PROPERTY OF TH F NORMAN ROCKWELL MUSE I JM REFERENCE CENTE R The Port olio

The Norman Rockwell Museum at Stockbridge Sumlner 1996

A Magazine and Its Covers Rockwell Paints the Candidates Drawing on Location: The Outdoor Experience Stewardship of the Norman Rockwell Legacy 2

The Illustrators Hall ofFame The Society of Illustrators Hall afFame opening was a well attended event. Here are scenes from the opening program and members reception.

Above, Murray Tinkelman (left), illustrator and co-chairman of the society's Permanent Coll ection Committee, takes museum members on a tour of the exhibition. Vincent DiFate (right), President of the Society of Illustrators, awaits hi s turn to speak. Above right, museum members and friends listen in rapt attention to the Society of The Norman Rockwell Museum Illustrators speakers. Board of Trustees

Da vid L. Klausmcycr Pres id ent Bobbi e Crosby First Vice- Pres ident Palricia Deely Second Vi ce-President Steven Spi elberg Third Vice-Presid ent Perri Pctricca Treasurer T homas P,mi C lerk

J ohn T. Batty 111 Brian J. Q uinn One of the guest speakers was Terrence Lila ' N. Berle j ea n Rousseau Brown, Director of the Society of Rosell e Kline C hartock Lincoln Ru ssell Illustrators. He is photographed here Daniel DuBois Joseph M. Sa lvadore with his wife Cathy (left) and guest. j oan SerVaas Durham Ronald Staffieri j ane P. Fi t7.patrick Aso O. Tavitian Well known photographer Lucien Aigner, Paul "V. Ivory Douglas Trumbull usua lly found on the other side of the lens, Robert F. McDermott Laughran S. Va ber attended the exhibit opening. Timothy R. McLevish Ri chard Wilcox Linn Cary Mellla Lee vVilii ams Honorary Board Members j ohn M. D eely, j!". Ol"lna C. Ogden Below, Hall of Fame illustrator Robert McGinnis stands before the tempera on illusu'a tion board painting he did for Lauri e Norton M-offatt, Director the cover of the novel P1'incess Daisy. The Portfolio Below right, Former Stockbridge Selectman Mary V. Flynn Volume 13, N umber 2, Summer 1996 shares a moment with Museum Director Laurie orton Cris Raymond, Editor Moffatt. Bea Snyder, Project Manager The Portfolio is published fo ur times a yea r by The Norman Rockwell MuseuJIl at Stockbridge, Inc., and is sent free to all members. Copyright 1996, The orman Rockwell Museum al Stockbridge. Cover: In 1964, Norman Rockwell painted President Lyndon B. Johnson. Rockwell is shown here trying out the Pres id ent's chair in the Oval Office. Photographer unidentified. 3

Stewardship ofthe Norman Rockwell Legary David KJausmeyer, President of the Board of Trustees

RlOR TO BECOMING contributions to the world of lead to a deeper understanding President of the Board of illustration. of the world of illustration, PTrustees at the Norman Any business that doesn't lectures bring in authorities Rockwell Museum, I spent my understand its customers is from many different fields. professional career as an execu­ headed for trouble. In the early So when all is said and done, tive for a leading national and years of industry, Hemy Ford how healthy is the "bottom line" international manufacturing could say to the customer, "You a t the Norman Rockwell concern. Although I had been a can have any color you want-as Museum? On the financial side, trustee of the museum since long as it's black." No more! the museum is an effective small 1982, my new responsibilities as Customers expect choices, and business employing 80 full- and board president have given me although museum people call part-time employees with an the opportunity to reflect on the customers "audiences," the annual budget of $2.5 million. organization. principles are the same. We Solid attendance, store sales, and Former Board Although some think that the have to understand the expecta­ generous contributions from President Lila Wilde Berle was fundamental goal for any tions, needs and wants of a individuals and corporations presented with a business is to maximize profits, diverse audience-first-time continue to ensure that the leadership award at for a not-for-profit the bottom visitors, members, neighbors, museum remains on a sound th e Massachusetts line is to be true to its mission. guests with disabilities, students, financial footing. Governors' Conference on Actually, a well-run business, and many others. However, our fundamental Travel & Tourism. like a well-run museum, must The products and services at bottom line is our stewardship Left to ri ght, Mary have a clear commitment to its the Norman Rockwell Museum of the legacy of Norman Jane McKenna, mission. At the Norman are first rate. At the center of Rockwell. As trustees, we Director of Travel Rockwell Museum, our mission everything is our irreplaceable & Tourism; Lila helped the museum and its many W. Berle; Bill is straightforward: to present to collection. It's the real thing­ supporters complete its new Wilson, Director a world-wide audience the life, the world's largest collection of home. Norman Rockwell's art, of Berkshire art and spirit of Norman original art by Norman his studio, and everything else Visitors Bureau; Rockwell through exhibits and Rockwell. EvelY thing at the that we are charged with David KJ ausmeye r; Laurie Norton education; to serve as a gather­ museum derives from the col­ protecting are secure for Moffatt; Faria and ing place to enjoy Rockwell's lection exhibits, programs, spe­ generations to come. We know Chet Krentzman. work; and to learn about his cial events-even the gifts in the that we are communicating a museum shop. renewed appreciation for We want to Rockwell's art. His messages contribute to the about tile va lue of human beings quality of the expressed through his humor, museum expen­ insight, and simple affection for ence of our mankind are timeless reflections patrons, and our on our society. staff does that in We have a mission, a business countless ways. plan, a diverse and valued board, Visitor services a management team, and staff assistants make that can deliver, and a regional, visitors feel right national and international array at home, special of members and supporters. exhibits from The bottom line is strong at the other illustrators Norman Rockwell Museum. 4

A Magazine and Its Covers Jan Cohn, G.K. Funston Professor ofAmerican Literatu1'e llnd Arnel'ican Studies, Tri17ity College, Hm·tford, Connecticut

OR OVER SIX DECADES, there was no cover at all. The illustration on tl1e cover. the Saturday Evening Post Post that Curtis bought, with a It was one tl1ing, however, to F was one of America's most circulation of merely 2,000, was solve the technology and popular magazines. Even today, an oversized publication (11 by aesthetics of the cover; it was older readers recall favorite writ­ 16 inches) mainly made up of quite another to determine its ers, stories, and characters. reprints and filler. One task was best use. For a number of years, Memoirs of famous men who to improve the editorial side of tl1e cover continued to be used came of age early in the century the publication; the other was to as an illustration for the leading often recall their youthful expe­ improve its aesthetic quality. piece in the magazine, whether riences as Post boys, young en­ The magazine was reduced in fiction or non-fiction. It took trepreneurs who paid three cents size and the quality of the print some time for the cover to gain a copy for the magazine and sold enhanced. Decorations began to its independence of the editorial it for five. Those who remember appear around titles, and, in a material, but by 1903 illustrators the Post remember most vividly very short while, more were free to paint what tl1ey its remarkable covers. important and larger decora­ wanted-or to paint what they Norman Rockwell was the tions were used on tl1e first page hoped editor George Horace leading cover artist for the Post of each issue. Sometimes tl1ese Lorimer wanted! for three decades, and it is were merely Rockwell who most often comes ornamental Boy 7vith Baby Carriage. to mind when Post cover art is designs, but T his May 20,1916 cover was the first one Norman Rockwell ever painted for the Post. mentioned. From his first cover now and then in 1916 to his last in 1963, he there were painted an astounding total of illustra ti ons 321 cover illustrations for the and even EVENING POST Post. However, Rockwell was far photographs from the only major illustrator tl1at related to featured on the magazine's tl1e lead story cover. In fact, his 321 covers do or article. not constitute a record; his great For the predecessor].c. Leyendecker September 30, produced 322 in a Post ca reer 1899 issue, the that lasted from 1903 to 1943. Post presented Arguably, the greatest years for a genull1e the covers of the Post were the cover. George 1920s when, between them, Gibbs painted Leyendecker and Rockwell a seasca pe and accounted for one third of all it was printed Post cover art. in color. At fi rst, color No Cover at All printing was Because of the importance of the reserved for cover, it is something of a special issues, surprise to learn that in 1897, but by 1901 @ ""c> when Cyrus Curtis bought the every issue had . ~ THE EMPIRE BUILDERS-Byl'faryRobertsRinehart g- foundering magazine for $1,000, a two-color o 5

Lorimer's Post was an up-to­ days, which were Leyendecker's The most significant change in date magazine; its chief interests territory. More important, the covers, however, did not lie were business and business men, however, for the future develop­ in the subject matter but in and its principal attraction was ment of the covers was the sharp technology. The 1920s were the fiction by the leading popular division between those that were most successful years for the Post writers of the day. The subject static and beautiful, lovely as massive advertising revenues women in equally lovely floated enormous weekly issues, costumes, and those that sometimes over two-hundred told, or implied, a story. pages with dozens of serials, Rosie the Riveter, not Willie Gillis, The comic covers stories, and articles. By 1926, was Rockwell's representation of featuring boys and this prosperity allowed the oldsters always con­ magazine to begin four-color American power and determination. tained the elements of a printing, and Norman Rockwell story, as did many of was given the privilege of paint­ those designed for the ing the first four-color for matter of the covers, however, holidays. Norman Rockwell's February 6, 1926. was entirely different. Up until first cover, May 20, 1916, worked During the 1930s, Post cover World War I, three major the angle of the comic story. His art resolutely ignored the de­ themes dominated Post cover art: painting of a wretched boy pression in favor of glamour or beautiful women such as those of forced to wheel a baby in a whimsy and humor, but artists Harrison Fisher and Philip carriage replicated, and im­ did discover a new su bject. In Boileau, comic boys and oldsters proved on, a cover Charles these years, sports were cel­ by Robert Robinson and Charles MacLellan had done for the ebrated almost obsessively, MacLellan, and national holi- issue of August 2, 1913. reflecting America's growing In those years, the holidays fascination with sports and Pipe and Hmvl Sign Prtinte1~ . belonged to Leyendecker. His sports celebrities. Football was The first Post four-color cover appeared on February 6, cover art celebrated them all and the favorite subject, but illustra­ 1926, and Norman Rockwel l was chosen to paint it. did so in a dazzling variety of tors went far afield to paint such styles. No holiday cover of athletic activities as snow shoe­ THE SIlTUl{DAY Leyendecker's met with more ing, high diving, and even riding lasting success than the New to the hounds. E ,.;'- ~~ST Year baby, introduced in 1906 By 1940, the covers of the and appearing every year until Sauwday Evening Post looked 1943. Leyendecker was also the very different from those of most important covers artist for 1910, but the changes were World War I, his handsome more of style than substance. doughboy taking the viewer with The holiday art of Leyendecker, him through his tour of duty in along with that of Rockwell, had France. by now become so familiar as to constitute a long-standing Implied Stories tradition. While John La Gatta's After the war, cover art returned svelte beauties had replaced the to its favorite subjects, modern­ elegant women of Harrison ized as necessary to keep up with Fisher, and Rockwell's comic changing styles and fads. How­ narratives had a subtlety and ever, illustrators began to turn irony far beyond those of away from static presentation Robinson, the subjects remained and toward implied story. Beau­ constant. The Second World tiful women were now supplied War would change all that. @ with props-a book or a pair of Leyendecker's doughboy had " . ~ Judge E. H. Gary-Donn Byrne-Arthur Stringer-Albert Pay~on Te~ ice skates-any object that might been the Post's icon for the first 8 Thomas McMorrow-FloYd W. Parsons-Octavu5 Roy Cohen-O. A. I suggest some kind of activity. war, but that strong and square- 6

jawed American was replaced in covers in the years following the the lawn, planting a tree, wash­ World War II by Norman war. Schaeffer, along with John ing the storm windows. Parties at Rockwell's Willie Gillis, a short, Falter and John Clymer, turned home replace glamorous eve­ homely, un-heroic Everyman. to scenes of America as if re­ nings in town, mostly bridge Willie was not an awesome minding Post readers what tlle parties and barbecues, and soldier, but ratller an ordinary war had been fought for. These mostly where sometlling goes fellow, one to smile at-and images of America were varied. wrong. with. Rockwell did, however, Sometimes they depicted Back in 1928 when the Satltr­ paint a heroic wartime icon, but America at work-a man har­ day Evening Post was still he chose a woman for that vesting corn or a great industrial America's most important mass figure. Strongly muscled and city at night. In other cases, they medium, a man called Leon proudly posed, Rosie tlle Riv­ recreated a mral America tllat Whipple wrote an article in eter, not Willie Gillis, was was by this time more nostalgia Outlook called "SatEvePost: Rockwell's representation of than reality. Once in a while a Mirror of These States." American power and determina­ cover presented a cityscape. Whipple's title referred to the tion. World War II also brought However, it was neither in the editorial content and tlle adver­ a new kind of realism to Post country nor in the city that this tising of the Post, but by tlle covers. Artist Mead Schaeffer generation of Post artists found 1950s, it could well have been did a series of American fighting the subject that would most in­ applied to tlle covers that now men in different services, each delibly mark the covers during reflected American life as Ameri­ painted in uniform, in action, tlle post-war years. They discov­ cans wished or imagined it to be. and in an appropriate setting. ered tllat subject in the suburbs, The covers of the Post re­ Schaeffer was one of a new and it was the story of the flected America, but at the same cadre of artists producing Post American family in tlle American time changes in American cul­ house in that American suburb. ture altered the way that illustra­ Willie GIllis: Food Package. On October 4, 1941, Willie Occasionally, the story was told tors saw and represented Gillis, an ordinary looking GI, made his first of ten sentimentally; most often it was America. The once popular appearances on the cover of the Post. told in the traditional Post manner, weekly is now published nine as a comic, impljed narrative. times a year. Many of its covers have given way to realistic por­ Reflecting American Life traits or photographs of celebri­ The story of the suburbs is a ties. The nameless, dreamy beau­ familiar one, filled with the ties of Harrison Fisher, the ex­ stereotypes of the period. In the quisitely painted works of 5cts. 1• • 11 illustrations of such artists as Leyendecker, the war, the ironic UIU. Steven Dohanos, Thornton Utz, images of Rockwell, the visual and Constantil:1 Alajalov, little stories of the American suburb, girls grow up yearning after all have disappeared. In their pretty clothes and dates; event­ place are the faces of those en­ ually they become engaged, and joying their brief moment of then married. Little boys get fame. into every conceivable kind of Fortunately, the old covers of mischief, and then graduate from the Post remain to remind us not school and even college. Incom­ only of an earlier America but of petent brides turn into wives, the imagination and the genius now depicted as harried home­ of some of our country's finest makers and mothers, coping illustrators. with the confusion and mess :;: created by their husbands and '" Jan Cohn is the author of Coven of the (I Illy GARET GARRETT children. Men, too, are placed in ~ Saturday Evening Post and Creating '" . ~ CARDINAL O'CONNELL By JACK ALEXANDER domestic settings, at work not in Atllel··ica: George Horace LOI'il1ler' and uo L-______~ tlle office but at home-tending the Saturday Evening Post. 7

Recent Donations· Reference Center Donors, cont'd. Alme Matteoli THE NORMAN ROCKWELL MUSEUM GRATEFULLY ACKNOWLEDGES THE GENEROUS James McCabe support from the following corporations and individuals. It is with their help that we are Gordon Mellor able to preserve our collections, maintain facilities, expand exhibitions and programs, Mary Moline and continue to add to our reference center. While every effort has been made to make Marjorie Moore Timothy Moran our lists accurate, errors may occur. If we have omitted or misspelled your name, please National Geographic Soc. Library let us know so that we may correct the oversight. Our sincere apologies to Mr. Waino New Britain Museum of T. Komi for omitting his name as an illustrator's Rountable donor. American Art Cynthia Newman Mrs. Thomas Nichols as of February 29,1996 Corporate Membership, Mr. and Mrs. James Nicholson Norman Rockwell Circle Union-News & Sunday Lee Bank Christopher Niebuhr Brain Trust Inc. Republican Lenox Design Resources Elna Nugent Country Curtains Wheeler & Taylor, Inc. The Lenox National Bank Norma Ogden GE Plastics Lenox Savings Bank Helen S. PaLnquist Kay-Bee Toys Roundtable Mead Specialty Paper James A. Perkins American Express Division Mr. and Mrs. Thomas D. Perry Linwood Society Arrow Press, Inc. Mullen Brothers Moving & Ms. Pauline D. Pierce The Red Lion Inn Art Print Japan Company Ltd. Storage Co. Helen Pigott Bank of Boston The Pittsfield Cooperative Gregory Pischea Studio Society Berkshire County Savings Bank Bank Ginny Ramsay Abbeville Press, Inc. Berkshire Gas Company Schweitzer-Mauduit Inter­ Mrs. Robert Rapp Fleet Services Corporation Berkshire Hilton Inn national Inc. (Formerly Cris Rayn10nd Great Barrington Savings Berkshire House Publishers, Inc. Kimberly-Clark) David Robinson Bank Berkshire Life Insurance Sedgefield by Adams Jarvis Rockwell Lee Lime Corporation Berkshire Mutual Insurance Sotheby's Lorraine Rockwell MassMutual Life Insurance Cain, Hibbard, Myers & Cook Southern Berkshire Power Peter Rockwell Company Capel Inc. Equipment, Inc. Thomas Rockwell Rockwell Society of America Carole Fabrics Stevens World of Carpets Mr. and Mrs. David Rokoff Colt Insurance Agency Inc. The Studley Press, Inc. Jonathan and Georgina Four Freedoms Associates The Fahey Beverage Co., Inc. U.S. HealthCare Rosenbaum Beloit Corporation The First National Bank of the Windy Hill Farm Ken D. Russell Crane & Co. Berkshires Wheatleigh Lou Russo Galleria Prova USA The Golub FOlmdation Yankee Publishing, Inc. John D. Schafer Louis P. Schnutz Reference Center Donors as ofJanuary 19,1996 Shirlee and Salvatore F. Scoma Henry W. Scovill, IT Leo, Jocelyn, and Sarah Allen James H. Dozois Brian Haughlin Lisa J 0 Segalla John A1tomari Bernard Drew Mr. and Mrs. Thomas Haver Johanna S. Sisselman Lawrence and Katherine Alvord Arthur Dutil Mr. and Mrs. Robert S. Heruy Lillian Smith Robert Anthony Mrs. Erik Erikson Henry B. Holt Mr. and Mrs. Robert V. SnUtl1 Richard London Askinas John A Fekete Betsy Holtzinger Society oflllustrators Carol BOlin LN. Feldman Mrs. Allen Hurlburt Aristotle Soter Mr. and Mrs. Ralph Baer Figgie International Warren Hyman Steven Spielberg Julia Bell Mr. and Mrs. John H. Franklin Jones William B. Strong Mrs. E. W.Bennett Fitzpatrick Marion Ford Jones Charles Parker Swan, IT Frank Bisogno Paul and Marilyn Flaum Bela Kalman Irene L. Tague Robert Bitzer Sylvia Fogle Elizabetl1 H. Kaufman Edward A Teraskiewicz Anne Braman Jerry Frank Jeanne Brown Kelmedy Murray Tinkleman Irene Bras Mary AIm Furnish John Kenny Catherine A. Viola Mr. and Mrs. Austin]. Burrows William Gladstone Edward and Lois Knight Richard H. Walker Peter Caras Marion Siner Gordon Catherine Kohler Col. Charles Waterhouse Eric and Barbara Carle Daniel M. Grant Kraft Foods Mr. and Mrs. Sidney Wendroff Dr. and Mrs. Joseph AChazan Arthur Griffin J. Caroll Lam bert Alme Lamone White Gordon F. Christie Stanley and Linda Gumble Louie Lamone Richard B. Wilcox Harvey A Clark Jane Gussis Mrs. Franklin H. Lischke ErikWilksa Michael Collins Marjorie Hall Mrs. Harriet Loeb Dawn Williams Ruth Coombs Hallmark Jacob Lomazow Eric Corbett Williams Mary-Amy Orpen Cross Mary Harrar Steven Lomazow Henry H. Williams, J r. Marty and Harriet Diamond Gordon Harris Mr. and Mrs. Leo R. Maguire Marian P. Williams Vincent Di Fate Margaret Hassig Art Marasco Scott Wilton 8

Rockwell Paints the Candidates Bea Snyder, Manager of Public Affairs find Membership

honestly think he has the most expressive face I've ever painted," he said. He also described Ike as, "the nicest guy in tlle world." In Kennedy's portrait, Rockwell tried to de-emphasize JFK's youthful appearance by selecting a serious yet dignified expression that was relaxed and pleasant. After Kennedy died, Rockwell did two paintings of him. A Time for Greatness depicts JFK standing before the conven­ tion that nominated him, and The Peace C01rpS: JFK's Bold Legal) shows Kennedy as the leader of the Peace Corps. The official portrait of Kennedy was the on ly cover that tlle Saturday Evening Post ever published three times. It appeared for tlle first time when JFK was a ca ndi ­ President Lyndon B. JOhllS01l looks very relaxed when in date, and was used again after the company of his portrait painter, Norman Rockwell. the assassination, when a black border was added. In Septem­ ber, 1975, tlle Post published an LTHOUGl I NORMAN brief sessions. He would then article on the unsolved mystery Rockwell never di d rWl return to his Stockbridge studio of the assassination, and the A for President, he did to complete tlle portraits in oil. Kennedy portrait appeared on come in close contact with Capturing a candidate's the cover for the third time. Also presidents and presidential personality was not easy. for the Post, Rockwell painted a candidates from 1952 to 1972, Rockwell said tllat painting portrait ofJacqueline Kennedy when he was commissioned to candidates was like gilding lilies. Onassis in 1963. paint their portraits. Rockwell He felt he should keep his own Painting Richard N ixon posed traveled to the White House, political and personal feelings a technica l challenge because of hotels, and campaign headquar­ out of me painting, and try to his facial features. Rockwell ters to paint iliese portraits, make each candidate look as commented that Nixon "was which appeared as magazine good as possible. "I can posi­ very hard to do. I niced him up. covers and as illustrations for tively know who I'm voting for, That bulbous nose." He added, articles in the Saturday Evening but if anyone can guess, I've "I did the best I could ." When Post, Look, and Ladies Home failed as political art pro," he said. Rockwell was asked to explain, Journal. In some instances, he In 1952, Rockwell was com­ he sa id, "take a look at Mr. literally had to drop everyming missioned by the Saturday Nixon and you'll see why." to meet with me subjects for an Evening Post to paint his first In 1964, Rockwell painted hour or two, have ilieir photo­ presidential candidate, Dwight Lyndon Johnson and Barry graphs taken, and make numer­ D. Eisenhower. Rockwell en­ Goldwater. He had an appoint­ ous color sketches during these joyed painting Eisenhower, "I ment to sketch Goldwater at his 9

hotel. Rockwell couldn't get into Goldwater. T he photographer the artist Peter Hurd had been the elevator because of all of the turned out to be the Senator. commissioned to paint LBJ's security guards with guns on T he hospitality extended by portrait. Johnson was reported their hips. Not wanting to be the Goldwaters did not hold to have called tl1e work, "tlle late for his appointment, he and over to Lyndon Johnson, who ugliest tl1ing I ever saw." Hurd the photographer sneaked was rather uncooperative. When told tlle Times that Johnson, Rockwell was ush­ "yanked a reproduction of a ered into the Oval Rockwell likeness of himself out "Some day the people ofthe United States are Office, Johnson of a desk drawer after saying greeted him with, icily: 'I'll show you what I like.' " going to get really smart and elect Norman "How long you After hearing this, Rockwell Rockwell President. . .. He probably wouldn't gonna take?" remarked ,"Hurd, of course, Rockwell had just had painted him as he was, while run, though. Too busy painting. "* painted a smiling I had done him as he would like Goldwater and to think he is." asked Johnson if he When Johnson did not run through the pantry and walked wa nted to appear in the sa me for re-election in 1968, many up 12 flights of stairs, only to issue. Johnson responded, "OK, candidates stepped forward, and find more guards outside the I'll smi le." W hen LBJ saw the Rockwell painted most of them Senator's hotel suite. One of results of Rockwell's work, he including Robert Kennedy, them recognized Rockwell and was fl attered. Rockwell had Ronald Reagan, Hubert asked for an autograph for his taken out the wattles under his Humphrey, Richard Nixon, mother. Finally, Rockwell was chin and shortened his ears. Nelson Rockefeller and Eugene ushered into the room to meet In 1968, when Rockwell McCarthy. He found Ronald Mrs. Goldwater. He began painted President Johnson, he Reagan to be quite handsome sketching her only to realize that found thatJohnson's demeanor and offered to pay him $10, as a photographer was taking toward him had changed consid­ he did all his models. pictures of him sketching Peggy erably. In the intervening years, Once, when Rockwell looked at his 1968 portraits of Richard Nixon and Hubert Humphrey as Norman Rockwell painted presidential candidate Senator Barry presidential candidates, he said, Goldwater for Look ma gazin e and Peggy Goldwater for McCatt's. "I wanted to do one of George Wallace, too-against a black background-but Look didn't want it." Rockwell painted Vice President Agnew for the cover of TV Guide. When someone remarked that this painting didn't seem to be his style, he answered, "Neither is Mr. Agnew." Yes, Norman Rockwell was too busy painting to run for any office. However, as our Ponfolio cover shows, Rockwell did get to sit behind the desk in the Oval Office, not as the President of the United States but as the painter of presidential portraits.

*Ken Stuart, Art Editor, Saturday Evening Post, lecture series Society of Illustrators. 10

Drawing on Location: The Outdoor Experience Melinda G eorgeson, Manager oj Youth Services & Stephanie H. Plunkett, Manager ojAdult Services

HERE IS SOMETHING Sketch Club, utilize the English, will inspire students to special about being museum's landscape as a class­ draw from life, both in the T outside on a summer's room, which enables the young studio and out-of-doors on the day and experiencing the emerg­ artists to look to nature for museum's beautiful 36-acre site. ing of the creative process. Once time-tested challenges in art. The classes will offer artists of you have tried it, it's easy to see Week-long intensive classes for all levels of experience the op­ why drawing and painting "en adults delve into specific aspects portunity to explore and define plein air" became popular with of drawing and painting on loca­ an individual process by stress­ artists, especially the impression­ tion in the Stockbridge area. ing visual discernment, problem ists, throughout art history. The This experience provides special solving, conceptual development, sights, smells, and sounds of insights into working "in the and refinement of technique. summer combine to form a full field" with professional artists/ Also, approaches to managing a sensory experience in creating teachers. career as a working artist will be art by extending and augmenting For the youngest "creative discussed, with respect to aspects creative interplay of line, shape, expressionist" (ages four to of self-promotion, exhibition, color, and form. eight), Drawing Together pro­ and portfolio developmenr. This summer, classes for art­ vides a chance to work side by From August 5 through Au­ ists of all ages will explore the side with a parent and to tryout gust 9, Stockbridge sites and trials and tribulations of this different media throughout the Berkshire vistas will serve as the cherished and unique experi­ summer classes. Sometimes backdrop and inspiration for ence. Children's classes, Draw­ messy and sometimes neat, the works that capture particular ing Together and the Summer variety of art materials com­ moments in time and place. bined with a focus-of-the-day­ These location drawing work­ a story, movement exercise, or shops, led by dynamic artist! song- yield a fun educational educator Lynn Pauley, will in­ class designed to provide a vari­ spire artists who want to work ety of experiences. The Summer from life and be motivated to Sketch Club, for ages eight and incorporate drawing into a regu­ up, takes a closer look at certain lar routine. Students will come aspects of drawing and painting. away with a Stockbridge portfo­ One class might focus on creat­ lio and an accompanying journal ing texture with a pencil, while that will reflect their experiences another might explore color and document their renewed mixing. Over the weeks, stu­ excitement about the art of dents will build up a visual drawing. Only a willingness to record of their growth through learn, an eagerness to experi­ their own sketchbooks. When ment, and a sense of humor are summer fades to autumn, it is needed to join these classes! our hope that the sketchbook As summer ends, looking at habit will have taken root. the sketch books and journals For adults, two exciting week­ from the workshop classes long workshops will explore the will evoke memories of the process of direct drawing and warmth of the sun, the play of painting to record our visual light upon the landscape, and world. From July 22 through the growth of each artist T wo members of Drawing on Location sketch a building July 26, one of America's most through the enjoyment of the on Main SO'cet, Stockbridge. prominent illustrators, Mark' creative experience outdoors. 11

,:, c Co E'" o U 0> C Far right, Tbe ~ :g Runaway (color a. stud y), tempera 1:'"' u" Q) and charcoa l on .c f­ board, 1958. a;; Right, He '" @ Rttnmvay (oil .c 0> study), oi l on .~ oCo ca nvas, 1958. L-______~L- ______~~~~~~ ____~ U Curator's Corner Maureen Hart Hennessey, Curator

HE RUNAWAYlS ONE OF man, and tile cmillter clerk, witll and char'coal on board. Norman Rockwell 's best all tllree heads close together Not only was Normarl T known and most popular creating a tight focal point. The Rockwell a wonderful storyteller, works. The yOllilg adventurer with boy and the officer appear almost he also was a great painter witll a his worldly treasures tied up in a lillcharlged. However, tlle setting strong sense of color and composi­ bandarma, the concerned state and, as a result, tlle portrayal of tion. While tile changes he made trooper, and the slightly world­ tlle counter clerk, have changed in The Runaway created a slightly weary, amused counter clerk dramatically. different, more interesting story, appear in what many consider tile Changes to an image often iliey also made it a better picture. quintessential runaway scene. The stemmed from a need to enhance Rockwell's second version con­ image seems so complete, so or refine the story. In The tains a simpler, less fussy back­ "right" that it would appear to Norman Rockwell Album, Rockwell ground tllat allows your eye to be have been an easy one for Rockwell wrote of The Runaway, "I more easily drawn to the picture's to create. In fact, Norman changed ilie backgrmmd from an focal point. The loose and im­ Rockwell had almost completed a urban Howard Jolmson's to a pressionistic oil study for ilie final fina l oil version of The Runaway rural lunchroon because I wanted version hi ghlights this. Even in its when he changed his rnind and the to convey til e idea that the kid rough form, tile story is clearer and painting. had got well out of town before easier to comprehend. The museum has recently being apprehended. I fmilld a Dr. Chazan's generous dona­ received a most generous donation new model for tlle counterman tion now all ows us to use ilie color from Dr. Joseph A. Chazan of arl because I tllought a jaded, study along witll tlle unfinished oil study for the final version of worldly type would be more and final versions, bOtll of which The Runaway. This important understanding tllan a young already are in ow' collection, for study fi lls in an oilier piece of tlle fellow." T he nearly finished oil research and exhibition. By successive steps in Rockwell 's on canvas was put away and, after adding to our collection, Dr. creative process. anotller setting and model were Chazan has helped us preserve tile BOtll versions of The Runaway located arld photographed, legacy of Norman Rockwell. The contain tile same essential ele­ Rockwell begarl hi s new Run­ museum is truly grateful for tlus ments-ilie young boy, tlle police- away- a color study in tempera donation. 12

A Candidate for YOur Collection Ja Ann Losinger, Dir'ector of Mm-keting

T WAS EIGHT O'CLOCK rumpled. Collector's Booklet by on a June morning in " Yes? Who's there?" American Heritage POI-trait ofJohn F. Kennedy I 1960 when Norman "Mr. Kennedy ... I'm Graphics featuring color lithograph, 20" x 14.5." Rockwell arrived at the Norman Rockwell. I've photographs of John F. Kenl1edy home come to take some pictures Kennedy with Norman in Hyannjs for your portrait." Rockwell, along with a Port. He "Yes? Oh yes-Mr. certificate of authenticity, knocked on the Rockwell! Well, go right on accompany each print. door, and in. I'll be down in a minute." Norman Rockwell's knocked again That portrait set a portrait of JFK in this and again. I-Ie precedent when it appeared signed, limited-edition print thought that three ti mes as a Rockwell is availa ble only through our ~ perhaps he had cover for The Saturday museum store. Funds from Co E'" o o mistaken the Evening Post. The original the sale of these prints 0> C day when a oil painting, no~ part of the directly support the ~ :g a. window finally Norman Rockwell museum's art acquisition 'f:"' opened and he Museum's colle.ction, was program. For furtl1er o" l! saw a smiling reproduced in actual size as information, please call f- g- 'iRu IC:U.",, . ~ ing out, hair finite number of these prints edition pril1ts are available o ~ ______~ ______~ o tussled, pajamas to be sold by the museum. A on request.

NON PROFIT ORGANIZATION - U.S. POSTAGE The PAID Permit No. 33 Norman STOCKBRIDGE MA 01262 Rockwell Museum at Stockbridge

Stockbridge Massachusetts 01 262 Tel. 413-298-4100 PROPERTY OF THE NORMAN ROCKWEll MUSEUM REFERENCE CENTER Programs and ents

Summer 1996 The No ckwell Museum For Adults

Sunday, July 7 at 3 pm Saturday, August 3 Sunday, August 4 at 3 pm GALLERY TALK CELEBRATING THF. SATURDAY GALLERY TALK Great Escape EVF.NING POST River View Enjoy the beauty of Berkshire vistas as you Before the appearance of television, national Enjoy our Berkshire vistas with museum trustee stroll our museum without walls! Visitor magazines flourished and proliferated. None Lila W. Berle. Take our River Walk along the Services Assistant Abigail Diamant will explore was as successful as The Saturday Evening Housatonic, explore the history of the muse­ the history of the museum's 36-acre site, and Post under publisher Cyrus H. K. Curtis and um's site, and the contemporary outdoor the contemporary outdoor sculpture of artist editor George Horace Lorimer. Enjoy our cur­ sculpture of artist Peter Rockwell. Free with Peter Rockwell. Free with museum admission. rent exhibition, Rockwell's 322 Post Covers, museum admission. and an exciting day of readings and talks. Thursday July 11 at 5:30 pm Free with museum admission. Monday, August 5 through Friday, August 9 EARLY EVENING ARTTALK 10 am to 4 pm Covers of 10 am & 12 pm T he Saturday ADULT ART WORKSHOP Evening Post Remember When Take a lively look at our Post cover exhibition Drawing on Location: Route 183 Shortly after Cyrus Curtis purchased the near­ focus on drawing and painting from life, both and explore stories and traditions that mark Join artist/illustrator Lynn Pauley in this week­ defunct Saturday Evening Post in 1897, it was in the studio and on the museum's grounds. the differences and create bridges between long intensive location class. Participants will spendidly and aesthetically upgraded. The Approaches to managing a career as a generations, with Associate Director of use sites along scenic Route 183 as a back­ final improvement was the institution of a working artist will also be discussed. Appropri­ Education and Program, Maud Ayson, and drop to create personal works, drawn and cover, which raised questions about the pur­ ate for artists at all levels of expertise. Visitor Services Assistant Kim Conley. painted directly to capture particular The Era , and the best-selling baseball Electric, Scandanavian Airlines and Bell pose of covers, and what they should fea­ Mark English's award-winning illustrations moments in time and place. Emphasis will be classic, The Boys of Summer. His talk is Atlantic. $30, $25 members. ture. Professor Jan Cohn will explore the vari­ 1 pm & 4 pm have been published in such national maga­ placed on learning to see more intently in dedicated to the memory of Otto Alva ous purposes of a magazine's cover-- as sim­ From Cover to Cover: Readings from Saturday, September 22 at 3 pm zines as McCall's, Sports Illustrated, Time, and order to capture visual information. Friedrich, a former managing editor of GALLERY TALK ple decoration, as the illustration of a fea­ The Atlantic Monthly. Continuing education The Saturday Evening Post the Post. $10, $8 members. tured story, as comic relief. or a window on credits for educators are available. $250, Enjoy an aftemoon of literature as theater! Lynn Pauley's images appear regularly in How [ litake a Picture American life. $225 members. Actress Sh irley Blanc Romaine will read from Rolling Stone, Sports Illustrated, The New Sunday, September 8 at 3 pm An insightful look at Norman Rockwell's the work of such renowned Post contributors Yorker and the New York Times. Continuing The author of Covers of the Saturday Evening GALLERY TALK creative process from idea to illustration, Tuesday, July 23 at 1: 30 pm as Augden Nash, Edna St. Vincent Millet, education credits for educators are avail­ Post: Seventy Years of Outstanding Illustration Marking Time through original thumbnail sketches, Edith Wharton, F. Scott Fitzgerald, and able. $250, $225 members. from America's Favorite Magazine, Jan Cohn SPECIAL TOUR An informative look at a selection of orig­ drawings, and color studies with Visitor Agatha Christie. Ms. Romaine has appeared is the G. Keith Funston Professor of American Two Artists Studios: Norma17 Rodwell & inal calendar illustrations that Norman Services Assistant Abigail Diamant. Free extensively both on and off Broadway. Sunday, August 18 at 3pm Literature and American Studies at Trinity Dalliel Chester Frellch Rockwell created annually for the Boy with museum admission. Featured on daytime and prime-time telev­ GALLERY TALK College. $10, $8 members. Explore the studios, materials, and working Scouts of America, with George Church. sion, she is currently the host/producer of the Sunday, September 29 at 11 am methods of two renowned Stockbridge resi­ From Idea to Illustration Free with museum admission. Sunday, July 21 at 3 pm award-winning Artscene on Long Island. TNSIGIITS: TALK & BRUNeI-'1 dents-- Norman Rockwell and Daniel Chester Learn more about Norman Rockwell's cre­ GALLERY TALK French. Tours at the museum and at ative process, from idea-getting to finished Saturday, September 21 , 10 am to 1 pm J oseph Csatari: American Realist A Scouting Life Chesterwood will offer inSights into each artwork, with musem guide Roberta Wolff. SPECIAL CREATIVITY TRAINING Enjoy the morning with Joseph Csatari. In 1924, Norman Rockwell painted the first of artist's creative process and body of work. Free with museum admission. WORKSIIOP an artist with an innate ability to put a half centry of calendars for the Boy Scouts $15, $10 members of either organization. Ideas First! heart and soul into his paintings. As art Thursday, August 22 at 5:30pm of America. Explore the original illustrations in We're all able to come up with ideas, director of the advertising department of Thursday, August 1 at 5:30 pm EARLY EVENING ARTALK our current exhibition, Norman Rockwell's and can usually solve problems, too. the Boy Scouts of America, a position EARLY EVE ING ARTALK World of Scouting, with museum guide A Writer:\' Paradise: The Last Years of However, do we really understand the held for 22 years, he worked closely with Stephen Gershoff. Free with museum Norman Rodwell: Commercial A/tist The Saturday Evening Post process of creative thinking and problem Rockwell on the concept and design of his annual Boy Scout calendar paintings. admission. Norman Rockwell's early success as an illus­ ) A contributor to The Saturday Evening Post in solving, so that we're able to come up Eventually, he became the artist's suc­ trator gained him celebrity status at a young the late 1950s, Roger Kahn entually became with more, bigger and better ideas on Monday, July 22 through Friday, July 26 cessor as the official Boy Scout artist, a age, and as a result, his talents were sought the publication's senior sports editor. Enjoy cue, with little anguish? Led by Michael 10 am to 4 pm commission he continues today. by many companies to advertise their prod­ J this fascinating look at the magazine's Friend, this workshop will isolate the ADULT ART WORKSHOP attempts to change its format and editorial ucts. Professor Michelle Bogart will probe the basics of creative thinking into easily Mr. Csatari's work has appeared in such policies in order to reach new audiences, The Artist's Proress: Approaches to meaning of his images, discussing his career understood fundamentals, and empha­ publications as McCall's, The Saturday and the implications of this on the authors of Drawing alld P(fillthlgfor Artists in this comparative look at his advertising art size practical skills and tools that can be Evening Post, and Field & Stream. His the time. Encouraged to write about a broad alld I//ustrators and Saturday Evening Post covers. used immediately. advertising clients include Nabisco, Roy Mark English, one of America's most promi­ range of topics, Mr. Kahn's contributions Michelle Bogart, author of Art, Advertising Michael Friend is the senior vice presi­ Rogers, Coleman and State Farm nent illustrators, will inspire students to explore included articles on Robert Frost. the and the Borders of Art, is a Professor of Art dent /creative director and principal at Insurance. $15, $10 members. and define their individual process during this Goldwater presidential campaign, and the History at the State University of New York at Mason & Madison, Inc .. one of New intensive hands-on workshop. The class will New York garbage strike. Stonybrook. $10, $8 members. England's top advertising/public relations Renowned author Roger Kahn has written agencies. His clients inlcude General award-winning novels inspired by baseball at its best, including Good Enough to Dream, Saturday, September 14 10:30 am to 12 pm Q) C") c C") Q) IN THE STUDIO CLASSROOM +- 0 OJ OlN -0'" '5 B E ci "C N N a Z Hand Puppets! ct .0 0 +- 0 c 'c a... <: ~ Rockwell 's scenes come to life! Using the 0 0... u 0 01' 'E « Rockwell images as in spiration for c har­ z ~ Vl ID E ~ 0 ::::> a... (/) acters, c hildre n will ma ke a ha nd p up­ pet, fin ger p uppet a nd a tabletop stage! For ages 5 a nd up. $1 0, $8 members.

Saturday, September 21, lOam to 2 pm FAMILY TIME Piecing Togetlter a Picture Enjoy the museum at a specia l price for famii es, and parti cipate in the d rop in art activity especia lly for famili es to share: For Children/ Pi ecing Together a Pi c ture. Adults w ith c hildren ha lf p ri ce, c hildren $2, ages fi ve Teens/Families and under free.

Tuesdays, lOam to 11 am Current E xhibitions Session I: July 9, 16, 23, and 30 Session II : August 6, 13, and 20 Through October 20, 1996 DRAWl G TOGETIIER NORl\IAN ROCKWE LL'S An opportunity for parents and c hild ren 322 POST COVERS An exhibit of tearsheets spanning fi ve to take time out from your busy days and relax together in an art class. Try out d if­ decades, featuring each of Norman I Rockwell 's Saturday Evening Pos t covers. ferent art media and share an experi­ ence! Bring sketchbooks/pads. Other Through October 27, 1996 materials provided. For parents a nd chil­ NORMAN ROCKWELL'S dren ages 4-8. Fee for single c lasses, $1 0, WORLD OF SCOUTING $8 members. Session I seri es, $40, $32 A se lection of ori g ina l ill ustra ti ons that members. Session II series, $30, $24 mem­ Norman Rockwell c reated for the Boy bers. $5 for each additional sib li ng per Scouts of America, on loan from Th e class. Includes museum admission. National Scouting Museum in Murray, Please pre-register. Ken tucky.

Thursdays, lOam to 11 :30 am Through October 27, 1996 Session I: July 11 , 18, and 25 ROCKWELL PAl '1'8 A OTHER Programs Session II: August 1, 8, 15, and 22 POST COVER SUMMER SKETCII CLUB A look at Norma n Rockwell' S process in Explore basic art concepts-- li ne, shape, creating a work of art, from thumb na il and color, texture, etc. in this outdoor draw­ sketch to finished painting. ing class. In case of rain or extreme heat, class will meet in the studio c lassroom . Permanent Exhibitions Events Bring sketchbooks/pads. Other materials provided. Ages 8- 12. Fee for single class­ My ADVENTU RE S AS AN Summer 1996 es, $10, $8 members. Session I series, $30, ILLUSTRATO R $24 members. Session II series, $40, $32 MIRROR 0 A [ERI CA members. $5 for each additional sibling My B EST STUDIO YET per class. Includes museum admissio n. Please pre-register. Please call (413) 298-4 100 ext. 220 for reserva­ tions or information about programs and exhi­ bitions. Pre-registration for all programs is '"c c Saturday, July 20, 10 am to 2 pm 0 .Q required, and includes musem admission. All ~ '5 I FAI\ IILY Trr'vIE programs take place a t the Norman Rockwell ~ ~ ~ 2 Families are welcome to tour the muse­ ~ Q) ~ 0 Museum at Stockbridge, Route 183, .~ ~ i!! '0 um at a special price and with a self­ ci Stockbridge, MA 0 1262. Museum members '0 '0 x Q) guide brochure. Adults with children half receive special program discounts and more! ~ Cii Cii ...... 0 .0 price, children $2, ages 5 and under free. For membership information, please call (413) E E .~ :> :> 298-4100 ext. 234. Z Z '"Q) Photo captions and credits: Ol Saturday, August 17, 10 am to 2 pm ~ 0 1. Cover: Norman Rockwell'S hand, used in on advertise­ '" FAM ILY TII\IE ment for Ihe Fomous Arlisls School. © 1950. ~ No C Cii Families are welcome to tour the muse­ 2. IIluslralion by Mark English. © 1993. The Artist's Process. '0 ~ .0 Q) -:;; July 22-26. ~ E '5> um at a special price and with a self­ 3. Augusl 1947 Saturday Evening Post cover by Narman Q) Q) (3 2 Q) ~ ~ i!! .. Rockwell. © Curtis Publishing Company. 0 '5 u :E c c 'E guide brochure. Drop in art activity: 4. Lynn Pauley in Stockbridge, Drawing on loco/ion. i= a ~ a liJ 0 Q) 0 i!! Summer Scenes. Adults with children half August 5-8. ~~ '" E E E E :> C 2 u :> 5. Boy Scouts view Rockwell's work. Q) Q) ~ ~ ~ ~ 0 :> ~ c >- 0 ""u ~ '5 price, children $2, age five and under free. © 1996 The Norman Rockwell Museum 01 Siockbridge ~ ~ E '0 0 Ol Ol Ol Ol :i2 Q) c 0 '0 E .£ i!! Ol .£ e e e e i!! E c;;; ~~ z ~ a... a... a... a... a... ~ ~ u u u