- The Museum at Stockbridge Fall, 1999

TH J N OUR LAUNCHES Norman Rockwell: Pictures for the American People

• Before TV: American Culture, and The Saturday Evening Post • Eye on America: Editorial Illu . the 1990s

t

THE PEOPLE'S PAINTER THE NATIONAL SHOW CATALOGUE The People's Painter LaurieNortonMoifatt,D;

Nonnan Rockwell was the Troubled that his work was an anomaly Rockwell's powerfully por­ people's artist. The public when compared to the leading art tray the universal truths, aspirations forms of the day, Rockwell went and foibles of humanity. His work is adored the work of this skilled through bouts of self-doubt and occa­ part of the fabric of America, and, storyteller. Rockwell received sional depression. He sought renewed at its best, it reflects and confronts bagfuls of fan mail that inspiration through travel, sketch class­ our most fundamental beliefs about applauded his finely honed es and relocation to new communities. who we are as a people. That is why, Through it all, he was driven to paint. late in life, he received our nation's sense of image-making. While He worked in his studio seven days a many viewers stared bemused week, even on birthdays and holidays. at Jackson Pollock's dribbled Work was his constant companion and paint and Picasso's fractured occasional demon. He simply could not not paint. He produced nearly 4,000 shapes, the people understood works, including 500 magazine covers Rockwell because he so clearly and images for advertising campaigns understood them. for more than 150 companies.

However, among art historians and Often his subjects were his neighbors critics, Rockwell was a flop, derided and the ordinary moments from their by a 20th-century artistic community lives. "The commonplaces of America that could not abide his sentimental are to me the richest subjects in art," images with their reassuring mes­ wrote Rockwell in 1936. "Boys batting sages of American nobility. "His suc­ flies on vacant lots; little girls playing cess was his failure," said a 1986 jacks on the front steps; old men plod­ Game Called Because of Rain, oil on New York Times review that described ding home at twilight, umbrellas in canvas, The Saturday Evening Post, Rockwell's imagery as a "shovelful hand-all of these things arouse feeling April 23, 1949, cover. of stardust." in me. Commonplaces never become tiresome. It is we who become tired highest civilian honor, the Presiden­ An innovator who employed classical when we cease to be curious and tial Medal of Freedom, for "vivid and artistic techniques to tell contempo­ appreciative. " affectionate portraits of America." rary stories, Rockwell was an anachronism for most of his career. Many other Rockwell themes rose In a review of the 1972 Rockwell In 1949, approached by young art above the commonplace and were most Retrospective at the Museum, students at the Chicago Art Institute, poignant: the proud strength of Rosie art critic John he was asked, "You're Norman Lhe Riveter; the democratic principles in Canaday described Rockwell as, "the Rockwell, right?" He puffed up with the Four Freedoms; the outrageous Rembrandt of Punkin Creek." Six pride at the recognition, but was injustice of bigotry conveyed through years later, in the Times obituary on stung by the comment, "My art pro­ the dignity of the young girl in The Rockwell, Canady wrote that Norman fessor says you stink!" Problem We All Live With. Rockwell was, "an amiable anachro-

2 1 nism," and in Time magazine, Robert Updike; "Rockwell's Hughes wrote, "Rockwell never made illustration is ... an impression on the history of art and excellence and cliche," never will." notes The New York Times Book Review art In November, Norman Rockwell: director Steven Heller. Pictures for the American People opens in Atlanta, Georgia. This seven-venue The Washington Post's @ touring exhibition will feature Paul Richard urges, seventy original works and all 322 "He's an American 1 of Rockwell's Saturday Evening Post master-seriously" covers. This will be the first major and Paul Johnson traveling exhibition since Norman notes in the London Rockwell's death in 1978. It will, over Spectator, "His work a two-year period, invite discussions is beginning to strike that explore and reexamine Rockwell permanent roots. as a force in 20th-century American Rockwell will be art and culture. In fact, the exhibition ranked among the Going and Coming, oil 011 canvas, The Saturday Evening Post, will serve to continue the vigorous Old Masters." August 30,1947, covel: contemporary conversation that already has begun by known figures Art historian Robert Rosenblum, Members of the art world are catching in the art world and critics who are taken with the "mimetic magic" in up with what the American people re(lecting on and reexamining Rockwell's paintings, reflects, "I'd have known all along. What a people­ Rockwell's role in American art. been taught to snicker at him ... but pleasing revelation! I'm happy now to love him for his " ... corny but cherished," says reviewer own sake. In order to enjoy Pictures for the American People Grace Glueck; " ... widely loved like no Rockwell's unique genius, all you opens November 6, 1999 at the High other American painter," writes John have to do is relax." Museum of Art in Atlanta, Georgia.

Aunt Ella Takes a Trip, oil on canvas, Ladies HomeJournal, April 1942, story illustration. This story illustration is one of the almost 400 Rockwell 011 view in the national tOlH­ ing exhibition Norman Rockwell: Pictures for the American People. Copyright ~ 1942 by the Norman Rockwell Family Tru$t. All rights reserved.

3 THE CATALOGUE Norman Rockwell: Pictures for the American People

Maureen Hart Hennessey, Chief Curator

Norman Rockwell: Pictures for the American People begins its seven museum tour on November 6, 1999 at the High Museum of Art in Atlanta, Georgia. Accompanying the

exhibition is a 200-page companion catalogue of the same name. The most comprehensive volume to date about this icon-maker and visual storyteller, Norman Rockwell: Pictures for the American People catalogue is an important addition to any Rockwell fan's library.

The quality of the Rockwell images are one highlight of the Thomas Hoving, former director of the Metropolitan catalogue. Here, eighty of Rockwell's most beloved paintings Museum of Art, New York, sounds the call for a reappraisal are included in full color. Original paintings from private of Rockwell. Noted art historian and curator at the Solomon collections, rarely seen in Rockwell publications, are fea­ R. Guggenheim Museum Robert Rosenblum places tured, in addition to favorites from the museum's own col­ Rockwell within the larger context of twentieth-century art. lection such as Triple Self-Portrait, Marriage License and Girl Karal Ann Marling, Professor of Art History and American at Mirror. Full-page details present a new way of looking at Studies at the University of Minnesota, explores the origins several popular images. Archival photographs provide a and evolution of Rockwell's Christmas imagery. A personal glimpse of the illustrator himself. response to Rockwell's urban scenes is offered by Neil Harris, acclaimed historian of The directors and co-curators popular culture at the University invited writers from a broad of Chicago. Dr. Robert Coles, range of disciplines and perspec- 1 Professor of Psychiatry at Harvard tives to contribute essays to the ;; Medical School and the artist's catalogue. The resulting volume :.t friend, eloquently describes the features a wide variety of view- ~ reaction by both black and white points. Fourteen authors shared ~ Southerners to Rockwell's historic . ~ civil rights The Problem their own unique approaches to 1"'" Rockwell, and their comments .~ We All Live With. u offer a fresh appreciation of his l § work, a deep understanding of ~ An incisive analysiS of Rockwell's @ the complexi ty of his pictures 1 The Connoisseur is contributed by and a reassessment of his place J Wanda M. Corn, noted historian both as a shaper of mass media of American art. Steven Heller, art imagery and within the American director of The New York Times Girl at Mirror, oil on canvas, The Sa turday Evening art canon. Book Review and author of Post covel; March 6, 1954. numerous books on illustration,

4 Museum, reflects on the art establish­ ment's changing views toward Rockwell. The exhibition's co-curators contribute three essays: Judy L. Larson, Executive Director of the Art Museum of Western Virginia, and this writer, Maureen Hart Hennessey, Chief Curator of the Norman Rockwell Museum, collaborated on a biographical essay; Anne Knutson, Guest Curator at the High Museum, examines Rockwell's relationship to The Saturday Evening After the Prom, oil on canvas, The Sat­ Post and the influence of the magazine urday Evening Post, May 25, 1957, cove r: upon the artist and vice versa; and this discusses Rockwell's place in the writer also looks at the creation of development of American illustration Rockwell's Four Freedoms and their since the 1950s. Professor of Art meaning today. Criticism and Theory at the University of Nevada and well-known critic of This first comprehensive analysis of contemporary culture Dave Hickey Norman Rockwell and his work brings a refreshingly original interpre­ includes the most current methods tation to some of the artist's most of visual analysis and cultural history beloved images-notably After the that examine his critical role in influ­ Prom-and portrays Rockwell as a encing American perceptions of progressive artist. Peter Rockwell, twentieth-century culture. Published by sculptor and son of the artist, reveals the High Museum of Art and the how certain paintings reflect his Norman Rockwell Museum at father's musing on his role as a artist Stockbridge and distributed by Harry and illustrator. N. Abrams, Norman Rockwell: Pictures for the American People has been The catalogue begins with essays by the chosen as a Book of the Month club directors of the two organizing muse­ selection, a rare honor for an exhibition ums. Ned Rifkin of the High Museum catalogue. For those interested in of Art presents Rockwell as one of the Norman Rockwell, American art and preeminent forces in American popular twentieth century popular culture, this culture, while Laurie Norton Moffatt, book is a source of lasting enjoyment Director of the Norman Rockwell and value. r - -- .. I THE CATALOGUE: PICTURES FOR THE AMERICAN PEOPLE I I MAY BE ORDERED AT MEMBER'S PRICE: $35.00 $31.50

PHONE: 1-800-742-9450 .. -- • 5 Before TV: American Culture, Illustration and The Saturday,, Evening Post

The Saturday Evening Post: What Americans Looked at Before TV

Christopher Clarke-Hazlett, PhD., Guest Curator

The 20th century has been a visual century. In the decades following 1900, images superseded the written word as the most important form of communication in American culture. They have remained dominant ever since. Today, we live with a constant bombardment of images from television, computers and the Internet. This non­ stop avalanche of images would have been quite bewildering to Americans who lived before the advent of TV. During the first half of the 20th century, American culture thrived on a different kind of image - those found in the illustrated magazines such as The Saturday Evening Post. These images were predominantly the work of American illustrators, and they helped to shape and define the times in which many Americans lived.

BEFORE TV: AMERICAN CULTURE, illustration and advertising illustra­ Like story illustrations, cover images ILLUSTRATION AND THE SATURDAY tion. The images in each section aim communicated elements of a tale in EVENING POST explores the to satisfy a specific visual objective. visual form, where the image embod­ American visual universe when Because a Post cover illustration ied the entire story without reference images in the Post and other illus­ combined elements of both a story to any written text. Also, like the trated magazines reached millions of illustration (it had a visual narra­ advertiSing illustrations found Americans and became an essential tive) and advertising (it charmed the throughout the Post, its cover illus­ component of pre-TV America's public into buying the Post), it tration also served as an advertising common visual vocabulary The served a purpose different from any image, but the product it was adver­ exhibition offers more than 60 origi­ of the other images in the magazine. tising was The Saturday Evening Post. nal works of illustration art by Norman Rockwell and many of his Story illustrations represented a contemporaries, including J. c. broader cross section of artistic style Leyendecker, , and talent than the Post covers did. , Charles Livingston They showcased the work of many Bull, Frederick Gruger, Anton highly talented illustrators. The Otto Fischer and Henry Raleigh. story illustrator's job was to give Also included are many high-quality visual life to key moments in the digital reproductions of images from work of fiction writers. Story The Saturday Evening Post. illustrators worked closely with the magazine's art director and crafted The original art work in the exhibi­ images that added visual excitement tion is arranged in sections that to the reader's experience. Over focus on cover illustration, story Brass Merchant, oil on canvas, The Saturday time, story illustrations became larger Evening Post, May 19, 1934 cover.

Copyright @ 1934 by the Curtis Publ ishing Company. All rights reserved .

6 zines from its Post readers had with the images in early years the magazine. through the 1960s. Stacks of Before TV is not a nostalgic look authentic Post back at a world we have lost. Instead, issues, available in it examines the roots of America's two comfortable image-intense visual culture by period reading exploring the world of illustrated areas, are an inte­ magazines-the medium that first gral part of the brought many different kinds of col­ exhibition. orful, enticing, vividly appealing Museum guests images into American homes on a may sit down and massive scale. The Post's financial relax with the success and cultural influence both Youth and Old Age, oil on canvas, Colgate Dental Cream Post, just as mil- rested on the magazine's ability to advertisement, 1924. lions of Americans deliver popular, attractive images and more colorful. By the late used to do. When they look at the to millions of American living rooms. 1940s, they also began to serve as magazines, visitors will discover that Although the medium through an advertising function to entice story illustrations, advertising which images come into our homes the reader. Illustrations increasingly images and covers all blend together today is quite different, the rise of dominated first-page layouts as to create the Post's overall visual images to a position of undisputed stories vied with one another for the landscape. dominance in today's visual culture readers' attention. began early in the 20th century During the heyday of illustrated with American illustration and The The artists of advertising illustrations magazines, a Single image carried Saturday Evening Post. were rarely identified. Their artwork far more significance than does a filled the pages of the Post with repre­ passing image on today's TV screen. sentations of a particular middle-class Part of this has to do with the dif­ American lifestyle. These images also ference between "reading" and presented products and attempted to "viewing." Before the 1950s, persuade readers that one brand was Americans obtained visual informa­ better than another. These product tion from images by reading. They advertisements became part of the chose which images to look at and visual mix that readers encountered decided how long they would when they turned the pages of the spend with one before looking at Post, and these works contributed another. Today's viewers see many Significantly to the visual universe more images, but they have surren­ the magazine created. dered control over the activity of looking. Viewing, for its many Visitors to Before TV can recapture rewards, is essentially a passive this same visual universe by examin­ activity. Our relationship to the The Handkerchiefs, oil all canvas, The ing the exhibition's original images images we see today is fundamen­ Saturday Evening Post, May 19, 1934, story and by looking through Post maga- tally different from the relationship illustration.

7 The Saturday Evening Post A NATIONAL FAMILY MAGAZINE

Maud Ayson, Associate Director of Education

When the bell tolled for The

Saturday Evening Post ... it

tolled not only for a venerable

magazine, but for a style, a

system, a regime - and for

part ofAmerica.

- Atlantic Monthly, November 1969

Girl Reading with Candy, Nonnan Rockwell, oil on canvas, The Sa turday Evening Post, June 27, 1925, cover.

Through most of its history, The Saturday Evening publications and the appeal of television. The maga­ Post was defined as a national family magazine that zine that once prided itself on its outstanding lauded the virtues of progress and the quest for the illustrations, extraordinary mix of writing and "American dream," while, at the same time, it latest brand-name product advertisements found also evoked a nostalgia for purer, simpler times. it could no longer capture its audience's interest. By the 1950s, the Post faced the increasing In 1969, the Post called it quits after nearly seventy challenges of photo journalism, special-niche years of continuous publication.

8 BEFORE TV: AMERICAN CULTURE, ILLUSTRATION AND THE SATURDAY EVENING POST

The Before TV exhibitIOn invItes lOU to step behind the scenes into the extraordinary visual universe that the Post created for over <;ix decades. Visit the ~ Torm,m Rod.,\ ell i\Iuseum to enjo\ this exhIbitIOn and attend one of the many public program<;, including art classes, that ofter : ou the opportunit) to learn about the Post and \\ hat it takes to create and market a sllcce<;sfulmagazine. FVCI) month the mu<;ellm will be offering you many other reaSO!1s to VISIt and learn something ne\\. BEFORE TV: A 'HERlCAN CULTURE, ILLUSTRATION AND THE SATlRDAY EVI.NI:'IJG POST is 00 view from November 13,1999 through Juoe 11,2000. 1 On November 16th, noted author, educa­ exhibition for inspiration. Classes will If you are interested in learning more tor and museum trustee, Dr. jan Cohn, include activities such as The Saturday about career opportunities, register will offer the keynote address at Weekly Evening Pose-drawing life poses taken early for a Business of Art workshop. Tonics-An Evening for Educators. Dr. from the covers and Cover Stories­ Designed for emerging and established Cohn is the G. Keith Funston Professor classes in writing for young budding artists, these workshops will offer of American Literature and American authors. advice and practical techniques on cre­ Studies at Trinity College in Hartford, ating advertisement and story illustra­ Connecticut. A valuable advisor and If you ever wondered why some maga­ tions. Led by experienced profeSSionals contributor to this exhibition, she has zines survive and others don't, attend from both fields , participants will dis­ written numerous books about the Post one or more of the Grand Old Mags­ cuss landmark campaigns, consumer and its cover art. Dr. Cohn will invite An Insider's Perspective lectures during values and emerging trends. teachers to examine how The Saturday the final months of the exhibition. Evening Post's imagery, stories and Noted speakers will coincide with Before A Festival Day in Celebration of advertisements influenced American TV gallery talks so participants may Before TV culture from 1899-1969. attend both programs. If you prefer Saturday, january 15, 2000 meeting people whose lives have been Mark your calendars so that you do During the exhibition, at selected high affected by The Saturday Evening Post, not miss our day-long festival of school auditoriums in Massachusetts and then come to one of our An Evening events and activities celebrating Connecticut, Dr. Cohn will give a lively With ... programs. America's most popular weekly maga­ presentation entitled From Cover to zine. Visitors of all ages can create a Cover. This special museum/school pro­ topical cover to take home; enjoy spe­ gram will reach more than 1,000 stu­ cial museum tours exploring dents in under-served communities. Her 1 Rockwell's lengthy relationship with 9/ illustrated program will blend social and ~ the Post; or join a Selling Lifestyles 11 illustration history and show students ·g> ••all1il.l:l ".J-r::!!r'...... '" lecture that investigates how this pop­ :;;: how readers' perceptions, preferences ular magazine showed Americans and beliefs were influenced by the con­ ways to save money, raise a family and

tents of this popular weekly magazine. OJ furnish their home. .<;: -'" :8 6.'. Families and children will find that .~ The Norman Rockwell Museum there will be plenty to do at the muse­ <3 Website II um's monthly program Family Times. il!!I:!! And finally, for the stay at home learn­ j These entertaining family-oriented ~ er, please make sure you log on our Saturday afternoons encourage interac­ museum website (www.nrm.org) and tion and dialogue among participants. explore how the Post tried to change Included in the program are story­ its "look" over the years by developing telling, art workshops and special family Girl Reading the Post, Norman Rockwell, new mastheads and cover deSigns. tours of Before TV join the school vaca­ oil on canvas, The Saturday Evening Post, Virtual visitors can try their hands at tion week workshops in December, Marcil 1, 1941, cover. creating their own magazine mastheads. February and April that draw on the 9 Eye on America: Editorial Illustration in the 1990s

EYE ON AMERICA: EDITORIAL ILLUSTRATION IN THE 1990s

Stephanie H. Plunkett, Curatar af lIIustratian Art

Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed.

- NORMAN ROCKWELL

Art is a part of its time. If we examine issues of our day. Their visual narra­ clear-that expression need not be the range of art from any era and tives, offering new inSights into a the exclusive province of the fine geographic location, we are able to wide range of topics, enhanced and artist. Creative art directors have gain a greater understanding of the expanded the written word. long understood the impact that art concerns, values and attitudes of a has on a publication's readership, society in its time and place. The exciting illustrations featured in and they carefully consider a wide Throughout the ages, contemporary Eye on America prOvided the artists range of illustration perspectives, artists have acted as observers, with both a specific assignment and styles and techniques when deter­ informers and educators, revealing the opportunity to personalize their mining the visual look of an article. to the rest of us what was, or is, viewpoints. Whether the subject happening around us. matter is the economy, our political What role does illustration play in system, child psychology or health the life of a publication? Why do art Eye on America: Editorial Illustration care, these images make one thing directors often choose illustration in the 1990s takes a fascinating look over photography for inclusion in at the events, celebrations, scandals editorial pieces? Beautiful and visu­ and personalities of this last decade ally interesting images can stimulate of the twentieth century through the a reader's interest and enter into an editorial art that appeared in most artistic dialogue with text. Author of the news and note-worthy publi­ and artist representative Barbara cations of our times-The New York Gordon has commented, "Artists can Times, , render a situation that does not exist Monthly, Time, Sports Illustrated and or would be impossible to photo­ Rolling Stone. Prominent illustrators, graph because of lack of accessibility. given the daunting task of meeting Nothing is out of bounds­ deadlines and maintaining personal Antarctica, the earth's core, heaven, expression while fulfilling the hell and never-never land. They use requirements of each assignment, Back from Chaos, Etienne Delessert, skill and imagination to convey any have helped shape public opinion water color on pape r; The Atlantic place or situation. Art can also and inspired us to consider the Monthly, Marc h 1998. depict esoteric subjects such as 10 ascent. Illustration creates the The artists featured in the exhibi­ moment, unlike the photograph tion are , N. which just captures it. " Ascencios, Barry Blitt, Juliette Borda, Braldt BraIds, Steve Brodner, Consider some of the major issues Joe Ciardiello, Tom Curry, Etienne of today: Can scientists unlock the Delessert, Robert Grossman, Mark fountain of youth? Is there Hess, Brad Holland, Frances Jetter, a hidden side to the Clinton econo­ , Matt Mahurin, James my? What are the implications of McMullan, Tim O'Brien, Robert cloning? Who are the most impor­ Andrew Parker, Lynn Pauley, Marc tant politicians, celebrities and Rosenthal, Elwood Smith, Edward sports figures in the news? It is the Sorel, Greg Spalenka, Thomas My Most Difficult Diagnosis, Marc illustrators such as those included in Woodruff. Rosenthal, water color and ink 0 11 paper; the exhibition Eye on America work­ Hippocrates, ]anuQly 1999. ing in a range of styles from photo Eye on America: Editorial realist to humorous who, using their Illustration in the 1990s, on view truth, fear, civilization, loyalty or intelligence and talents, help cover through January 23, 2000, will honesty through the use of symbols these important stories by adding ring in a new century. and mood." Lush pictorial spreads visual impact to the written word. can appear at surprising moments and, integrated with small spot illus­ Expression through trations, carry a reader through a media creates some­ long piece of writing. The juxtaposi- thing permanent for Illustration creates the all to see and remember. This moment, unlike the exhibition show­ photograph which just cases almost seventy original works by captures it. twenty-four celebrat­ ed contemporary tion of contrasting illustration and illustrators. Join us writing styles also can be effective, for this lively and such as the placement of humorous, historic review of playful art within a dense, academic our decade through article to make the reader feel more the art of an extraor­ comfortable with the piece. dinary group of Renowned for her creative use of illustrators. Their illustration in a magazine, Atlantic images help us to Monthly art director Judy Garlan reflect upon the believes that, "The true heroes are past, consider the the illustrators. The best art asks present and specu­ you to climb to a new peak where late on what may Letterman Unbound, Joe Ciw"didlo , water color and ink on you get a clearer view of something. paper; The New Yorker, June 3, 1996. lie ahead. The illustrator helps you make the 11 REFERENCE CENTER ACQUISITIONS

Linda Szekely, Curator of Norman Rockwell Collections

The following gifts to the museum reference center are listed in the order in which they were received during the period from December 1997 through August 1999. We are very grateful for all these donations that help make the museum reference center a place to research the world ofNorman Rockwell and the field ofillustration. ifyou are considering giving a gift to the museum, please contact us at 413-298-4100, extension 212. Donations offirst uses ofNorman Rockwell artwork, photographs, letters, Norman Rockwell books and books on art are always welcome. Please note that for the sake of brevity, NR is used in place of the name Norman Rockwell.

Harriette and Martin Diamond of New Rochelle, NY: Mr. William J. Farrington of West Springfield, MA: 1935 Western Union Telegram and envelope illustrated by NR. Saturday Evening Post cany bag.

Ms. Janet Wade of Kezar Falls, ME: Elaine and Morton Kaplan of Pittsfield, MA: 1\'10 issues of Needlecrajt 0926 and 1929) with NR ads. Berkshire Living, Winter 1967; The Satlerday Evening Post , December 14, 1963. Jean and Russell Bousquet of Pittsfield, MA: 18 J. c. Leyendecker Saturday £tIening Post covers. Mr. David Aalto of West Townsend, MA: Boslol1 Herald news clip on NR's models, September 5, 1943; NR, Mr. Paul Ivory of Great Barrington, MA: Illustrator (inscribed 1st edition). 28 slides of NR's South Street studio during the 1986 studio move. Mrs. Clement Ogden of Stockbridge, MA: 'two postcards sent by Molly and NR from Portugal (1968) Mr. Irwin Steinberg of Spring Valley, NY: and Norway (969). 34 tear sheets of J. C. Leyendecker illustrations. Laura and Chuck Lawson of New York, NY: Mr. Stuart Ng of Los Angeles, CA: CD : Great El1tertainers. Falltas),: 11)e Golden Age ofFan lastic Illustration, The Illust1'(ltor in America 1900-I960s, Frank Schoonoller Illustrator of the North Grace and Mark Miller of Marlboro, NY: American Frontiel: Collotype of The Lineman.

Mr. Irving Lehr of Levittown, NY: Ms. Linda Gumble of Atlanta, GA: A letter from NR (970). The Adventures of1bm Sawyer; Scouting with Daniel Boone; My Adventlt1'es as eln Illus{1'(ltor (hardcover and paperback); A Rockzl'ell Robb Goldstein and Sang Ly Montage of Chatham, NY: Portrait; NR Encyclopedia; NR, A Sixty Year RetrospectizJe; The Willie Was Different (inscribed). Advertising World ofN R; NR's People; Little Frencb Motber Good B)'e (sheet music); three Saturday Ellening Post magazines; two Top Value Ms. Catherine Hayhurst of Barrington, RI: Stamp catalogues. ~~}' Adventures CIS a ll Illustrator (Doubleday edition).

12 Ms. Laurie Norton Moffatt of Stockbridge, MA: ,vell'Rocbelle, Tbe Ci()' ofthe Huguenots (i llustrated by New Rochelle Member Profile illustrators); Photograph of former museum director Dmid Wood, staff memher Barbara Perkel and Molly Rockwell in the Old Corner House, The Norman Rockwell Museum is privileged to have Clem Kaiischer, photographer; Three bound volumes of St. Nicholas maga­ the good friendship and loyal support of JUDY AND zines,.Ianuary 1916 to June 1916 and JanualY 191" to.lune 1917 and July 1917 to December 1917. DAN MAGRATH of Fort Myers Beach, Florida. Recently, Judy and Dan contributed a generous donation Mr. Denys Wortman, Jr. of Boston, MA: of stock to the museum's endowment fund. This gift is Jletropo/itml 1101'ies (two copies); .Ilope), Dick and the Duke (two the first of its kind at the Norman Rockwell Museum copies), both volumes wri tten and illustrated by the donor. and we are grateful for the Magrath's enthusiasm and understanding in preserving the legacy of Norman Mr. Charles Flint of Lenox, MA: Rockwell. Reproduction of NR's painting for The Land ofE llcbantment.

Formerly of the South Hadley, Massachusetts area, Mr. Edward Sawyer of West Stockbridge, MA: Three letters to Stuart Hel11Y from Douglas Stone in reference to ;-JR's 1963 the Magraths have long been fans and supporters of Cathedral of the Pines commission. the Norman Rockwell Museum. Now retired, Dan was the owner of an office equipment and supplies Mr. Andy Talbot of Stockbridge, MA: distributor headquartered in Western Massachusetts. One copy of the October 13, 1956 issue of lIJe Saturday Evening Post. Judy and Dan each have three children, and a total of nine grandchildren. The Magraths spend most of Judge Neil Caldwell of Angleton, TX: their summers in Maine and also travel to other parts One NR illustrated postcard for the Knights of Columbus (c. 19 18). of the world.

Mr. Charles Debevoise of Pittsfield, MA: \ Famous Al1istS Schools booklet from 1965 with an introduction by NR, Dan recalls that, as a child in New York during the HOll' to Create lour First Original Oil Painting. 1930s, he looked forward to his family's weekly copy of The Saturday Evening Post. "We feel that Norman Bea and Bob Snyder of Leesburg, VA: Rockwell's work truly exemplifies Americana ranging 1\vo ~R illustrated books, Handbookfor Bo.)'s, The Bo.)' Scouts of from the serious such as the Four Freedoms and America and "IR 1/lustrat01: school desegregation paintings, to the humorous such as the doctor treating children, to the poignant like Mrs. Helen Palmquist of Lincolnshire, IL: the runaway or the marriage license applicants." Literar}, Digest cover, December 12, 1922 and a 1924 Quaker Oats tear sheet.

Interlaken Congregational Church, Sunday School Library of Stockbridge, MA: Art Stories: Book aile with ~ R's artwork for a Literm:), Digest cover, December 18, 1920.

Mrs. Clement Ogden of Stockbridge, MA: 1979 letter from Molly Rockwell to Mrs. Ogden and a note from NR to Mrs. Ogden.

Jud) and Dall lvlagrath

13 This past summer was filled with festivities here at the Norman Rockwell Museum. The Pittsfield Fourth of July Parade; the Celebrating Cinema gala; the opening of two exhibitions, Drew: Art of the Cinema and Hooray for RockweWs Hollywood and our frequent corporate events gave the museum members and staff much to celebrate. Here are some of the scenes from our exciting ummer. Jennifer Goffman, Judy Goffman C.ut ln; Laurence ( uller and illustrator Drew Su Ilzall tn)o)'ed the success of the ga la e"cning and 11le exhibition opelling. Judy Goffman Cut leI Executive DircctOl; American Illustrators Galley, Ncw YO/II City curatcd alld assembled the exhibition, which was organ­ ized and produced by ARTS hows alld PIOe/ucts Co rp.

One of the benefits of membership is the opportunity to host an event at the Norman

Director Lauric NO! tor Moffatt Il1USt um bfll h tm Rockwell Museum. Many of our corporate Janc Fitzpatricll a/1d I11USllIm 'emb r llo,IJ [)obbllls members have held receptions here for their joi/1 ill the festivities friends and colleagues.

The Norman Rockwell Museum The Portfolio BOARD 0 1 TRUS Il:LS Vo lume lb, Numher 1, fall llJlJlJ ilobble l (lSI' P,C h', II Crts Ra "I101ll1 l tt r Per I Peln • "us (obb 'vI .hallt Dc)] lIer L e \\. lJ , "tcven < lelherg rhe P r't I" IS pL hshLJ four tlmlS lye bv Jam~ W Irel., d J~ J u, r he orman ROLk\\ II Musc' • "10' khnJge Ro cI Khne l hartot" ll" n d d IS Ilt fne It.) ,11 e "'0 (S

Ann F·IL " , Ick BI('wn H -ve, l hu Krc I. 1 ' lopyr ht'

14 Over 700 museum members and guests filled the galleries to see the original artwork of one of Hollywood's most famous artists.

Director Laurie Norton Moffatt introduced illustrator and guest speaker Drew Stmzan at the members' opell­ ing of Drew: Art of the Cinema and Hooray for Rockwell's Hollywood.

As a tic-in with our Hollywood summel; the Norman Roc/mell Museums Fourth of July Parade featured characters from Star Wars and The Flintstones. Staff members louned their childrell for the event. Seen here are Tira (Pebbles Flilllstone)and As hley (Bamm Bamm Rubble) MazzeI; James UndervvooJ Miller (Lulle Shywalker) and two adults disguised as Chewbacca alld C3PO

Guarding the terrace door are two important Hollywood figures who also attended the opening-Darth Vader and Chewbacca.

15 Norman Rockwell's Art

Jo Ann Losinger, Director of Earned Revenue

Norman Rockwell joins the ranks There are scores of Rockwell treas­ of Gauguin, Monet and Botticelli ures hidden in this work. The with the introduction of a new and Norman Rockwell Museum lobby imaginative pop-up book. Norman and a gallery complete the interiors Rockwell: A Pop-Up Art Experience of the book. In addition, seventeen guides you through places near popular Rockwell images are incor­ and dear to the artist's work. His porated in a foldout informational studio, replete with artifacts from biography of Rockwell's life. world travel, showcases Triple Self A Pop-Up Art Experience retails for Portrait. A replica of Rockwell's $18.95. If you are a museum mem­ Arlington parlor is packed with ber, enjoy your 10% discount. his characters and a classroom scene recreates the painting Happy Birthday Miss Jones. In Boy Practicing Trumpet, a lad in an over­ stuffed chair blares away on his trumpet to the dismay of his dog. These are but a few of Rockwell's best known works that become three dimensional in this charming

book that is certain to please adults Norman Rockwell: A Pop-Up Art Experience, pllhlished by Universe ill association as well as children of all ages. with the [\Jorman Rochwcll MllSClIIll.

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

Stockbridge, MA 01262