection For the first time, the automobile made small towns easily accessible to city dwellers. While the automobile symbolized freedom and independence, it was also considered by some "the Auto Menace." Country folk were angered by urban drivers who transformed roads into "avenues of terror," frightening horses and causing accidents. Rockwell recalled that, "Nineteen twenty-nine was the year of the speed traps. Instead of asking their citizens to pay taxes, all the small towns hired cops who set up speed traps and fined their victims heavily. Two or three industrious, clever cops could rake in over a thousand dollars a day. The towns grew fat."
10. NRMDWN_210722_120.JPG: Way too many questions here! He's going to beat the speeders to death! Also, how is this guy on foot going to run after the racing car?
11. NRMDWN_210722_143.JPG: Norman Rockwell Soda Jerk, 1953 Cover study for The Saturday Evening Post, August 22, 1953
12. NRMDWN_210722_154.JPG: Norman Rockwell Girl Reading the Post 1941 Oil on board Painting for The Saturday Evening Post cover, March 1, 1941 Always aiming for the widest possible audience for his Saturday Evening Post covers, Rockwell pictures often have several layers of interest. To assure a successful cover, Rockwell grabs the viewer's attention with a trick-he matches the cover girl's face perfectly to the schoolgirl's body. By picturing a reader so engrossed in the Post, Rockwell emphasizes the interest and allure of the magazine, thus promoting its sale on newsstands. Beyond the gimmick, a story of growing up emerges in the simple scene of commuting to school. A young girl will soon leave behind her scuffed saddle shoes for polished heels and her cozy mittens for kidskin gloves.
Wikipedia Description: Norman Rockwell Museum
From Wikipedia, the free encyclopedia

The Norman Rockwell Museum is an art museum in Stockbridge, Massachusetts, dedicated to the art of Norman Rockwell. It is home to the world's largest collection of original Rockwell art.

History

The museum was founded in 1969 in Stockbridge, Massachusetts, where Rockwell lived the last 25 years of his life. Originally located on Main Street in a building known as the Old Corner House, the museum moved to its current location 24 years later, opening to the public on April 3, 1993. The current museum building was designed by Robert A. M. Stern.
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