The Portfolio Vol. 12, No.3 Fall 1995 T he Norman Rockwell Museum at Stockbridge

Hats Off to Lila Wilde Berle! Laurie Norton Moffatt, Dir-ector What do being a friend of Lila use to play) as the site for Edith Wharton Restoration I Norman Rockwell, a sheep the new home of the museum. committee, she oversaw the farmer, a mother and grand­ She organized the Concerned preservation of The Mount, mother, a community citizen, a Citizens campaign that resulted Edith Wharton's home in world traveler, an environmen­ in the town vote, in 1984, Lenox, Massachusetts, into an talist, and a board president have permitting the museum to move historic landmark building in common? They are all to its new site. She appointed and museum. She has served represented in one and the same Laurie Norton Moffatt director on the Chesterwood Council, person-Lila Wilde Berle-who is in 1986, and oversaw the selec­ Simon's Rock of Bard Col­ stepping down in the fall of 1995 tion of Robert A.M. Stern, in lege, and the Berkshire Hills after an extraordinary ten-year 1987, as architect for the new School Committee. Lila tenure as president of the Board building. On opening day in currently serves on the boards of Trustees of the Norman April 1993, Lila proudly led the of the Children's Health Rockwell Museum. We all take walk from the Old Corner Program in Great Barrington, great pride in her accomplish­ House to the new museum. and Berkshire COlilltry Day ment of leading the museum School in Stockbridge. She through a time of dramatic Lila experienced property restored and manages a transformation and growth. management first hand while several-hundred-acre sheep growing up at the family farm, farm that is one of the largest Lila joined the board in 1978, High Lawn, in Lee, Massachu­ in Massachusetts. Lila and and was voted board president in setts. There she learned the her husband, Peter A. A. 1985. A native of the Berkshires, values of persistent hard work, Berle, who this year con­ she was a friend and neighbor of while literally putting her hands cluded his ten-year term as We s((/me Lila W Norman Rockwell. Lila chaired to the required tasks. She president of tlle National Berle, President of the selection of Linwood estate personally oversaw the restora­ Audubon Society, have four the N0177Z((n tion of the Linwood carriage children and two young Rockwell Museum (the childhood home of astro­ Botwd otTn/stees, naut Story Musgrave with whom barn, the move of Norman grandchildren. 1985-1995. Rockwell's studio to the new ...,"'1n:--..,...----,-:::-::~ site, and the refurbishment of Lila will continue to serve on i.LA~;lP'P~". Linwood house into administra­ the museum board for one tive offices. Lila commissioned more year. A bucolic walk two of the Peter Rockwell along tlle Housatonic River sculptures that dot the 36-acre will be dedicated in her honor landscape, and it was she who on the magnificent landscape charted the path for the loop she helped to preserve. We road that transverses the prop­ salute her as she steps down as erty. Never to be forgotten was president of the Norman her Rocks for Rockwell cam­ Rockwell Museum at Stuck­ paign that amassed several tons bridge after her years of of field stone for the museum! extraordinary leadership at the helm of one of America's Lila is a dedicated community most important museums. volunteer. As president of the 2 The Arts Ball-July 8,1995

Left to right: Members of the volunteer committee, Georgeanne ROllsseau, Bob Bm-tle, and Lisa Bartle with trustee Jean Rousseau enjoy the gala.

Museum Director Laurie Norton Moffatt and Associate Director for External Relations, Philip S. Deely, welcome guests at the Arts Ball.

Guests dancing to the masic ofRick Tiven. The Norman Rockwell M useum Murray and Natalie Katz from New York Board of Trustees City and Stockbridge prepare to bid on Lila W . Berle President items at the silent auction. David L. Klausmeyer Vice-President Patricia Deely Second Vice-President Steven Spielberg Third Vice-President Perri Petricca Treasurer Thomas Patti Clerk

John T. Batty ill Timothy R. McLevi sh Bobbie Crosby Linn Cary Mehta Daniel DuBois William]. Napoli tano Joan SerVaas Durham Brian J. Quinn Theodore II. Evans Jean Rousseau Jane P. Fitzpatrick Mark Selkowitz William Goessel Ronald Staffieri Paul W. IVOlY Douglas Trumbull H. Chet Krentzman Laughran S. Vaber Robert F. McDermott Richard ,;Vilcox Lee Williams

Honorary Board Members John M. Deely,Jr. Norma G. Ogden

Laurie Norton Moffatt, Director Cris Raymond, Editor

The POI·tJolio is published four times a year by The Norman Rocbvell Museum at Stockbridge, Inc., and is sent free to all members. Trustee Bobbie Crosby and Lincoln Rllssell, members of the volunteer committee for the Copyright 1995 The Norman Rockwell Museum Arts Ball, discuss bids at the silent auction. at Stockbridgre. 3 The Art ofEnchantment Stephanie H. Plunkett, Manager ofAdult Se1'1Jices

"Now the great thing about color drawings add nuance and Originally collected by Joel illustrating a classic is that it is dimension to the tale of Odette, Chandler Harris, tales of Brer alive. When you read it the the orphaned princess. They will Rabbit and his colorful cohorts scenes-character, setting, be enthralled by Barry Moser's are sensitively illuminated in mood-jump right off dle page, dramatic wood engravings, which Jerry Pinkney's vibrant water­ metamorphosed into pictures bring to life the story of Beauty color paintings and pencil which are complete and per­ and the Beast who won her heart. drawings in The Last Tales of fect to the last detail. ... "* Uncle Remus. In Reynard the Fox, Fred Marcellino delightfully the trickster finally gets his A child's acquaintance with interprets The Steadfast Tin comeuppance in a charming literature begins, as it always Soldier, Hans Christian version of the classic tale illus­ has, by listening to great Andersen's beloved story of the trated by Alain Vaes. Dutch stories. Tales of daring ex­ one-legged toy soldier and the settlements of the Hudson River ploits and the adventures of ballerina he admires from afar. Valley were carefully re­ heroes and villains have long Also, four tales by the Brodlers searched by Gary Kelley in enchanted children. Whether Grimm are richly retold in lavish order to create his own unfor­ recounted from books, or detail. Both Kinuko Y. Craft and gettable interpretation of from folktales passed on by Ruth Sanderson have created Washington Irving's Rip Van word of mouth for centuries, exquisite versions of The Twelve Winkle, while joyous, theatrical stories always have been a Dancing Princesses and the young paintings by Stephen T. Johnson source of information, com­ lad who solves the mystery of breathe new life into the old fort, and pleasure. Told and their tattered shoes. Based upon favorite A Christmas Carol by retold across generations, the Grimm's earliest version of Charles Dickens. some have so entered our tlle story, PaulO. Zelinsky's collective imaginations that we splendid paintings introduce us Though the world around us refer to them as classics. to Rumpelstiltskin, a character as may change, some basic human crafty and engaging as the age desires and emotions remain The Art ofEnchantment, on old tale. Gennady Spirin's strong and constant; thus, these view at the museum from magical images invite us into the classic stories are as popular September 16, 1995 through world of dle kindhearted sisters, today as when they were first March 24, 1996, celebrates dle Snow White and Rose Red, and published. The illustrations in wonder of these enduring tales Susan Jeffers' graceful illustra­ The Art ofEnchantment are for d1rough the work of twelve of tions from Cinderella restore our all ages to savor and remember. today's most highly acclaimed belief in a "happily ever after." illustrators. The vibrant images inspired by best-loved tales will delight the young, and serve as a source of fond *Norman Rockwell, My recollection for all. Compiled Adventures as an from recently published child­ Illustrator, (New York, ren's books, each original Harry N. Abrams, Inc., work reflects its creator's 1988), p. 274. personal vision, and invi tes us to enter magical worlds where anything is possible. F1"0111 The Twelve Visitors will enjoy excerpts Dancing Princesses, illustrated by Kinuko from Swan Lake by Chris Van Y. Craft, Allsburg, whose luminous © 1989 Killllko Y. C.-nfi. 4 A Granddaughter's Reflections* Joanna Maxfield Parrish Gordon

I was a very fortunate child. My Once we had brought in suit­ Sometimes, when the talk got father was Maxfield Parrish, Jr., cases ... we each had our own too difficult to listen to for a and he and his father were very ritual of walking around "The child, I would go out into the close. We visited my grand­ Oaks" to reacquaint ourselves back of the Studio rooms and father often, and always felt and see if anything had changed explore a bit. Because we had welcomed and encouraged. from last time. We all loved learned to be careful, tllis was Maxfield Parrish himself was wandering through those always allowed. seventy-seven years old when I remarkable houses ... gardens, was born. Because he lived so pastures and woods ... with When Granddad's career was long, I was able to know him for beautiful views everywhere. just beginning to flourish in 1895, more than two decades. During One year, shortly after Grand­ he went to Europe for two that time, he was painting mother Parrish died, Granddad months to visit the museums and wonderful landscapes, like made small boats with us in his salons. He talked with artists Sheltering Oaks, and Mountain woodworking shop during a studying and working there, and Farm, Winter, but he always set rainstorm. Then, when the sun he learned more about some of everything aside to enjoy visits came out, we sailed tllem in his the significant new styles of art in with our family .... He and Dad round fountain .... Paris .... and enjoyed tlle devel­ and Mom would always greet opments in Art Nouveau. each other warmly, and we never Every afternoon at four o'clock, doubted that there was much whoever was at "The Oaks" There was a six-paneled screen affection amongst them. would go to tea with Granddad of a Japanese House and Garden and Aunt Sue, usually on the Party ... on the huge sliding Studio's second story porch. wooden stage door of Susan Lewin had been with Granddad's music room .... As I Granddad as housekeeper, get farther away from those model and companion from happy summer visits, I have often 1904 to 1960. Aunt Sue pre­ thought of my twenty-odd-year pared cookies, sponge cakes and view into Granddad's life- that it other tempting pastries. These was a time which was as beauti­ were gratefully enjoyed by all as ful, as graceful and as tantalizing, we listened to tlle fascinating as the view into the party on his conversation which always Japanese screen. sprang up .... They talked about Robert Henri and others from New York early in the century­ and Granddad would sigh and say, "Ah, Hen-rye .. . " I believe the lectures and clubs tlley all attended were a wonderful *This article is excerpted, with memory to him. There seemed permission, from the exhibition catalogue Ma;r:field Pa1~rish : A to have been a comradeship Retrospective "A Granddaughter's amongst artists whose careers Reflections" by Joanna Maxfield were thriving together .... Parrish Gordon, President, The Maxfield Parrish Fanuly Trust.™ 1896-Maxfield Parrish at age 26. Photographer unknown. Courtesy of Special Coll ections, Baker Libraty, Dartmouth College. 5 Maxfield Parrish Linda Szekely, Assistant Curator

The Norman Rockwell Daybreak, oil on Museum at Stockbridge will pallel,I922. open a retrospective exhibi­ Reproduced: House of Art print, 1923, tion of over 70 works by Maxfield Parrish, by Maxfield Parrish to com­ Cutler and Coffman. memorate the 125th anniver­ Private Collection, sary of the artist's birth. This photo counesy Ame1"ica11 Illustrators will be the only American Callery, New Y01'k. venue of the exhibit, which opened in Tokyo and was shown in other Japanese cities.

Parrish and Rockwell were contemporaries whose works exhibit markedly different changed to art when he enrolled or world's events. The great styles and interests. However, in the Pennsylvania Academy of depression, followed not long both artists were commis­ Fine Arts. After leaving P AF A, he after by World War II, created a sioned by the calendar com­ moved to New Hampshire with need for escapism by an Ameri­ pany Brown and Bigelow and his young wife. can public who preferred not to by Edison Mazda, which had look at the harsh realities of the them illustrate the transition Fantasy permeated Parrish's society around them. The from gas lamps to light bulbs. work. His landscapes, tllough Parrish landscapes, beautiful ultra-realistic in painting style, young people, and amusing Maxfield Parrish, 1870-1966, are tinged with a sense of unreal­ caricatured figures were peaceful was one of the most promi­ ity. Parrish communicated his diversions from everyday life. nent and successful illustrators intensely personal vision by of the Golden Age of Illustra­ using layers of glazes, a technique Maxfield Parrish: A Retrospective tion. This era, 1880 to 1920, that was uniquely his own. His will be at the Norman Rockwell was an age of mass-market work reflected fanciful characters Museum at Stockbridge from printed media. By 1900, the and the places he had lived. November 11, 1995 through fifty national magazines that Rockwell, the consummate January 28, 1996. The exhibi­ flourished reflected the realist, seldom entered the realm tion has been curated and attitudes and culture of an of tlle imagination and rarely assembled by Judy Goffman upper middle class audience, included landscape in his work. Cutler, Executive Director, and an illustrator's work was Parrish's composition, particu­ American Illustrators Gallery, partly determined by this larly in his advertising work, was New York; organized and cultural bias. Thus, Parrish very decorative. He often used produced by Laurence S. Cutler, with his privileged and edu­ symmetry, repetition, and optical AIA RIBA of ARTShows and cated background was a great effects that preempted the Products Corp.; and authorized success with this audience. optically illusionistic art of the by The Maxfield Parrish Family 1960s Op Art. He was a master Trust of Holderness, New Parrish was born into a of caricature, and many of the Hampshire. The museum talented family. He had a close figures in his paintings are gratefully acknowledges the relationship with his father, disguised images of himself. generous contribution of exhibi­ Stephen Parrish, a successful tion fees by ARTShows and painter and etcher who The phenomenon of his popu­ Products Corp. oversaw his artistic training. larity also might be explained by Parrish traveled to Europe, the currents of the times. and upon his return studied Parrish's work harbored no architecture but soon allusions to any of the country's 6 Lila s Dynamic Leadership-19 8 5-1995

Left to right: Thomas Krens, director of the Solomon R. Guggenheim Museum in Ne7v York City, Charles Scbulze, f017ner trustee, and Lila W Berlejudge the architectural competition for the new building.

A pensive Lila oversees the move ofNorman Rockwell's studio to the Linwood site on March 4, 1986.

April 13, 1991, groundbreaking day for the building­ Lila Berle talks with trustee John T. Batty (center), and her husband Peter (right).

Lazwie Norton Moffatt and Lila Berle exbibit Rocks for Rockwell, the campaign inaugurated by Lila to encourage tbe donation of Lila Berle congratulates anhitect Robert A . M . native stones for the building C011struction. Over SO% of the stones Stern on winning the architectural competition to used came from the prope,ty ofLila and Peter Berle. design the new museum. Michael Gordon, photograp her 7

September 1991-Laurie and Lila host a trustee dinner in the new building, still under construction and minus a roof Mercifully, the weather cooperated.

Left to right: Norman Rockwell's three sons Peter, Tom, and Jarvis, and Lila with Althea Rockwell, Peter's granddaughter, plant a commemorative tree on October, 199 3-Gove17zor the day of Grand Opening, June 13, 1993. William F. Weld visits the Michael Lavin Flower, photographer museum. Lila Berle points to the Norman Rockwell painting, T he Problem We All Live W ith.

T his Week with David Brinkley was broadcast live from Norman Rockwell's studio, October 31, 1993. The night before the broadcast, Lila, with her daughter and son-in-la7v, chats with David Brinkley at a museum party.

Lila Berle and J oan Se1'Vaas Durham, trustee and president of Curtis Archives, pose with the Triple Self-Portrait stamp on July 1, 1994 at the dedication offive Norman Rockwell stamps. Tbe stamps October, 1994-Lila Berle and Peter Rockwell were issued commemorating the centen­ stand on the museum grounds awaiting the nial of N01711an Rockwell's birth. unveiling and dedication of Peter's sculpture, Walter Scott, ph otographer Grendel's Follies. Linda Norris, photographer 8 Museum Acquisitions Linda Szekely, Assistant Curator

Listed here, in the order in which Gregory Pischea, Grosse Point, MI: Mr. and Mrs. Robert V. Smith, they were received, are new add­ Three Saturday Evening Post maga­ Venice, CA: nine Saturday Evening itions to the Museum Reference zines and two tear sheets. Post magazines. Center as of April 17 , 1995. Frank Bisogno, St. Petersburg, FL: Colonel Charles Waterhouse, Dawn Williams, Cerritos, CA: Two tear sheets of ads in which Edison, NJ: Marines and Others, the Two programs of the Song of Norman Rockwell endorses prod­ Paintings of Colonel Charles Bernadette. ucts, "Cover Man," Post article Waterhouse. aboutNR. Catherine Kohler, Housatonic, Marjorie N. Hall, Pittsfield, MA: MA: Arlington Along the Battenkill: Johanna Selkowitz Sisselman, The Saturday Evening Post Treasury Its Pictured Past. Lenox, MA: One Saturday Evening (donated in memory of her father, Post magazine. G. Wilbur Nichols). Henry H. Williams, Jr., Stock­ bridge, MA: Berkshire Cottages, Leo D. Allen, Jocelyn M. Allen and Sylvia Fogle, Osseo, WI: Letter photo of Margaret Batty and Sarah B. Allen, Placitas, NM: Two from Norman Rockwell to Sylvia David H. Wood, 1st Day issue of letters from Norman Rockwell, Fogle (1954). United Nations 25th anniversary Norman Rockwell, Illustrator (signed), stamp, group of canceled checks Norman Rockwell Storybook (signed), John Altomari, Philadelphia, PA: of Molly Rockwell, seventeen Norman Rockwell's Americana ABC Nine Top Value Stamp Catalogues. books relating to NR, nine books (signed), Norman Rockwell Artist and about artists and museums, six Illustru,tor, two Saturday Evening Post Maud Ayson, Great Barrington, exhibition catalogues and two magaz1l1es. MA: The Garden Behind the Moon magazines with NR articles. by Howard Pyle. Anne Matteoli, Cloverdale, CA: New Britain Museum of Ameri­ Tear sheet, Ladies' Home Journal. Jonathan and Georgina can Art, New Britain, CT: Rosenbaum, Stamford, CT: Partial Architectural drawing of Norman Steven Spielberg, Universal City, issues of Persimmon Hill (publica­ Rockwell's West Arlington, CA: Early Norman Rockwell tion of the Cowboy Hall of Fame) Vermont studio by Payson Rex painting palette, NR pictograph with articles about NR. Webber. letter to Franklin Lischke, 124 negatives, 14 transparencies, and 26 Mr. and Mrs. Robert S. Henry, Mrs. Franklin H. Lischke, black and white prints by California Lancaster P A: Norman Rockwell, Litchfield, CT: Creative Artists photographer Sam Calder, one Illustrator (inscribed by NR), two 1937, Sketching and Rendering in Saturday Evening Post magazine, one letters from NR to Mr. Henry's Pencil, Learning How to Paint in Pageant magazine and photo album mother, Marjorie Aldrich, two Oils, Designs for Craftsmen, compiled by Sam Calder with 18 Saturday Evening Post covers, group Heraldry and Floral Forms as Used photos, two letters, a handwritten of news clippings. in Decoration, The Art Spirit. note by NR and essays about NR by Sam Calder. (Sam Calder worked The Norman Rockwell Museum is Jarvis Rockwell, Great Bar­ for Norman Rockwell as one of his very grateful to all of the donors for rington, MA: Mr. Lincoln's photographers during the period their generous gifts. Camera Man, Matthew B. Brady. Rockwell taught classes at the Los Angeles County Art Institute from James A. Perkins, Princeton, NJ: 1948 to 1949.) Men of Iron by Howard Pyle.

Bela Kalman, Boston, MA: Original photographic print of Norman Rockwell in his Stock­ bridge studio. Summe1' 1949 - Norman Rockwell's students from the Los Cris Raymond, Stockbridge, MA: Angeles County A1't Institute Norman Rockwell Buch mit 30 pr-esent him with a smprise cake. Kunstpostkarten (postcard book). Mmy Rockwell stands directly behind NR. From the gift of Gordon Harris, Stockbridge, MA: photographic mate1'ial donated by 12 negatives from 1960-1961 of modeling sessions in NR's Steven Spielbe1-g. Sam Calder, Photographer Stockbridge studio. 9 A Very Special Studio Paul F laum, Volunteer

Visitors to tbe 17l11Sel17l1 enjoy tbe My Best Studio Yet exbibit tbat displays items, SlIeb as canvas stretcbers, tbat we1·C stored in studio m·eas not accessible to tbe public. Since tbe studio is dosed eacb year fronz November tb1Wtgb April, visitors deligbt il1 seeing tbe artifacts and fitnlisbiugs tbat are on display year 1-otmd in tbis intimate gallery. © 1995 Steve Jacobs, photographer.

Since Norman Rockwell's studio Our different guests bring while others remark on the was opened to the public, it has varied backgrounds to a studio assortment of pipes, guns, or been a favorite of the visitors to visit, but all are moved by the hats. They point to the helmet the Norman Rockwell Museum. fact that tlley are standing in hanging over the easel, which Among the most frequently tlle workplace of one of they recognize from the Triple asked questions and expressed America's favorite artists. Self-Portrait, and laugh at the comments are: "Is this the real They appreciate the unique story that Rockwell bought this studio or a facsimile?" "How did opportunity of seeing the hat tlllnking that it was an it get here?" and "What a actual place in which Rockwell antique only to learn that it was beautiful workspace!" worked. On the leisurely walk a Parisian fIreman's helmet. from the museum to the studio, On March 4, 1986, Norman the visitors have time to ponder Many visitors make a personal Rockwell's studio was raised all that they have seen and connection to Rockwell. They from its foundation, mounted on heard. Many questions come to want to talk about their memo­ wheeled dollies, and moved mind tlnt tlley expect the ries of him-the specifIc Post three nliles from its South studio staff to answer. Capti­ covers, Boy Scout calendars, Street, Stockbridge location to vated by the spirit of Rockwell story illustrations. Being in his its new home on the grounds of from their museum visit, they studio enables each visitor to Linwood, the selected site for want to know more about the feel close to the man himself. tlle new museum. The studio man. "Where was he born?" Studio staff are able to interact was remodeled in 1957 from a "When did he move to Stock­ with the visitors on a very per­ 19th-century carriage house, bridge?" When visitors see the sonal basis, and often learn and Rockwell referred to it as crucifIx and the shalom sign, tllings about Rockwell that were "my best studio yet." In his they ask about Rockwell's hitherto unknown to tllem. The autobiography, he wrote, " The religious beliefs. They want to studio is truly a very special new studio is cooler in summer, learn everytlling about the man place that makes both visitors warmer in winter, less noisy, Witll whom they all identify in and staff, like Rockwell, happy more private and convenient ... some way. to be there. and roomier. I'm blissfully happy witll it."* Visitors are fascinated by tlle collection of souvenirs that *NOfman Rockwell, My Adventures as Rockwell amassed. Some focus an Illustrator, (New York, Harry N. on the awards and citations, Abrams, Inc., 1988), p. 376. 10 Art and Education Melinda Georgeson, Manager of Youth Services

Over the years, the programs in Another way the Norman ence through thought-provok­ education at the Norman Rockwell Museum benefits the ing activities. These tours will Rockwell Museum at Stock­ educational community of focus on either the narrative bridge have continued to grow, Berkshire County is through aspects of Rockwell's work or change, and keep pace with direct involvement with our the studio-art aspects. This recent educational reform. We collection. With the thrust of enables teachers to integrate the have gone from small groups of educational philosophy toward visual arts with language arts, or students learning at the Old increasing interdisciplinary to explore the visual arts more Corner House to an increasingly learning, our new course offer­ deeply. The experience allows large number of students at the ings become a natural extension students to become acquainted new building. Our audience has of the museum experience. Mter with the life and work of Rock­ expanded to include grades pre­ piloting the programs during this well through group discussions school through college. Students past winter, we had some won­ in the museum galleries fol­ from nearby schools and from derful feedback from students lowed by a lesson in the studio as far away as Michigan and and teachers that encourages us classroom. Tennessee have come to visit to continue in our quest for and experience Rockwell's work excellence in education. The language arts component first-hand. titled The Write Stuff consists of As a part of this goal, we are "pre-writing" exercises, atten­ Currently, educators are under expanding the tour "menu" to tion to story elements, and a new pressures with regard to include a choice of programs that writing session. Pre-writing their time and productivity. would offer something for exercises involve students Teachers are now required to everyone. One choice, as always, directly in character develop­ complete a certain number of is to come and tour the galleries ment, imaginative sequencing of PDPs (Professional Develop­ independently. Anotller is to events, and the discovery of ment Points) in a specified time reserve a special tour time witll a adjectives. Subsequent writing period. In order to help them member of our informative guide activities encourage imaginative earn these professional points in staff. In addition to these, we exploration of ideas and expres­ the arts, we have expanded our now have new offerings! sion, and emphasize diversity in teacher training sessions from creative styles. one in 1994 to two public and Media and Methods programs are two in-service seminars in 1995. designed to challenge students The studio arts component and extend tlle museum experi- titled Drawn to Art concentrates on tlle aspects of creating art such as color, shape, line, rhytllm, texture, composition, and perspective. The studio activity following the tour is tailored to fit the individual needs of each group, and may include painting, sketching, or designing an abstract collage based on patterns of shapes Visitor Services found in Rockwell's work. Assist017 t Kim C017ley leads a Witll all of this to keep us busy, group ofschool we are looking forward to a chitcb"en in 0 disCllssion of dynamic school year! Girl at Mirror 11 Programs & Events

October 11 Saturday 16 Saturday 5:30pm-7:30pm: Members' lOam-noon: Family Time Exhibition Opening Snow! 1 Sunday Maxfield Parrish: A Retl'ospective 3pm: Gallery Talk I Oam-l pm: Adult Workshop Every Picture Tells a Story 5:30pm: A Grandaughter's Do Tell! The Art ofStorytelling. * Reflections with Joanna Maxfield Pan-ish Got'don * 5 :30pm: Special Performance 14 Saturday Happily Ever After... More or Less. * IO:30am-noon: Four Seasons 18 Saturday Art workshop for children ages 7 to 12 * IOam-4pm: Adult Art Workshop 17 Sunday 4pm: Mternoon Tea and Talk Classical Painting Techniques* 3pm: Gallery Talk The ArT Students League: Art, Marking Time-The Calendar Art of Controversy and the American Psyche * lOam-noon: Family Time Nonnan Rockwell and Maxfield Pan-ish A Feast for the Eyes 15 Sunday 26-30 Tuesday- Saturday llam: Insights: Talk & Brunch 19 Sunday lOam-noon: Family Time Modern BOORS for Modern Children * llam: Insights: Talk & Brunch Activities for the whole family. Fantastic Parrish * 3pm: Gallery Talk The Art ofEnc hantment 3pm: Gallery Talk 27 Wednesday The IllustTated Book Ipm-2:30pm: Worlds Away in Watercolor 21 Saturday Art workshop for children ages 7 and up * lOam-noon: Family Time 25 Saturday Travel and Transportation 5:30pm: Special Performance Mark Twain: Member-at-Large for the 28 Thursday I Oam-l pm: Adult Art Workshop Human Race * Ipm-2:30pm: Tell Me a Story Giving Life to the Image * Art workshop for ages 7 and up * December 5: 3Opm : Special Performance 28 & 29 Thursday and Friday Contemporary Classics!* 2 Saturday 1:30pm-4pm: Art Connections Art workshop for teens ages 13 to 19 * 25 Wednesday 4pm-7pm: Open House 2pm -5pm: Two Artists' Studios Stockbridge Main Street at Cbristmas Norman Rockwell and Daniel Chester French * 29 Friday 3 Sunday I-2:30pm: Exploring Self-Portraits Art workshop for children ages 7 and up * November 3pm : Gallery Talk Splendid Vistas-The Landscapes of Maxfield Pan'ish 4, 11, 18 Saturdays 30 Saturday 2pm-3:30pm: Unfolding Stories I-2:30pm: Acrobat in Acrylics Workshop for cbildl'en ages 8 and up * 9 Saturday Art worksbop for children ages 7 and up* IO:30am-noon: Classic Tales Art 1vorkshop for children ages 6 to 12 * 5 Sunday * Pre-registration requested. 3pm: Gallery Talk The Artist as Storyteller 10 Sunday Please call (413) 298-4100 ext 220 for llam: Insights:Talk &Brunch reservations and information. All The Art of the Picture Book * programs take place at The Norman 11 Saturday Rockwell Museum at Stockbridge, 9am-4pm: Eucators' Seminar 2: 3Opm: Reading/Booksigning Route 183, Stockbridge, MA 01262. Maxfield Pal'rish and the Golden Age of Ame1"ican Illustration * A Chl'istmas Carol* T he museum store is open during lO:30am-noon: Four Freedoms programs and events. Store proceeds Art w01'ksbop f01' cbildren ages 8 to 15* support museum operations. 12 Tom Sawyer Tells a Story When Norman Rockwell was Mark Twain meat market, the invited in 1935 to illustrate the Mark Twain soda fountain. children's classic Tom Sawyer, Everything was Mark Twain."* he went where no other Mark Twain illustrator had gone The museum is fortunate to have before-to Hannibal, Missouri. a collection of Rockwell Artist's Norman wanted to capture the Proofs donated by Rockwell to authentic details of Mark Twain's raise funds for museum acquisi­ boyhood town. This is what he tions. They are signed in pencil found there. by Norman Rockwell, and numbered in Roman nunlerals. " ... I wondered if there'd be A museum certificate verifying anything of Twain and his era the work's authenticity accompa­ left in the town. Maybe nies each print. Today prints Hannibal had forgotten Twain such as these are collected by and transformed itself into connoisseurs of Rockwell's art another slick chromium-and­ throughout the world. neon metropolis. When I arrived I found that the exact opposite "Tom, Tom, we're lost.' we're lost.''' Ten limited-edition had happened. Mark Twain had *Norman Rockwell, My Adventures as an prints of Tom and Becky in Cave, signed by Norman swallowed up Hannibal. There Illustrator, (New York, Harry N. Abrams, Inc., 1988) p. 274. Rockwell, are available for purchase through the Museum was the Mark Twain Hotel, the Store or by calling 1-800-742-9450. Price upon request. Mark Twain barbershop, the ©MBIIHeritage Press. Used with permission ofHeritage Press.

- Non Profit The Orgaruzation U.S. Postage Norman PAID Rockwell Permit No. 33 Stockbridge Museum MA 01262 at Stockbridge

Stockbridge Massachusetts 01262 Tel. 413-298-4100