- The Nonnan Rockwell Museum ot Stockbridge Summer Celebrations at the Museum

THE NORMAN ROCKWELL MUSEUM embraced the summer season with many celebrations-the opening of three exciting exhibitions, the sentimental retiring of colleagues, and the summer party for our Four NRM Board Presidents exchange greetings at a treasured members and friends. Below are museum retirement party. Seated from left to right: scenes from some of these memorable Board President David Klausmeyer, past Board moments. Presidents Lila Berle and John Deely, Jr. and, standing, former interim Board President Brian Quinn.

The Nonnan Rockwell Museum Board of Trustees David L. Klausmeyer President Bobbie Crosby First Vice-Presid ent Steven Spielberg Second Vice-President Perri Petricca Treasm er Rosell e Kline Chartock Clerk The Berkshire Eagle sponsored the exhibition Will iam M. Bulger Timothy R. McLevi sh James A. CluU1.ingham T homas Patti : Artist &­ Daniel DuBois Lincoln Russe ll Illustrator. Jim Wall, Joan SerVaas Durham Jose ph M. Salvadore President and CEO of the Michelle Gillett Mark Selkowitz Eagle attended the opening N eil and Jane Golub Brian]. Quinn Elaine S. G UlUl. Aso T avitian with his wife Connie. James W. Ireland Laughran S.Vaber Harvey Chet Krent:zman Lee Williams Robert F. McDermott Jamie Williamson

Trustees Emeriti Lila Wilde Berle Jan e P. Fitzpau-ick John M. Deely,]r. Norma G. Ogden HemyH. Wiliiams, Jr.

Laurie Norton Moffatt, Director Board Member Roselle Chartock and her daughter The Norman Rockwe ll Museum is fUllded in part by the Massachusetts C ultural Council, a state Sarah obviously are enjoying agency that supports public programs in the arts, the opening festivities of the humanities, and sciences. Homer exhibition.

AI and Louise Hirschfeld visited IMASSACHUSrrrs Norman Rockwell's studio The Portfolio when they came to Volume 15, N umber 3, Fall 1998 see the Footlights C ris Raymond, Editor and Fireflies Bea Snyder, Project Manager exhibition. Tbe Portfolio is published fo ur times a year by T he Norman Rockwell M useum at Stockbridge, Inc., and is sent free to all members. Associate Director Copyright © 1998 by The for Administration Norm an Rod.'well Museum at Stockbridge. and Finance Al l rights reserved. Martin Terrien Cover: In his studio, Norman Rockwell sits and his wife atop homemade platforms while painting Marcey also were Lincoln the Railsplitter, a 1969 advertisement here to celebrate for Lincoln Savings Bank. Some of the Homer Rockwell's studio objects can be seen on the operung. , walls. Photo by Louie Lamone. On Saturday June 6th, the Norman Rockwell Museum hosted a summer gala, the Blue Skies Club. Members and friends danced to the big band sound of the 1930s under a tent on the museum terrace. The success of the evening can be seen from these photos. Margaret Quinn, Polly Cunningham and Rose Rodgers arrived at the party dressed in the style of the 1930s.

Board President David Klausmeyer chats with Director of Marketing and Public Affairs Bea Snyder Associate Director for Education and Program Maud welcomes Ralph and Dena Baer, donors of the Norman Ayson and Mary Sarin, the gala's committee member. Rockwell story Scouting with Daniel Boone. ~~-~--

Art and opera become dance when Director Laurie Norton Moffatt and the Berkshire Opera Company General Director Sandy Fisher dance their way to the Blue Skies Club.

Far right, museum volunteers Marilyn and PauJ Flaum won the raffle for a signed limited edition print of Norman Rockwell's painting Family Home from Vacation. Vision 2008 for the Norman Rockwell Museum Laurie Norton Moffatt, Director

"1 want to thank you for the privilege to learn about the American Culture through your work. Your will stay in my heart forever. 1 come from Slovakia, a small state in the heart of Europe. People are trying to implement the basic freedoms there. Hopefully one day their effort will be paid by happiness they find in their everyday life. Thank you Norman again!" -Alicia Kizekova, visitor, age 20

An International Message the theme of a turnover of to the art collection; investing in The above comment points generations with its effect on new audiences through off site out what a beacon of hope the Norman Rockwell Museum, activities, including a national American democracy remains and invites strategies to reach touring exhibition and expanded around the world. Norman new and younger audiences world wide web activity; and Rockwell's paintings define who did not grow up with renewing the master plan of our America and its basic freedoms Norman Rockwell as their beautiful New England museum to visitors to the United States, cultural mainstay. campus in Stockbridge. and serve as a reminder to each Vision 2008 seeks to address of us that the hard-won and the critical defended freedom by those who issues that face have gone before us should not the museum be taken for granted. during the This year was the interna­ next decade. tional debut of the Norman Mission, Rockwell Museum collection in audience and Japan. Sponsored by the resources were BrainTrust and the Isetan examined in Department Store, the tour the context of fulfilled a long standing request the turn of the to share the works of Norman generation Rockwell with the Japanese that knew people. In six months, eighty Norman Rockwell. A works toured six cities where Board Trustees Michelle Gillett and they were enjoyed by more than resounding Elaine Gunn attended the retreat. 150,000 viewers from Tokyo to affirmation Hiroshima. remains that the art of A Vision for the Next Century Norman Rockwell continues to A Center for lllustration Examination of the shifting be a compelling and important The Board of Trustees is fully generations on the eve of the aesthetic communication, social committed to the mission of millennium was the subject of a and historic document that will presenting Norman Rockwell in year-long strategic planning live long into the next century. the context of the field of process undertaken by the Board The highlights of the plan are illustration, and strongly en­ of Trustees. Vision 2008 explores building an endowment; adding dorses the museum's exhibition What better way to welcome in the ------new century than by sharing with the nation.

program of featuring the works We are fortunate to have a new millennium. We salute you, of other illustrators. A major core of dedicated staff and David, and thank you for your retrospective of the wilderness volunteers who are our Norman years of dedicated service and paintings of Rockwell Kent will Rockwell ambassadors to our leadership, and look forward to premier here at the museum in public. We are an unusual your continued service to the the summer of 2000. Rockwell institution in the length of board and the museum. Kent: Odyssey ojDistant Shores is service our staff have given to being curated by the Norman the museum, yet we are privi­ A Treasure for the Nation Rockwell Museum. Other leged to attract bright new talent The Norman Rockwell fascinating exhibitions are as we grow. This combination of Museum is poised to engage in planned including our featuring history, heritage, legacy and its most exciting project to some exciting loaned pieces of vibrant innovation continues to date-the national tour of our Rockwell's works. make the Norman Rockwell collection at the turn of the Museum strong. millennium. What better way to A Talented and Committed welcome in the new century Staff A Dedicated Leader than by sharing with the nation This was a vigorous year in None of this would be pos­ the wisdom and wit of the man our human resource department sible without the dedicated who helped to forge a sense of that resulted in changes reflect­ support and commitment of the national identity and common ing the museum's key future Board of Trustees. The museum values in times of crisis and strategic directions. These board is a committed group of prosperity. changes occurred in the facili- individuals who believe in the Co-organized by the High importance of Norman Museum of Art in Adanta, Rockwell and the museum as an Georgia and our museum, institution of the Berkshires and Norman Rockwell: Pictures for the the nation. No one has rallied American People will feature more strongly to deliver that more than seventy of the artist's message than our board presi­ oil paintings and his 322 Satur­ dent David Klausmeyer, who day Evening Post covers. The concludes his three-year term exhibition will begin its tour in this year. November, 1999 in Adanta David has served the museum before it moves on to , in numerous capacities for 17 Washington, D.C., San Diego, years, including chairing the and Phoenix, returning to capital campaign to build the Stockbridge for the summer museun1, overseeing the disposi­ 2001. It will introduce school Seal Hunter, , Rockwell Kent, oil on tion of the Old Corner House, children, new and diverse audi­ canvas, 1935-1937. and serving on all of the ences and citizens across the museum's committees. His nation to the treasure the presidency concludes with the Norman Rockwell Museum ties, visitor services, earned museum on a strong financial preserves. The exhibition will revenue and external relations footing, with a solid program draw national attention to departments, and the expansion and resource base and a dedi­ Rockwell's work as an artist and of the museum's curatorial staff. cated visitor and patron group. chronicler of the twentieth This was undertaken to further He leaves his successor Bobbie century and strengthen the support the member, patron and Crosby with a challenging and national and international out­ communications outreach of the inspiring leadership plan in place reach and reputation of Norman museum. to launch the museum into the Rockwell and the museum. 6 Footlights and Fireflies Summer Theater as Seen by Hirschfeld David Leopold, Guest curator, Director of the Studio ofBen Solowey in Bucks County, Pennsylvania

NG AFTER THE CURTAIN contributed drawings for over 70 in Hollywood." At the invitation has fallen and the last years, it also can be found in of Covarrubias, Hirschfeld left L ovation has subsided, the virtually every major publication for Bali. Upon arriving, he lasting image of the performance of the last nine decades, as well knew that his life would never be is often the one created not by as in books, on records, CDs, the same. Hirschfeld wrote of the performers, but by Al and CD-ROMs. Called "one of the experience, "The Balinese Hirschfeld who has captured, the masters of drawing," by New sun seemed to bleach out all with the aid of India ink and York's Metropolitan Museum of color, leaving everything in pure Art, his work has influenced line. The people became line generations of draughtsmen, and drawings walking around. It was his drawings have become a in Bali that my attraction to veritable archive of the lively arts drawing blossomed into an of our time. enduring love affair with line. His early influences were what "I think it is no accident that he refers to as the "eye, ear, nose rich, lush painting flourishes in and throat" drawings of Charles the fog of Europe, while graphic Dana Gibson, and later the art-from Egypt across Persia to stylized line drawings ofJ ohn India and all the way to the Held Jr. In 1924, Hirschfeld Pacific Islands-is influenced by took a studio on New York's the sun .... I am much more 42nd Street with Miquel influenced by the drawings of Covarrubias, and was bitten by Harunobu, Utamaro, and the bug of caricature that Hokusai than I am by the Covarrubias had brought from painters of the West." his native Mexico. "There was When Hirschfeld returned something about Miquel's from Bali in July of 1933, the background that made him a first subject he turned his pen to natural graphic artist," recalls was the thriving summer theater Hirschfeld, "and a lot of that circuit, known by many as the rolled onto me." "Straw Hat Trail." In the Just as the 1930s were a period Northeast, country playhouses of changes and challenges for were once as common during Summer Theatre illustration board, the worlds of Rockwell, as visitors to the the summer as citronella World, 1948, pen theater, film, dance, music, Norman Rockwell Museum can candles. Beginning in the mid­ and ink on board, literature, and politics for almost see in the current exhibition, the twenties, every barn became a The New York Times, June, 1948. the entire century. While his decade presented Hirschfeld stage, and theaters dotted the Collection of the work frequently is seen in The witll his decisive moment. In landscape. The thirties and artist. New York Times, to which he has 1931, Hirschfeld set sail for forties saw stars touring the Tahiti intending to live and Straw Hat Trail from Abingdon, Footligbts and Ftriflteswill be paint there, only to discover that Virginia to Winooski, Vermont. on exhibit until the natives and almost every­ Stars often performed in estab­ October 25, 1998. thing about the culture "seemed lished hit shows in one-week imported from Central Castin'g engagements on a circuit that Rehearsal o/Olde English at the Berkshire Playhouse, Stockbridge, Massachusetts, 1941, pen and ink on board, The N ew York Times, August 24, 1941. Collection of the artist. From left to right, Lewis Martin, Judy Parrish, C. Aubrey Smith, Robert Allen, William Miles (Director), Ellen Hall, Muriel Kirkland and Gage Clarke.

included nearly 200 summer From Ye Olde Broadwaye, to a run out to drink beer at inter­ theaters. Actors were eager to view of the planet where the mission to beat the heat, to leave the city during the heat of every inch of land is covered Long Island where the theater's the summer, and producers with summer theaters. intermission had to coincide followed crowds to seashores with the passing of the evening and mountain retreats, trans­ IT WAS WORLD WAR II THAT train so that the actors would forming buildings into play­ forced many summer play­ not have to shout over its houses that had their own rustic houses to close. The gasoline passing, to the Garrick Play­ charm. restrictions limited automobile house in Maine to visit with New York newspaper editors travel, and the advent of air Booth Tarkington during a dispatched Hirschfeld to conditioning kept the public festival of his plays, to the chronicle the summer theater either in the coolness of their American Shakespeare Festival movement in bold half-page, own apartments or in newly air­ in the other Stratford in Con­ top-of-the-fold, front-page conditioned city theaters. As necticut, and finally back to drawings for their Sunday the summer circuit came to an New York to see Hirschfeld's drama sections. Hirschfeld end, producer Joseph Papp line defy gravity as it records captured numerous scenes at began his annual Shakespeare scenes from the N ew York summer playhouses and often productions in New York's Shakespeare Festival. included a map with the dis­ Central Park. This brought film For the first time, these tance from Times Square, the and stage stars back to the city unique Hirschfeld drawings are center of American theater. in the summertime to perform brought together in an intimate Almost every June, the season not only Shakespeare but also exhibition at the Norman would be heralded by a other works in the only rural Rockwell Museum that explores Hirschfeld drawing that pre­ setting in Manha ttan. this unusual seasonal world sented the Straw Hat Trail in As visitors move through the through the pen and ink of a various incarnations from A exhibition Footlights and Fireflies, 20th-century legend. Join us as True Map ofYe Summer Tbeatres they travel from New York in we follow Hirschfeld along the Situate 45 Minutes and More the summertime where actors Straw Hat Trail. Studio Artifact Tells a Story ofPeace Corps Travels Linda Szekely, Curator of Norman Rockwell Collections

object's origin and identity Rockwell had traveled exten­ gradually evolved during the sively, and it was his habit to course of its treatment at the bring back souvenirs for friends Williamstown Art Conservation and family. As museum visitors Center where we had taken it know, Rockwell's studio brims for examination and possible with an assortment of eclectic "In ea rthy organic A DARKENED CORNER OF treatment. The discovery trail items. Many of them can be colors and the west wall balcony of associated with the illustrator's substances, it led from tile museum to tile lab, occupies a Eorman Rockwell's studio to Williams College, across the travels, some with his picture cloistered but resides a mysterious looking country to Santa Fe, and back to ideas in the sense that they were esteemed position object. In earthy organic colors the museum's archives, where, used as props or acquired with on the balcony's and substances, it occupies a almost by accident, tile answer that intention. railing." cloistered but esteemed position was found. T he lab registered the object on the balcony's railing. The In 1994, as part of our ongo­ with our title of Native Ameri­ object-composed of leather, ing treatment of studio objects can drum. Ingrid Neuman, the wood and hair- was originally in need of repair or cleaning, we objects conservator, began tile described in a 1984 studio took the object to tile Conserva­ process of attempting to identify inventory as appearing to be a tion Center. We continued to each component in order to Native American ceremonial refer to it as a Native American accurately replace the pieces that instrument, possibly a drum drum, allowing its proximity to had become detached. Her "with leather covered sOUlld box, other mementos from the Williams College intern con­ aT-shaped wooden handle, and American Southwest, such as a sulted an ethno-musicologist at two curved sticks for beaters." Native American woven rug and the college who suggested it The real nature of this western saddle, to mislead us. might be a membranophone, a musical instrument that pro­ duces sound through a hollow space covered by a membrane. After studying the components, Ingrid felt that it was a stringed instrument like a fiddle and that the pieces previously thought to have been "beaters" were originally attached to the body of the instrument. The small v­ shaped stick might be a bridge for the strings and the large arc­ " .. .Ingrid felt that it was a stringed "Its leather pieces were shaped piece, tile bow over instrument like a fiddle and that the reformed, its wooden bridge pieces previously thought to have been re-adhered and its horsehair which the horsehair strings 'beaters' were originally attached to the strings stabilized with would have been Strill1g. body of the instrument." monofilament." I was still operating on the 9

notion that it was American, so I task that Jed me to the archives added, "I also sent you ... a sent a photo of the instrument to Look correspondence. While mazinko [sic] which is the Will Channing in Santa Fe involved in this research, I came musical instrument you whom I had remembered from across correspondence between wanted." Here was our answer his earlier Stockbridge days as Rockwell and John Schafer that to the identity and origin of the the owner of an extensive led to the object's identity. mysterious studio object. I collection of Native American Jolm Schafer, the son of checked the photo files and arts and crafts and an authority Rockwell's financial adviser, was found photographs of an Ethio­ on Native American artifacts. a Peace Corps volunteer work­ pian man sitting in front of his Mr. Channing's reply was ing in Debre Markos, Ethiopia, house actually playing the both surprising and gratifying to in 1964. Knowing John was instrument. The scene was hear. He did not believe that the there, Rockwell chose this place apparently considered by object was Native American and as a setting for one of his Peace Rockwell as the subject of his had consulted an expert on Corps paintings. Norman and painting, but was later replaced African art. The expert affirmed Molly Rockwell went to Debre by the agricultural scene of a that it was an East African Markos and set up various Peace Corps volunteer with an musical instrument. The con­ picture scenarios with John and Ethiopian farmer tilling Ius land. nection between East Africa and the villagers. Molly acted as her Although Rockwell decided not Rockwell's 1960s trip to Ethiopia husband's photographer for this to paint the ideas he had devel­ came to mind. Rockwell had particular project. They returned oped for the Debre Markos home with the necessary photos, picture, he did depict John notes and sketches. In an April Schafer in his painting oEJohn 1965 letter from Norman to F. Kennedy with Peace Corps John, Rockwell asks John to send volunteers entitled JFK's Bold him native costumes for his Legacy. picture of an "agricultural Exci ted by this find, I ordered subject." "What I would like to new and larger prints of the do is to have you pick up a photograph and sent them to couple of native man costumes Ingrid at the lab to aid her in and, most important of all, some the re-assembling of the pieces three or more women's cos­ of the instrument to its original tumes. I know they don't wear configuration. The humble, much color but that is what I am hand-made, stringed instrument after. I remember some of the was carefully cleaned. Its leatller women wore colored head­ pieces were reformed, its pieces - the brighter the better. wooden bridge re-adhered and I am also going to have one of its horsehair strings stabilized those bright colored umbrellas with monofilament. Finally, the but don't bother with that for I restored instrUlllent was re­ can use a local umbrella. By the turned to tlle balcony railing "Norman and been in Ethiopia for a Look way, if you could bring one of where it now rests in a more Molly Rockwell magazine conunission on the those Ethiopian musical instru­ accurate, cello-like position for went to Debre Peace Corps. I phoned Ingrid to ments, such as in the other studio visitors to view. Markos and tell her of Will Channing's enclosed contact print, or any Rockwell set up various picture report and the possible Peace other object that would be of A masenqo is a one-stringed scenarios." Corps connection, and promised interest in the picture, that fiddle from Ethiopia used by to check the Norman Rockwell would be wonderful." folk singers. It is diamond Archives photo files on the In July, John replied by mail, shaped and has a wooden Peace Corps paintings. Mean­ listing shawls, dresses, jodhpurs, frame covered with cow skin while, I was temporarily dis­ nightshirts and scarves he had sewn on the sides and crossed tracted by a completely different sent by parcel post, and then through by the neck. 10

Limited Edition Prints Jo Ann Losinger, Director ofEarned Revenue

E PROBLEM WE ALL Live liVith, War News, TiPortrait oEJohn F. Kennedy-imagine the Norman Rockwell Museum witllOut these paintings. Fortunately, these important works are part of the museum's permanent collection. They were purchased with money raised through the sale of limited edition prints, signed and donated by Norman Rockwell. Generous pa trons also have donated limited edition prints for the purpose of building our art acquisition fund. This past year, thirty-three pristine lithographs, valued at more than $150,000, were given to the museum by the lithographer's widow. Many of these donated images, such as After the Prom, Extra Good Boys and Girls and Puppy Love, had been missing from our print inventory for several years. Another important orman Rockwell signed copies of Freedom recent contribution included a of Speech for the war-bond drive. signed set of the Four Freedoms. The following is an informa­ ofms life, Norman Rockwell How Limited Edition Prints tive introduction to the limited agreed to have his paintings Are Made edition printing process. reproduced. Each limited Two printing processes, Whether you plan to donate or edition Rockwell print has collotype and lithography, were to acquire prints signed by several things in common. It used to make these prints. A Norman Rockwell, we hope that bears an individual hand signa­ collotype refers to a highly this information will be helpful ture and number in pencil. It refined photographic printing to you. was reproduced on fine quality, process that reproduces the usually acid-free paper. It was original painting with absolute A Limited Edition Print personally approved by Mr. color accuracy and clarity. Many Many famous artists have had Rockwell, and it was limited in people prefer this process their works presented as limited quantity or edition to 295 because such a reproduction edition prints. Toward the end copIes. does not vary from the original 11

series. For example, the mark­ ing A.P. X I XXXV signifies tl1at tlus particular print is number ten in the group of tl1irty-five. This Roman nu­ meral group of prints was given to the museum by Mr. Rockwell. In most cases, the museum keeps number XXXVI XXXV for our archives and the other thirty-four prints are available for sale. For nearly thirty years, proceeds from these sales have supported the museum's art acquisition fund. These XXXV limited edition prints are not available any­ where else, unless they are being sold second-hand. A second group of sixty prints were initialed A.P. but were not given any number. The remain­ ing 200 prints were numbered in Arabic fraction, 11200 through 2001200, which ac­ counts for all 295. This last group lacks the A.P. marking. All the prints are hand signed in pencil, as pencil tends not to fade, in the lower right corner and numbered in the lower left. Limited edition print of Puppy Love, a Saturday Evening Post cover, April 24, 1926. The Norman Rockwell Museum also has a selection of painting. Lithography relies not like a jigsaw puzzle until the these prints for sale. on photography but on another final picture emerges. While artist who actually redraws the lithography is a more laborious Installment Plan and original work on a series of method of reproduction, accu­ Consignment Program lithograph stones or zinc plates, racy of the line and color can The museum now offers a one plate for every color that vary significantly from the six- or ten- montl1 installment appears in the final print. The original painting. plan for the purchase of signed reproduction of full-color prints. The plan is convenient paintings is a complex and The Roman Numerals and interest free. Also, the expensive process that involves Whether it is a collotype or museum has a print consign­ the use of four colors. In the lithograph, each edition num­ ment program. Images nlissing proofs, first the yellow plate is bers 295 prints. The first thirty­ from our linlited edition print used, followed by red, then yellow five prints were given to Mr. inventory will be accepted for plus red, blue alone, yellow and Rockwell. He numbered these in re-sale. Limited edition prints red and blue, and black alone, a special manner. The markings start at $3,000.00. For informa­ then all four colors together. As read A.P. (Artist's Proof) with tion about our selection please the paper is pulled (printed) from the Roman numeral of the print call Sara Andenmatten at 413- each plate, the colors fit together itself and the number of the 298-4100 ext 248. and the narrative she conveys through the figures Visual Solutions work well for publications. She explains, "Illustra­ tion for me has always been a way to force myself Michelle Gillett, Columnist a.nd Editor ofThe Women's Time to think conceptually about the work I do. I'm now very specific when I do an illustration. I try to address all the issues at the same time." Nessim relates her work to a job assignment" by control­ ling and changing the symbols, making what was 'sual Solutions: Seven Illustrators and the once cryptic more understandable to the reader, Creative Process is much more than an while still trying to maintain the spirit of the V exhibition of artists' works. This visual work." Nessim uses computer technology exten­ dialogue tells how and where artists get their ideas sively in her work and keeps a database of images and bring them to life. The exhibition follows the to reference. This database is especially important work of seven well-known illustrators from their due to the time constraint imposed by weekly or initial inspiration to their arrival at finished monthly publications, which have a quick turn­ for editorials, children's picture books, around time. and books covers. C.F. PAYNE'S ILLUSTRAT ION S OF FAMOUS AN ARTIST'S SKETCHBOOK, LIKE A DIARY, KEEPS figures serve as social and political commentary track of what should be remembered, what has while affording the opportunity to poke fun at significance, what has happened. New York native some of the country's best-known politicians, stars has kept sketchbooks for over and athletes. The familiar faces that appear in the thirty years and has over a hundred to glean from pages of magazines such as Rolling Stone and Time when she creates the art that covers magazines, are both realistic and comic. Payne's caricatures and the messages they convey reveal the artist's humor and sense of irony. His portraits are instantly recognizable even though Payne changes their features or facial configuration. House of Representatives Speaker Newt Gingrich is dis­ torted to look especially full-faced in a Rolling Stone illustration. He is portrayed Witll open mouth, as if he were caught in mid-speech or mid­ gaffe, and has a Lincoln penny pressed against each eye. Payne begins his process by reading tlle story he's been asked to illustrate and then asking himself, "What's the point?" He does some rough sketches, followed by a more detailed drawing. To get the flesh tones and values of light and dark tllat distinguish his work, Payne does the final piece in a mixture of mediums. He starts with acrylic glaze, then applies a water color and acrylic wash. When those dry, he paints over them with an oil wash, illustrates articles and serves as icons. Her 6"x9" colored pencils, air brush-whatever he needs to Wom en and sketch books are small enough to keep in a pocket complete tlle piece. Payne is another artist who Madness, Barbara \J"essim, pen, ink and or purse and are easily accessible when she wants often works Witll a limited lead time. If sometlling watercolor, to record an idea with a quick sketch. When important happens on a Monday, Payne could be © 1972. Nessim gets a commission for a job, she goes working on tlle idea by Tuesday. through her sketchbooks and selects a few draw­ Several years ago, Arthur Hochstein, the art Newt with Pennies, C.F. Payne, ings to use as the basis for the work. director of Time magazine, observed the following mixed media, Many of Nessim's themes center on women and about Payne's work, "Even tllough most of his © 1996. their relationship to the world. Her linear forms work is either funny or ironic, tllere's an Arneri- cana quality to it, that pure expression and mood . . . through the die-cut pages of a book. But [with Norman Rockwell was able to create in some of his Carle] these devices are always germane to the iUustrations." Payne has said, "Barely a day goes by message or the story of the book." when I am at my board working that thoughts of Norman Rockwell don't rush through my head. IN 1954, LEO DILLON AND DIANE SORBER MET Though illustrators come and go, one name always as students at the . returns-Norman Rockwell. In baseball one name There, they developed a friendship as well as an stands alone-Babe Ruth. Virtually all discussions, admiration for each other's art that led them to arguments, and comparisons begin and end with marriage and a working partnership. They him. In illustration, our Babe Ruth is and always worked in a variety of genres from science fiction will be Norman Rockwell." and fantasy illustration to advertising and book covers. In 1970, one book cover impressed an THE VERY HUNGRY CATERPILLAR I-IAS WORMED editor at Dial Press who hired them to illustrate its way into generations of readers' hearts. Eric The Ring in the Prairie: A Shawnee Tale. Six years Carle, who wrote and illustrated this and many later they won the prestigious Caldecott Medal other popular children's books, creates his illustra­ for VVZ1Y Mosquitoes Buzz in People's Ears: A West tions by cutting tissue paper into desired shapes African Tale. The following year, the Dillons and pasting them in layers onto cardboard. Then received a second medal for Ashanti to Zulu: he takes full color photographs of the works that Mrican Traditions. are reproduced into picture books. Like the cut­ The Dillon's collaborative style is reinforced by out paper he uses to create his images, layers of their individual talents. They read and discuss a meaning overlap in Carle's stories. Scientific infor­ manuscript and share the illustrations inspired by mation, ideas about time and numbers, lessons and the story. Each continues or adds to the lines revelations for children of all ages (as well as the sketched by the other. The "third artist" is the

Gorilla and Boy, adults who are lucky enough to read his books) result of this blended vision and wlified style of Eric Carle, appear in both his words and pictures. In addition working. collage, © 1997. to his universal messages, the originality of his The Dillons' work is noted for their interest in To Everything books contribute to their success. A long-time edi­ African-American history and culture. In 1965, There Is a Season, tor of his once described the unique features of when their son Lee was born, there were very few Leo and Diane Carle's books as follows, "Many employ devices books available that showed or told about African­ Dillon, pastel and such as cut-out shapes, split pages, movable parts American children. Through their books, the acrylic on 3-ply bristol board, . . . complex folds, odd-sized pages, raised tactile Dillons have helped to bring a culturally diverse © 1998. images, even strings for moving animal characters world to young readers. As the Dillons point out, 14

"A children's book is a child's he is portraying. He enjoys His work preparation includes introduction to new ways of being out in "the field" observ­ taking many photographs, doing perceiving the world." ing his subjects and gaining the sketches and taking notes. The inspiration he needs to create finished work must relate in BOOK COVERS ARE OITEN A good composition, value, color "harmony of movement and part of the narrative. As water­ and texture. composition." His editor color artist Wendell Minor has Minor lives in Washington, reviews the work, and it is said, "A picture invites the Connecticut, and spends his studied by fact checkers to make viewer into it and sure it is visually accurate. offers a sense mystery. Minor makes necessary adjust­ It lets the viewer ments and then the work be­ become part of the comes "not just a visual inter­ process. A good pretation of a story, but a story picture, like a good on its own." story, is timeless." The timelessness of WHEN MICHAEL DEAS SEES Minor's art begins a particular scene that appeals to when he gets an idea his imagination, he sketches it, or insight that he knowing that at some point it wants to create and, will prove useful to his work. with his editor, he These stored images serve as Abraham Lincoln, finds an author who references for the detailed and Michael Deas, oil shares his sensibilities realistic illustrations he has on panel. © 1998. and interest in a created for The Knowledge of T o Kill a particular subject. Wa ter and Abraham Lincoln. Mocki1lgbird, When Minor begins Deas works in oil paints, using W endell Minor, researching a subject, the classical technique of acrylic on masonite panel, © he often travels to get creating an underpainting and 1987. a clear sense of what then glazing over it. Working on wood enables him to be days in his studio working on specific with the details in his the watercolors that have paintings. A typical painting brought him acclaim as a book­ takes Deas 100 to 200 hours to jacket artist and designer. He complete. He does not refer to has created over 2,000 illustra­ his work as photo-realism in tions for books, and his artwork spite of the close and accurate has become recognizable on the rendering of his details. When covers of works by such well­ he paints, he follows the tradi­ known writers as Harper Lee, tion of 18th-century Flemish Willa Cather,John Hersey, and painters that has significantly David McCullough. The works influenced his style. His paint­ he feels closest to are his illus­ ings are richly textured and trations for children's books. harmoniously balanced compo­ Minor loves bringing scenes of sitions. the natural world to children. "If This exhibition reveals how we lose touch with nature," he seven artists use different has said, "then we lose touch techniques and mediums to Visual Solutions: Seven Illustrators and tile with ourselves." piece together their creative Creative Process is on exhibit at the Norman Minor also utilizes the works. The solutions are in the Rockwell Museum from November 7, 1998 to computer to scan a sketch, re­ process. The results are wonder­ May 31,1999. This exhibition is supported, in color and enlarge it and expe;i­ ful illustrations tllat stand as part, by Berkshire Bank. ment with different type faces. stories on their own. Rockwell Exhibition Inspires Students Daniel Currell DuBois, Guest Curator

HIS PAST SPRING, layout of three talented the exhibi­ T students from the tion and DeSisto School, April prepare the Pierron, Fernando Mendoza extended and Spencer Kirk, enjoyed a labels. creative and professional Rockwell adventure as they worked as spent over curators for the Norman sixty years Rockwell exhibit, Changes and as an artist, Challenges: Rockwell in the chronicling 19305. When asked to curate American the exhibition, I suggested life as he making the entire project an saw it and, educational experience. I sometimes, Late Night, Old San Juan, teach visual arts at the as he wished it to be. The I liked the way he saw things. Fernando Mendoza, oil on canvas, 1998. DeSisto School, a private project allowed the students When I got frustrated, he preparatory school for visual and myself the opportunity to showed me there was more and performing arts in appreciate in depth one than one way to look at works are rich in meaning Stockbridge, and for some decade of Rockwell's paint­ things. I heard [the project] and imbued with the same twenty-odd years prior had ings, and to consider how he was going to be a lot of work. sense of commitment that been an art museum curator responded to the challenges It was. I needed that. I knew they had shown to the entire and director. For several days, he faced in his personal and there would be pressure." project. the staff at the Rockwell professional life as well as to Spencer Kirk said he was During our numerous trips Museum and I considered the tumultuous time of the most excited about "the to the museum, we were possible approaches to the thirties. museum environment and supported by staff members exhibition. The plan we During the week required being part of a public experi­ who shared their extensive finally devised was accepted, to prepare works for the show ence. I feel honored to be knowledge of Rockwell's with enthusiasm, by both the and install the exhibition, our entrusted with this much work and the museum's museum and the school. ideas were put to the test. Art responsibility, knowing that I collection. Also, the staff and The course was set and student April Pierron said have a part in something this faculty at the school lent their students embarked on that working as a curator big ... monumental. It almost assistance and support to the learning how exhibitions are made her feel "overwheIIned like being a part of history." project and for this we are created, as well as some and excited at the same time. DeSisto students also particularly grateful to aspects of what it is that I want my career to go worked on their own narra­ Executive Director A. museums do. We studied toward art. I want to be a tive paintings. They followed Michael DeSisto; Sharon histories of the 1930s and professional ... to go to art the process they had stud­ Campsey, computer and researched Norman school. It will be incredible to ied-the one that Rockwell chemistry instructor; and Rockwell's life and work. The have this experience on my himself used. These student Gage Fairey, dorm parent. class met approximately resume. It's an experience I thirty hours a week for eight think I wouldn't get any­ weeks. We examined social where else at the high-school Changes and Challenges: Rockwell in the 19305 can be seen at and regional issues displayed leveL" Fernando Mendoza the Norman Rockwell Museum until October 25,1998. in Rockwell's art and then said he chose the art intensive This exhibition and related programs were funded, in part, used what we learned to for two reasons; "Dan was by the Massachusetts Cultural Council. select the works, design the my first teacher [at DeSisto]. 16 Changes in the External Relations Department Bea Snyder, Director ofMarketing and Public Mfairs

HE NORMAN ROCKWELL long-time employees, we have expanded responsibilities as Museum is pleased to undergone departmental re­ Director of Marketing and T announce the appoint­ structuring in order to better Public Affairs. Sally Underwood­ ment of Heather Wells Heim as serve our members, donors and Miller, formerly Assistant Director of Membership and public. Philip Deely, former Manager of Public Affairs and Development. This new position Associate Director for External Membership, is now Manager of is responsible for overseeing our Relations, and Suzy Sheridan, Marketing Services and Special membership program and devel­ former assistant to the Associate Events. Priscilla Ethredge, who oping fund raising. Wells Heim Director for External Relations, processes all of the membership was formerly Director of Devel­ both retired in June after nine and development activity, has opment and Marketing at years of service to the museum. been named Development HospiCare of the Berkshires. Irma Gonzalez has joined the Systems Administrator. Bret Prior to joining HospiCare, she department as Consultant and Bishoff has joined the staff as held positions with the Red Lion Interim Associate Director for External Relations Assistant. Headler Wells Inn and Talbot's. External Relations. Bea Snyder, We love to hear from our Heim, Director of Due to the growth of the who served as Manager of friends. Please call us at (413) Membership and external relations department Public Affairs and Membership 298-4120, or send us email at Development. and the retirement of two of its for eight years, has assumed [email protected].

NON PROFIT ORGANIZATION - U.S. POSTAGE T he PAID Permit No. 33 Norman STOCKBRIDGE MA 01262 Rockwell Museum at Stockbridge Stockbridge Massachusetts 01262 Tel. 413-298-4100 f The Norman Rockwell Museum ~', at Stockbridge Programs and Events Sunday, October 18 at 3pm Elwood Smith began his career in publishing and Friday, November 27 For Adults 6pm & 8:30pm VIDEO VIEWING worked as an art director in advertising before Saturday, October 3 at 3pm The Line King: turning to illustration. His inventive, whimsical slyle PERFORMANCE TEA & TALK of illustration is in high demand by greeting card Close Encounters With Music The Story Al Hirschfeld: The Language ofLine companies, advertising agencies and Join us for a gala evening of music in our Enjoy this Academy Award nominated The magazines such as Push Pin Graphics, AT&T, galleri es. Close Encounters with Music has A legendary master of line, AI Hirschfeld's documentary about AI Hirschfeld, whose New York Times and The Wall Street Journal. drawings have captured the vitalily of presented concerts with commentary in drawings have brought to life the stars of Maggie Pickard is an artist and an artists' the Berkshires and throughout the country American theater for decades. Join David Broadway and the silver screen for over sevenly representative whose work has been exhibited for the past thirteen years. Between Leopold for atternoon tea and an in-depth years. This engaging portrait features rare widely throughout the Northeast. concerts, meet artistic director Yehuda look at the life and work of this legendary artist, home movies and interviews with his family and $35, $30 members. Hanani and the performers at a special who, at the youthful age of ninely-five, celebrily subjects. The artist emerges as a reception. $20, $18 members. continues to create illustrations for today's most delightful and compassionate observer of prominent publications. humanily. Free with museum admission. Saturday, November 7 5:30pm to 8pm Saturday, December 5 David Leopold is the curator of our current Sunday, November 1 at 3pm MEMBERS' PREVIEW OPENING 4pm to 7pm exhibition Footlights and Fireflies: Summer GALLERY TALK Visual Solutions: Seven Illustrators and OPEN HOUSE Theater as Seen by Hirschfeld. He recently Covers of The Saturday Evening Post the Creative Process organized the first retrospective on the work of Stockbridge at Christmas Exhibitions the artist, and is the director of the Studio of During the first half of this century, when national Join us for this speCial reception and enjoy Join us for an evening of festive Illustration by lynn Pouley, © 1998. Oc tober 3 Ben Solowey in Bucks Counly, Pennsylvania . magazines flourished and proliferated, none commentary by award-winning artist David performances, art activities and tours that Through October 25, 1998 Free with museum admission. was as successful as The Saturday Evening Post. Macauley, who wi ll discuss the nature of the commemorate the holidays. Explore the FOOTLIGLHTS AND FIREFLIES: Wednesday, October 7 at 1:3 0pm Enjoy this look back at Norman Rockwell's creative process and the art of illustration. history of Santa Claus through the illustration 322 Post covers with Abigail Diamant, assistant SUMMER THEATER AS SEEN BY Saturdays, October 3, 10 & 17 SPECIAL TOUR Mr. Macauley's best-selling publications include art of days past, and enjoy music and 10m to 3pm manager of visitor services and programs. Castle, City: A Story of Roman Planning and stories by Mary Jo Maichack, who will share AL HIRSCHFELD ART WORKSHOP SERIES Two Artist's Studios: Norman Free with museum admission. Construction, Pyramid, and The Way Things Work, tales of the season and of our region. A New England Journal Rockwell and Daniel Chester French which has been produced on CD-ROM. Adults $4, children and members free. Through October 25, 1998 Saturday, November 7, 11 am to 2pm Special pre-opening activities for families will Join New York Cily artist/illustrator Lynn Pauley on Explore the studios, materials and working CIIANGES AND CI-IALLENGES: methods of two renowned Stockbridge TIIE BUSINESS Of ART take place from 4pm to 5:30pm. a visual treasure hunt to create a lasting portrait Sunday, December 6 at 3pm ROCKWELL IN TIIE 1930s residents - Norman Rockwell and Daniel Blow Your Own Horn: Creative of a New England town. Students will draw, An exhibition that highlights an important Chester French. Tours at the museum and at GALLERY TALK photograph, interview, write about, and Self-Promotion for the VisualArtist Sunday, November 15 at 3pm and transitional decade in Norman Chesterwood will offer insights into each artists Creating Visual Culture become immersed in the sites and sounds of Any slyle or media is marketable, provided that Rockwell's personal and professional life. creative process and body of work. GALLERY TALK historic Great Barrington, Massachusetts. it has a strong direction and is well executed. Throughout history, visual images have $15, $12 members of either organization. The Artist's Process helped to shape our conceptions of the Create a series of interrelated images/texts and Emerging and established artists are invited to Through January 24, 1999 design, and construct an original hardbound Discover how works of art come to bel Curator world. Explore the work of seven Sunday, October 18 at 11 am join renowned illustrator Elwood Smith and NORMAN ROCKWELL'S SATURDAY artists book. Layout, cover, endpapers and artists' representative Maggie Pickard for a of Illustration Stephanie Plunkett will discuss the contemporary illustrators whose art PERFORMANCE AND BRUNCll EVENING POST COVERS bookmaking techniques wi ll be discussed. creative and practical look at the art of working methods of seven renowned consistently influences, entertains and Students will leave with a personal record of 1If/asn't That a Time: Songs and effective self-promotion. PartiCipants will be contemporary illustrators from idea to finished delights in the pages of today's most A chronological look at Rockwell's 322 Post illustration, as featured in our current exhibition their experience, and techniques for journal Stories ofthe Great Depression encouraged to set promotional goals and prominent publications, children's books cover tearsheets. Visual Solutions. Free with museum admission. and best-selling novels, with museum guide making that will last a lifetime. Helpful Join actress Shirley Blanc Romaine for this identify steps toward reaching them. Portfolio­ Steve Gershoff. November 7, 1998 - May 31, 1999 suggestions for educators about creating fascinating look back at the decade that building and presentation will also be Free with museum admission. visual/literary journals in the classroom will also affected the lives of millions of Americans. In discussed. Artists are invited to bring five pieces VISUAL SOLUTIONS: be offered. Students need only a willingness to conjunction with our special exhibition, of work for review. SEVEN ILLUSTRATORS AND TIlE experiment and a sense of humorl Changes and Challenges: Rockwell in the Sunday, December 20 at 3pm CREATIVE PROCESS 1930s, Ms. Romaine will present songs, stories, GALLERY TALK An exhibition that explores the working Lynn Pauley's expressive visual essays have poems and documentary photographs that methods of seven contemporary illustrators: appeared regularly in The New York Times, capture the power and the pathos of the 2l Norman Rockwell E Eric Carle, Diane and Leo Dillon, Michael New Woman, Rolling Stone, Yankee, Ladies' period, as well as some of its lighter moments. e;Q) Celebrates the Holidays Home Journal, New Yorker, and Sports 'I z Deas, Wendell Minor, Barbara Nessim, and Studs Terkel, John Steinbeck, Hallie Flanagan, Throughout his career, Norman Rockwell Illustrated. She teaches at Parson's School of C.F . Poyne. Arthur Miller, Woody Guthrie, Orson Welles and ) '"~ was asked to commemorate the holidays Design in New York. $100, $90 members. Ethel Merman will be among the writers and ill> in numerous seasonal images that he € personalities represented in this pertormance. E painted for the publications of his day. Join Permanent Exhibits Sunday, October 4 3pm at '" museum guide Claire Williams for a lively GALLERY TALK Shirley Blanc Romaine has appeared j look at some of Rockwell's creative My AovrNIURES AS AN ILLUSTRATOR Rockwell in the 1930s extensively on and off Broadway in plays from .t solutions, which appeared on the covers of MIRROR ON AMERICA Shakespeare to Shepard, and has been § The Saturday Evening Post throughout the Take an in-depth look at our exhibition, which t5 traces an important and transitional decade in featured on daytime and primetime television. iii years. Free with museum admission. My BEST STUDIO YET ~ the artists life through his magazine and book She is currently the host of her own award­ illustrations with museum guide George Church. winning show, Artscene on Long Island, for Free with museum admission. Cablevision. $15, $10 members. Saturday, December 5, 4-7pm O PEN H OUSE Stockbridge at Christmas Holiday festivities for the whole family! Adults $4. children and members free.

O!Iental Brush Painflng: Decennber 26 Saturday, December 19 Saturday, October 17 FAMILyTlME FAMTLyTlME The Art of the Book In Costume 1:00 Discover The Art of the Book with visual 1 :00 Join Genevieve Bishop, fabric artist artist Jennifer Hilton. Traditional bookbinding from Crispina's Housatonic studio and techniques as well as accordion books will create your own costume from recycled be demonstrated. Make one for yourself to reconstructed clothing. Bring your own keep or as a gift! castoffs to add to the "palette." 2:30 Tour the exhibition Visual Solutions and 2:30 Participate in 0 family tour of the see what illustrators have done with books museum's permanent collection to see and bookcovers. how Norman Rockwell used clothing and 3:00 The Art of the Book. session 2. allows costumes in his images. participants to fill their book with words and 3:00 Halloween stories and spooky pictures illustrations. You bring the ideas. and we'lI come together in short picture books supply the paint and pencils! I created by you! Children free! Children free! Half-price for adults with children. Half-price for adults with children.

Saturday, November 7 Saturday through Thursday MEMBERS' OPENI G December 26 through December 31 Visual Solutions 1pm until closing ART FOR ALL Celebrate the opening of the new exhibit. Art activities for the whole family inspired by Visual Solutions. featuring the work of seven the current exhibitions! Free with museum contemporary illustrators. admission. 4:00-5:30 Art activities for family members Programs Saturday: Oriental Brush Painting 5:30-8:00 Exhibit opening celebration Sunday: Holiday Greetings and Saturday, November 21 Monday: Watercolor Techniques Tuesday: Paper Collage F AVllLY TlMF Wednesday: Drawing from the Exhibitions Events Other Lands Thursday: Wet Paint! 1 :00 Explore a whimsical adventure into an Fall 1998 imaginary kingdom with sculptor Leslie McKenna as she discusses her recent work The Scarsdale Carousel. Then try creating your own carousel creature out of colored modeling clay. 2:30 Take a family tour of the exhibition Visual Solutions which includes the work of Eric Carle and . 3:00 Stories of Other Lands and People Join storytellers Eshu Bumpus and Motoko as they guide the audience through an experience in folklore for all ages to enjoy. Children free! Half-price for adults with children. Eshu Bumpus. storyteller. Nov. 21

Call (413) 298-4100 ext. 220 for reservations or Information. Pre-registration for all programs Is requested; fees include museum admission. All programs take place at the Norman Rockwell Museum at Stockbrtdge. Route 183. Stockbridge. MA 01262. unless otherwise indicated. Museum members receive special program discounts and morel For membership information. please call (413) 298-4100 ext. 234. Q) Q) I§ I§ Visit our web site at: Coyer Photo Captions ood Credits' E E Norman Rockwell po~ng for Apfil Foe's Day cover of the Q www.nrm.org Q Saturday Evening Post. 1945. Photo by Gene Pelham. ~ ~ © 1998 The Norman Rockwell Museum at Stockbridge "- "-