I[:13:T] Norman Percevel Rockwell (February 3, 1894 - November 8, 1978) was a 20th-century American painter and illustrator. His works enjoy a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life scenarios he created for The Saturday Evening Post magazine for more than four decades. Rockwell's style provided and insight into American life with unusual style and insight.
Rockwell left high school to attend classes at the National Academy of Design and later studied under Thomas Fogarty and George Bridgman at the Art Students League in New York. His early illustrations were done for St. Nicholas magazine and other juvenille publications. He sold his first cover painting to the Post in 1916 and ended up doing over 300 more. Presidents Eisenhower, Kennedy, and Johnson sat for him for portraits, and he painted other world figures, including Nassar of Egypt and Nehru of India.
Rockwell really wanted to work for the Saturday Evening Post and in March 1916 he visited its main office in Philadelphia. He showed the editor, George Horace Lorimer, a collection of front cover ideas. Lorimer was so impressed with the work that he purchased two cover pictures and commissioned three more. This was the start of his long-term relationship with the magazine that was to last over 45 years.
Rockwell's first Saturday Evening Post cover appeared on 20th May, 1916. Boy with Baby Carriage shows a little boy, dressed in his Sunday best, pushing a baby in a pram past two other boys in baseball uniforms who mock him for the "unmanly" task he is performing. At this time, the covers were only printed in two colours, and Rockwell makes good use of the red and back on the white paper.
Rockwell did not shoot his pictures, but employed professional photographers, including Gene Pelham, Bill Scovill, Louis J. Lamone and others who remain unidentified. But Rockwell did orchestrate every other aspect of studio sessions. He found and bought props; recruited friends, acquaintances and relatives as models; constructed sets; and conceived scenes like a Hollywood movie director. He might have missed his calling. He could have been another Frank Capra, director of the inspirational sob-fest "It's a Wonderful Life."
Critics also point to his genius for visual storytelling, his ability to craft that one moment that expresses so many more moments. Rockwell staged elaborate photo tableaux, worked away at multiple preparatory sketches and then whittled everything down into a final painting.
Rockwell left high school to attend classes at the National Academy of Design and later studied under Thomas Fogarty and George Bridgman at the Art Students League in New York. His early illustrations were done for St. Nicholas magazine and other juvenille publications. He sold his first cover painting to the Post in 1916 and ended up doing over 300 more. Presidents Eisenhower, Kennedy, and Johnson sat for him for portraits, and he painted other world figures, including Nassar of Egypt and Nehru of India.
Rockwell really wanted to work for the Saturday Evening Post and in March 1916 he visited its main office in Philadelphia. He showed the editor, George Horace Lorimer, a collection of front cover ideas. Lorimer was so impressed with the work that he purchased two cover pictures and commissioned three more. This was the start of his long-term relationship with the magazine that was to last over 45 years.
Rockwell's first Saturday Evening Post cover appeared on 20th May, 1916. Boy with Baby Carriage shows a little boy, dressed in his Sunday best, pushing a baby in a pram past two other boys in baseball uniforms who mock him for the "unmanly" task he is performing. At this time, the covers were only printed in two colours, and Rockwell makes good use of the red and back on the white paper.
Rockwell did not shoot his pictures, but employed professional photographers, including Gene Pelham, Bill Scovill, Louis J. Lamone and others who remain unidentified. But Rockwell did orchestrate every other aspect of studio sessions. He found and bought props; recruited friends, acquaintances and relatives as models; constructed sets; and conceived scenes like a Hollywood movie director. He might have missed his calling. He could have been another Frank Capra, director of the inspirational sob-fest "It's a Wonderful Life."
Critics also point to his genius for visual storytelling, his ability to craft that one moment that expresses so many more moments. Rockwell staged elaborate photo tableaux, worked away at multiple preparatory sketches and then whittled everything down into a final painting.
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