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View “Complicating Simplicity,” Ceglio Describes Critical Reception to the Exhibition UNIVERSITY OF CINCINNATI Date: May 16, 2007 I, Kirstie Lane Kleopfer, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: Norman Rockwell’s Civil Rights Paintings of the 1960s This work and its defense approved by: Chair: Theresa Leininger Miller, Ph.D. Diane Mankin, Ph.D. Juilee Decker, Ph.D. Norman Rockwell’s Civil Rights Paintings of the 1960s A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF ARTS in the Department of Art History of the School of Art of the College of Design, Architecture, Art, and Planning 2007 by Kirstie Lane Kleopfer B.A., Hanover College, 2003 Committee Chair: Dr. Theresa Leininger-Miller Abstract Norman Rockwell began working for Look magazine in 1964 because he wanted to explore new subject matter and was frustrated with the limitations on subject matter imposed by the Saturday Evening Post’s editors. Look editor Dan Mich would provide Rockwell with the freedom to finally produce the “big pictures” that he had been forbidden to produce for the Post. In this thesis I provide a deep analysis of the paintings Rockwell produced about the Civil Rights Movement and the historical events which inspired them, revealing Rockwell’s passionate critique of the American society he had so frequently idealized. Such images fulfilled what Rockwell referred to as his “hankering after immortality.” They established a lasting legacy, contributing to the momentum of the Civil Rights Movement and encouraging Americans to face the racial prejudice that existed in their society. This study explores Rockwell’s depictions of African Americans throughout his career and the evolution of his growing interest in promoting racial tolerance and equality. Although Rockwell was originally considered a mere illustrator, scholars are increasingly examining the artistic merit of his work and its influence on American culture. In this thesis I provide background and insight about Rockwell's motivation to produce such controversial and influential works such as The Problem We All Live With (1964), Southern Justice (1965), and New Kids in the Neighborhood (1967). Acknowledgements This thesis could not have been possible without the assistance of many people. First, I must thank Sue Craven for introducing me to the topic. Knowing I was an aspiring art historian, she proudly shared her new coffee table book, Norman Rockwell: Pictures for the American People (1999), with me. As I flipped through its pages, I was very surprised to learn that Rockwell had created paintings to promote the Civil Rights movement. The proverbial light bulb immediately went off and I knew I had finally found my thesis topic after several months of frustrating and disappointing research on a few other possible topics. I am especially grateful to my significant other (and Sue’s grandson), Eric Craven, for his unending patience, understanding, and love as I completed this study. He has sacrificed much over the past eight months, never complaining that I had to spend so much time with another man (Rockwell). His sense of humor kept me laughing when the stress got to be too much and I greatly appreciated his willingness to listen. Friends Jennifer Saylor and Crystal Smith also have been constant sources of encouragement, and their confidence in me was inspiring. Sincere thanks go to my advisor at the University of Cincinnati, Dr. Theresa Leininger- Miller, for her superb editing, excellent advising, and constant guidance. Her enthusiasm for this study was encouraging and reminded me of the value of this endeavor. Her courses, “The Harlem Renaissance” and “African American Art, 1945-present,” contributed to my understanding of the significance of Rockwell’s works and the history associated with them. Committee member Dr. Juilee Decker of Georgetown College provided helpful editing and insightful suggestions. I also thank Dr. Diane Mankin at the University of Cincinnati for serving on my committee and taking an interest in my topic. My classmates and peer editors Katie Landrigan, Nancy McGowan, Jonathan Nolting, and Laura Partridge offered honest and thoughtful opinions and advice for the development of chapter two. I am especially indebted to Katie for her friendship, emotional support, and fabulous sense of humor. Fellow classmates and friends Maureen Buri and Liz Spencer have also frequently offered support and encouragement. Classmate Chris Strasbaugh assisted in creating some of the digital images. I cannot imagine what graduate school would have been like without such wonderful classmates and friends. Behind every good thesis is an even better librarian. I am grateful for the research assistance of librarian Nanda Araujo in the library of the College of Design, Architecture, Art, and Planning. Her assistance with this and countless other endeavors during my time at the University of Cincinnati is most appreciated. Visual Resources Librarian and my graduate assistantship supervisor Elizabeth Meyer has been extremely accommodating and encouraging as I struggled to balance coursework, my assistantship, and this study. At the Norman Rockwell Museum in Stockbridge, Massachusetts, curator Linda Szekely Pero provided fast and efficient assistance in locating the letters of Roderick Stephens and generously provided me with copies. She graciously answered my questions and offered her insights. Also deserving of thanks is Dr. John Martin at my undergraduate alma mater, Hanover College. His passion and contagious enthusiasm for art history inspired me to attend graduate school. He offered great advice and reassured me when my confidence in my abilities was lacking. I dedicate this study to my parents, Steven and Teri Kleopfer, whose faith in me knows no bounds. From a young age they instilled in me a strong work ethic and a love of learning. Throughout my life they have driven me to succeed and most importantly, to be my own person. My accomplishments are reflections of their love and strength. TABLE OF CONTENTS List of Illustrations 2 Introduction 5 Chapter 1 Rockwell’s Early Illustrations of African Americans, 10 1926-1946 Chapter 2 “Hankering After Immortality”: 23 Rockwell's New Subject Matter in the 1960s Chapter 3 “Stretching my Neck like a Swan”: 39 The Evolution of Rockwell’s “Big Pictures” Conclusion 54 Illustrations 58 Bibliography 90 1 List of Illustrations (All illustrations are by Norman Rockwell unless otherwise noted) Figure 1: Banjo Player, illustration for Pratt & Lambert in the The Saturday Evening Post (April 3, 1926), oil on canvas, 72.5 cm x 69 cm, Collection of Pratt & Lambert, Inc. Figure 2: Henry Ossawa Tanner, The Banjo Lesson, 1893, oil on canvas, 89 cm x 123 cm, Hampton University Museum Collection Figure 3: Thataway, cover for The Saturday Evening Post (March 17, 1934), medium unknown, dimensions unknown, whereabouts unknown Figure 4: Love Ouanga, illustration for short story in American Magazine (June 1936), oil on canvas, 76 cm x 157.5 cm, private collection Figure 5: Full Treatment, cover for The Saturday Evening Post (May 18, 1940), oil on canvas, 109 cm x 89 cm, New York, NY, collection of Judy and Alan Goffman Fine Art Figure 6: Boy in a Dining Car, cover for The Saturday Evening Post (December 7, 1946), oil on canvas, 96.5 cm x 91.5 cm, private collection Figure 7: The Homecoming, cover for The Saturday Evening Post (May 26, 1945), oil on canvas, 71 cm x 56 cm, collection of Edith K. Hibbs Figure 8: Eastman Johnson, Old Kentucky Home, 1859, oil on canvas, 115.6 cm x 92 cm, The New York Historical Society. Figure 9: Roadblock, cover for The Saturday Evening Post (July 9, 1949), oil on board, 76 cm x 58.5 cm, collection of Phillip M. Grace Figure 10: The Problem We All Live With, illustration for Look (January 14, 1964), oil on canvas, 91.5 cm x 147.5 cm, Stockbridge, MA, The Norman Rockwell Museum Figure 11: The Problem We All Live With (study), 1963, archival photograph; original art dimensions and whereabouts unknown, Stockbridge, MA, The Norman Rockwell Museum Figure 12: Unknown photographer, Ruby Bridges on her first day of school, November 14, 1960, archival photograph, dimensions unknown, from www.rubybridges.org Figure 13: Southern Justice, unpublished illustration for Look, 1965, oil on canvas, 134.5 cm x 106.5 cm, Stockbridge, MA, The Norman Rockwell Museum Figure 14: Southern Justice (study), illustration for Look (June 29, 1965), oil on board, 38.1 cm x 32.38 cm, Stockbridge, MA, The Norman Rockwell Museum 2 Figure 15: New Kids in the Neighborhood, illustration for Look (May 16, 1967), oil on canvas, 92.71 cm x 146.05 cm, Stockbridge, MA, The Norman Rockwell Museum Figure 16: Alvin Smith, Neshoba Specter, 1966, oil on canvas with collage, 152.4 cm x 90.17 cm, Clark Atlanta University Art Galleries Figure 17: Robert Indiana, The Confederacy: Mississippi, 1965, silkscreen print, 88.58 cm x 75.88 cm, Morgan Art Foundation Ltd./Artists Rights Society (ARS) Figure 18: Jeff Donaldson, Aunt Jemima and the Pillsbury Doughboy, 1963, oil on canvas, 121.9 cm x 121.9 cm, collection of the artist Figure 19: Faith Ringgold, Flag for the Moon: Die Nigger, 1969, oil on canvas, 91.44 cm x 127 cm, collection of the artist Figure 20: David Hammons, Injustice Case, 1970, mixed media body print, 152.4 cm x 102.87 cm, Los Angeles County Museum of Art Figure 21: Norman Rockwell at his easel with Blood Brothers, circa 1968, color photograph, from the Martin Diamond Archives, as reproduced in Ben Sonder, The Legacy of Norman Rockwell Figure 22: Freedom of Worship, illustration for The Saturday Evening Post (February 27, 1943), oil on canvas, 117 cm x 90 cm, Stockbridge, MA, The Norman Rockwell Museum Figure 23: Freedom of Worship (study), 1942, oil on canvas, dimensions and whereabouts unknown.
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