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{{DISPLAYTITLE:''Four Freedoms'' (Norman Rockwell)}} |
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{{about|Norman Rockwell's paintings|other uses|Four Freedoms (disambiguation)}}{{italic title}} |
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| image = {{image array|width=120|height=152|perrow=2 |
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| image1 = Freedom of Speech.jpg|caption1 = ''[[Freedom of Speech (painting)|Freedom of Speech]]'' |
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| image2 = Freedom of Worship.jpg|caption2 = ''[[Freedom of Worship (painting)|Freedom of Worship]]'' |
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| image3 = Freedom From Want.jpg |caption3 = ''[[Freedom from Want (painting)|Freedom from Want]]'' |
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| award4 = ''Four Freedoms'', oil on [[canvas]]<br />[[Norman Rockwell]], [[1943 in art|1943]]<br /> Each ≅ {{convert|45.75|in|cm}} × {{convert|35.5|in|cm}}<br /> |
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| image4 = Freedom From Fear painting.JPG|caption4 = ''[[Freedom from Fear (painting)|Freedom from Fear]]'' |
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[[Norman Rockwell Museum]]<br />{{city-state|Stockbridge|Massachusetts}} United States<br /><small>(4 canvas series displayed by date of publication)</small> |
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}} |
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| caption = ''Four Freedoms'', oil on [[canvas]]<br />[[Norman Rockwell]], [[1943 in art|1943]]<br /> Each ≅ {{convert|35.5|in|cm}} × {{convert|45.75|in|cm}}<br /> |
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The '''''Four Freedoms''''' or '''''Four Essential Human Freedoms''''' is a series of [[oil painting]]s produced in [[1943 in art|1943]] by the [[American art]]ist [[Norman Rockwell]]. The paintings are approximately equal in dimension with measurements of {{convert|45.75|in|cm}} × {{convert|35.5|in|cm}}.<ref name=Artchive>{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_want.jpg.html|title=Rockwell, Norman: Freedom from Want|accessdate=2008-04-10|publisher=artchive.com}}<br />{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_fear.jpg.html|title=Rockwell, Norman: Freedom from Fear|accessdate=2008-04-10|publisher=artchive.com}}<br />{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_worship.jpg.html|title=Rockwell, Norman: Freedom to Worship|accessdate=2008-04-10|publisher=artchive.com}}<br />{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_speech.jpg.html|title=Rockwell, Norman: Freedom of Speech|accessdate=2008-04-10|publisher=artchive.com}}</ref> The series, now in the [[Norman Rockwell Museum]], was made for reproduction in ''[[The Saturday Evening Post]]'' over the course of four consecutive weeks in 1943 alongside [[essay]]s by prominent thinkers of the day. Later they were the highlight of a touring exhibition sponsored by the ''Saturday Evening Post'' and the [[United States Department of the Treasury]]. The touring exhibition and accompanying sales drives raised over [[U.S. Dollar|US$]]132 million in the sale of [[war bond]]s.<ref name=NRPftAPCHI>{{cite web|url=http://www.tfaoi.com/aa/1aa/1aa319.htm|title=Norman Rockwell: Pictures for the American People|accessdate=2008-04-07|publisher=Traditional Fine Art Online, Inc/[[Chicago Historical Society]]}}</ref> |
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[[Norman Rockwell Museum]]<br />[[Stockbridge, Massachusetts]] United States<br /><small>(4 canvas series displayed by date of publication)</small> |
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}} |
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The '''''Four Freedoms''''' or '''''Four Essential Human Freedoms''''' is a series of four [[oil painting]]s produced in [[1943 in art|1943]] by the [[Visual art of the United States|American art]]ist [[Norman Rockwell]]. The paintings are approximately equal in dimension with measurements of {{convert|45.75|in|cm}} × {{convert|35.5|in|cm}}.<ref name=Artchive>{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_want.jpg.html|title=Rockwell, Norman: Freedom from Want|accessdate=2008-04-10|publisher=artchive.com}}<br />{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_fear.jpg.html|title=Rockwell, Norman: Freedom from Fear|accessdate=2008-04-10|publisher=artchive.com}}<br />{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_worship.jpg.html|title=Rockwell, Norman: Freedom to Worship|accessdate=2008-04-10|publisher=artchive.com}}<br />{{cite web|url=http://www.artchive.com/artchive/R/rockwell/rockwell_speech.jpg.html|title=Rockwell, Norman: Freedom of Speech|accessdate=2008-04-10|publisher=artchive.com}}</ref> The series, now in the [[Norman Rockwell Museum]], was made for reproduction in ''[[The Saturday Evening Post]]'' over the course of four consecutive weeks in 1943 alongside essays by prominent thinkers of the day. Later they were the highlight of a touring exhibition sponsored by the ''Saturday Evening Post'' and the [[United States Department of the Treasury]]. The touring exhibition and accompanying sales drives raised over [[U.S. Dollar|US$]]132 million in the sale of [[war bond]]s.<ref name=NRPftAPCHI>{{cite web|url=http://www.tfaoi.com/aa/1aa/1aa319.htm|title=Norman Rockwell: Pictures for the American People|accessdate=2008-04-07|publisher=Traditional Fine Art Online, Inc/[[Chicago Historical Society]]}}</ref> |
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The [[Four Freedoms]] theme was derived from the 1941 [[State of the Union Address]] by [[United States President]] [[Franklin Roosevelt]] delivered to the [[77th United States Congress]] on January 6, 1941.<ref name=ANRT>{{cite web|url=http://www.cantonrep.com/index.php?ID=318935 Norman Rockwell Thanksgiving|title=A Norman Rockwell Thanksgiving |
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The [[Four Freedoms]] theme was derived from the 1941 [[State of the Union Address]] by [[United States President]] [[Franklin Roosevelt]] delivered to the [[77th United States Congress]] on January 6, 1941.<ref name=ANRT>{{cite web|url=http://www.cantonrep.com/index.php?ID=318935|title=A Norman Rockwell Thanksgiving|accessdate=2008-04-07|date=2006-11-13|publisher=The Repository|work=[[Canton Repository]]|author=Rosenkrantz, Linda}}</ref> During the speech he identified four essential [[human rights]] (Freedom of Speech, Freedom of Worship, Freedom From Want and Freedom From Fear) that should be universally protected and should serve as a reminder of the American motivation for fighting in [[World War II]].<ref name=NRPftAP/> The theme was incorporated into the [[Atlantic Charter]],<ref>{{cite web|url=http://encarta.msn.com/encyclopedia_761571315/norman_rockwell.html|title=Norman Rockwell|accessdate=2008-04-11|publihser=[[Microsoft Corporation]]|work=[[Encarta]]}}</ref> and it became part of the charter of the [[United Nations]].<ref>{{cite web|url=http://www.usnews.com/usnews/documents/docpages/document_page70.htm|title=100 Documents That Shaped America:President Franklin Roosevelt's Annual Message (Four Freedoms) to Congress (1941)|accessdate=2008-04-11|publisher=U.S. News & World Report, L.P.|work=[[U.S. News & World Report]]}}</ref> Roosevelt's message was as follows: "In the future days which we seek to make secure, we look forward to a world founded upon four essential human freedoms."<ref name=ANRT/><ref>{{cite web|url=http://www.bioethicsforum.org/health-care-human-rights-Roosevelt.asp|title=From Four Freedoms to Four Challenges|accessdate=2008-04-08|date=2008-02-08|author=Fins, Joseph J.|publisher=The Hastings Center}}</ref> |
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|accessdate=2008-04-07|date=2006-11-13|publisher=The Repository|work=[[Canton Repository]]|author=Rosenkrantz, Linda |archiveurl=http://web.archive.org/web/20080622025033/http://www.cantonrep.com/index.php?ID=318935 |archivedate=2008-06-22}}</ref> During the speech he identified four essential [[human rights]] (Freedom of Speech, Freedom of Worship, Freedom from Want and Freedom from Fear) that should be universally protected.<ref name=HaK95/> |
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The theme was incorporated into the [[Atlantic Charter]],<ref>{{cite web|url=http://encarta.msn.com/encyclopedia_761571315/norman_rockwell.html|title=Norman Rockwell|accessdate=2008-04-11|publisher=[[Microsoft Corporation]]|work=[[Encarta]]|archiveurl=http://www.webcitation.org/5kwcK0see|archivedate=2009-10-31|deadurl=yes}}</ref> and it became part of the charter of the [[United Nations]].<ref>{{cite web|url=http://www.usnews.com/usnews/documents/docpages/document_page70.htm|title=100 Documents That Shaped America:President Franklin Roosevelt's Annual Message (Four Freedoms) to Congress (1941)|accessdate=2008-04-11|publisher=U.S. News & World Report, L.P.|work=[[U.S. News & World Report]]}}</ref> Roosevelt's message was as follows: "In the future days which we seek to make secure, we look forward to a world founded upon four essential human freedoms."<ref name=ANRT/><ref>{{cite web|url=http://www.bioethicsforum.org/health-care-human-rights-Roosevelt.asp|title=From Four Freedoms to Four Challenges|accessdate=2008-04-08|date=2008-02-08|author=Fins, Joseph J.|publisher=The Hastings Center}}</ref> |
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This series is a cornerstone of a [[retrospective]] of the career of Rockwell,<ref name=AAaA/><ref name=TW>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9A07EEDE173EF931A25755C0A9669C8B63&scp=2&sq=%22Four+Freedoms%22+Rockwell&st=nyt|title= This Week|accessdate=2008-04-08|date=2000-06-12|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Van Gelder, Lawrence}}</ref> who was the most widely known contemporary commercial artist of the mid 20th century, but who failed to achieve critical acclaim commensurate with his popularity.<ref name=ANRT/><ref>Collins, Welchman, Chandler, and Anfam, p. 115</ref> These are perhaps Rockwell's most well-known [[Work of art|works of art]],<ref name=NRPftAP>Hennessey and Knutson, pp. 94–102</ref> and they were the most widely distributed paintings ever produced by some accounts.<ref name=NRI/> At one time they were commonly displayed in post offices, schools, clubs, railroad stations, and a variety of public and semi-public buildings.<ref name=NRI/> Critical review of these images, like most of Rockwell's work, has not been entirely positive. Rockwell's idyllic and nostalgic approach to [[Regionalism (art)|regionalism]] made him a popular [[illustrator]] but a lightly regarded fine artist during his lifetime.<ref name=NRR/><ref name=AitME/><ref name=AAaA/> These paintings generally are viewed with this sentiment. However, he has created a niche in the enduring social fabric with the ''Freedom from Want'' image which is emblematic of what is now known as the "Norman Rockwell Thanksgiving".<ref name=ANRT/> |
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This series is a cornerstone of a [[retrospective]] of the career of Rockwell,<ref name=AAaA/><ref name=TW>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9A07EEDE173EF931A25755C0A9669C8B63&scp=2&sq=%22Four+Freedoms%22+Rockwell&st=nyt|title= This Week|accessdate=2008-04-08|date=2000-06-12|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Van Gelder, Lawrence}} {{dead link| date=June 2010 | bot=DASHBot}}</ref> who was the most widely known contemporary commercial artist of the mid 20th century, but who failed to achieve critical acclaim commensurate with his popularity.<ref name=ANRT/><ref>Collins, Welchman, Chandler, and Anfam, p. 115</ref> These are perhaps Rockwell's most well-known [[Work of art|works of art]],<ref name=HaK95/> and they were the most widely distributed paintings ever produced by some accounts.<ref name=G140/> At one time they were commonly displayed in post offices, schools, clubs, railroad stations, and a variety of public and semi-public buildings.<ref name=G140/> Critical review of these images, like most of Rockwell's work, has not been entirely positive. Rockwell's idyllic and nostalgic approach to [[Regionalism (art)|regionalism]] made him a popular [[illustrator]] but a lightly regarded fine artist during his lifetime.<ref name=AAaA/><ref name=NRR/><ref name=AitME/> These paintings generally are viewed with this sentiment. However, he has created a niche in the enduring social fabric with the ''Freedom from Want'' image which is emblematic of what is now known as the "Norman Rockwell Thanksgiving".<ref name=ANRT/> |
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==Rockwell and World War II== |
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From 1916 through his [[John F. Kennedy|Kennedy]] Memorial cover on December 16, 1963,<ref name=NRMCCLPS>{{cite web|url=http://www.best-norman-rockwell-art.com/norman-rockwell-magazine-cover-list-1940-1980.html|title=Norman Rockwell Magazine Covers Complete List - Part Six: 1940 to 1980|accessdate=2008-04-11|publisher=Best Norman Rockwell Art.com}}</ref> Rockwell created 321 magazine [[Book cover|covers]] for ''The Saturday Evening Post'',<ref name=CSNRA>{{cite web|url=http://www.tfaoi.com/newsm1/n1m369.htm|title=Cover Story -- Norman Rockwell's America|accessdate=2008-04-04|date=2003-07-04|publisher=Traditional Fine Art Online, Inc.}}</ref> which was the most popular American magazine of the first half of the 20th century.<ref>{{cite web|url=http://www.tfaoi.com/aa/1aa/1aa103.htm|title=Norman Rockwell: Pictures for the American People|accessdate=2008-04-07|publisher=Traditional Fine Art Online, Inc/[[High Art Museum]]}}</ref> In a preelectronic era where [[mass production]] magazine color illustration was the most popular form of media, Rockwell became a national name, who by the 1950s was rivaled only by [[Walt Disney]] for his familiarity to the public among [[visual artist]]s.<ref name=AV>Hughes, pp. 508–509</ref> Rockwell illustrated [[Culture of the United States|American life]] during [[World War I]] and World War II in 34 of his cover illustrations,<ref name=NRWC>{{cite press release|url=http://www.philadelphiahistory.org/akm/press/photo/?action=viewPressRelease&id=e37709b0b7b228315ffd0c71ec17c9c3|title=Norman Rockwell's Wartime Covers|accessdate=2008-04-11|language=English|publisher=Atwater Kent Museum of Philadelphia}}</ref> and he illustrated 33 ''Post'' covers during World War II.<ref name=CSNRA/> During much of the first half of the 1940s, Rockwell's cover illustrations focused on the human side of the war.<ref name=NRMCCLPS/> |
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== Rockwell and World War II == |
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[[Image:Rockwell-Norman-LOC.jpg|thumb|right|[[Norman Rockwell]] (pre-1923)]]Rockwell encouraged support for the war efforts during World War II via his covers which endorsed [[war bond]]s, encouraged women to work, and encouraged men to enlist in the service. His World War II illustrations used themes of patriotism, longing, shifting gender roles, reunion, love, work, community and family during wartime to promote the war.<ref name=NRWC/> In his role as a magazine illustrator during times of war, Rockwell draws comparisons to [[Winslow Homer]], an [[American Civil War]] illustrator for ''[[Harper's Weekly]]''.<ref name=AGPitNCTAIaaTfCVH>{{cite web|url=http://www.yale.edu/ynhti/curriculum/units/2004/3/04.03.01.x.html|title=American Genre Painting in the Nineteenth Century: Teaching Artistic Interpretation as a Tool for Critically Viewing History|accessdate=2008-04-05|publisher=the Yale-New Haven Teachers Institute|author=Boucher, Justin M.}}</ref> These four Rockwell artistic expressions were said to have led to the adoption of Roosevelt's [[Four Freedoms]] as a goal.<ref name=NRASoOF>{{cite web|url=http://www.quinnpublishing.net/untitled_folder/rockwell.html|title=Norman Rockwell: A Star on Our Flag|accessdate=2008-04-11|author=Cutler, Judy A. G.}}</ref><ref>{{cite web|url=http://www.spartacus.schoolnet.co.uk/USAsaturday.htm|title=Saturday Evening Post|accessdate=2008-04-05}}</ref> |
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[[Image:Rockwell-Norman-LOC.jpg|thumb|left|[[Norman Rockwell]] (pre-1923)]]From 1916 through his [[John F. Kennedy|Kennedy]] Memorial cover on December 16, 1963,<ref name=NRMCCLPS>{{cite web|url=http://www.best-norman-rockwell-art.com/norman-rockwell-magazine-cover-list-1940-1980.html|title=Norman Rockwell Magazine Covers Complete List - Part Six: 1940 to 1980|accessdate=2008-04-11|publisher=Best Norman Rockwell Art.com}}</ref> Rockwell created 321 magazine [[Book cover|covers]] for ''The Saturday Evening Post'',<ref name=CSNRA>{{cite web|url=http://www.tfaoi.com/newsm1/n1m369.htm|title=Cover Story -- Norman Rockwell's America|accessdate=2008-04-04|date=2003-07-04|publisher=Traditional Fine Art Online, Inc.}}</ref> which was the most popular American magazine of the first half of the 20th century.<ref>{{cite web|url=http://www.tfaoi.com/aa/1aa/1aa103.htm|title=Norman Rockwell: Pictures for the American People|accessdate=2008-04-07|publisher=Traditional Fine Art Online, Inc/[[High Art Museum]]}}</ref> In a preelectronic era where [[mass production]] magazine color illustration was the most popular form of media, Rockwell became a national name, who by the 1950s was rivaled only by [[Walt Disney]] for his familiarity to the public among [[visual artist]]s.<ref name=AV>Hughes, pp. 508–509</ref> Rockwell illustrated [[Culture of the United States|American life]] during [[World War I]] and World War II in 34 of his cover illustrations,<ref name=NRWC>{{cite press release|url=http://www.philadelphiahistory.org/akm/press/photo/?action=viewPressRelease&id=e37709b0b7b228315ffd0c71ec17c9c3|archiveurl=https://web.archive.org/web/20080309020644/http://www.philadelphiahistory.org/akm/press/photo/?action=viewPressRelease&id=e37709b0b7b228315ffd0c71ec17c9c3|archivedate=2008-03-09|title=Norman Rockwell's Wartime Covers|accessdate=2008-04-11|publisher=Atwater Kent Museum of Philadelphia}}</ref> and he illustrated 33 ''Post'' covers during World War II.<ref name=CSNRA/> During much of the first half of the 1940s, Rockwell's cover illustrations focused on the human side of the war.<ref name=NRMCCLPS/> During World War I, Rockwell had taken a bit of a back seat to more established illustrators under the ‘’Post’’ editorship of Lorimer, who was now dead.<ref name=C306/> Rockwell felt illustrating the Four Freedoms was the chance of a lifetime for an artist and was now unfettered by Lorimer’s restrictions.<ref name=C306/> |
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Rockwell encouraged support for the war efforts during World War II via his covers which endorsed [[war bond]]s, encouraged women to work, and encouraged men to enlist in the service. His World War II illustrations used themes of patriotism, longing, shifting gender roles, reunion, love, work, community and family during wartime to promote the war.<ref name=NRWC/> In his role as a magazine illustrator during times of war, Rockwell draws comparisons to [[Winslow Homer]], an [[American Civil War]] illustrator for ''[[Harper's Weekly]]''.<ref name=AGPitNCTAIaaTfCVH>{{cite web|url=http://www.yale.edu/ynhti/curriculum/units/2004/3/04.03.01.x.html|title=American Genre Painting in the Nineteenth Century: Teaching Artistic Interpretation as a Tool for Critically Viewing History|accessdate=2008-04-05|publisher=the Yale-New Haven Teachers Institute|author=Boucher, Justin M.}}</ref> These four Rockwell artistic expressions were said to have led to the adoption of Roosevelt's [[Four Freedoms]] as a goal.<ref name=NRASoOF>{{cite web|url=http://www.quinnpublishing.net/untitled_folder/rockwell.html|archiveurl=https://web.archive.org/web/20080415045453/http://www.quinnpublishing.net/untitled_folder/rockwell.html|archivedate=2008-04-15|title=Norman Rockwell: A Star on Our Flag|accessdate=2008-04-11|author=Cutler, Judy A. G.}}</ref><ref>{{cite web|url=http://www.spartacus.schoolnet.co.uk/USAsaturday.htm|title=Saturday Evening Post|accessdate=2008-04-05}}</ref> |
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Rockwell made numerous artistic contributions to the war efforts in addition to the ''Four Freedoms''. He is widely known for his idealized fictional wartime characters [[Willie Gillis]] and his depiction of [[Rosie the Riveter]] and some of his other war art is known by name such as ''War News'' and ''Homecoming Soldier''.<ref name=MAMPFAIRaHfFEiNH/> He was responsible for encouraging individual monetary support of the war through emotional posters like ''Hasten the Homecoming'', 1943.<ref>Sustaining Vision, pp. 178–179</ref> |
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The Four Freedoms had become an important theme for Artists for Victory, an artist consortium that included Rockwell.<ref>Murray and McCabe, p. 40.</ref> The consortium was one of several professional artists' organizations that helped meet government demands for promotional artwork for the war.<ref>Murray and McCabe, p. 41.</ref> It also sponsored exhibits about global peace.<ref name=MaM42>Murray and McCabe, p. 42.</ref> |
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==Roosevelt's Speech== |
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Throughout his political career Roosevelt championed the cause of human rights.<ref name=PFRAMtC/> In his Annual Message to Congress of January 6, 1941, which was delivered at a time when [[Nazi]] powers ruled over [[Western Europe]],<ref name=FF>{{cite web|url=http://www.archives.gov/exhibits/powers_of_persuasion/four_freedoms/four_freedoms.html|title=Four Freedoms|accessdate=2008-12-18|publisher=[[National Archives and Records Administration]]}}</ref> he asked the American citizens to support war efforts in various ways. He stated his vision of a better future, founded upon four freedoms: the "four essential human freedoms," some traditional and some new ones: freedom of speech, freedom of worship, freedom from want, and freedom from fear. Roosevelt's [[State of the Union Address]] delivered on January 6, 1941, became known as his "[[Four Freedoms]] Speech", due to its conclusion that described President's vision of worldwide extension of the American ideals of [[individual liberty|individual liberties]] summarized by these four freedoms.<ref name=PFRAMtC>{{cite web|url=http://www.ourdocuments.gov/doc.php?flash=false&doc=70|title=President Franklin Roosevelt's Annual Message (Four Freedoms) to Congress (1941)|accessdate=2008-12-18|publisher=[[National Archives and Records Administration]]}}</ref> The speech served to awaken Congress and the nation to the dire war calling, articulate ideological aims of the necessary armed conflict and appeal to the universal American belief of freedom.<ref name=FF/> The following passage is from Roosevelt's speech: |
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Rockwell was perceived as apolitical, but believed in "tolerance for differences, courtesy, kindness, and the freedoms that FDR articulated.<ref name=C304>Claridge, p. 304.</ref> He believed FDR's freedoms were worth fighting for,<ref name=C304/> and he made numerous artistic contributions to the war efforts in addition to the ''Four Freedoms''. He is widely known for his idealized fictional wartime characters [[Willie Gillis]] and his depiction of [[Rosie the Riveter]] and some of his other war art is known by name such as ''War News'' and ''Homecoming Soldier''.<ref name=MAMPFAIRaHfFEiNH/> He was responsible for encouraging individual monetary support of the war through emotional posters like ''Hasten the Homecoming'', 1943.<ref>Sustaining Vision, pp. 178–179</ref> |
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{{Quote|In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.<br />The first is freedom of speech and expression—everywhere in the world.<br />The second is freedom of every person to worship God in his own way—everywhere in the world.<br />The third is freedom from want—which, translated into universal terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants-everywhere in the world.<br />The fourth is freedom from fear—which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor—anywhere in the world.<br />That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of tyranny which the dictators seek to create with the crash of a bomb. |Franklin D. Roosevelt<ref>Congressional Record, 1941, Vol. 87, Pt. I. according to {{cite web|url=http://www.wwnorton.com/college/history/ralph/workbook/ralprs36b.htm|title=The "Four Freedoms" Franklin D. Roosevelt's Address to Congress January 6, 1941, Chapter 36|accessdate=2008-12-18|publisher=[[W. W. Norton & Company|W. W. Norton Publishing]]|date=1997-02-04}}</ref>}} |
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== Roosevelt's speech == |
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==Production== |
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{{listen |
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In 1941 the United States Government had three agencies responsible for war [[propaganda]]: The Office of Facts and Figures (OFF), The Division of Information of the Office of Emergency Management (OEM), and Office of Government Reports (OGR). The OFF was responsible for commissioned artwork and for assembling a corps of writers, led by [[Librarian of Congress]] [[Archibald MacLeish]]. By mid 1942, the Office of War Information determined that despite the efforts of OFF in distributing pamphlets, posters, displays and other media, only a third of the general public was familiar with Roosevelt's four freedoms and at most one in fifty could enumerate them.<ref name=NRPftAP/> The four freedoms had been a "campaign to educate Americans about participation in World War II".<ref name=ERIC>{{cite web|url=http://www.eric.ed.gov/ERICWebPortal/custom/portlets/recordDetails/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=ED202064&ERICExtSearch_SearchType_0=no&accno=ED202064|title=FDR's 'Four Freedoms' Campaign: The Rhetorical Contribution of Norman Rockwell's Posters|accessdate=2008-04-12|publisher=[[United States Department of Education]]|work=Education Resource Information Center}}</ref> |
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|title=State of the Union (Four Freedoms) (January 6, 1941) |
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|filename=FDR's 1941 State of the Union (Four Freedoms speech) Edit 1.ogg |
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|description =[[Franklin Delano Roosevelt]]'s January 6, 1941 [[State of the Union Address]] introducing the theme of the [[Four Freedoms]] (starting at 32:02) |
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|image=[[File:FDR in 1933.jpg|alt=Franklin Delano Roosevelt headshot|100px|thumb|[[Franklin Delano Roosevelt]]]] |
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}} |
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Throughout his political career Roosevelt championed the cause of human rights.<ref name=PFRAMtC/> In his Annual Message to Congress of January 6, 1941, which was delivered at a time when [[Nazi]] powers ruled over [[Western Europe]],<ref name=FF>{{cite web|url=http://www.archives.gov/exhibits/powers_of_persuasion/four_freedoms/four_freedoms.html|title=Four Freedoms|accessdate=2008-12-18|publisher=[[National Archives and Records Administration]]}}</ref> he asked the American citizens to support war efforts in various ways. He stated his vision of a better future, founded upon four freedoms: the "four essential human freedoms," some traditional and some new ones: [[freedom of speech]], [[freedom of worship]], [[freedom from want]], and [[freedom from fear]]. Roosevelt's [[State of the Union Address]] delivered on January 6, 1941, became known as his "Four Freedoms Speech", due to its conclusion that described President's vision of worldwide extension of the American ideals of [[individual liberty|individual liberties]] summarized by these four freedoms.<ref name=PFRAMtC>{{cite web|url=http://www.ourdocuments.gov/doc.php?flash=false&doc=70|title=President Franklin Roosevelt's Annual Message (Four Freedoms) to Congress (1941)|accessdate=2008-12-18|publisher=[[National Archives and Records Administration]]}}</ref> I.e., FDR's speech was known for "identifying the objectives of the war and revealing his hopeful view of the postwar world."<ref name=HaK95/> The speech served to awaken Congress and the nation to the dire war calling, articulate ideological aims of the necessary armed conflict and appeal to the universal American belief of freedom.<ref name=FF/> The following passage is from Roosevelt's speech: |
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{{Quote|In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.<br />The first is freedom of speech and expression—everywhere in the world.<br />The second is freedom of every person to worship God in his own way—everywhere in the world.<br />The third is freedom from want—which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants—everywhere in the world.<br />The fourth is freedom from fear—which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor—anywhere in the world.<br />That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of tyranny which the dictators seek to create with the crash of a bomb. |Franklin D. Roosevelt<ref>Congressional Record, 1941, Vol. 87, Pt. I. according to {{cite web|url=http://www.wwnorton.com/college/history/ralph/workbook/ralprs36b.htm|title=The "Four Freedoms" Franklin D. Roosevelt's Address to Congress January 6, 1941, Chapter 36|accessdate=2008-12-18|publisher=[[W. W. Norton & Company|W. W. Norton Publishing]]|date=1997-02-04}}</ref>}} |
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Rockwell remembered a scene of a local town meeting in which one person spoke out in lone dissent, but was accorded the floor as a matter of [[Protocol (diplomacy)|protocol]]. A vision struck him to depict this scene to represent ''[[Freedom of Speech (painting)|Freedom of Speech]]'', and then in 1942 Rockwell decided to use his [[Vermont]] neighbors as [[model (art)|model]]s for an inspirational set of posters depicting the themes laid out by Roosevelt the previous year in a Four Freedoms series.<ref>{{cite web|url=http://www.nrm.org/page96|title=Norman Rockwell in the 1940s: A View of the American Homefront |publisher=[[Norman Rockwell Museum]]|accessdate=2008-04-12}}</ref> He spent three days making [[charcoal]] sketches of the series,<ref name=NRPftAP/> and the series took seven months to create.<ref name=ILTPP/> [[Model (art)|Models]] included a Mrs. Harrington who became the devout old woman in ''Freedom of Worship'' and a man named Jim Martin who appears in each painting in the series.<ref name=ILTPP/> The intention was to remind America what they were fighting for: freedom of speech and worship, freedom from want and fear.<ref name=AASfaWP/><ref name=NRPftAP/> All of the paintings used a muted [[palette]] and are devoid of the use of [[vermilion]] that Rockwell is known for.<ref name=NRPftAP/> |
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Domestically, the Four Freedoms were not something the Roosevelt was able to achiever through simple legislation, but they did provide a theme for American military participation in the war.<ref name=HaK95/> Of the Four Freedoms, the only two described in the [[United States Constitution]] were freedom of speech and freedom of worship.<ref name=FSP>{{cite web|url=http://online.wsj.com/news/articles/SB10001424052970203440104574406903628933162|title=Free Speech Personified: Norman Rockwell's inspiring and enduring painting|accessdate=2013-12-31|date=2009-10-10|work=[[The Wall Street Journal]]|author=Cole, Bruce}}</ref> |
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{{double image|right|Freedom From Fear.jpg|150|Ben Shahn Lidice poster.jpg|166|Poster version of ''Freedom from Fear''|Example of a [[Ben Shahn]] poster that was passed over.}} |
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Rockwell's [[patriotic]] gesture was to travel to [[Washington, D.C.]] and volunteer his free services to the government for this cause. As Rockwell bounced from one government office to the next he received no indication of interest by the government. In fact, the Office of War Information told him that poster art like that used in [[World War I]] was not welcome because the government intended to use real artists instead this time. Rockwell returned to the ''Saturday Evening Post'' and got an enthusiastic response from editor Ben Hibbs to publish his designs.<ref name=AASfaWP/><ref name=NRPftAP/> Some sources published after Rockwell's death question whether the government was truly as discouraging as Rockwell claimed. They cite an encouraging April 23, 1943 correspondence with Thomas D. Mabry of the Office of War Information (a former Executive Director of the [[Museum of Modern Art]]).<ref name=NRPftAP/> At the time, the three government propaganda agencies were disjointed, and they were not unified under the Office of War Information (OWI) until June 13, 1945 by a [[Executive order (United States)|Presidential Executive Order]].<ref name=NRPftAP/> Furthermore, the writers division, led by MacLeish, was under pressure for failing to deliver a message intelligible to people of varying intelligence. There was also significant turmoil in the OWI because a faction had supported work by [[Ben Shahn]], but Shahn's work would not be used extensively for propaganda because it lacked general appeal.<ref name=NRPftAP/> |
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== Production == |
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Upon publication ''The Saturday Evening Post'' received millions of [[reprint]] requests.<ref name=NRI/> Rockwell's version of the story is that only after the public demanded reprints did the Office of War Information get involved by producing 2.5 million sets of Four Freedoms posters,<ref name=AASfaWP>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9806E5D91E3CF937A25753C1A9679C8B63|title= Art/Architecture; Salve for a Wounded People|accessdate=2008-04-07|publisher=[[The New York Times Company]]|work=[[The New York Times]]|date=2001-10-14|author=Marling, Karal Ann}}</ref><ref name=ILTPP/> By the end of the war, 4 million posters had been printed.<ref name=NRPftAP/> Both the ''Freedom from Fear'' and ''Freedom from Want'' posters had the leading caption "ours. . .to fight for" and the ''Freedom of Speech'' and ''Freedom of Worship'' had the leading caption "Buy War Bonds" and the word "Save" before the respective freedom.<ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww06.html|title=Ours to fight for–freedom from want|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref><ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww05.html|title=Ours to fight for–freedom from fear|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref><ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww04.html|title=Save freedom of speech|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref><ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww03.html|title=Save freedom of worship|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref> There is also a 1946 [[lithograph]] version of the 1943 paintings with all four paintings under the heading "ours. . .to fight for".<ref>{{cite web|url=http://www.loc.gov/exhibits/treasures/trm142.html|title=Rockwell's Four Freedoms|accessdate=2008-12-07|date=2003-04-09|publisher=[[Library of Congress]]}}</ref> |
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{{quote box|width=17em|bgcolor=#c6dbf7|align=left|quote="The job was too big for me...It should have been tackled by Michelangelo."|source=—[[Norman Rockwell]]<ref name=G140>Guptill, p. 140.</ref>}} |
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Rockwell's ''Four Freedoms [[Freedom of Speech (painting)|Freedom of Speech]], [[Freedom of Worship (painting)|Freedom of Worship]], [[Freedom from Want (painting)|Freedom from Want]]'' and ''[[Freedom from Fear (painting)|Freedom from Fear]]'' were first published on February 20, February 27, March 6 and March 13, 1943 along with commissioned essays from leading American writers and historians ([[Booth Tarkington]], [[Will Durant]], [[Carlos Bulosan]], and [[Stephen Vincent Benét]], respectively).<ref name=NRFF/> They measured {{convert|45.75|in|cm}} × {{convert|35.5|in|cm}} except ''Freedom of Worship'' which measures {{convert|46.0|in|cm|1}} × {{convert|35.5|in|cm}}.<ref name=Artchive/> For all of his paintings, Rockwell used live models.<ref>Schick, p. 17.</ref> In 1935, Rockwell began using (exclusively [[black-and-white]])<ref name=S19>Schick, p. 19.</ref> photography extensively, although he did not publicly reveal he did so until 1940.<ref>Schick, p. 18.</ref> The use of photography expanded the possibilities for Rockwell. He could produce works from new perspectives and the ''Four Freedoms'' represented "low vantage point of ''Freedom of Speech'', to close-up in ''Freedom of Worship'', midrange in ''Freedom from Fear'', and wide angle in ''Freedom from Want''."<ref name=S19/> |
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In 1939, Rockwell moved to [[Arlington, Vermont]], which was an artist-friendly community that had hosted [[Robert Frost]], [[Rockwell Kent]] and [[Dorothy Canfield Fisher]]. Rockwell was soon joined in Arlington by artists [[John Atherton]], [[Mead Schaeffer]] and George Hughes. The resident artists, Rockwell included, chose to depend upon the local citizens to perform as their amateur models.<ref name=S19/> Of the move from [[New Rochelle, New York]], Rockwell said "I was restless...The town seemed tinged with everything that happened to me". He had endured a divorce and run with fast crowds in New Rochelle.<ref>Murray and McCabe, p. 12.</ref> Using photography and Arlington residents as models, Rockwell was able to capture what he referred to as "human-looking humans" who were generally working-class people in an hour or so rather than hire professional models for the entire day.<ref>Schick, p. 20.</ref> Rockwell paid his models modestly. E.g., Rose Hoyt who was engaged for a total of three photographic sessions for ''Freedom of Speech'' and ''Freedom of Worship'', earned $15 (${{formatnum:{{Inflation|US|5|1942|r=2}}}} in {{CURRENTYEAR}} dollars{{inflation-fn|US}}) for her sittings.<ref>Murray and McCabe, p. 48.</ref> |
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Between 1941 and 1946, the United States Department of the Treasury conducted eight War Loan Drives to promote the sale of war Bonds to finance America's World War II efforts. The government used several forms of solicitation, advertising and marketing, such as [[aircraft carrier]] exhibits as well as direct appeal from all the [[five-star general]]s and admirals ([[George Marshall]], [[Dwight Eisenhower]], [[Douglas MacArthur]], [[Jackson D. Arnold]], [[Ernest King]], [[Chester W. Nimitz]] and [[William D. Leahy]]) in the Seventh War Loan Drive,<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,775640,00.html|title=For a United People|accessdate=2008-12-19|date=1945-05-28|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref><ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,852208,00.html|title=Mission: Bond Sales|accessdate=2008-12-19|date=1945-05-21|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> or a commemorative bond image of [[Franklin Delano Roosevelt]] in the Eighth War Loan Drive.<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,775696,00.html|title=Just Deserts|accessdate=2008-12-19|date=1945-05-28|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> The marketing attempts were quite varied even within a single War Loan Drive.<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,932136,00.html|title=The Carrot, the Stick|accessdate=2008-12-19|date=1943-10-04|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> In 1943, the ''Saturday Evening Post'' donated the ''Four Freedoms'' to the Second War Loan Drive.<ref>{{cite web|url=http://www.rosietheriveter.org/painting.htm|title=Rockwell's Rosie the Riveter Painting Auctioned|accessdate=2008-04-07}}</ref> Rockwell's ''Four Freedoms [[Freedom of Speech (painting)|Freedom of Speech]], [[Freedom of Worship (painting)|Freedom to Worship]], [[Freedom from Want (painting)|Freedom from Want]]'' and ''[[Freedom from Fear (painting)|Freedom from Fear]]'' were first published in February 20, February 27, March 6 and March 13, 1943 along with commissioned essays from leading American writers and historians ([[Booth Tarkington]], [[Will Durant]], [[Carlos Bulosan]], and [[Stephen Vincent Benét]], respectively).<ref name=NRFF/> They measured {{convert|45.75|in|cm}} × {{convert|35.5|in|cm}} except ''Freedom to Worship'' which measures {{convert|46.0|in|cm|1}} × {{convert|35.5|in|cm}}.<ref name=Artchive/> After publication of the Rockwell works and subsquent demand for reprints, a tour was planned highlighting the popular paintings as a marketing device for the sale of War Bonds. During the subsequent 16-city tour,<ref>{{cite web|url=http://www.thehomeschoolmagazine.com/How_To_Homeschool/articles/300.php|title=Norman Rockwell: An American Original|accessdate=2008-04-12|publisher=TheHomeschoolMagazine.com|author=Jeffus, Sharon}}</ref> which included various celebrities, public officials, and entertainers,<ref name=NRI/> approximately 1.2 million people throughout the United States viewed the paintings, which helped to raise $132 billion ($18.533 billion for the Second Loan Drive alone)<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,932990,00.html|title=Gap Narrowed|accessdate=2008-12-19|date=1943-05-24|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> for the war effort though the sale of war bonds. According to ''[[The New Yorker]]'' in 1945, the ''Four Freedoms'' "were received by the public with more enthusiasm, perhaps, than any other paintings in the history of [[American art]]".<ref name=NRPftAP/><ref name=MAMPFAIRaHfFEiNH>{{cite press release|url=http://www.michenermuseum.org/press/?item=2007-08-08|title=Michener Art Museum Pairs Famed American Illustrators Rockwell and Hargens for Fall Exhibitions in New Hope |publisher=The James A. Michener Art Museum|accessdate=2008-04-07|date=2007-08-08|language=English}}</ref> Rockwell is widely credited with contributing to the success of the war effort.<ref name=NRI/> |
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In 1941 the United States Government had three agencies responsible for war [[propaganda]]: The Office of Facts and Figures (OFF), The Division of Information of the [[Office for Emergency Management|Office of Emergency Management]] (OEM), and Office of Government Reports (OGR).<ref name=HaK95/> The OFF was responsible for commissioned artwork and for assembling a corps of writers, led by [[Librarian of Congress]] [[Archibald MacLeish]]. By mid-1942, the Office of War Information determined that despite the efforts of OFF in distributing pamphlets, posters, displays and other media, only a third of the general public was familiar with Roosevelt's four freedoms and at most one in fifty could enumerate them.<ref name=HaK95/> The four freedoms had been a "campaign to educate Americans about participation in World War II".<ref name=ERIC>{{cite web|url=http://www.eric.ed.gov/ERICWebPortal/custom/portlets/recordDetails/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=ED202064&ERICExtSearch_SearchType_0=no&accno=ED202064|title=FDR's 'Four Freedoms' Campaign: The Rhetorical Contribution of Norman Rockwell's Posters|accessdate=2008-04-12|publisher=[[United States Department of Education]]|work=Education Resource Information Center}}</ref> |
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The Four Freedoms were reproduced in posters by the [[United States Government Printing Office]] and on [[postage stamp]]s by the [[United States Postal Service]].<ref name=ANRT/> The stamps are not to be confused with the February 12, 1943 one-cent Four Freedoms Postage Stamp Issue by another artist.<ref>{{cite web|url=http://www.junior-philatelists.com/USStampsHistory43.htm|title= United States Postage Stamps: 1847 through 1947 ~ The first 100 years|accessdate=2008-04-07|publisher=JUNIOR PHILATELISTS ON THE INTERNET}}</ref> The Rockwell versions were issued in a set of four fifty-cent stamps in 1994, the 100th anniversary of Rockwell's birth.<ref>{{cite web|url=http://www.collectiblestampsgallery.com/proddetail.asp?prod=AM46|title=Norman Rockwell. United States, 1994|accessdate=2008-04-07|publisher=The Collectible Stamps Gallery}}</ref> ''[[Freedom from Want (painting)|Freedom from Want]]'' was included as the cover image of the 1946 book ''Norman Rockwell, Illustrator'' that was written when Rockwell was "at the height of his fame as America's most popular illustrator".<ref name=NRI/> By 1972, this 1946 publication was in its seventh printing.<ref name=NRI>Guptill, pp. vi, 140–149</ref> Although the paintings were originally intimately connected to Roosevelt and the American cause in World War II, the paintings have now developed an independent iconic identity in [[textbooks]] and on [[necktie|ties]] as well as in the cultural and social fabric.<ref name=NRPftAP/> Eventually, 25 million people bought Rockwell's ''Four Freedoms'' prints by the end of the 20th century.<ref name=NRR>{{cite web|url=http://www.newsweek.com/id/90208|title=Norman Rockwell Revisited|accessdate=2008-04-07|date=1999-11-15|publisher=Newsweek, Inc.|work=[[Newsweek magazine]]|author=Plagens, Peter}}</ref> |
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By 1942, Rockwell had been illustrating professionally for thirty years and was having a successful career.<ref>Murray and McCabe, p. 13.</ref> Additionally, by mid-1942 Rockwell's [[Willie Gillis]] was becoming famous.<ref>Murray and McCabe, p. 15.</ref> [[George Horace Lorimer]] had been the editor of the ''Post'' from 1898 to 1936. He was followed by Wesley W. Stout for five years.<ref name=MaM22>Murray and McCabe, p. 22.</ref> In Spring 1942, Stout ran an article entitled "The Case Against the Jew", which led to advertising and subscription cancellations.<ref name=MaM73>Murray and McCabe, p. 73.</ref> The ''Post'' was rumored to be in trouble in 1942.<ref>Murray and McCabe, p. 18.</ref> Soon Stout was replaced by Hibbs who revamped the magazine.<ref name=MaM73/> Rockwell had not been pleased with Stout. In the Spring of 1942, Rockwell had met the new ''Post'' editor, Ben Hibbs.<ref name=MaM22/> |
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==Critical review== |
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Rockwell is considered the "quintessential middlebrow American artist".<ref>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9E0CEEDE1139F931A25754C0A964958260&sec=&spon=&pagewanted=4|title=The Candidates as Culture Vultures|accessdate=2008-04-08|date=1992-07-12|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Kelly, Michael}}</ref> As an artist he is an [[illustrator]] rather than a [[fine arts]] painter. Although his style is [[painterly]], his work is produced for the purpose of mass reproduction, and it is produced with the intent of delivering a common message to its viewers via a detailed narrative style.<ref name=NRR/><ref name=AAaA/> Furthermore, the vast majority of Rockwell's work was viewed in reproduced format and almost none of his contemporaneous audience ever saw his original work.<ref name=AV/><ref name=AAaA/> Also, Rockwell style of backwoods [[New England]] small-town [[Realism (visual arts)|realism]], known as [[Regionalism (art)|regionalism]], was sometimes viewed as out of step with the oncoming wave of [[abstract art|abstract]] [[modern art]].<ref name=NRR/><ref name=AitME>Dempsey, p. 165</ref> Some say his realism is so direct that he abstains from using artistic license.<ref name=NRR/> [[John Canaday]], a ''[[New York Times]]'' art critic once referred to Rockwell as the "Rembrandt of Punkin' Crick" for his aversion to the vices big city life.<ref>{{cite web|url=http://query.nytimes.com/mem/archive-free/pdf?_r=3&res=FB0615F8355A137B93C1AB1788D85F468785F9|title=Rockwell Retrospective in Brooklyn|accessdate=2008-12-19|date=1972-03-23|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Canaday, John}}</ref> [[Dave Hickey]] derided Rockwell for painting without inflection.<ref name=NRR/> Some critics also view his sentimental and nostalgic vision out of step with the harsh realities of American life, such as [[The Great Depression]].<ref name=AAaA>Wright, pp. 122–123</ref> Some have summarized this combination by saying that Rockwell's ''Four Freedoms'' lack artistic maturity. Others point to the universality of the ''Freedom of Religion'' as disconcerting to practitioners of particular faiths.<ref name=ILTPP>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,766759,00.html|title=I Like To Please People|accessdate=2008-04-07|date=1943-06-21|publisher=Time Inc.|work=[[Time magazine]]}}</ref> Others complained that he [[idealism|idealized]] American life because by depicting wholesome, healthy, and happy sentiments Rockwell depicted the good that was remembered or wished for, but by avoiding misery, poverty, and social unrest, he failed to demonstrate command of the bad and the ugly parts of American life.<ref name=AAaA/> Rockwell's response to this criticism was, "I paint life as I would like it to be."<ref name=AAaA/> |
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On May 24, 1942, Rockwell was seeking approval for a poster design at [[the Pentagon]] because the [[Artists Guild]] had designated that he advocate for the U.S. Army Ordnance Department. [[Robert P. Patterson|Robert Patterson]], who was then United States Undersecretary of War, suggested revisions. On the same day, he visited with Thomas Mabry of the Graphic Division of the War Department's Office of Facts and Figures, which coordinated war-themed posters and [[billboard]]s. Mabry relayed the need for ''Four Freedoms'' artwork.<ref>Solomon, p. 201.</ref> Rockwell returned home pondering the Atlantic Charter, which had incorporated the Four Freedoms.<ref name=S202>Solomon, p. 202.</ref> |
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Although all four images were intended to promote patriotism in a time of war, ''Freedom from Want'', which depicts an elderly couple serving a fat turkey to what looks like a table of happy and eager children and grandchildren has given the idyllic Norman Rockwell [[Thanksgiving]] work as important a place in the enduring marketplace of promoting family togetherness, peace and plenty as [[Hallmark]] at Christmas.<ref name=ANRT/> |
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Rockwell remembered a scene of a local town meeting in which one person spoke out in lone dissent, but was accorded the floor as a matter of [[Protocol (diplomacy)|protocol]]. A vision struck him to depict this scene to represent ''[[Freedom of Speech (painting)|Freedom of Speech]]'', and then in 1942 Rockwell decided to use his [[Vermont]] neighbors as [[model (art)|models]] for an inspirational set of posters depicting the themes laid out by Roosevelt the previous year in a Four Freedoms series.<ref>{{cite web|url=http://www.nrm.org/page96|title=Norman Rockwell in the 1940s: A View of the American Homefront |publisher=[[Norman Rockwell Museum]]|accessdate=2008-04-12|archiveurl = http://web.archive.org/web/20070720223914/http://www.nrm.org/page96 |archivedate = July 20, 2007|deadurl=yes}}</ref> He spent three days making [[Charcoal (art)|charcoal]] sketches of the series.<ref name=HaK96>Hennessey and Knutson, p. 96.</ref> Note that some sources describe the sketches as color sketches.<ref name=MaM21>Murray and McCabe, p. 21.</ref> In mid-June, accompanied by [[Mead Schaeffer]], he took four charcoal sketches to Washington, where they stayed at the [[Mayflower Hotel]], as the two sought commission to design war art.<ref name=S202/> Rockwell's [[patriotic]] gesture was to travel to [[Washington, D.C.]] and volunteer his free services to the government for this cause.<ref name=MaM21/><ref name=AASfaWP/> During the trip, Rockwell found himself being solicited by the [[Boy Scouts of America]] to continue his annual production of a new painting for their annual calendar by publishing representative Orion Winford.<ref name=S202/> In meeting with Patterson, he was unable to hold his attention.<ref name=S202/> He moved on to the new [[United States Office of War Information|Office of War Information]] (OWI), where he was told "The last war you illustrators did the posters. This war we're going to use fine artists men, real artists."<ref name=S203>Solomon, p. 203.</ref> |
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The commercial success of the series is in part due to the fact that each painting is considered to be a model of understandable art by the general public.<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,779887,00.html?promoid=googlep|title=Docents' Duties|accessdate=2008-04-08|date=1948-06-28|publisher=Time Inc.|work=[[Time magazine]]}}</ref> The success of Rockwell's depictions was due to his use of long-standing American cultural values about unity and respect of certain institutions while using symbols that enabled a broad audience to identify with his images.<ref name=ERIC/> This understandability made it one extreme on the scale of artistic complexity when comparing the series to contemporaneous art. It was diametrically opposed to the [[abstract art]] and far removed from the intrigue of [[surrealism]].<ref>{{cite web|url=http://www.time.com/time/magazine/article/0,9171,775761,00.html|title=The U.S. & the United Nations|accessdate=2008-04-08|date=1945-06-04|publisher=Time Inc.|work=[[Time magazine]]}}</ref> |
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On his return trip to Vermont with Scheaffer on June 16, they stopped in Philadelphia to meet with new ''Saturday Evening Post'' editor Ben Hibbs.<ref name=S204>Solomon, p. 204.</ref> Many accounts portray this visit as unplanned, but whether it was is unclear.<ref name=C305>Claridge, p. 305.</ref> Hibbs took to Rockwell's Four Freedoms sketches,<ref name=HaK96/><ref name=AASfaWP/> and he gave Rockwell two months to complete the works.<ref name=S204/> A June 24 correspondence from the post clarified that both Rockwell's and Scheaffer's series would be published.<ref name=C305/> By June 26, the ''Post'''s art editor James Yates notified Rockwell of plans for a layout of paintings with accompanying essay(s) by President Roosevelt.<ref name=S204/> Rockwell’s summer was full of distractions nonetheless. At one point a Manhattan gastroenterologist prescribed an undisclosed surgery. He had commissions for other magazines, and business complications regarding second reproduction rights.<ref name=C307>Claridge, p. 307.</ref> He also had his Boy Scout commitment.<ref name=C308>Claridge, p. 308.</ref> Under time constraints, Rockwell made every excuse to avoid all other distracting assignments.<ref name=S205>Solomon, p. 205.</ref> In October, the ''Post'' sent their art editor to Arlington to check up on Rockwell's progress.<ref name=MaM49>Murray and McCabe, p. 49.</ref> That fall the OWI, began showing signs of renewed interest. This came despite OWI Graphics Division chief, Francis Brennan’s outrage. In fact, after Rockwell was chosen despite dissent the entire OWI Writers’ Division resigned.<ref name=C306>Claridge, p. 306.</ref> The press release associated with the resignation asserted that the OWI was dominated by "high-pressure promoters who prefer slick salesmanship to honoest information. These promoters would treat as stupid and reluctant customers the men and women of the United States."<ref name=MaM77/> Nonetheless, the series took seven months to create<ref name=S205/><ref name=ILTPP/> with Rockwell finishing the series by year end.<ref name=C309>Claridge, p. 309.</ref> Supposedly, Rockwell lost {{convert|10|lbs|kg|2}} while completing this assignment.<ref>Guptill (first), p. xxviii.</ref> As Rockwell was completing the series, he was motivated by military news that gave his work urgency.<ref>Murray and McCabe, p. 50.</ref> |
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In 1999, the [[High Museum of Art]] and the [[Norman Rockwell Museum]] produced the first comprehensive exhibition of Rockwell's career that started at the High Museum on November 6, 1999, stopped at the [[Chicago Historical Society]], [[Corcoran Gallery of Art]], [[San Diego Museum of Art]], [[Phoenix Art Museum]], and Norman Rockwell Museum before concluding at the [[Solomon R. Guggenheim Museum]] on February 11, 2002.<ref name=NRPftAP/><ref>{{cite web|url=http://www.tfaoi.com/aa/1aa/1aa319.htm|title=Norman Rockwell: Pictures for the American People|accessdate=2008-04-07|publisher=Traditional Fine Art Online, Inc/[[Chicago Historical Society]]}}</ref><ref>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9A07EEDE173EF931A25755C0A9669C8B63|title= This Week|accessdate=2008-04-08|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Van Gelder, Lawrence}}</ref> Although there has been a long history of Rockwell detractors, during this ''Norman Rockwell: Pictures for the American People'' touring exhibition attendance was record-setting and critical reviews were quite favorable. The nostalgia seemed to cause a bit of revisionism in the artworld, according to ''[[The New York Times]]'' which said, "What's odd is the show's enthusiastic reception by the art world, which in a lather of revisionism is falling all over itself to embrace what it once reviled: the comfy, folksy narrative visions of a self-deprecating illustrator..."<ref>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9B06EFDC1131F93BA15753C1A9679C8B63|title= Mirror, Mirror; Rockwell, Irony-Free|accessdate=2008-04-08|date=2001-10-28|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Green, Penelope}}</ref> |
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Models included a Mrs. Harrington who became the devout old woman in ''Freedom of Worship'' and a man named Jim Martin who appears in each painting in the series.<ref name=ILTPP/> The intention was to remind America what they were fighting for: freedom of speech and worship, freedom from want and fear.<ref name=AASfaWP/> All of the paintings used a muted [[Palette (painting)|palette]] and are devoid of the use of [[vermilion]] that Rockwell is known for.<ref name=HaK102>Hennessey and Knutson, p. 102.</ref> |
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==Provenance== |
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Norman Rockwell, who would live until 1978, [[bequest|bequeathed]] his personal collection in [[Trust law|trust]] to the Norman Rockwell Museum in 1973 for the "advancement of art appreciation and [[art education]]".<ref name=C/> This collection included the ''Four Freedoms'' paintings.<ref name=C>{{cite web|url=http://www.nrm.org/page31|title=Collections|accessdate=2008-04-08|publisher=[[Norman Rockwell Museum]]}}</ref> In 1993, when the Rockwell Museum moved from its original location, the ''Four Freedoms'' were displayed in the new museum's central gallery.<ref>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9F0CE2DA1131F930A25755C0A965958260&scp=5&sq=%22Four+Freedoms%22+Rockwell&st=nyt|title= On Picture-Perfect Day, a Norman Rockwell Museum Opens|accessdate=2008-04-08|date=1993-06-13|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Grimes, William}}</ref> The ''Four Freedoms'' remain in the collection of the Museum.<ref name=C/> |
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{{double image|right|Freedom From Fear.jpg|158|Ben Shahn Lidice poster.jpg|166|Poster version of ''Freedom from Fear''|Example of a [[Ben Shahn]] poster that was passed over.}} |
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==Exhibitions== |
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Some sources published after Rockwell's death question whether the government was truly as discouraging as Rockwell claimed. They cite an encouraging April 23, 1943 correspondence with Thomas D. Mabry of the OWI (a former Executive Director of the [[Museum of Modern Art]]).<ref name=HaK96/> At the time, the three government propaganda agencies were disjointed, and they were not unified under the OWI until June 13, 1942 by a [[Executive order (United States)|Presidential Executive Order]].<ref name=HaK96/> Furthermore, the writers division, led by MacLeish, was under pressure for failing to deliver a message intelligible to people of varying intelligence. There was also significant turmoil in the OWI because a faction had supported work by [[Ben Shahn]], but Shahn's work would not be used extensively for propaganda because it lacked general appeal.<ref name=HaK100>Hennessey and Knutson, p. 100.</ref> There were several artists who were commissioned to promote the war: [[Jean Carlu]], [[Gerard Hordyke]], [[Hugo Ballin]] and [[Walter Westley Russell|Walter Russell]] were among those commissioned.<ref name=MaM42/> Russell created a [[Four Freedoms Monument]] that was eventually dedicated at [[Madison Square Garden]] in New York City.<ref>{{cite book|url=http://books.google.com/books?id=e7FD0Qfub9MC&pg=PP71&dq=%22norman+rockwell%22+%22freedom+of+speech%22+%22four+freedoms%22+%22Saturday+Evening+Post%22&hl=en&sa=X&ei=FIHDUsryNqWQ3AX5Ag&ved=0CGgQ6AEwCA#v=onepage&q=%22norman%20rockwell%22%20%22freedom%20of%20speech%22%20%22four%20freedoms%22%20%22Saturday%20Evening%20Post%22&f=false|title=Liberty's Refuge: The Forgotten Freedom of Assembly|author=Inazu, John D.|publisher=[[Yale University Press]]|isbn=0300173156|pages=|year=2012}}</ref> |
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The ''Four Freedoms'' were widely exhibited as part of the sixteen-city Second War Loan Drive in 1943 and have subsequently been part of other tours and exhibitions.<ref name=MAMPFAIRaHfFEiNH/> They were a highlight of the first comprehensive Rockwell touring exhibition, entitled ''Norman Rockwell: Pictures for the American People'', which was a seven-city tour that ran from November 1999 until February 2002.<ref name=TW/><ref name=NRR/> They returned to the [[Corcoran Gallery of Art]], which had been part of the Pictures for the American People tour, for an exhibition in association with the [[National World War II Memorial]] grand opening in 2004.<ref>{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9D05E1DE1630F93BA15750C0A9629C8B63&scp=6&sq=%22Four+Freedoms%22+Rockwell&st=nyt|title= Travel advisory; A Monument Rises on the Mall|accessdate=2008-04-08|date=2004-03-28|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Vangelova, Luba}}</ref> |
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Upon completion, Rockwell's works were briefly exhibited at the West Arlington Grange before being delivered to the ''Post'' in Philadelphia.<ref name=MaM51>Murray and McCabe, p. 51.</ref> The series arrived in Philadelphia January 1943.<ref name=MaM59>Murray and McCabe, p. 59.</ref> Roosevelt was shown the paintings in early February, and the ''Post'' sought Roosevelt's approval for the series of paintings and essays. Roosevelt responded with both a personal letter to Rockwell and an "official" letter of commendation to the ''Post'' dated February 10.<ref name=MaM60>Murray and McCabe, p. 60.</ref> Roosevelt instructed the ''Post'' to have the OWI have the essays translated into foreign languages so that they could be presented to leaders at the [[United Nations]].<ref name=MaM61/> |
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In addition to being included in various tours, the ''Four Freedoms'' were the subject of a 144-page book in 1993, the fiftieth anniversary of their production.<ref>{{cite web|url=http://www.scoutingmagazine.org/issues/9810/d-news.html|title=News Briefs|accessdate=2008-04-11|year=1998|month=October|publisher=[[Boy Scouts of America]]|work=Scouting Magazine|author=Piasky, Jeff (ed.)}}</ref> The book is a very detailed account of the history of the ''Four Freedoms''. It starts with Roosevelt's inspiration for the painting series and their publication. Then it describes the tour, which began at [[Hecht's Department Store]] in [[Washington, D.C.]] with [[Supreme Court Associate Justice]] [[William O. Douglas]] speaking. It includes various appendices, such as the four essays (by Tarkington, Durant, Bulosan, and Benet) that accompanied the original publication in ''The Saturday Evening Post'' and the essay that accompanied the government printing as well as original essays for the book.<ref>{{cite web|url=http://www.amazon.com/Norman-Rockwells-Four-Freedoms-Inspire/dp/0936399422|title=Norman Rockwell's Four Freedoms: Images That Inspire a Nation|accessdate=2008-04-11|publisher=[[Amazon.com, Inc.]]|date=2008}}</ref><ref name=NRFF>{{cite web|url=http://www.countrymanpress.com/titles/NormanRockwellsFourFreedoms.html|title=Norman Rockwell's Four Freedoms|accessdate=2008-04-11|publisher=The Countryman Press}}</ref> |
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The Four Freedoms "were published inside in full-color, full-page presentations, each opposite the essay with the same title". They were published in sequential weeks in the order presented by Roosevelt in his speech.<ref name=MaM61/> For the authors of the accompanying essays, Hibbs had numerous options given the number of regular contributors to the ''Post''.<ref name=MaM61/> |
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==Aftermath== |
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Upon publication ''The Saturday Evening Post'' received millions of [[reprint]] requests.<ref name=G140/> The ''Post'' produced 25,000 full-color reproductions with both the essay and painting in sets of four for $0.25 (${{formatnum:{{Inflation|US|0.25|1943|r=2}}}} in {{CURRENTYEAR}} dollars{{inflation-fn|US}}), the cost of production.<ref>Murray and McCabe, p. 62.</ref> Rockwell's version of the story is that only after the public demanded reprints did the Office of War Information get involved by producing 2.5 million sets of Four Freedoms posters,<ref name=AASfaWP>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9806E5D91E3CF937A25753C1A9679C8B63|title= Art/Architecture; Salve for a Wounded People|accessdate=2008-04-07|publisher=[[The New York Times Company]]|work=[[The New York Times]]|date=2001-10-14|author=Marling, Karal Ann|archiveurl = http://web.archive.org/web/20080415212052/http://query.nytimes.com/gst/fullpage.html?res=9806E5D91E3CF937A25753C1A9679C8B63 |archivedate = April 15, 2008|deadurl=yes}}</ref><ref name=ILTPP/> By the end of the war, 4 million posters had been printed.<ref name=HaK102/> Both the ''Freedom from Fear'' and ''Freedom from Want'' posters had the leading caption "ours. . .to fight for" and the ''Freedom of Speech'' and ''Freedom of Worship'' had the leading caption "Buy War Bonds" and the word "Save" before the respective freedom.<ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww06.html|title=Ours to fight for–freedom from want|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref><ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww05.html|title=Ours to fight for–freedom from fear|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref><ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww04.html|title=Save freedom of speech|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref><ref>{{cite web|url=http://www.nh.gov/nhsl/ww2/ww03.html|title=Save freedom of worship|accessdate=2008-12-07|publisher=New Hampshire State Library|work=Unifying a Nation: World War II Posters from the New Hampshire State Library}}</ref> There is also a 1946 [[lithograph]] version of the 1943 paintings with all four paintings under the heading "ours. . .to fight for".<ref>{{cite web|url=http://www.loc.gov/exhibits/treasures/trm142.html|title=Rockwell's Four Freedoms|accessdate=2008-12-07|date=2003-04-09|publisher=[[Library of Congress]]}}</ref> |
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The Four Freedoms were reproduced in posters by the [[United States Government Printing Office]] and on [[postage stamp]]s by the [[United States Postal Service]].<ref name=ANRT/> The series served as commemorative covers for war bonds and postage stamps sold during the War Bond show.<ref name=C313/> The stamps are not to be confused with the February 12, 1943 one-cent Four Freedoms Postage Stamp Issue by another artist.<ref>{{cite web|url=http://www.junior-philatelists.com/USStampsHistory43.htm|title= United States Postage Stamps: 1847 through 1947 ~ The first 100 years|accessdate=2008-04-07|publisher=Junior Philatelists On The Internet}}</ref> The Rockwell versions were issued in a set of four fifty-cent stamps in 1994, the 100th anniversary of Rockwell's birth.<ref>{{cite web|url=http://www.collectiblestampsgallery.com/proddetail.asp?prod=AM46|title=Norman Rockwell. United States, 1994|accessdate=2008-04-07|publisher=The Collectible Stamps Gallery}}</ref> ''Freedom from Want'' was included as the cover image of the 1946 book ''Norman Rockwell, Illustrator'' that was written when Rockwell was "at the height of his fame as America's most popular illustrator".<ref name=NRI/> By 1972, this 1946 publication was in its seventh printing.<ref name=NRI>Guptill, pp. vi, 140–149</ref> Although the paintings were originally intimately connected to Roosevelt and the American cause in World War II, the paintings have now developed an independent iconic identity in [[textbooks]] and on [[necktie|ties]] as well as in the cultural and social fabric.<ref name=HaK102/> Eventually, 25 million people bought Rockwell's ''Four Freedoms'' prints by the end of the 20th century.<ref name=NRR>{{cite web|url=http://www.newsweek.com/id/90208|title=Norman Rockwell Revisited|accessdate=2008-04-07|date=1999-11-15|publisher=Newsweek, Inc.|work=[[Newsweek magazine]]|author=Plagens, Peter}}</ref> |
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Rockwell noted that the series took an emotional toll on him, saying that the works were "serious paintings which sucked the energy right out of me like dredges, leaving me dazed and thoroughly weary." His subsequent assignment was to produce the 1943 [[April Fools' Day]] cover for the ''Post'', which much more relaxing.<ref name=MaM51/> |
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Rockwell was solicited for a variety of works following the publication of the Four Freedoms. Massachusetts Congressman [[Edith Nourse Rogers]] put forth a congressional resolution to declare a fifth freedom: "Freedom of Private Enterprise".<ref>Murray and McCabe, p. 65.</ref> Bronx Inter-Racial Conference chairman [[Roderick Stephens]], requested Rockwell's services to highlight the need for improved interracial relations in a series that would complement the original ''Four Freedoms''. Rockwell and Stephens communicated, and, over the course of his career, Rockwell did contemplated race relations in several works, but not as a series.<ref>Murray and McCabe, p. 66.</ref> |
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Roosevelt died on April 12, 1945.<ref name=MaM93>Murray and McCabe, p. 93.</ref> |
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==War Bond Drive== |
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Between 1941 and 1946, the United States Department of the Treasury conducted eight War Loan Drives to promote the sale of war Bonds to finance America's World War II efforts. The government used several forms of solicitation, advertising and marketing, such as [[aircraft carrier]] exhibits as well as direct appeal from all the [[five-star general]]s and admirals ([[George Marshall]], [[Dwight Eisenhower]], [[Douglas MacArthur]], [[Jackson D. Arnold]], [[Ernest King]], [[Chester W. Nimitz]] and [[William D. Leahy]]) in the Seventh War Loan Drive,<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,775640,00.html|title=For a United People|accessdate=2008-12-19|date=1945-05-28|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref><ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,852208,00.html|title=Mission: Bond Sales|accessdate=2008-12-19|date=1945-05-21|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> or a commemorative bond image of [[Franklin Delano Roosevelt]] in the Eighth War Loan Drive.<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,775696,00.html|title=Just Deserts|accessdate=2008-12-19|date=1945-05-28|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> The marketing attempts were quite varied even within a single War Loan Drive.<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,932136,00.html|title=The Carrot, the Stick|accessdate=2008-12-19|date=1943-10-04|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> |
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The War Bond Drives were viewed as excellent events for boosting national morale by giving all citizens the opportunity to support the war effort. They boost patriotism and are a good marketing device for drumming up support.<ref name=MaM70>Murray and McCabe, p. 70.</ref> In fact, not only did celebrities help promote the bonds for free, but also, most air time and advertising space for the bonds was donated.<ref name=MaM71>Murray and McCabe, p. 71.</ref> |
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The first War Loan Drive, known as "The Victory Loan Drive", began in early 1942. It was initiated by Roosevelt and [[United States Secretary of the Treasury]] [[Henry Morgenthau, Jr.|Henry Morgenthau]] and raised $13 billion.<ref name=MaM69>Murray and McCabe, p. 69.</ref> Despite its success, only thirty-five percent of the American citizenry understood the objectives of the war.<ref name=MaM70/> |
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Between January and April 1943, The ''Post'' and the [[United States Department of the Treasury]] collaborated to plan the Second War Bond Drive tour featuring the ''Four Freedoms'' beginning at [[Hecht]] in Washington D.C.<ref name=MaM71/> Thousands of people volunteered to be part of the War Bond Drive and the ''Post'' used its resources to promote the tour.<ref name=MaM72>Murray and McCabe, p. 72.</ref> In 1943, the ''Saturday Evening Post'' donated the ''Four Freedoms'' to the Second War Loan Drive.<ref>{{cite web|url=http://www.rosietheriveter.org/painting.htm|archiveurl=https://web.archive.org/web/20080419115703/http://www.rosietheriveter.org/painting.htm|archivedate=2008-04-19|title=Rockwell's Rosie the Riveter Painting Auctioned|accessdate=2008-04-07}}</ref> The OWI assumed the lead in marketing the Bond Drive. Using an all-star celebrity roster and the Hollywood Writers Mobilization, they created a March 1943 radio dramatization via their "Free World Theater". The OWI produced and distributed posters of the Four Freedoms to 400,000 retailers via the [[Boy Scouts]] and began receiving 2000 daily poster requests.<ref name=MaM74>Murray and McCabe, p. 74.</ref> |
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The tour began on April 26, 1943 at Hecht.<ref name=MaM77>Murray and McCabe, p. 77.</ref> Rockwell was present at the debut to be paraded about in front of ambassadors and dignitaries and sign autographs. In the subsequent days, he sketched people in the [[White House]] waiting room using charcoal.<ref name=MaM77/> Due to strained relations with the ''Post'', Morganthau did not attend the debut.<ref name=MaM78>Murray and McCabe, p. 78.</ref> The show ran for eleven days in Washington D.C. with a wide variety of gallant festivities,<ref name=MaM80>Murray and McCabe, p. 80.</ref> such as hourly featured guests and entertainers, chorus performances, and military unit exhibitions.<ref name=MaM79>Murray and McCabe, p. 79.</ref> The second stop of the tour coincided with the 75th anniversary of [[Strawbridge and Clothier]] in Philadelphia. [[Bob Hope]], [[Bing Crosby]] and Durant were among the celebrities on hand.<ref name=MaM85>Murray and McCabe, p. 85.</ref> The tour arrived at New York City's [[Rockefeller Center]] on June 4 with festivities that included [[Kate Smith]].<ref name=MaM85/> The tour arrived in Boston on June 19 at [[Filene's]].<ref name=MaM86>Murray and McCabe, p. 86.</ref> Subsequent stops included Buffalo (July 12), Rochester, NY (August 2), and Pittsburgh, (September 8).<ref name=MaM87>Murray and McCabe, p. 87.</ref> In the Midwest, the show stopped in Detroit (September 27), Cleveland (October 25) and Chicago (November 11).<ref name=MaM88>Murray and McCabe, p. 88.</ref> Other stops included St. Louis (December 16), New Orleans (January 16, 1944), Dallas (January 27), Los Angeles (February 12), Portland (March 27) and Denver (May 1).<ref name=MaM90>Murray and McCabe, pp. 90–1.</ref> |
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Bond purchasers received full-color reproduction sets.<ref name=MaM79/> During the 16-city tour,<ref>{{cite web|url=http://www.thehomeschoolmagazine.com/How_To_Homeschool/articles/300.php|archiveurl=https://web.archive.org/web/20081007231420/http://www.thehomeschoolmagazine.com/How_To_Homeschool/articles/300.php|archivedate=2008-10-07|title=Norman Rockwell: An American Original|accessdate=2008-04-12|publisher=TheHomeschoolMagazine.com|author=Jeffus, Sharon}} {{Dead link|date=April 2012|bot=H3llBot}}</ref> which included various celebrities, public officials, and entertainers,<ref name=G140/> approximately 1.2 million people throughout the United States viewed the paintings, which helped to raise $132 million <ref name=C313/>($18.533 Million for the Second Loan Drive alone)<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,932990,00.html|title=Gap Narrowed|accessdate=2008-12-19|date=1943-05-24|publisher=[[Time Inc.]]|work=[[Time (magazine)|Time]]}}</ref> for the war effort though the sale of war bonds. According to ''[[The New Yorker]]'' in 1945, the ''Four Freedoms'' "were received by the public with more enthusiasm, perhaps, than any other paintings in the history of [[Visual art of the United States|American art]]".<ref name=MAMPFAIRaHfFEiNH>{{cite press release|url=http://www.michenermuseum.org/press/?item=2007-08-08|archiveurl=https://web.archive.org/web/20080415050514/http://www.michenermuseum.org/press/?item=2007-08-08|archivedate=2008-04-15|title=Michener Art Museum Pairs Famed American Illustrators Rockwell and Hargens for Fall Exhibitions in New Hope |publisher=The James A. Michener Art Museum|accessdate=2008-04-07|date=2007-08-08}}</ref><ref name=HaK102/> Rockwell is widely credited with contributing to the success of the war effort.<ref name=G140/> However, Rockwell only took part in the war bond tour when it was convenient for his other interests.<ref name=C314/> He did not travel with the tour which lasted a year.<ref name="MaM80"/> |
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== Critical review == |
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Rockwell is considered the "quintessential middlebrow American artist".<ref>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9E0CEEDE1139F931A25754C0A964958260&sec=&spon=&pagewanted=4|title=The Candidates as Culture Vultures|accessdate=2008-04-08|date=1992-07-12|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Kelly, Michael}}</ref> As an artist he is an [[illustrator]] rather than a [[fine arts]] painter. Although his style is [[painterly]], his work is produced for the purpose of mass reproduction, and it is produced with the intent of delivering a common message to its viewers via a detailed narrative style.<ref name=AAaA/><ref name=NRR/> Furthermore, the vast majority of Rockwell's work was viewed in reproduced format and almost none of his contemporaneous audience ever saw his original work.<ref name=AAaA/><ref name=AV/> Also, Rockwell's style of backwoods [[New England]] small-town [[Realism (visual arts)|realism]], known as [[Regionalism (art)|regionalism]], was sometimes viewed as out of step with the oncoming wave of [[abstract art|abstract]] [[modern art]].<ref name=NRR/><ref name=AitME>Dempsey, p. 165</ref> Some say his realism is so direct that he abstains from using artistic license.<ref name=NRR/> [[John Canaday]], a ''[[New York Times]]'' art critic once referred to Rockwell as the "Rembrandt of Punkin' Crick" for his aversion to the vices of big city life.<ref>{{cite news|url=http://query.nytimes.com/mem/archive-free/pdf?_r=3&res=FB0615F8355A137B93C1AB1788D85F468785F9|title=Rockwell Retrospective in Brooklyn|accessdate=2008-12-19|date=1972-03-23|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Canaday, John | format=PDF}} {{dead link| date=June 2010 | bot=DASHBot}}</ref> [[Dave Hickey]] derided Rockwell for painting without inflection.<ref name=NRR/> Some critics also view his sentimental and nostalgic vision out of step with the harsh realities of American life, such as [[The Great Depression]].<ref name=AAaA>Wright, pp. 122–123</ref> [[Deborah Solomon]] views the works as being "based on lofty civic principles", but rather than dealing with the warring patriots, they present themes with "civic and familial rituals" for "emblematic scenes".<ref>{{cite web|url=http://www.nytimes.com/2013/11/03/travel/norman-rockwells-new-england.html|title=Norman Rockwell’s New England|accessdate=2014-01-05|date=2013-11-01|author=Solomon, Deborah|work=[[The New York Times]]}}</ref> |
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''Post'' editor Hibbs said that the ''Four Freedoms'' were an "inspiration...in the same way that the clock tower of old [[Independence Hall]], which I can see from my office window, inspires me."<ref name=MaM59/> Roosevelt wrote to Rockwell "I think you have done a superb job in bringing home to the plain, everyday citizen the plain, everyday truths behind the Four Freedoms...I congratulate you not alone on the execution but also for the spirit which impelled you to make this contribution to the common cause of a freer, happier world".<ref name=MaM60/> Roosevelt wrote to the ''Post'' "This is the first pictorial representation I have seen of the staunchly American values contained in the rights of free speech and free worship and our goals of freedom from fear and want."<ref name=MaM61>Murray and McCabe, p. 61.</ref> Roosevelt also wrote of the corresponding essays, "Their words should inspire all who read them with a deeper appreciation of the way of life we are striving to preserve."<ref name=MaM61/> |
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The ''Four Freedoms'' are perhaps Rockwell's most famous work.<ref name=HaK95>Hennessey and Knutson, p. 95.</ref> Some say that Rockwell's ''Four Freedoms'' lack artistic maturity. Others point to the universality of the ''Freedom of Religion'' as disconcerting to practitioners of particular faiths.<ref name=ILTPP>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,766759,00.html|title=I Like To Please People|accessdate=2008-04-07|date=1943-06-21|publisher=Time Inc.|work=[[Time magazine]]}}</ref> Others complained that he [[idealism|idealized]] American life because by depicting wholesome, healthy, and happy sentiments Rockwell depicted the good that was remembered or wished for, but by avoiding misery, poverty, and social unrest, he failed to demonstrate command of the bad and the ugly parts of American life.<ref name=AAaA/> Rockwell's response to this criticism was, "I paint life as I would like it to be."<ref name=AAaA/> Rockwell made it known that he hoped these would be his masterpieces, but was disappointed.<ref name=C313/> Nonetheless, he was satisfied with the public acceptance of the series and that the series was able to serve such a patriotic purpose.<ref name=C314>Claridge, p. 314.</ref> Claridge feels he might have achieved his ambition if he had pursued the "quiet small scenes" he later became known for.<ref name=C313/> |
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Although all four images were intended to promote patriotism in a time of war, ''Freedom from Want'', which depicts an elderly couple serving a fat turkey to what looks like a table of happy and eager children and grandchildren has given the idyllic Norman Rockwell [[Thanksgiving]] work as important a place in the enduring marketplace of promoting family togetherness, peace and plenty as [[Hallmark]] at Christmas.<ref name=ANRT/> Some say that the Four Freedoms were unable to live up to the role of “illustrating grandiose concepts with humble correlatives” because they are too loud.<ref name=C313>Claridge, p. 313.</ref> |
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The commercial success of the series is in part because each painting is considered to be a model of understandable art by the general public.<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,779887,00.html?promoid=googlep|title=Docents' Duties|accessdate=2008-04-08|date=1948-06-28|publisher=Time Inc.|work=[[Time magazine]]}}</ref> The success of Rockwell's depictions was due to his use of long-standing American cultural values about unity and respect of certain institutions while using symbols that enabled a broad audience to identify with his images.<ref name=ERIC/> This understandability made it one extreme on the scale of artistic complexity when comparing the series to contemporaneous art. It was diametrically opposed to abstract art and far removed from the intrigue of [[surrealism]].<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,775761,00.html|title=The U.S. & the United Nations|accessdate=2008-04-08|date=1945-06-04|publisher=Time Inc.|work=[[Time magazine]]}}</ref> |
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In 1999, the [[High Museum of Art]] and the [[Norman Rockwell Museum]] produced the first comprehensive exhibition of Rockwell's career that started at the High Museum on November 6, 1999, stopped at the [[Chicago Historical Society]], [[Corcoran Gallery of Art]], [[San Diego Museum of Art]], [[Phoenix Art Museum]], and Norman Rockwell Museum before concluding at the [[Solomon R. Guggenheim Museum]] on February 11, 2002.<ref name="NRPftAPCHI"/><ref>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9A07EEDE173EF931A25755C0A9669C8B63|title= This Week|accessdate=2008-04-08|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Van Gelder, Lawrence | date=2000-06-12}} {{dead link| date=June 2010 | bot=DASHBot}}</ref> Although there has been a long history of Rockwell detractors, during this ''Norman Rockwell: Pictures for the American People'' touring exhibition attendance was record-setting and critical reviews were quite favorable. The nostalgia seemed to cause a bit of revisionism in the artworld, according to ''[[The New York Times]]'' which said, "What's odd is the show's enthusiastic reception by the art world, which in a lather of revisionism is falling all over itself to embrace what it once reviled: the comfy, folksy narrative visions of a self-deprecating illustrator..."<ref>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9B06EFDC1131F93BA15753C1A9679C8B63|title= Mirror, Mirror; Rockwell, Irony-Free|accessdate=2008-04-08|date=2001-10-28|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Green, Penelope}}</ref> |
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Some found Rockwell’s presentation somewhat patronizing, but most were satisfied. ''The New Yorker'' remarked two years later: "They were received by the public with more enthusiasm, perhaps, than any other paintings in the history of American Art".<ref name=C313/> Claridge notes that the series is an example of the situation in which the sum is greater than its parts. She notes the inspiration comes in part from their cumulative "heft".<ref name=C313/> |
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== Provenance == |
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Following the 1943–44 War Bond Show, the ''Four Freedoms'' toured the country further by train in a specially-designed car. Through the 1950s the ''Four Freedoms'' hung in Hibbs' offices at the ''Post''. Hibb retired in 1961 and by the time the ''Post'' was discontinued in 1969, Rockwell regained possession of the original paintings.<ref>Murray and McCabe, p. 96.</ref> Norman Rockwell, who would live until 1978, [[bequest|bequeathed]] his personal collection in [[Trust law|trust]] to the Norman Rockwell Museum in 1973 for the "advancement of art appreciation and [[art education]]".<ref name=C/> This collection included the ''Four Freedoms'' paintings.<ref name=C>{{cite web|url=http://www.nrm.org/page31|title=Collections|accessdate=2008-04-08|publisher=[[Norman Rockwell Museum]]|archiveurl = http://web.archive.org/web/20070630081651/http://www.nrm.org/page31 |archivedate = June 30, 2007|deadurl=yes}}</ref> The works remained on exhibit at "The Norman Rockwell Museum at The Old Corner House" for nearly 25 years.<ref>Murray and McCabe, p. 98.</ref> In 1993, when the Rockwell Museum moved from its original location, the ''Four Freedoms'' were displayed in the new museum's central gallery.<ref>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9F0CE2DA1131F930A25755C0A965958260&scp=5&sq=%22Four+Freedoms%22+Rockwell&st=nyt|title= On Picture-Perfect Day, a Norman Rockwell Museum Opens|accessdate=2008-04-08|date=1993-06-13|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Grimes, William}}</ref> The ''Four Freedoms'' remain in the collection of the Museum.<ref name=C/> In 2011, the ''Four Freedoms'' were sent to the Williamstown Art Conservation Center to be glazed with Tru Vue Optium Museum Acrylic to reduce exposure to natural light, artificial light, abrasion, airborne pollutants, dust, grime and humidity. The treatment also reduces paint loss, crackling, fissures, and paint build-ups popping off.<ref>{{cite web|url=http://www.nrm.org/2012/09/protecting-the-four-freedoms-literally-with-new-acrylic-glazing/|title=Norman Rockwell Museum Protects The Four Freedoms (Literally) with New Acrylic Glazing|accessdate=2013-12-26|date=2012-09-06|publisher=[[Norman Rockwell Museum]]}}</ref> |
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== Exhibitions == |
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The ''Four Freedoms'' were widely exhibited as part of the sixteen-city Second War Loan Drive in 1943 and have subsequently been part of other tours and exhibitions.<ref name=MAMPFAIRaHfFEiNH/> They were a highlight of the first comprehensive Rockwell touring exhibition, entitled ''Norman Rockwell: Pictures for the American People'', which was a seven-city tour that ran from November 1999 until February 2002.<ref name=TW/><ref name=NRR/> They returned to the Corcoran Gallery of Art, which had been part of the Pictures for the American People tour, for an exhibition in association with the [[National World War II Memorial]] grand opening in 2004.<ref>{{cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9D05E1DE1630F93BA15750C0A9629C8B63&scp=6&sq=%22Four+Freedoms%22+Rockwell&st=nyt|title= Travel advisory; A Monument Rises on the Mall|accessdate=2008-04-08|date=2004-03-28|publisher=[[The New York Times Company]]|work=[[The New York Times]]|author=Vangelova, Luba}}</ref> |
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In addition to being included in various tours, the ''Four Freedoms'' were the subject of a 144-page book in 1993, the fiftieth anniversary of their production.<ref>{{cite web|url=http://www.scoutingmagazine.org/issues/9810/d-news.html|title=News Briefs|accessdate=2008-04-11|year=1998|month=October|publisher=[[Boy Scouts of America]]|work=Scouting Magazine|author=Piasky, Jeff (ed.)}}</ref> The book is a very detailed account of the history of the ''Four Freedoms''. It starts with Roosevelt's inspiration for the painting series and their publication. Then it describes the tour, which began at [[Hecht's Department Store]] in Washington, D.C. with [[Supreme Court Associate Justice]] [[William O. Douglas]] speaking. It includes various appendices, such as the four essays (by Tarkington, Durant, Bulosan, and Benet) that accompanied the original publication in ''The Saturday Evening Post'' and the essay that accompanied the government printing as well as original essays for the book.<ref name=NRFF>{{cite web|url=http://www.countrymanpress.com/titles/NormanRockwellsFourFreedoms.html|title=Norman Rockwell's Four Freedoms|accessdate=2008-04-11|publisher=The Countryman Press}}</ref><ref>{{cite web|url=http://www.amazon.com/Norman-Rockwells-Four-Freedoms-Inspire/dp/0936399422|title=Norman Rockwell's Four Freedoms: Images That Inspire a Nation|accessdate=2008-04-11|publisher=[[Amazon.com, Inc.]]|year=2008}}</ref> |
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In addition to exhibitions of the ''Four Freedoms'' by Rockwell, there have been tribute exhibitions of works by other artists depicting these themes. E.g., in 2008, the [[Wolfsonian-FIU|Wolfsonian]] museum at [[Florida International University]], 60 artists exhibited 80 works that represented their takes on the ''Four Freedoms''.<ref>{{cite web|url=http://www.nytimes.com/2008/07/09/arts/design/09rock.html|title=Rockwell Re-enlisted for a Nation’s Darker Mood|accessdate=2014-01-05|date=2008-07-09|work=[[The New York Times]]|author=Cave, Damien}}</ref> Other artists, such as [[Thomas Kinkade]], have found individual inspiration in Rockwell's patriotic works, resulting in their own works using different symbols to present similar themes.<ref>{{cite book|url=http://books.google.com/books?id=OZIiVvxIuBEC&pg=PA76&lpg=PA76&dq=thomas+kinkade+rockwell+%22freedom+of+speech%22&source=bl&ots=iRtsAS9c7K&sig=Te7zwD-zUxL1lrYMxRe86K3z_Xw&hl=en&sa=X&ei=F4fFUsHYAY2A2QW5rYGQAw&ved=0CD0Q6AEwBw#v=onepage&q=thomas%20kinkade%20rockwell%20%22freedom%20of%20speech%22&f=false|title=Thomas Kinkade: The Artist in the Mall|isbn=0822348527|page=76|publisher=[[Duke University Press Books]]|year=2011|author=Boylan, Alexis L.}}</ref> |
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==Notes== |
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{{reflist|2}} |
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== Notes == |
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{{reflist|33em}} |
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== References == |
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* {{cite book|title=Norman Rockwell: A Life|chapter=21: The Big Ideas|pages=303–314|publisher=[[Random House]]|year=2001|author=Claridge, Laura|isbn=0-375-50453-2}} |
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* {{cite book|title=Techniques of Modern Art|chapter=1941–1960|pages=115|publisher=Chartwell Books Inc.|year=1983|isbn=0-89009-673-2|author=Collins, Judith, John Welchman, David Chandler, and David A. Anfam}} |
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* {{cite book|title=Art in the Modern Era|author=Dempsey, Amy|isbn=0-8109-4172-4|publisher=[[Harry N. Abrams, Inc.]]|chapter=1918–1945: American Scene|pages=165|year=2002}} |
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* {{cite book|title=Norman Rockwell, Illustrator|publisher=[[Watson-Guptill Publications]]|author=Guptill, Arthur L.|year=1972|edition=first & seventh|pages= vi, 140–149}} |
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* {{cite book|title=Norman Rockwell: Pictures for the American People|isbn=0-8109-6392-2|chapter=The Four Freedoms|author=Hennessey, Maureen Hart and Anne Knutson|year=1999|pages=94–102|publisher=[[Harry N. Abrams, Inc.]] with [[High Museum of Art]] and [[Norman Rockwell Museum]]}} |
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* {{cite book|title=American Visions: The Epic History of Art in America|author=Hughes, Robert|isbn=0-679-42627-2|publisher=[[Alfred A. Knopf]]|year=1997|chapter=The Empire of Signs|pages=508–509}} |
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* {{cite book|title=Norman Rockwell's Four Freedoms|author=Murray, Stuart and James McCabe|isbn=0-517-20213-1|publisher=[[Gramercy Books]]|year=1993}} |
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* {{cite book|title=Norman Rockwell: Behind The Camera|chapter=|pages=|publisher=[[Little, Brown and Company]]|year=2009|author=Schick, Ron|isbn=978-0-316-00693-4}} |
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* {{cite book|title=American Mirror: The Life and Art of Norman Rockwell|chapter=Fifteen: The ''Four Freedoms'' (May 1942 to May 1943)|pages=201–220|publisher=[[Farrar, Straus and Giroux]]|year=2013|author=Solomon, Deborah|isbn=978-0374113094}} |
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* {{cite book|title=American Art and Artists|chapter=The Depression and World War II|pages=122–123|publisher=[[HarperCollins Publishers]]|year=2007|author=Wright, Tricia|isbn=978-0-06-089124-4}} |
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* {{cite book|title=The Story of America: Over 150 Momentous Events Depicted in Great American Art|isbn=0-87294-047-0|year=1976|publisher=Country Beautiful Corporation|chapter=Sustaining Vision|pages= 178–179}} |
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{{Norman Rockwell}} |
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==References== |
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{{Good article}} |
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*{{cite book|title=Techniques of Modern Art|chapter=1941–1960|pages=115|publisher=Chartwell Books Inc.|date=1983|isbn=0-89009-673-2|author=Collins, Judith, John Welchman, David Chandler, and David A. Anfam}} |
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*{{cite book|title=Art in the Modern Era|author=Dempsey, Amy|isbn=0-8109-4172-4|publisher=Harry N. Abrams, Inc.|chapter=1918–1945: American Scene|pages=165|date=2002}} |
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*{{cite book|title=Norman Rockwell, Illustrator|publisher=Watson-Guptill Publications|author=Guptill, Arthur L.|date=1972|edition=seventh|pages= vi, 140–149|chapter=Publisher's Note}} |
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*{{cite book|title=Norman Rockwell: Pictures for the American People|isbn=0-8109-6392-2|chapter=The Four Freedoms|author=Hennessey, Maureen Hart and Anne Knutson|date=1999|pages=94–102|publisher=Harry N. Abrams, Inc. with [[High Museum of Art]] and [[Norman Rockwell Museum]]}} |
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*{{cite book|title=American Visions: The Epic History of Art in America|author=Hughes, Robert|isbn=0-679-42627-2|publisher=Alfred A. Knopf|date=1997|chapter=The Empire of Signs|pages=508–509}} |
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*{{cite book|title=American Art and Artists|chapter=The Depression and World War II|pages=122–123|publisher=[[HarperCollins Publishers]]|date=2007|author=Wright, Tricia|isbn=978-0-06-089124-4}} |
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*{{cite book|title=The Story of America: Over 150 Momentous Events Depicted in Great American Art|isbn=0-87294-047-0|date=1976|publisher=Country Beautiful Corporation|chapter=Sustaining Vision|pages= 178–179}} |
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[[Category:1943 in politics]] |
[[Category:1943 in politics]] |
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[[Category:1943 in the United States]] |
[[Category:1943 in the United States]] |
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[[Category:1943 paintings]] |
[[Category:1943 paintings]] |
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[[Category:American paintings]] |
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[[Category:Cultural history of World War II]] |
[[Category:Cultural history of World War II]] |
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[[Category:Franklin D. Roosevelt]] |
[[Category:Franklin D. Roosevelt]] |
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[[Category:Painting series]] |
[[Category:Painting series]] |
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[[Category:Popular culture]] |
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[[Category:United States Department of the Treasury]] |
[[Category:United States Department of the Treasury]] |
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[[Category:World War II media]] |
[[Category:World War II media]] |
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[[Category:Politics of World War II]] |
[[Category:Politics of World War II]] |
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[[Category:Propaganda in the United States]] |
[[Category:Propaganda in the United States]] |
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[[Category:Paintings by Norman Rockwell]] |
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[[Category:Four Freedoms]] |
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[[Category:Works originally published in The Saturday Evening Post]] |
Revision as of 14:50, 11 January 2014
Template:Infobox image The Four Freedoms or Four Essential Human Freedoms is a series of four oil paintings produced in 1943 by the American artist Norman Rockwell. The paintings are approximately equal in dimension with measurements of 45.75 inches (116.2 cm) × 35.5 inches (90 cm).[1] The series, now in the Norman Rockwell Museum, was made for reproduction in The Saturday Evening Post over the course of four consecutive weeks in 1943 alongside essays by prominent thinkers of the day. Later they were the highlight of a touring exhibition sponsored by the Saturday Evening Post and the United States Department of the Treasury. The touring exhibition and accompanying sales drives raised over US$132 million in the sale of war bonds.[2]
The Four Freedoms theme was derived from the 1941 State of the Union Address by United States President Franklin Roosevelt delivered to the 77th United States Congress on January 6, 1941.[3] During the speech he identified four essential human rights (Freedom of Speech, Freedom of Worship, Freedom from Want and Freedom from Fear) that should be universally protected.[4]
The theme was incorporated into the Atlantic Charter,[5] and it became part of the charter of the United Nations.[6] Roosevelt's message was as follows: "In the future days which we seek to make secure, we look forward to a world founded upon four essential human freedoms."[3][7]
This series is a cornerstone of a retrospective of the career of Rockwell,[8][9] who was the most widely known contemporary commercial artist of the mid 20th century, but who failed to achieve critical acclaim commensurate with his popularity.[3][10] These are perhaps Rockwell's most well-known works of art,[4] and they were the most widely distributed paintings ever produced by some accounts.[11] At one time they were commonly displayed in post offices, schools, clubs, railroad stations, and a variety of public and semi-public buildings.[11] Critical review of these images, like most of Rockwell's work, has not been entirely positive. Rockwell's idyllic and nostalgic approach to regionalism made him a popular illustrator but a lightly regarded fine artist during his lifetime.[8][12][13] These paintings generally are viewed with this sentiment. However, he has created a niche in the enduring social fabric with the Freedom from Want image which is emblematic of what is now known as the "Norman Rockwell Thanksgiving".[3]
Rockwell and World War II
From 1916 through his Kennedy Memorial cover on December 16, 1963,[14] Rockwell created 321 magazine covers for The Saturday Evening Post,[15] which was the most popular American magazine of the first half of the 20th century.[16] In a preelectronic era where mass production magazine color illustration was the most popular form of media, Rockwell became a national name, who by the 1950s was rivaled only by Walt Disney for his familiarity to the public among visual artists.[17] Rockwell illustrated American life during World War I and World War II in 34 of his cover illustrations,[18] and he illustrated 33 Post covers during World War II.[15] During much of the first half of the 1940s, Rockwell's cover illustrations focused on the human side of the war.[14] During World War I, Rockwell had taken a bit of a back seat to more established illustrators under the ‘’Post’’ editorship of Lorimer, who was now dead.[19] Rockwell felt illustrating the Four Freedoms was the chance of a lifetime for an artist and was now unfettered by Lorimer’s restrictions.[19]
Rockwell encouraged support for the war efforts during World War II via his covers which endorsed war bonds, encouraged women to work, and encouraged men to enlist in the service. His World War II illustrations used themes of patriotism, longing, shifting gender roles, reunion, love, work, community and family during wartime to promote the war.[18] In his role as a magazine illustrator during times of war, Rockwell draws comparisons to Winslow Homer, an American Civil War illustrator for Harper's Weekly.[20] These four Rockwell artistic expressions were said to have led to the adoption of Roosevelt's Four Freedoms as a goal.[21][22]
The Four Freedoms had become an important theme for Artists for Victory, an artist consortium that included Rockwell.[23] The consortium was one of several professional artists' organizations that helped meet government demands for promotional artwork for the war.[24] It also sponsored exhibits about global peace.[25]
Rockwell was perceived as apolitical, but believed in "tolerance for differences, courtesy, kindness, and the freedoms that FDR articulated.[26] He believed FDR's freedoms were worth fighting for,[26] and he made numerous artistic contributions to the war efforts in addition to the Four Freedoms. He is widely known for his idealized fictional wartime characters Willie Gillis and his depiction of Rosie the Riveter and some of his other war art is known by name such as War News and Homecoming Soldier.[27] He was responsible for encouraging individual monetary support of the war through emotional posters like Hasten the Homecoming, 1943.[28]
Roosevelt's speech
Throughout his political career Roosevelt championed the cause of human rights.[29] In his Annual Message to Congress of January 6, 1941, which was delivered at a time when Nazi powers ruled over Western Europe,[30] he asked the American citizens to support war efforts in various ways. He stated his vision of a better future, founded upon four freedoms: the "four essential human freedoms," some traditional and some new ones: freedom of speech, freedom of worship, freedom from want, and freedom from fear. Roosevelt's State of the Union Address delivered on January 6, 1941, became known as his "Four Freedoms Speech", due to its conclusion that described President's vision of worldwide extension of the American ideals of individual liberties summarized by these four freedoms.[29] I.e., FDR's speech was known for "identifying the objectives of the war and revealing his hopeful view of the postwar world."[4] The speech served to awaken Congress and the nation to the dire war calling, articulate ideological aims of the necessary armed conflict and appeal to the universal American belief of freedom.[30] The following passage is from Roosevelt's speech:
In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.
The first is freedom of speech and expression—everywhere in the world.
The second is freedom of every person to worship God in his own way—everywhere in the world.
The third is freedom from want—which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants—everywhere in the world.
The fourth is freedom from fear—which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor—anywhere in the world.
That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of tyranny which the dictators seek to create with the crash of a bomb.— Franklin D. Roosevelt[31]
Domestically, the Four Freedoms were not something the Roosevelt was able to achiever through simple legislation, but they did provide a theme for American military participation in the war.[4] Of the Four Freedoms, the only two described in the United States Constitution were freedom of speech and freedom of worship.[32]
Production
"The job was too big for me...It should have been tackled by Michelangelo."
Rockwell's Four Freedoms Freedom of Speech, Freedom of Worship, Freedom from Want and Freedom from Fear were first published on February 20, February 27, March 6 and March 13, 1943 along with commissioned essays from leading American writers and historians (Booth Tarkington, Will Durant, Carlos Bulosan, and Stephen Vincent Benét, respectively).[33] They measured 45.75 inches (116.2 cm) × 35.5 inches (90 cm) except Freedom of Worship which measures 46.0 inches (116.8 cm) × 35.5 inches (90 cm).[1] For all of his paintings, Rockwell used live models.[34] In 1935, Rockwell began using (exclusively black-and-white)[35] photography extensively, although he did not publicly reveal he did so until 1940.[36] The use of photography expanded the possibilities for Rockwell. He could produce works from new perspectives and the Four Freedoms represented "low vantage point of Freedom of Speech, to close-up in Freedom of Worship, midrange in Freedom from Fear, and wide angle in Freedom from Want."[35]
In 1939, Rockwell moved to Arlington, Vermont, which was an artist-friendly community that had hosted Robert Frost, Rockwell Kent and Dorothy Canfield Fisher. Rockwell was soon joined in Arlington by artists John Atherton, Mead Schaeffer and George Hughes. The resident artists, Rockwell included, chose to depend upon the local citizens to perform as their amateur models.[35] Of the move from New Rochelle, New York, Rockwell said "I was restless...The town seemed tinged with everything that happened to me". He had endured a divorce and run with fast crowds in New Rochelle.[37] Using photography and Arlington residents as models, Rockwell was able to capture what he referred to as "human-looking humans" who were generally working-class people in an hour or so rather than hire professional models for the entire day.[38] Rockwell paid his models modestly. E.g., Rose Hoyt who was engaged for a total of three photographic sessions for Freedom of Speech and Freedom of Worship, earned $15 ($93.24 in 2024 dollars[39]) for her sittings.[40]
In 1941 the United States Government had three agencies responsible for war propaganda: The Office of Facts and Figures (OFF), The Division of Information of the Office of Emergency Management (OEM), and Office of Government Reports (OGR).[4] The OFF was responsible for commissioned artwork and for assembling a corps of writers, led by Librarian of Congress Archibald MacLeish. By mid-1942, the Office of War Information determined that despite the efforts of OFF in distributing pamphlets, posters, displays and other media, only a third of the general public was familiar with Roosevelt's four freedoms and at most one in fifty could enumerate them.[4] The four freedoms had been a "campaign to educate Americans about participation in World War II".[41]
By 1942, Rockwell had been illustrating professionally for thirty years and was having a successful career.[42] Additionally, by mid-1942 Rockwell's Willie Gillis was becoming famous.[43] George Horace Lorimer had been the editor of the Post from 1898 to 1936. He was followed by Wesley W. Stout for five years.[44] In Spring 1942, Stout ran an article entitled "The Case Against the Jew", which led to advertising and subscription cancellations.[45] The Post was rumored to be in trouble in 1942.[46] Soon Stout was replaced by Hibbs who revamped the magazine.[45] Rockwell had not been pleased with Stout. In the Spring of 1942, Rockwell had met the new Post editor, Ben Hibbs.[44]
On May 24, 1942, Rockwell was seeking approval for a poster design at the Pentagon because the Artists Guild had designated that he advocate for the U.S. Army Ordnance Department. Robert Patterson, who was then United States Undersecretary of War, suggested revisions. On the same day, he visited with Thomas Mabry of the Graphic Division of the War Department's Office of Facts and Figures, which coordinated war-themed posters and billboards. Mabry relayed the need for Four Freedoms artwork.[47] Rockwell returned home pondering the Atlantic Charter, which had incorporated the Four Freedoms.[48]
Rockwell remembered a scene of a local town meeting in which one person spoke out in lone dissent, but was accorded the floor as a matter of protocol. A vision struck him to depict this scene to represent Freedom of Speech, and then in 1942 Rockwell decided to use his Vermont neighbors as models for an inspirational set of posters depicting the themes laid out by Roosevelt the previous year in a Four Freedoms series.[49] He spent three days making charcoal sketches of the series.[50] Note that some sources describe the sketches as color sketches.[51] In mid-June, accompanied by Mead Schaeffer, he took four charcoal sketches to Washington, where they stayed at the Mayflower Hotel, as the two sought commission to design war art.[48] Rockwell's patriotic gesture was to travel to Washington, D.C. and volunteer his free services to the government for this cause.[51][52] During the trip, Rockwell found himself being solicited by the Boy Scouts of America to continue his annual production of a new painting for their annual calendar by publishing representative Orion Winford.[48] In meeting with Patterson, he was unable to hold his attention.[48] He moved on to the new Office of War Information (OWI), where he was told "The last war you illustrators did the posters. This war we're going to use fine artists men, real artists."[53]
On his return trip to Vermont with Scheaffer on June 16, they stopped in Philadelphia to meet with new Saturday Evening Post editor Ben Hibbs.[54] Many accounts portray this visit as unplanned, but whether it was is unclear.[55] Hibbs took to Rockwell's Four Freedoms sketches,[50][52] and he gave Rockwell two months to complete the works.[54] A June 24 correspondence from the post clarified that both Rockwell's and Scheaffer's series would be published.[55] By June 26, the Post's art editor James Yates notified Rockwell of plans for a layout of paintings with accompanying essay(s) by President Roosevelt.[54] Rockwell’s summer was full of distractions nonetheless. At one point a Manhattan gastroenterologist prescribed an undisclosed surgery. He had commissions for other magazines, and business complications regarding second reproduction rights.[56] He also had his Boy Scout commitment.[57] Under time constraints, Rockwell made every excuse to avoid all other distracting assignments.[58] In October, the Post sent their art editor to Arlington to check up on Rockwell's progress.[59] That fall the OWI, began showing signs of renewed interest. This came despite OWI Graphics Division chief, Francis Brennan’s outrage. In fact, after Rockwell was chosen despite dissent the entire OWI Writers’ Division resigned.[19] The press release associated with the resignation asserted that the OWI was dominated by "high-pressure promoters who prefer slick salesmanship to honoest information. These promoters would treat as stupid and reluctant customers the men and women of the United States."[60] Nonetheless, the series took seven months to create[58][61] with Rockwell finishing the series by year end.[62] Supposedly, Rockwell lost 10 pounds (4.54 kg) while completing this assignment.[63] As Rockwell was completing the series, he was motivated by military news that gave his work urgency.[64]
Models included a Mrs. Harrington who became the devout old woman in Freedom of Worship and a man named Jim Martin who appears in each painting in the series.[61] The intention was to remind America what they were fighting for: freedom of speech and worship, freedom from want and fear.[52] All of the paintings used a muted palette and are devoid of the use of vermilion that Rockwell is known for.[65]
Some sources published after Rockwell's death question whether the government was truly as discouraging as Rockwell claimed. They cite an encouraging April 23, 1943 correspondence with Thomas D. Mabry of the OWI (a former Executive Director of the Museum of Modern Art).[50] At the time, the three government propaganda agencies were disjointed, and they were not unified under the OWI until June 13, 1942 by a Presidential Executive Order.[50] Furthermore, the writers division, led by MacLeish, was under pressure for failing to deliver a message intelligible to people of varying intelligence. There was also significant turmoil in the OWI because a faction had supported work by Ben Shahn, but Shahn's work would not be used extensively for propaganda because it lacked general appeal.[66] There were several artists who were commissioned to promote the war: Jean Carlu, Gerard Hordyke, Hugo Ballin and Walter Russell were among those commissioned.[25] Russell created a Four Freedoms Monument that was eventually dedicated at Madison Square Garden in New York City.[67]
Upon completion, Rockwell's works were briefly exhibited at the West Arlington Grange before being delivered to the Post in Philadelphia.[68] The series arrived in Philadelphia January 1943.[69] Roosevelt was shown the paintings in early February, and the Post sought Roosevelt's approval for the series of paintings and essays. Roosevelt responded with both a personal letter to Rockwell and an "official" letter of commendation to the Post dated February 10.[70] Roosevelt instructed the Post to have the OWI have the essays translated into foreign languages so that they could be presented to leaders at the United Nations.[71]
The Four Freedoms "were published inside in full-color, full-page presentations, each opposite the essay with the same title". They were published in sequential weeks in the order presented by Roosevelt in his speech.[71] For the authors of the accompanying essays, Hibbs had numerous options given the number of regular contributors to the Post.[71]
Aftermath
Upon publication The Saturday Evening Post received millions of reprint requests.[11] The Post produced 25,000 full-color reproductions with both the essay and painting in sets of four for $0.25 ($4.4 in 2024 dollars[39]), the cost of production.[72] Rockwell's version of the story is that only after the public demanded reprints did the Office of War Information get involved by producing 2.5 million sets of Four Freedoms posters,[52][61] By the end of the war, 4 million posters had been printed.[65] Both the Freedom from Fear and Freedom from Want posters had the leading caption "ours. . .to fight for" and the Freedom of Speech and Freedom of Worship had the leading caption "Buy War Bonds" and the word "Save" before the respective freedom.[73][74][75][76] There is also a 1946 lithograph version of the 1943 paintings with all four paintings under the heading "ours. . .to fight for".[77]
The Four Freedoms were reproduced in posters by the United States Government Printing Office and on postage stamps by the United States Postal Service.[3] The series served as commemorative covers for war bonds and postage stamps sold during the War Bond show.[78] The stamps are not to be confused with the February 12, 1943 one-cent Four Freedoms Postage Stamp Issue by another artist.[79] The Rockwell versions were issued in a set of four fifty-cent stamps in 1994, the 100th anniversary of Rockwell's birth.[80] Freedom from Want was included as the cover image of the 1946 book Norman Rockwell, Illustrator that was written when Rockwell was "at the height of his fame as America's most popular illustrator".[81] By 1972, this 1946 publication was in its seventh printing.[81] Although the paintings were originally intimately connected to Roosevelt and the American cause in World War II, the paintings have now developed an independent iconic identity in textbooks and on ties as well as in the cultural and social fabric.[65] Eventually, 25 million people bought Rockwell's Four Freedoms prints by the end of the 20th century.[12]
Rockwell noted that the series took an emotional toll on him, saying that the works were "serious paintings which sucked the energy right out of me like dredges, leaving me dazed and thoroughly weary." His subsequent assignment was to produce the 1943 April Fools' Day cover for the Post, which much more relaxing.[68]
Rockwell was solicited for a variety of works following the publication of the Four Freedoms. Massachusetts Congressman Edith Nourse Rogers put forth a congressional resolution to declare a fifth freedom: "Freedom of Private Enterprise".[82] Bronx Inter-Racial Conference chairman Roderick Stephens, requested Rockwell's services to highlight the need for improved interracial relations in a series that would complement the original Four Freedoms. Rockwell and Stephens communicated, and, over the course of his career, Rockwell did contemplated race relations in several works, but not as a series.[83]
Roosevelt died on April 12, 1945.[84]
War Bond Drive
Between 1941 and 1946, the United States Department of the Treasury conducted eight War Loan Drives to promote the sale of war Bonds to finance America's World War II efforts. The government used several forms of solicitation, advertising and marketing, such as aircraft carrier exhibits as well as direct appeal from all the five-star generals and admirals (George Marshall, Dwight Eisenhower, Douglas MacArthur, Jackson D. Arnold, Ernest King, Chester W. Nimitz and William D. Leahy) in the Seventh War Loan Drive,[85][86] or a commemorative bond image of Franklin Delano Roosevelt in the Eighth War Loan Drive.[87] The marketing attempts were quite varied even within a single War Loan Drive.[88]
The War Bond Drives were viewed as excellent events for boosting national morale by giving all citizens the opportunity to support the war effort. They boost patriotism and are a good marketing device for drumming up support.[89] In fact, not only did celebrities help promote the bonds for free, but also, most air time and advertising space for the bonds was donated.[90]
The first War Loan Drive, known as "The Victory Loan Drive", began in early 1942. It was initiated by Roosevelt and United States Secretary of the Treasury Henry Morgenthau and raised $13 billion.[91] Despite its success, only thirty-five percent of the American citizenry understood the objectives of the war.[89]
Between January and April 1943, The Post and the United States Department of the Treasury collaborated to plan the Second War Bond Drive tour featuring the Four Freedoms beginning at Hecht in Washington D.C.[90] Thousands of people volunteered to be part of the War Bond Drive and the Post used its resources to promote the tour.[92] In 1943, the Saturday Evening Post donated the Four Freedoms to the Second War Loan Drive.[93] The OWI assumed the lead in marketing the Bond Drive. Using an all-star celebrity roster and the Hollywood Writers Mobilization, they created a March 1943 radio dramatization via their "Free World Theater". The OWI produced and distributed posters of the Four Freedoms to 400,000 retailers via the Boy Scouts and began receiving 2000 daily poster requests.[94]
The tour began on April 26, 1943 at Hecht.[60] Rockwell was present at the debut to be paraded about in front of ambassadors and dignitaries and sign autographs. In the subsequent days, he sketched people in the White House waiting room using charcoal.[60] Due to strained relations with the Post, Morganthau did not attend the debut.[95] The show ran for eleven days in Washington D.C. with a wide variety of gallant festivities,[96] such as hourly featured guests and entertainers, chorus performances, and military unit exhibitions.[97] The second stop of the tour coincided with the 75th anniversary of Strawbridge and Clothier in Philadelphia. Bob Hope, Bing Crosby and Durant were among the celebrities on hand.[98] The tour arrived at New York City's Rockefeller Center on June 4 with festivities that included Kate Smith.[98] The tour arrived in Boston on June 19 at Filene's.[99] Subsequent stops included Buffalo (July 12), Rochester, NY (August 2), and Pittsburgh, (September 8).[100] In the Midwest, the show stopped in Detroit (September 27), Cleveland (October 25) and Chicago (November 11).[101] Other stops included St. Louis (December 16), New Orleans (January 16, 1944), Dallas (January 27), Los Angeles (February 12), Portland (March 27) and Denver (May 1).[102]
Bond purchasers received full-color reproduction sets.[97] During the 16-city tour,[103] which included various celebrities, public officials, and entertainers,[11] approximately 1.2 million people throughout the United States viewed the paintings, which helped to raise $132 million [78]($18.533 Million for the Second Loan Drive alone)[104] for the war effort though the sale of war bonds. According to The New Yorker in 1945, the Four Freedoms "were received by the public with more enthusiasm, perhaps, than any other paintings in the history of American art".[27][65] Rockwell is widely credited with contributing to the success of the war effort.[11] However, Rockwell only took part in the war bond tour when it was convenient for his other interests.[105] He did not travel with the tour which lasted a year.[96]
Critical review
Rockwell is considered the "quintessential middlebrow American artist".[106] As an artist he is an illustrator rather than a fine arts painter. Although his style is painterly, his work is produced for the purpose of mass reproduction, and it is produced with the intent of delivering a common message to its viewers via a detailed narrative style.[8][12] Furthermore, the vast majority of Rockwell's work was viewed in reproduced format and almost none of his contemporaneous audience ever saw his original work.[8][17] Also, Rockwell's style of backwoods New England small-town realism, known as regionalism, was sometimes viewed as out of step with the oncoming wave of abstract modern art.[12][13] Some say his realism is so direct that he abstains from using artistic license.[12] John Canaday, a New York Times art critic once referred to Rockwell as the "Rembrandt of Punkin' Crick" for his aversion to the vices of big city life.[107] Dave Hickey derided Rockwell for painting without inflection.[12] Some critics also view his sentimental and nostalgic vision out of step with the harsh realities of American life, such as The Great Depression.[8] Deborah Solomon views the works as being "based on lofty civic principles", but rather than dealing with the warring patriots, they present themes with "civic and familial rituals" for "emblematic scenes".[108]
Post editor Hibbs said that the Four Freedoms were an "inspiration...in the same way that the clock tower of old Independence Hall, which I can see from my office window, inspires me."[69] Roosevelt wrote to Rockwell "I think you have done a superb job in bringing home to the plain, everyday citizen the plain, everyday truths behind the Four Freedoms...I congratulate you not alone on the execution but also for the spirit which impelled you to make this contribution to the common cause of a freer, happier world".[70] Roosevelt wrote to the Post "This is the first pictorial representation I have seen of the staunchly American values contained in the rights of free speech and free worship and our goals of freedom from fear and want."[71] Roosevelt also wrote of the corresponding essays, "Their words should inspire all who read them with a deeper appreciation of the way of life we are striving to preserve."[71]
The Four Freedoms are perhaps Rockwell's most famous work.[4] Some say that Rockwell's Four Freedoms lack artistic maturity. Others point to the universality of the Freedom of Religion as disconcerting to practitioners of particular faiths.[61] Others complained that he idealized American life because by depicting wholesome, healthy, and happy sentiments Rockwell depicted the good that was remembered or wished for, but by avoiding misery, poverty, and social unrest, he failed to demonstrate command of the bad and the ugly parts of American life.[8] Rockwell's response to this criticism was, "I paint life as I would like it to be."[8] Rockwell made it known that he hoped these would be his masterpieces, but was disappointed.[78] Nonetheless, he was satisfied with the public acceptance of the series and that the series was able to serve such a patriotic purpose.[105] Claridge feels he might have achieved his ambition if he had pursued the "quiet small scenes" he later became known for.[78]
Although all four images were intended to promote patriotism in a time of war, Freedom from Want, which depicts an elderly couple serving a fat turkey to what looks like a table of happy and eager children and grandchildren has given the idyllic Norman Rockwell Thanksgiving work as important a place in the enduring marketplace of promoting family togetherness, peace and plenty as Hallmark at Christmas.[3] Some say that the Four Freedoms were unable to live up to the role of “illustrating grandiose concepts with humble correlatives” because they are too loud.[78]
The commercial success of the series is in part because each painting is considered to be a model of understandable art by the general public.[109] The success of Rockwell's depictions was due to his use of long-standing American cultural values about unity and respect of certain institutions while using symbols that enabled a broad audience to identify with his images.[41] This understandability made it one extreme on the scale of artistic complexity when comparing the series to contemporaneous art. It was diametrically opposed to abstract art and far removed from the intrigue of surrealism.[110]
In 1999, the High Museum of Art and the Norman Rockwell Museum produced the first comprehensive exhibition of Rockwell's career that started at the High Museum on November 6, 1999, stopped at the Chicago Historical Society, Corcoran Gallery of Art, San Diego Museum of Art, Phoenix Art Museum, and Norman Rockwell Museum before concluding at the Solomon R. Guggenheim Museum on February 11, 2002.[2][111] Although there has been a long history of Rockwell detractors, during this Norman Rockwell: Pictures for the American People touring exhibition attendance was record-setting and critical reviews were quite favorable. The nostalgia seemed to cause a bit of revisionism in the artworld, according to The New York Times which said, "What's odd is the show's enthusiastic reception by the art world, which in a lather of revisionism is falling all over itself to embrace what it once reviled: the comfy, folksy narrative visions of a self-deprecating illustrator..."[112]
Some found Rockwell’s presentation somewhat patronizing, but most were satisfied. The New Yorker remarked two years later: "They were received by the public with more enthusiasm, perhaps, than any other paintings in the history of American Art".[78] Claridge notes that the series is an example of the situation in which the sum is greater than its parts. She notes the inspiration comes in part from their cumulative "heft".[78]
Provenance
Following the 1943–44 War Bond Show, the Four Freedoms toured the country further by train in a specially-designed car. Through the 1950s the Four Freedoms hung in Hibbs' offices at the Post. Hibb retired in 1961 and by the time the Post was discontinued in 1969, Rockwell regained possession of the original paintings.[113] Norman Rockwell, who would live until 1978, bequeathed his personal collection in trust to the Norman Rockwell Museum in 1973 for the "advancement of art appreciation and art education".[114] This collection included the Four Freedoms paintings.[114] The works remained on exhibit at "The Norman Rockwell Museum at The Old Corner House" for nearly 25 years.[115] In 1993, when the Rockwell Museum moved from its original location, the Four Freedoms were displayed in the new museum's central gallery.[116] The Four Freedoms remain in the collection of the Museum.[114] In 2011, the Four Freedoms were sent to the Williamstown Art Conservation Center to be glazed with Tru Vue Optium Museum Acrylic to reduce exposure to natural light, artificial light, abrasion, airborne pollutants, dust, grime and humidity. The treatment also reduces paint loss, crackling, fissures, and paint build-ups popping off.[117]
Exhibitions
The Four Freedoms were widely exhibited as part of the sixteen-city Second War Loan Drive in 1943 and have subsequently been part of other tours and exhibitions.[27] They were a highlight of the first comprehensive Rockwell touring exhibition, entitled Norman Rockwell: Pictures for the American People, which was a seven-city tour that ran from November 1999 until February 2002.[9][12] They returned to the Corcoran Gallery of Art, which had been part of the Pictures for the American People tour, for an exhibition in association with the National World War II Memorial grand opening in 2004.[118]
In addition to being included in various tours, the Four Freedoms were the subject of a 144-page book in 1993, the fiftieth anniversary of their production.[119] The book is a very detailed account of the history of the Four Freedoms. It starts with Roosevelt's inspiration for the painting series and their publication. Then it describes the tour, which began at Hecht's Department Store in Washington, D.C. with Supreme Court Associate Justice William O. Douglas speaking. It includes various appendices, such as the four essays (by Tarkington, Durant, Bulosan, and Benet) that accompanied the original publication in The Saturday Evening Post and the essay that accompanied the government printing as well as original essays for the book.[33][120]
In addition to exhibitions of the Four Freedoms by Rockwell, there have been tribute exhibitions of works by other artists depicting these themes. E.g., in 2008, the Wolfsonian museum at Florida International University, 60 artists exhibited 80 works that represented their takes on the Four Freedoms.[121] Other artists, such as Thomas Kinkade, have found individual inspiration in Rockwell's patriotic works, resulting in their own works using different symbols to present similar themes.[122]
Notes
- ^ a b "Rockwell, Norman: Freedom from Want". artchive.com. Retrieved 2008-04-10.
"Rockwell, Norman: Freedom from Fear". artchive.com. Retrieved 2008-04-10.
"Rockwell, Norman: Freedom to Worship". artchive.com. Retrieved 2008-04-10.
"Rockwell, Norman: Freedom of Speech". artchive.com. Retrieved 2008-04-10. - ^ a b "Norman Rockwell: Pictures for the American People". Traditional Fine Art Online, Inc/Chicago Historical Society. Retrieved 2008-04-07.
- ^ a b c d e f Rosenkrantz, Linda (2006-11-13). "A Norman Rockwell Thanksgiving". Canton Repository. The Repository. Archived from Norman Rockwell Thanksgiving the original on 2008-06-22. Retrieved 2008-04-07.
{{cite web}}
: Check|url=
value (help) - ^ a b c d e f g Hennessey and Knutson, p. 95.
- ^ "Norman Rockwell". Encarta. Microsoft Corporation. Archived from the original on 2009-10-31. Retrieved 2008-04-11.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ "100 Documents That Shaped America:President Franklin Roosevelt's Annual Message (Four Freedoms) to Congress (1941)". U.S. News & World Report. U.S. News & World Report, L.P. Retrieved 2008-04-11.
- ^ Fins, Joseph J. (2008-02-08). "From Four Freedoms to Four Challenges". The Hastings Center. Retrieved 2008-04-08.
- ^ a b c d e f g Wright, pp. 122–123
- ^ a b Van Gelder, Lawrence (2000-06-12). "This Week". The New York Times. The New York Times Company. Retrieved 2008-04-08. [dead link]
- ^ Collins, Welchman, Chandler, and Anfam, p. 115
- ^ a b c d e f Guptill, p. 140.
- ^ a b c d e f g Plagens, Peter (1999-11-15). "Norman Rockwell Revisited". Newsweek magazine. Newsweek, Inc. Retrieved 2008-04-07.
- ^ a b Dempsey, p. 165
- ^ a b "Norman Rockwell Magazine Covers Complete List - Part Six: 1940 to 1980". Best Norman Rockwell Art.com. Retrieved 2008-04-11.
- ^ a b "Cover Story -- Norman Rockwell's America". Traditional Fine Art Online, Inc. 2003-07-04. Retrieved 2008-04-04.
- ^ "Norman Rockwell: Pictures for the American People". Traditional Fine Art Online, Inc/High Art Museum. Retrieved 2008-04-07.
- ^ a b Hughes, pp. 508–509
- ^ a b "Norman Rockwell's Wartime Covers" (Press release). Atwater Kent Museum of Philadelphia. Archived from the original on 2008-03-09. Retrieved 2008-04-11.
- ^ a b c Claridge, p. 306.
- ^ Boucher, Justin M. "American Genre Painting in the Nineteenth Century: Teaching Artistic Interpretation as a Tool for Critically Viewing History". the Yale-New Haven Teachers Institute. Retrieved 2008-04-05.
- ^ Cutler, Judy A. G. "Norman Rockwell: A Star on Our Flag". Archived from the original on 2008-04-15. Retrieved 2008-04-11.
- ^ "Saturday Evening Post". Retrieved 2008-04-05.
- ^ Murray and McCabe, p. 40.
- ^ Murray and McCabe, p. 41.
- ^ a b Murray and McCabe, p. 42.
- ^ a b Claridge, p. 304.
- ^ a b c "Michener Art Museum Pairs Famed American Illustrators Rockwell and Hargens for Fall Exhibitions in New Hope" (Press release). The James A. Michener Art Museum. 2007-08-08. Archived from the original on 2008-04-15. Retrieved 2008-04-07.
- ^ Sustaining Vision, pp. 178–179
- ^ a b "President Franklin Roosevelt's Annual Message (Four Freedoms) to Congress (1941)". National Archives and Records Administration. Retrieved 2008-12-18.
- ^ a b "Four Freedoms". National Archives and Records Administration. Retrieved 2008-12-18.
- ^ Congressional Record, 1941, Vol. 87, Pt. I. according to "The "Four Freedoms" Franklin D. Roosevelt's Address to Congress January 6, 1941, Chapter 36". W. W. Norton Publishing. 1997-02-04. Retrieved 2008-12-18.
- ^ Cole, Bruce (2009-10-10). "Free Speech Personified: Norman Rockwell's inspiring and enduring painting". The Wall Street Journal. Retrieved 2013-12-31.
- ^ a b "Norman Rockwell's Four Freedoms". The Countryman Press. Retrieved 2008-04-11.
- ^ Schick, p. 17.
- ^ a b c Schick, p. 19.
- ^ Schick, p. 18.
- ^ Murray and McCabe, p. 12.
- ^ Schick, p. 20.
- ^ a b 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved February 29, 2024.
- ^ Murray and McCabe, p. 48.
- ^ a b "FDR's 'Four Freedoms' Campaign: The Rhetorical Contribution of Norman Rockwell's Posters". Education Resource Information Center. United States Department of Education. Retrieved 2008-04-12.
- ^ Murray and McCabe, p. 13.
- ^ Murray and McCabe, p. 15.
- ^ a b Murray and McCabe, p. 22.
- ^ a b Murray and McCabe, p. 73.
- ^ Murray and McCabe, p. 18.
- ^ Solomon, p. 201.
- ^ a b c d Solomon, p. 202.
- ^ "Norman Rockwell in the 1940s: A View of the American Homefront". Norman Rockwell Museum. Archived from the original on July 20, 2007. Retrieved 2008-04-12.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ a b c d Hennessey and Knutson, p. 96.
- ^ a b Murray and McCabe, p. 21.
- ^ a b c d Marling, Karal Ann (2001-10-14). "Art/Architecture; Salve for a Wounded People". The New York Times. The New York Times Company. Archived from the original on April 15, 2008. Retrieved 2008-04-07.
{{cite news}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ Solomon, p. 203.
- ^ a b c Solomon, p. 204.
- ^ a b Claridge, p. 305.
- ^ Claridge, p. 307.
- ^ Claridge, p. 308.
- ^ a b Solomon, p. 205.
- ^ Murray and McCabe, p. 49.
- ^ a b c Murray and McCabe, p. 77.
- ^ a b c d "I Like To Please People". Time magazine. Time Inc. 1943-06-21. Retrieved 2008-04-07.
- ^ Claridge, p. 309.
- ^ Guptill (first), p. xxviii.
- ^ Murray and McCabe, p. 50.
- ^ a b c d Hennessey and Knutson, p. 102.
- ^ Hennessey and Knutson, p. 100.
- ^ Inazu, John D. (2012). Liberty's Refuge: The Forgotten Freedom of Assembly. Yale University Press. ISBN 0300173156.
- ^ a b Murray and McCabe, p. 51.
- ^ a b Murray and McCabe, p. 59.
- ^ a b Murray and McCabe, p. 60.
- ^ a b c d e Murray and McCabe, p. 61.
- ^ Murray and McCabe, p. 62.
- ^ "Ours to fight for–freedom from want". Unifying a Nation: World War II Posters from the New Hampshire State Library. New Hampshire State Library. Retrieved 2008-12-07.
- ^ "Ours to fight for–freedom from fear". Unifying a Nation: World War II Posters from the New Hampshire State Library. New Hampshire State Library. Retrieved 2008-12-07.
- ^ "Save freedom of speech". Unifying a Nation: World War II Posters from the New Hampshire State Library. New Hampshire State Library. Retrieved 2008-12-07.
- ^ "Save freedom of worship". Unifying a Nation: World War II Posters from the New Hampshire State Library. New Hampshire State Library. Retrieved 2008-12-07.
- ^ "Rockwell's Four Freedoms". Library of Congress. 2003-04-09. Retrieved 2008-12-07.
- ^ a b c d e f g Claridge, p. 313.
- ^ "United States Postage Stamps: 1847 through 1947 ~ The first 100 years". Junior Philatelists On The Internet. Retrieved 2008-04-07.
- ^ "Norman Rockwell. United States, 1994". The Collectible Stamps Gallery. Retrieved 2008-04-07.
- ^ a b Guptill, pp. vi, 140–149
- ^ Murray and McCabe, p. 65.
- ^ Murray and McCabe, p. 66.
- ^ Murray and McCabe, p. 93.
- ^ "For a United People". Time. Time Inc. 1945-05-28. Retrieved 2008-12-19.
- ^ "Mission: Bond Sales". Time. Time Inc. 1945-05-21. Retrieved 2008-12-19.
- ^ "Just Deserts". Time. Time Inc. 1945-05-28. Retrieved 2008-12-19.
- ^ "The Carrot, the Stick". Time. Time Inc. 1943-10-04. Retrieved 2008-12-19.
- ^ a b Murray and McCabe, p. 70.
- ^ a b Murray and McCabe, p. 71.
- ^ Murray and McCabe, p. 69.
- ^ Murray and McCabe, p. 72.
- ^ "Rockwell's Rosie the Riveter Painting Auctioned". Archived from the original on 2008-04-19. Retrieved 2008-04-07.
- ^ Murray and McCabe, p. 74.
- ^ Murray and McCabe, p. 78.
- ^ a b Murray and McCabe, p. 80.
- ^ a b Murray and McCabe, p. 79.
- ^ a b Murray and McCabe, p. 85.
- ^ Murray and McCabe, p. 86.
- ^ Murray and McCabe, p. 87.
- ^ Murray and McCabe, p. 88.
- ^ Murray and McCabe, pp. 90–1.
- ^ Jeffus, Sharon. "Norman Rockwell: An American Original". TheHomeschoolMagazine.com. Archived from the original on 2008-10-07. Retrieved 2008-04-12. [dead link]
- ^ "Gap Narrowed". Time. Time Inc. 1943-05-24. Retrieved 2008-12-19.
- ^ a b Claridge, p. 314.
- ^ Kelly, Michael (1992-07-12). "The Candidates as Culture Vultures". The New York Times. The New York Times Company. Retrieved 2008-04-08.
- ^ Canaday, John (1972-03-23). "Rockwell Retrospective in Brooklyn" (PDF). The New York Times. The New York Times Company. Retrieved 2008-12-19. [dead link]
- ^ Solomon, Deborah (2013-11-01). "Norman Rockwell's New England". The New York Times. Retrieved 2014-01-05.
- ^ "Docents' Duties". Time magazine. Time Inc. 1948-06-28. Retrieved 2008-04-08.
- ^ "The U.S. & the United Nations". Time magazine. Time Inc. 1945-06-04. Retrieved 2008-04-08.
- ^ Van Gelder, Lawrence (2000-06-12). "This Week". The New York Times. The New York Times Company. Retrieved 2008-04-08. [dead link]
- ^ Green, Penelope (2001-10-28). "Mirror, Mirror; Rockwell, Irony-Free". The New York Times. The New York Times Company. Retrieved 2008-04-08.
- ^ Murray and McCabe, p. 96.
- ^ a b c "Collections". Norman Rockwell Museum. Archived from the original on June 30, 2007. Retrieved 2008-04-08.
{{cite web}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ Murray and McCabe, p. 98.
- ^ Grimes, William (1993-06-13). "On Picture-Perfect Day, a Norman Rockwell Museum Opens". The New York Times. The New York Times Company. Retrieved 2008-04-08.
- ^ "Norman Rockwell Museum Protects The Four Freedoms (Literally) with New Acrylic Glazing". Norman Rockwell Museum. 2012-09-06. Retrieved 2013-12-26.
- ^ Vangelova, Luba (2004-03-28). "Travel advisory; A Monument Rises on the Mall". The New York Times. The New York Times Company. Retrieved 2008-04-08.
- ^ Piasky, Jeff (ed.) (1998). "News Briefs". Scouting Magazine. Boy Scouts of America. Retrieved 2008-04-11.
{{cite web}}
:|author=
has generic name (help); Unknown parameter|month=
ignored (help) - ^ "Norman Rockwell's Four Freedoms: Images That Inspire a Nation". Amazon.com, Inc. 2008. Retrieved 2008-04-11.
- ^ Cave, Damien (2008-07-09). "Rockwell Re-enlisted for a Nation's Darker Mood". The New York Times. Retrieved 2014-01-05.
- ^ Boylan, Alexis L. (2011). Thomas Kinkade: The Artist in the Mall. Duke University Press Books. p. 76. ISBN 0822348527.
References
- Claridge, Laura (2001). "21: The Big Ideas". Norman Rockwell: A Life. Random House. pp. 303–314. ISBN 0-375-50453-2.
- Collins, Judith, John Welchman, David Chandler, and David A. Anfam (1983). "1941–1960". Techniques of Modern Art. Chartwell Books Inc. p. 115. ISBN 0-89009-673-2.
{{cite book}}
: CS1 maint: multiple names: authors list (link) - Dempsey, Amy (2002). "1918–1945: American Scene". Art in the Modern Era. Harry N. Abrams, Inc. p. 165. ISBN 0-8109-4172-4.
- Guptill, Arthur L. (1972). Norman Rockwell, Illustrator (first & seventh ed.). Watson-Guptill Publications. pp. vi, 140–149.
- Hennessey, Maureen Hart and Anne Knutson (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. pp. 94–102. ISBN 0-8109-6392-2.
- Hughes, Robert (1997). "The Empire of Signs". American Visions: The Epic History of Art in America. Alfred A. Knopf. pp. 508–509. ISBN 0-679-42627-2.
- Murray, Stuart and James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. ISBN 0-517-20213-1.
- Schick, Ron (2009). Norman Rockwell: Behind The Camera. Little, Brown and Company. ISBN 978-0-316-00693-4.
- Solomon, Deborah (2013). "Fifteen: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. pp. 201–220. ISBN 978-0374113094.
- Wright, Tricia (2007). "The Depression and World War II". American Art and Artists. HarperCollins Publishers. pp. 122–123. ISBN 978-0-06-089124-4.
- "Sustaining Vision". The Story of America: Over 150 Momentous Events Depicted in Great American Art. Country Beautiful Corporation. 1976. pp. 178–179. ISBN 0-87294-047-0.