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HotspotPanoramaOverlayArea_21C43797_A92D_B0CD_41CA_D10A6E742B46.toolTip = By his deeds...measure yours HotspotPanoramaOverlayArea_C4FFD4BA_A91C_70C4_41DB_D11DB89276B7.toolTip = By his deeds...measure yours HotspotPanoramaOverlayArea_605533F7_A93C_904C_41D0_CF51A3768BB8.toolTip = By his deeds...measure yours HotspotPanoramaOverlayArea_195042C3_A96B_9045_41CC_8822FF339BEA.toolTip = By his deeds...measure yours HotspotPanoramaOverlayArea_A9F0586A_A8FB_B047_4117_591165B03800.toolTip = By hus deeds...measure yours HotspotPanoramaOverlayArea_57BA2A0B_614B_D862_41B6_DBF45FA57802.toolTip = CASE - FDR Four Freedoms Park HotspotPanoramaOverlayArea_5A273777_614B_E8A3_41CB_C45F471CF5DE.toolTip = CASE - FDR Four Freedoms Park HotspotPanoramaOverlayArea_56EDC923_6177_D8A3_41D6_DB4D45B74DE7.toolTip = CASE - FDR Four Freedoms Park HotspotPanoramaOverlayArea_5CCF860C_61B4_2865_41D1_66CF335FFE21.toolTip = CASE - FDR Four Freedoms Park 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CASE: Fred Eng HotspotPanoramaOverlayArea_5BDCD17D_4F6F_BFA5_41A4_C935E27B52CF.toolTip = CASE: Fred Eng HotspotPanoramaOverlayArea_5392A29D_3D59_91D9_41B2_898220A5F0E1.toolTip = CASE: Fred Eng HotspotPanoramaOverlayArea_489A5BFD_3D78_B759_41C8_C0EC6B1384D5.toolTip = CASE: Fred Eng HotspotPanoramaOverlayArea_511A7F01_3D49_B0A9_41BA_EB57406237FC.toolTip = CASE: Fred Eng HotspotPanoramaOverlayArea_4CABF867_3D79_9169_41C5_50DECFD5AEA9.toolTip = CASE: Fred Eng HotspotPanoramaOverlayArea_FF932190_B733_088C_41D6_DAA5DB0A2F67.toolTip = CASE: Murder in Mississippi (Left) HotspotPanoramaOverlayArea_8EDE2E8F_B74F_3894_41E1_CC4E4517598D.toolTip = CASE: Murder in Mississippi (Left) HotspotPanoramaOverlayArea_8E7C2989_B755_789C_41C3_134021CE6A97.toolTip = CASE: Murder in Mississippi (Left) HotspotPanoramaOverlayArea_C7B0399C_B7F3_38B5_41E2_8ED243BBBA5E.toolTip = CASE: Murder in Mississippi (Left) HotspotPanoramaOverlayArea_D58B51C6_B7D3_0894_41E4_D1FF4EAD8F32.toolTip = CASE: Murder in Mississippi 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the Neighborhood HotspotPanoramaOverlayArea_3C48175D_8E59_CCB8_41DC_57E06B49DCDE.toolTip = Welcome to the Neighborhood HotspotPanoramaOverlayArea_C4F89A9C_93CB_A912_41E1_48A7C0DC898F.toolTip = Welcome to the Neighborhood HotspotPanoramaOverlayArea_583BF521_59DB_008C_41C8_6ADAB79D3A34.toolTip = Wells Correspondence to Norman Rockwell HotspotPanoramaOverlayArea_57F8BFA7_5665_7F94_41B3_1C31C52DB70E.toolTip = Wells Correspondence to Norman Rockwell HotspotPanoramaOverlayArea_6BB7DC76_CA2B_AE9D_41DC_D4C27EB9832E.toolTip = What did you do for freedom today HotspotPanoramaOverlayArea_5D51E015_CA2F_769F_41DB_CD4A8F18FE54.toolTip = What did you do for frteedom today? 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HotspotPanoramaOverlayArea_BF2DBAD9_3D48_9159_41C7_DD4EE7B0D0E8.toolTip = Women Factory Workers Naomi Parker and Frances John HotspotPanoramaOverlayArea_0F52BD28_4757_DDF8_41CE_275856561597.toolTip = Women Factory Workers Naomi Parker and Frances Johns HotspotPanoramaOverlayArea_587CFC29_7F44_68EA_41CE_DEC962AE509F.toolTip = Women Factory Workers Naomi Parker and Frances Johns HotspotPanoramaOverlayArea_58C45A39_7F44_68ED_41D5_5A1F0C6A7972.toolTip = Women Factory Workers Naomi Parker and Frances Johns HotspotPanoramaOverlayArea_7FE296F3_476D_CC68_41CE_6E0104BCFFAB.toolTip = Women Factory Workers Naomi Parker and Frances Johnson HotspotPanoramaOverlayArea_6E9C8A7D_4ADB_7E76_41BE_2C0FC5CEDBB1.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_548ADA9E_4F95_6D67_41D2_0743A8EEC2BA.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_6190D4BA_4AF5_2AF2_41D1_6BE4AEC61632.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_550C1AA0_4F95_6D5B_41CB_ED5F4F4A358C.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_5B416225_4F95_5DA5_41D3_51D3F0AC7636.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_6125B9D6_4AFD_5AB2_41C8_8336FEF5378B.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_67500CDB_4FB3_A6ED_41D3_E5CB8C92BC91.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_69999105_4ABB_2B96_41D1_993A4355E9CF.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_67CC726F_4AF7_2992_4185_C71E4C204C35.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_5876CC1E_7F44_68A6_41DC_79944827ABBB.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_550C2AA0_4F95_6D5B_41C9_06AE4D1ED5B2.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_674291C4_4ACC_EA96_419A_0D12538668A8.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_6797DD3D_4FBC_A7A5_4198_946EFBCEC6B8.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_548ABA9E_4F95_6D67_41C4_E9252ACA819B.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_616BDB12_4AFB_3FB2_41C1_1E32C197827A.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_6185E467_4AF5_6992_41C9_E9DD76E93DFD.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_6607A85E_4AFD_39B2_41B5_FD330CF4DEF5.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_6E3F4908_4AB7_5B9E_41C0_8DA5DAA1E303.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_58C5FA32_7F44_68FF_41DA_11C8D7443FF2.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_548A9A9E_4F95_6D67_41C4_8C865F7E7FB1.toolTip = Women in the Workforce HotspotPanoramaOverlayArea_5C03E9B0_4F73_EEBB_41D0_4801DE1F8F0C.toolTip = Women in the Worksforce overlay_CB68DF9A_F899_8CDA_41DC_DF77DE1EA20E.toolTip = Womenpower Video overlay_C838A7A5_F889_7CE9_41DC_4DF8270CA45E.toolTip = Womenpower Video overlay_CCDB78DF_F889_7459_41D5_FAC3A230C40B.toolTip = Womenpower Video HotspotPanoramaOverlayArea_43BA1AA8_19EF_3CBF_41AE_576759D573BA.toolTip = Woortman - Took the Place of His Mother HotspotPanoramaOverlayArea_4ED558A7_19F1_7CB1_41A7_F591CF2636CF.toolTip = World War II Trading Cards and Candy Boxes HotspotPanoramaOverlayArea_9942B4DF_85BF_02FE_41AB_E6CFD25D33ED.toolTip = World's Fair: Four Freedoms Sculptures HotspotPanoramaOverlayArea_D5AAE9FB_811A_9115_41AD_37FA45B1BB41.toolTip = World's Fair: Four Freedoms Sculptures 2 HotspotPanoramaOverlayArea_CF6420C6_8115_8F7F_41DA_0DA790FC5741.toolTip = World's Fair: Four Freedoms Sculptures 2 HotspotPanoramaOverlayArea_9FDEE24C_9F05_F929_41D1_919D8E8E413E.toolTip = Worlds Fair: Four Freedoms Sculptures HotspotPanoramaOverlayArea_16CFFE0C_9F0C_4951_41D6_C231EA5615BA.toolTip = Worlds Fair: Four Freedoms Sculptures HotspotPanoramaOverlayArea_9FB7C301_9F04_3F2E_41DA_FE735F826E79.toolTip = Worlds Fair: Four Freedoms Sculptures HotspotPanoramaOverlayArea_3AF029EA_9F0C_4ADB_41E0_552ABF9B4895.toolTip = Worlds Fair: Four Freedoms Sculptures HotspotPanoramaOverlayArea_2561F5C5_19AF_14F1_41A6_F5A5245A8B57.toolTip = Worthman - Give you a lift? HotspotPanoramaOverlayArea_2AA3F563_1873_F5B1_419C_1E85E3924EE6.toolTip = Wortman - Breadline HotspotPanoramaOverlayArea_42BA2AED_19D1_1CB1_41B0_5F65D7B410BE.toolTip = Wortman - Breadline HotspotPanoramaOverlayArea_42007342_19D3_6DF3_41B6_C6D3EB8CB927.toolTip = Wortman - Can You Spare a Dime? HotspotPanoramaOverlayArea_27476505_19B1_F570_41A6_E820AADB5561.toolTip = Wortman - Can you spare a dime? HotspotPanoramaOverlayArea_438E60E8_19F3_2CBF_41B7_0A46D067C633.toolTip = Wortman - Give You a Ride HotspotPanoramaOverlayArea_58BACE29_19AF_17B1_418A_26DB28C8EEA0.toolTip = Wortman - Sorta took the place of his mother HotspotPanoramaOverlayArea_272C03BA_19D1_6C93_41B4_98FDF2525F86.toolTip = Wortman - Whem mothers asks More? HotspotPanoramaOverlayArea_44C9A9BB_19D1_1C91_419A_EDF46E538B77.toolTip = Wortman - When mothers asks more? HotspotPanoramaOverlayArea_24242B5F_19B1_FD91_41AA_543612E01A35.toolTip = Wortman - Worried about postwar conditions HotspotPanoramaOverlayArea_439A21F1_19F1_2C91_41B2_049667DB015B.toolTip = Wortman - Worried about postware conditions HotspotPanoramaOverlayArea_D0208CFE_93CC_A90F_41AC_731AAECAE197.toolTip = Yuko Shimizu \ Defend Democracy (Lady Liberty) HotspotPanoramaOverlayArea_B3325CAF_92C4_690E_41D6_C620F9786356.toolTip = Yuko Shimizu - Defend Democracy (Lady Liberty) HotspotPanoramaOverlayArea_8F77033B_8EB7_C4F9_41DA_E6E35D7DE4FE.toolTip = Yuko Shimizu - Defend Democracy (Lady Liberty) HotspotPanoramaOverlayArea_87C45C20_92C4_6933_41C3_08CD6A0D2AAC.toolTip = Yuko Shimizu - Defend Democracy (Lady Liberty) HotspotPanoramaOverlayArea_8F6AA2DF_8EDE_C5B9_41DA_FBD3BF190746.toolTip = Yuko Shimizu - Defend Democracy (Lady Liberty) HotspotPanoramaOverlayArea_A57FB3A6_93BB_BF3E_41C6_5412733E44AF.toolTip = Yuko Shimizu - Defend Democracy (Lady Liberty) 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Sixth Draft of Roosevelt’s Message to Congress
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Click on a magazine cover to explore that issue of the magazine (above).


The Saturday Evening Post
February 27, 1943
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


By the 1940's. The Saturday Evening Post grew to become the most widely circulated weekly magazine in America. The magazine gained prominent status under the leadership of its longtime editor George Horace Lorimer


The Saturday Evening Post published current event articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (with contributions submitted by readers), single-panel gag cartoons and stories by the leading writers of the time. It was known for commissioning lavish illustrations and original works of fiction.
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New York Times
Sunday, August 17, 1941
Section 4, pages 1 and 4
© 1941 New York Times Inc. All Rights Reserved.
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Amy Wike
Refuge, 2017
Yarn and Morse code written on paper
Collection of the Artist


In this work, Amy Wike of Washington, D.C., presents a unique transcription of one crucial sentence from the UN’s Declaration of Human Rights. “The advent of a world in which human beings shall enjoy freedom of speech and belief and freedom from fear and want has been proclaimed as the highest aspiration of the common people,” has been knitted in Morse code, in English (blue), Somali (red), French (representing the Democratic Republic of the Congo; gray), and Arabic (representing Syria; green). “The last three languages represent the top three nations from which refugees arrived in the United States in 2017,” the artist notes. “My work plays with the ideas of translation, interpretation, and the complexities of language. The resulting amorphous shapes act as visual representations of the intricacies of communication.”
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Andréanna Seymore
Mother and Daughter, Women’s March 2017, 2017
Photograph
Collection of the Artist


Andréanna Seymore uses photography as a means of inquiry into social class, subculture, and counterculture. Her vivid color work captures the organized chaos of everyday people, and illuminates them in ways that prompt the viewer to think about what is occurring beyond the frame of the photograph. A resident of New York City, she traveled to the Women’s March in Washington, D.C. where she captured this image of a mother and daughter in the midst of the crowd. Photographs from her recent monograph, Scars and Stripes: The Culture of Modern Roller Derby, have been acquired by the Smithsonian’s National Museum of American History.
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Anita Kunz
Every Vote Counts, 2020
Acrylic on board
Collection of the artist
Anita Kunz © 2020. All rights reserved.


Born in Canada, illustrator Anita Kunz became a citizen of the United States fifteen years ago. As reflected in her piece, “There are so many amazing cultures within this country,” she observed, “and the most important thing, and the thing that makes everyone feel included, is to vote.”


Internationally known for her art, Kunz has created imagery for the covers and pages of Time, Rolling Stone, Vanity Fair, The New Yorker, GQ, The New York Times, Sony Music, and Random House Publishing, among others. An inductee of the Society of Illustrators prestigious Hall of Fame, she has also been appointed Officer of the Order of Canada, the nation’s highest civilian honor, and she is the recipient of the Queen’s Jubilee Medal of Honor. She has been named one of the fifty most influential women in Canada by the National Post newspaper. We are honored to feature an extensive body of her work among the Norman Rockwell Museum’s permanent collection of illustration art.
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Barbara Brandel
Thoughts of Home, 2013
Mixed media
Collection of the Artist


Created with international postage stamps, the figure in this work by Tucson, Arizona artist Barbara Brandel reflects places near and far, and the universal desire for the promise of the Four Freedoms. Her piece comments upon what she terms the Four Necessities—the importance of having “enough to eat, a place to live, a means to earn a living, and a community of friends and family.”
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Benny Bing
United We Stand, 2017
Acrylic on canvas
Collection of the Artist


For Benny Alaga of Toronto, Canada, “the act of painting is a conversation between the work and me.” United We Stand invites consideration of national identity, taking inspiration from Shepard Fairy’s We the People Are Greater Than Fear by portraying a Muslim woman wrapped in the American flag.
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Bill Scovill (1914 - 1997)
Reference Photos for Golden Rule, 1961
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1961 Norman Rockwell Family Agency. All rights reserved.


In these photos, we witness Rockwell's work to get paint on canvas, starting with the initial drawing, incrementally painting the faces in, adding the stenciled text, and finally the finishing touches.
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Brandin Barón
The Four Freedoms in the Style of Pontormo, 2017
Digital print on paper
Collection of the Artist


A response to Norman Rockwell’s Golden Rule, a 1961 cover for The Saturday Evening Post, Brandin Barón was inspired by the painting’s focus on ethnic diversity. His response “fuses Rockwell’s color palette to spatial the complexities in [Italian Mannerist painter] Jocopo Pontormo’s Joseph of Egypt (1517-1518). My goal was to create a dialogue between realistic human figures and memorialized forms of historicized American leaders and edifices…as a means of illustrating the trans-historical legacy of the Four Freedoms.” The Golden Gate Bridge, a feature of the artist’s home city of San Francisco, is a prominent element in the work.
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Bri Hermanson
Marriage Equality, 2018
Digital
Collection of the Artist


“As a queer person, marriage equality has been the greatest, most personally legitimizing freedom granted in this country in my lifetime,” said illustrator Bri Hermanson of Northampton, Massachusetts. “To me, the evolution of marriage laws are an expansion of the ideals of freedom presented by Roosevelt and Rockwell.” Referencing the marriage tradition of “something old and something new,” the artist included the circular element that symbolized the early Saturday Evening Post, while same-sex marriage represents the dawn of a new age.
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Candace Eaton
Why?, 2017
Oil on canvas
Collection of the Artist


Candace Eaton of Northport, New York took the opportunity to reflect upon Freedom from Fear in this work, which comments upon the violence that has become all too prevalent in society. “Now,” said the artist, “our children stand along—their parents cannot protect them. Terrorism and the indiscriminate slaughter of the innocent had ripped that security away.” In this painting, the lone child confronts the viewer, asking why. In addition to her personal work, Eaton is a courtroom artist whose drawings have been published in Newsday and on television.
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Celine Browning
Untitled III (Capture the Flag), 2017
Flag, thread, and wood
Collection of the Artist


Informed by the complex nature of nationalism and patriotism, this work by Celine Browning of Grand Rapids, Michigan, “is a celebration of our many strengths as a nation, but also…the many ways that the national psyche has been affected by perceived threats to our freedom to worship openly, live without fear, and speak our discontent.”
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Chris Hopkins
An Uncertain Future, 2014
Oil on panel
Collection of the artist


Inspired by Norman Rockwell’s Freedom from Fear, this emotional work by Chris Hopkins of Everett, Washington looks back on the Japanese internment during World War II, “with the hope that something like this will never happen again.” The artist’s paintings celebrate the human spirit, focusing on subjects of cultural importance. Widely- published as an illustrator, he has created imagery for many commissions, including the film, entertainment, and sports industries—from Indiana Jones and the Temple of Doom to the Super Bowl.
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Chris Hopkins
Freedom from Want, 2017
Oil on panel
Collection of the Artist


Freedom from Want addresses the right to an adequate standard of living, and to sufficient food, clothing, and shelter. As the artist’s poignant work reveals, “the ever- present image of homelessness represents a longing for those very things.” On any given night, more than 643,000 people experience homelessness in America, including families, veterans, and those suffering from mental illness and fleeing from domestic violence.
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Curt Belshe
Twenty-First Century Four Freedoms, 2017
Photo-polymer etching on paper
Collection of the Artist


For Curt Belshe of Peekskill, New York, this work addresses the complexities of living in a culturally diverse world in the digital information age, which allows us to connect across barriers on a global scale.
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Daisy Rockwell
Collection of the Artist


Arrested: Contemptuous Larcenist, 2013
Acrylic and glitter on panel


Arrested: Intoxicated Driver, 2013
Acrylic on linen


Arrested: Possessor and Obstructer, 2013
Acrylic on linen


Arrested: Sex Offender, 2013
Acrylic on panel


Arrested: Parolee, 2013
Acrylic on panel


Arrested: Fraudster, 2013
Acrylic on linen


Arrested: Irresponsible Driver, 2013
Acrylic on panel


Arrested: Avoider of Fines, 2013
Acrylic on panel


Daisy Rockwell grew up in a family of artists in Stockbridge, Massachusetts. The granddaughter of Norman Rockwell, she received a doctorate in literature from the University of Chicago and pursued a career in academia at Loyola University and the University of California, Berkeley. A scholar of South Asian literature, she is fluent in Urdu, and grew up painting.


Arrested is meant to spur public dialogue and give voice to incarcerated women who strive to be heard. “This set of paintings is a continuation of my work on ancient Indian rasa theory, a study that began with an exploration of the notion of terrorism and the war on terror, a battle ostensibly being waged against the emotion of fear,” the artist said. “As part of the war against terrorism, Americans are urged to feel frightened and suspicious of others, rather than free of fear, as in Roosevelt’s, and Rockwell’s, formulation.” Rasa means essence, and Sanskrit aestheticians delineated eight or nine of these essential moods, which are found in the arts. In these works, it is up to the viewer to decide what mood each woman is experiencing.
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Daisy Rockwell
Collection of the Artist


Arrested: Contemptuous Larcenist, 2013
Acrylic and glitter on panel


Arrested: Intoxicated Driver, 2013
Acrylic on linen


Arrested: Possessor and Obstructer, 2013
Acrylic on linen


Arrested: Sex Offender, 2013
Acrylic on panel
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Daisy Rockwell
Collection of the Artist


Arrested: Parolee, 2013
Acrylic on panel


Arrested: Fraudster, 2013
Acrylic on linen


Arrested: Irresponsible Driver, 2013
Acrylic on panel


Arrested: Avoider of Fines, 2013
Acrylic on panel
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Daniela Edstrom
Freedom of Religion, Freedom to Believe, Version 6, 2017
Digital
Collection of the Artist


New Hampshire artist Daniela Edstrom observes that, “as Rockwell suggests, we must work together toward the highest ideals for the greater good of society and humanity.” In her art, the unifying qualities of faith and the mysteries of religious practice are referenced. Present are the sacred Muslim arch and the Madonna and Buddha in thoughtful meditation. Brahma, a Hindu deity, holds the icons of his faith, and Christendom’s apple of temptation is a symbol of “man’s wavering soul, tested by the forces of darkness.” A cemetery filled with American flags “speaks of the cost of freedom in an often contradictory world.”
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Deborah Samia
The Four Freedoms (A Tribute to Norman Rockwell), 2018
Hydrocal plaster reinforced with fiberglass
Collection of the Artist


Sculptor Deborah Samia’s bas reliefs portray each of Norman Rockwell’s Four Freedoms with a contemporary twist. “Those living in the margins of our society should have their voices heard,” wrote the artist, who lives in Oakland, California. Freedom of Speech portrays a female night janitor, who may be undervalued at work, but is the matriarch and provider for her family at home. “In Freedom of Worship re-imagining, I include Eastern religions that have flourished in our country since Rockwell’s lifetime…Buddhism, Islam, Hinduism, Sikhism, and Taoism. Our country can be unified in knowing that we are all Americans, even while honoring our different heritages and beliefs.” In Freedom from Want, an African American family shares a meal, “a safe place where young and old, friends and family, are welcomed in anticipation of the feast.” Freedom of Fear portrays a Sikh family living in fear of hate crimes
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Deborah Samia
Collection of the Artist


Freedom from Want, 2018
Hydrocal plaster reinforced with fiberglass


Freedom of Speech, 2018
Hydrocal plaster reinforced with fiberglass


Freedom of Worship, 2018
Hydrocal plaster reinforced with fiberglass


Freedom from Fear, 2018
Hydrocal plaster reinforced with fiberglass



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Edouard Manet (1832 - 1883)
The Dead Toreador, 1864
Oil on canvas.
The National Gallery of Art


Magazine clipping from Vietnam War, possibly used for Blood Brothers
Tearsheet
Norman Rockwell Museum Collection


Norman Rockwell would often look for inspiration when creating his work. He would frequently look to past artists' work and even look in contemporary media for his inspiration.



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Erin Currier
Margarete, Helen, and Pablita, 2016
Acrylic and mixed media
Collection of the Artist


Erin Currier lives in Santa Fe, New Mexico, but has traveled to more than fifty countries, immersing herself in other world cultures, from Nepal to Nicaragua and Turkey. She gets around “on foot or by bus, sketching, documenting, making friends, and collecting disinherited commercial waste,” which informs her art once she returns to her studio. Currier’s travels “have inspired a sense of urgency as an artist to address social inequality and economic disparity.” Here, women from different cultures express their appreciation for art as a universal language.
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Esther Iverem
Through Many Dangers, Toils, and Snares, 2017
Mixed media
Collection of the Artist


This work by Esther Iverem of Washington, D.C., “interrogates the Four Freedoms through the experience of Africans who survived the Middle Passage, enslavement in the United States, Reconstruction, the totalitarianism of Jim Crow and—one hundred years after the Emancipation Proclamation—a new century of challenges and hope.” A fiber artist, Iverem has constructed her piece from denim jeans and other reclaimed materials that individually carry their own narratives.



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Fazilat Soukhakian
Iran, Women, Hijab, 2011
Photograph on fabric
Collection of the Artist


“As an Iranian woman, artist and photographer, politics have defined my life,” said Fazilat Soukhakian of Salt Lake City, Utah. Fascinated by human interest stories and what they tell us about society, her work primarily deals with the political and social aspects of her surroundings. “Although it has been more than seventy-seven years since Franklin D. Roosevelt spoke about the Four Freedoms, which he regarded to be essential on a universal level, many people across the world still struggle with obtaining these freedoms. In this particular photograph, a child and women are depicted in a contemporary patriarchal society, in which their voice, appearance, and bodies are controlled by a religiously-entangled government.”
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Felice House
Olive Branch, 2017
Oil on canvas
Collection of the artist


Felice House of Austin, Texas is a figurative painter focused on feminist portraiture. “Today women paint women as we see ourselves,” said the artist, in contrast with the passive, overly-sexualized portrayals that are culturally pervasive. Olive Branch, which is set against a Syrian landscape, serves as a tribute to the unrecognized women who have championed peace.



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Gary Bist
Refugee Families in Winter, 2017
Sumi-e ink on rice paper
Collection of the Artist


As this work reflects, people continue to search for the Four Freedoms that Franklin D. Roosevelt and Norman Rockwell hoped would spread throughout the world. Gary Bist’s painting reflects upon the many refugees who risk their lives in arduous conditions in pursuit of safety, security, and freedom. Here, families face a dark forest that is “similar to the barricades, fences, barbed wire and walls that they must overcome at the border of any country they approach. A slight opening in the forest suggests a possible way in,” said the artist, who resides in Ontario, Canada.
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Gene Pelham (1909 - 2004)
Reference Photos for The Right to Know, 1968
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1968 Norman Rockwell Family Agency. All rights reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.



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Gene Pelham (1909 - 2004)
Reference Photos for United Nations, 1953
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1953 Norman Rockwell Family Agency. All rights reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Image courtesy of the National Archives.


Transcript of Document (Articles 1-10):


Congress of the United States begun and held at the City of New-York, on Wednesday the fourth of March, one thousand seven hundred and eighty nine.


THE Conventions of a number of the States, having at the time of their adopting the Constitution, expressed a desire, in order to prevent misconstruction or abuse of its powers, that further declaratory and restrictive clauses should be added: And as extending the ground of public confidence in the Government, will best ensure the beneficent ends of its institution.


RESOLVED by the Senate and House of Representatives of the United States of America, in Congress assembled, two thirds of both Houses concurring, that the following Articles be proposed to the Legislatures of the several States, as amendments to the Constitution of the United States, all, or any of which Articles, when ratified by three fourths of the said Legislatures, to be valid to all intents and purposes, as part of the said Constitution; viz.


ARTICLES in addition to, and Amendment of the Constitution of the United States of America, proposed by Congress, and ratified by the Legislatures of the several States, pursuant to the fifth Article of the original Constitution.


Article the first... After the first enumeration required by the first article of the Constitution, there shall be one Representative for every thirty thousand, until the number shall amount to one hundred, after which the proportion shall be so regulated by Congress, that there shall be not less than one hundred Representatives, nor less than one Representative for every forty thousand persons, until the number of Representatives shall amount to two hundred; after which the proportion shall be so regulated by Congress, that there shall not be less than two hundred Representatives, nor more than one Representative for every fifty thousand persons.


Article the second... No law, varying the compensation for the services of the Senators and Representatives, shall take effect, until an election of Representatives shall have intervened.


Article the third... Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.


Article the fourth... A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.


Article the fifth... No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but in a manner to be prescribed by law.


Article the sixth... The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.


Article the seventh... No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.


Article the eighth... In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, by an impartial jury of the State and district wherein the crime shall have been committed, which district shall have been previously ascertained by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against him; to have compulsory process for obtaining witnesses in his favor, and to have the Assistance of Counsel for his defence.


Article the ninth... In suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be preserved, and no fact tried by a jury, shall be otherwise re-examined in any Court of the United States, than according to the rules of the common law.


Article the tenth... Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.


Article the eleventh... The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.


Article the twelfth... The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people.


ATTEST,


Frederick Augustus Muhlenberg, Speaker of the House of Representatives


John Adams, Vice-President of the United States, and President of the Senate


John Beckley, Clerk of the House of Representatives.
Sam. A Otis Secretary of the Senate
HTMLText_E7DA010D_60F0_C294_41C3_5079C45930DB.html =
Image courtesy of the National Archives.


Transcript of Document (Articles 1-10):


Congress of the United States begun and held at the City of New-York, on Wednesday the fourth of March, one thousand seven hundred and eighty nine.


THE Conventions of a number of the States, having at the time of their adopting the Constitution, expressed a desire, in order to prevent misconstruction or abuse of its powers, that further declaratory and restrictive clauses should be added: And as extending the ground of public confidence in the Government, will best ensure the beneficent ends of its institution.


RESOLVED by the Senate and House of Representatives of the United States of America, in Congress assembled, two thirds of both Houses concurring, that the following Articles be proposed to the Legislatures of the several States, as amendments to the Constitution of the United States, all, or any of which Articles, when ratified by three fourths of the said Legislatures, to be valid to all intents and purposes, as part of the said Constitution; viz.


ARTICLES in addition to, and Amendment of the Constitution of the United States of America, proposed by Congress, and ratified by the Legislatures of the several States, pursuant to the fifth Article of the original Constitution.


Article the first... After the first enumeration required by the first article of the Constitution, there shall be one Representative for every thirty thousand, until the number shall amount to one hundred, after which the proportion shall be so regulated by Congress, that there shall be not less than one hundred Representatives, nor less than one Representative for every forty thousand persons, until the number of Representatives shall amount to two hundred; after which the proportion shall be so regulated by Congress, that there shall not be less than two hundred Representatives, nor more than one Representative for every fifty thousand persons.


Article the second... No law, varying the compensation for the services of the Senators and Representatives, shall take effect, until an election of Representatives shall have intervened.


Article the third... Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.


Article the fourth... A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.


Article the fifth... No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but in a manner to be prescribed by law.


Article the sixth... The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.


Article the seventh... No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.


Article the eighth... In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, by an impartial jury of the State and district wherein the crime shall have been committed, which district shall have been previously ascertained by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against him; to have compulsory process for obtaining witnesses in his favor, and to have the Assistance of Counsel for his defence.


Article the ninth... In suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be preserved, and no fact tried by a jury, shall be otherwise re-examined in any Court of the United States, than according to the rules of the common law.


Article the tenth... Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.


Article the eleventh... The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.


Article the twelfth... The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people.


ATTEST,


Frederick Augustus Muhlenberg, Speaker of the House of Representatives


John Adams, Vice-President of the United States, and President of the Senate


John Beckley, Clerk of the House of Representatives.
Sam. A Otis Secretary of the Senate
HTMLText_F8C7CABB_A024_B274_41DA_531B492D7A5C.html =
Image courtesy of the National Archives.


Transcript of Document (Articles 1-10):


Congress of the United States begun and held at the City of New-York, on Wednesday the fourth of March, one thousand seven hundred and eighty nine.


THE Conventions of a number of the States, having at the time of their adopting the Constitution, expressed a desire, in order to prevent misconstruction or abuse of its powers, that further declaratory and restrictive clauses should be added: And as extending the ground of public confidence in the Government, will best ensure the beneficent ends of its institution.


RESOLVED by the Senate and House of Representatives of the United States of America, in Congress assembled, two thirds of both Houses concurring, that the following Articles be proposed to the Legislatures of the several States, as amendments to the Constitution of the United States, all, or any of which Articles, when ratified by three fourths of the said Legislatures, to be valid to all intents and purposes, as part of the said Constitution; viz.


ARTICLES in addition to, and Amendment of the Constitution of the United States of America, proposed by Congress, and ratified by the Legislatures of the several States, pursuant to the fifth Article of the original Constitution.


Article the first... After the first enumeration required by the first article of the Constitution, there shall be one Representative for every thirty thousand, until the number shall amount to one hundred, after which the proportion shall be so regulated by Congress, that there shall be not less than one hundred Representatives, nor less than one Representative for every forty thousand persons, until the number of Representatives shall amount to two hundred; after which the proportion shall be so regulated by Congress, that there shall not be less than two hundred Representatives, nor more than one Representative for every fifty thousand persons.


Article the second... No law, varying the compensation for the services of the Senators and Representatives, shall take effect, until an election of Representatives shall have intervened.


Article the third... Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.


Article the fourth... A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.


Article the fifth... No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but in a manner to be prescribed by law.


Article the sixth... The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.


Article the seventh... No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.


Article the eighth... In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, by an impartial jury of the State and district wherein the crime shall have been committed, which district shall have been previously ascertained by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against him; to have compulsory process for obtaining witnesses in his favor, and to have the Assistance of Counsel for his defence.


Article the ninth... In suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be preserved, and no fact tried by a jury, shall be otherwise re-examined in any Court of the United States, than according to the rules of the common law.


Article the tenth... Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.


Article the eleventh... The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.


Article the twelfth... The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people.


ATTEST,


Frederick Augustus Muhlenberg, Speaker of the House of Representatives


John Adams, Vice-President of the United States, and President of the Senate


John Beckley, Clerk of the House of Representatives.
Sam. A Otis Secretary of the Senate
HTMLText_F8981815_A03C_FE3C_4192_420CE693ED5B.html =
Image courtesy of the National Archives.


Transcript of Document (Articles 1-10):


Congress of the United States begun and held at the City of New-York, on Wednesday the fourth of March, one thousand seven hundred and eighty nine.


THE Conventions of a number of the States, having at the time of their adopting the Constitution, expressed a desire, in order to prevent misconstruction or abuse of its powers, that further declaratory and restrictive clauses should be added: And as extending the ground of public confidence in the Government, will best ensure the beneficent ends of its institution.


RESOLVED by the Senate and House of Representatives of the United States of America, in Congress assembled, two thirds of both Houses concurring, that the following Articles be proposed to the Legislatures of the several States, as amendments to the Constitution of the United States, all, or any of which Articles, when ratified by three fourths of the said Legislatures, to be valid to all intents and purposes, as part of the said Constitution; viz.


ARTICLES in addition to, and Amendment of the Constitution of the United States of America, proposed by Congress, and ratified by the Legislatures of the several States, pursuant to the fifth Article of the original Constitution.


Article the first... After the first enumeration required by the first article of the Constitution, there shall be one Representative for every thirty thousand, until the number shall amount to one hundred, after which the proportion shall be so regulated by Congress, that there shall be not less than one hundred Representatives, nor less than one Representative for every forty thousand persons, until the number of Representatives shall amount to two hundred; after which the proportion shall be so regulated by Congress, that there shall not be less than two hundred Representatives, nor more than one Representative for every fifty thousand persons.


Article the second... No law, varying the compensation for the services of the Senators and Representatives, shall take effect, until an election of Representatives shall have intervened.


Article the third... Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.


Article the fourth... A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.


Article the fifth... No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but in a manner to be prescribed by law.


Article the sixth... The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.


Article the seventh... No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.


Article the eighth... In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, by an impartial jury of the State and district wherein the crime shall have been committed, which district shall have been previously ascertained by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against him; to have compulsory process for obtaining witnesses in his favor, and to have the Assistance of Counsel for his defence.


Article the ninth... In suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be preserved, and no fact tried by a jury, shall be otherwise re-examined in any Court of the United States, than according to the rules of the common law.


Article the tenth... Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.


Article the eleventh... The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.


Article the twelfth... The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people.


ATTEST,


Frederick Augustus Muhlenberg, Speaker of the House of Representatives


John Adams, Vice-President of the United States, and President of the Senate


John Beckley, Clerk of the House of Representatives.
Sam. A Otis Secretary of the Senate
HTMLText_E29E85C7_6090_CD94_41D3_964CCAFEA320.html =
Image courtesy of the National Archives.


Transcript of Document:


In Congress, July 4, 1776


The unanimous Declaration of the thirteen united States of America, When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.


We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, --That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.


He has refused his Assent to Laws, the most wholesome and necessary for the public good.


He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.


He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.


He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.


He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.


He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.


He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.


He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.


He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.


He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.


He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.


He has affected to render the Military independent of and superior to the Civil power.


He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:


For Quartering large bodies of armed troops among us:


For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:


For cutting off our Trade with all parts of the world:


For imposing Taxes on us without our Consent:


For depriving us in many cases, of the benefits of Trial by Jury:


For transporting us beyond Seas to be tried for pretended offences


For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:


For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:


For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.


He has abdicated Government here, by declaring us out of his Protection and waging War against us.


He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.


He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.


He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.


He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.


In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.


Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.


We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.


Georgia


Button Gwinnett


Lyman Hall


George Walton



North Carolina


William Hooper


Joseph Hewes


John Penn



South Carolina


Edward Rutledge


Thomas Heyward, Jr.


Thomas Lynch, Jr.


Arthur Middleton



Massachusetts


John Hancock


Maryland


Samuel Chase


William Paca


Thomas Stone


Charles Carroll of Carrollton



Virginia


George Wythe


Richard Henry Lee


Thomas Jefferson


Benjamin Harrison


Thomas Nelson, Jr.


Francis Lightfoot Lee


Carter Braxton



Pennsylvania


Robert Morris


Benjamin Rush


Benjamin Franklin


John Morton


George Clymer


James Smith


George Taylor


James Wilson


George Ross


Delaware


Caesar Rodney


George Read


Thomas McKean



New York


William Floyd


Philip Livingston


Francis Lewis


Lewis Morris



New Jersey


Richard Stockton


John Witherspoon


Francis Hopkinson


John Hart


Abraham Clark



New Hampshire


Josiah Bartlett


William Whipple



Massachusetts


Samuel Adams


John Adams


Robert Treat Paine


Elbridge Gerry



Rhode Island


Stephen Hopkins


William Ellery



Connecticut


Roger Sherman


Samuel Huntington


William Williams


Oliver Wolcott



New Hampshire


Matthew Thornton
HTMLText_F8C11AC5_A024_921C_41DC_7A75B3E6CB0D.html =
Image courtesy of the National Archives.


Transcript of Document:


In Congress, July 4, 1776


The unanimous Declaration of the thirteen united States of America, When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.


We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, --That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.


He has refused his Assent to Laws, the most wholesome and necessary for the public good.


He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.


He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.


He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.


He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.


He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.


He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.


He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.


He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.


He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.


He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.


He has affected to render the Military independent of and superior to the Civil power.


He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:


For Quartering large bodies of armed troops among us:


For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:


For cutting off our Trade with all parts of the world:


For imposing Taxes on us without our Consent:


For depriving us in many cases, of the benefits of Trial by Jury:


For transporting us beyond Seas to be tried for pretended offences


For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:


For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:


For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.


He has abdicated Government here, by declaring us out of his Protection and waging War against us.


He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.


He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.


He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.


He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.


In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.


Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.


We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.


Georgia


Button Gwinnett


Lyman Hall


George Walton



North Carolina


William Hooper


Joseph Hewes


John Penn



South Carolina


Edward Rutledge


Thomas Heyward, Jr.


Thomas Lynch, Jr.


Arthur Middleton



Massachusetts


John Hancock


Maryland


Samuel Chase


William Paca


Thomas Stone


Charles Carroll of Carrollton



Virginia


George Wythe


Richard Henry Lee


Thomas Jefferson


Benjamin Harrison


Thomas Nelson, Jr.


Francis Lightfoot Lee


Carter Braxton



Pennsylvania


Robert Morris


Benjamin Rush


Benjamin Franklin


John Morton


George Clymer


James Smith


George Taylor


James Wilson


George Ross


Delaware


Caesar Rodney


George Read


Thomas McKean



New York


William Floyd


Philip Livingston


Francis Lewis


Lewis Morris



New Jersey


Richard Stockton


John Witherspoon


Francis Hopkinson


John Hart


Abraham Clark



New Hampshire


Josiah Bartlett


William Whipple



Massachusetts


Samuel Adams


John Adams


Robert Treat Paine


Elbridge Gerry



Rhode Island


Stephen Hopkins


William Ellery



Connecticut


Roger Sherman


Samuel Huntington


William Williams


Oliver Wolcott



New Hampshire


Matthew Thornton
HTMLText_F8834A3B_A03D_9274_41CA_B65D6E31170D.html =
Image courtesy of the National Archives.


Transcript of Document:


In Congress, July 4, 1776


The unanimous Declaration of the thirteen united States of America, When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.


We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, --That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.


He has refused his Assent to Laws, the most wholesome and necessary for the public good.


He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.


He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.


He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.


He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.


He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.


He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.


He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.


He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.


He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.


He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.


He has affected to render the Military independent of and superior to the Civil power.


He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:


For Quartering large bodies of armed troops among us:


For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:


For cutting off our Trade with all parts of the world:


For imposing Taxes on us without our Consent:


For depriving us in many cases, of the benefits of Trial by Jury:


For transporting us beyond Seas to be tried for pretended offences


For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:


For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:


For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.


He has abdicated Government here, by declaring us out of his Protection and waging War against us.


He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.


He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.


He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.


He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.


In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.


Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.


We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.


Georgia


Button Gwinnett


Lyman Hall


George Walton



North Carolina


William Hooper


Joseph Hewes


John Penn



South Carolina


Edward Rutledge


Thomas Heyward, Jr.


Thomas Lynch, Jr.


Arthur Middleton



Massachusetts


John Hancock


Maryland


Samuel Chase


William Paca


Thomas Stone


Charles Carroll of Carrollton



Virginia


George Wythe


Richard Henry Lee


Thomas Jefferson


Benjamin Harrison


Thomas Nelson, Jr.


Francis Lightfoot Lee


Carter Braxton



Pennsylvania


Robert Morris


Benjamin Rush


Benjamin Franklin


John Morton


George Clymer


James Smith


George Taylor


James Wilson


George Ross


Delaware


Caesar Rodney


George Read


Thomas McKean



New York


William Floyd


Philip Livingston


Francis Lewis


Lewis Morris



New Jersey


Richard Stockton


John Witherspoon


Francis Hopkinson


John Hart


Abraham Clark



New Hampshire


Josiah Bartlett


William Whipple



Massachusetts


Samuel Adams


John Adams


Robert Treat Paine


Elbridge Gerry



Rhode Island


Stephen Hopkins


William Ellery



Connecticut


Roger Sherman


Samuel Huntington


William Williams


Oliver Wolcott



New Hampshire


Matthew Thornton
HTMLText_F8D85858_A024_BE34_41CB_D1A0E7E39CD1.html =
Image courtesy of the National Archives.


Transcript of Document:


In Congress, July 4, 1776


The unanimous Declaration of the thirteen united States of America, When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.


We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, --That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.


He has refused his Assent to Laws, the most wholesome and necessary for the public good.


He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.


He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.


He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.


He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.


He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.


He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.


He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.


He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.


He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.


He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.


He has affected to render the Military independent of and superior to the Civil power.


He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:


For Quartering large bodies of armed troops among us:


For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:


For cutting off our Trade with all parts of the world:


For imposing Taxes on us without our Consent:


For depriving us in many cases, of the benefits of Trial by Jury:


For transporting us beyond Seas to be tried for pretended offences


For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:


For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:


For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.


He has abdicated Government here, by declaring us out of his Protection and waging War against us.


He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.


He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.


He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.


He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.


In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.


Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.


We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.


Georgia


Button Gwinnett


Lyman Hall


George Walton



North Carolina


William Hooper


Joseph Hewes


John Penn



South Carolina


Edward Rutledge


Thomas Heyward, Jr.


Thomas Lynch, Jr.


Arthur Middleton



Massachusetts


John Hancock


Maryland


Samuel Chase


William Paca


Thomas Stone


Charles Carroll of Carrollton



Virginia


George Wythe


Richard Henry Lee


Thomas Jefferson


Benjamin Harrison


Thomas Nelson, Jr.


Francis Lightfoot Lee


Carter Braxton



Pennsylvania


Robert Morris


Benjamin Rush


Benjamin Franklin


John Morton


George Clymer


James Smith


George Taylor


James Wilson


George Ross


Delaware


Caesar Rodney


George Read


Thomas McKean



New York


William Floyd


Philip Livingston


Francis Lewis


Lewis Morris



New Jersey


Richard Stockton


John Witherspoon


Francis Hopkinson


John Hart


Abraham Clark



New Hampshire


Josiah Bartlett


William Whipple



Massachusetts


Samuel Adams


John Adams


Robert Treat Paine


Elbridge Gerry



Rhode Island


Stephen Hopkins


William Ellery



Connecticut


Roger Sherman


Samuel Huntington


William Williams


Oliver Wolcott



New Hampshire


Matthew Thornton
HTMLText_CC1F7F9D_6090_BDBE_41D4_3798DEA86F1A.html =
Images courtesy of the National Archives.


Transcript of Document:


We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.


Article. I.


Section. 1.
All legislative Powers herein granted shall be vested in a Congress of the United States, which shall consist of a Senate and House of Representatives.


Section. 2.
The House of Representatives shall be composed of Members chosen every second Year by the People of the several States, and the Electors in each State shall have the Qualifications requisite for Electors of the most numerous Branch of the State Legislature.


No Person shall be a Representative who shall not have attained to the Age of twenty five Years, and been seven Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State in which he shall be chosen.


Representatives and direct Taxes shall be apportioned among the several States which may be included within this Union, according to their respective Numbers, which shall be determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years, and excluding Indians not taxed, three fifths of all other Persons. The actual Enumeration shall be made within three Years after the first Meeting of the Congress of the United States, and within every subsequent Term of ten Years, in such Manner as they shall by Law direct. The Number of Representatives shall not exceed one for every thirty Thousand, but each State shall have at Least one Representative; and until such enumeration shall be made, the State of New Hampshire shall be entitled to chuse three, Massachusetts eight, Rhode-Island and Providence Plantations one, Connecticut five, New-York six, New Jersey four, Pennsylvania eight, Delaware one, Maryland six, Virginia ten, North Carolina five, South Carolina five, and Georgia three.


When vacancies happen in the Representation from any State, the Executive Authority thereof shall issue Writs of Election to fill such Vacancies.


The House of Representatives shall chuse their Speaker and other Officers; and shall have the sole Power of Impeachment.


Section. 3.
The Senate of the United States shall be composed of two Senators from each State, chosen by the Legislature thereof, for six Years; and each Senator shall have one Vote.


Immediately after they shall be assembled in Consequence of the first Election, they shall be divided as equally as may be into three Classes. The Seats of the Senators of the first Class shall be vacated at the Expiration of the second Year, of the second Class at the Expiration of the fourth Year, and of the third Class at the Expiration of the sixth Year, so that one third may be chosen every second Year; and if Vacancies happen by Resignation, or otherwise, during the Recess of the Legislature of any State, the Executive thereof may make temporary Appointments until the next Meeting of the Legislature, which shall then fill such Vacancies.


No Person shall be a Senator who shall not have attained to the Age of thirty Years, and been nine Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State for which he shall be chosen.


The Vice President of the United States shall be President of the Senate, but shall have no Vote, unless they be equally divided.


The Senate shall chuse their other Officers, and also a President pro tempore, in the Absence of the Vice President, or when he shall exercise the Office of President of the United States.


The Senate shall have the sole Power to try all Impeachments. When sitting for that Purpose, they shall be on Oath or Affirmation. When the President of the United States is tried, the Chief Justice shall preside: And no Person shall be convicted without the Concurrence of two thirds of the Members present.


Judgment in Cases of Impeachment shall not extend further than to removal from Office, and disqualification to hold and enjoy any Office of honor, Trust or Profit under the United States: but the Party convicted shall nevertheless be liable and subject to Indictment, Trial, Judgment and Punishment, according to Law.


Section. 4.
The Times, Places and Manner of holding Elections for Senators and Representatives, shall be prescribed in each State by the Legislature thereof; but the Congress may at any time by Law make or alter such Regulations, except as to the Places of chusing Senators.


The Congress shall assemble at least once in every Year, and such Meeting shall be on the first Monday in December, unless they shall by Law appoint a different Day.


Section. 5.
Each House shall be the Judge of the Elections, Returns and Qualifications of its own Members, and a Majority of each shall constitute a Quorum to do Business; but a smaller Number may adjourn from day to day, and may be authorized to compel the Attendance of absent Members, in such Manner, and under such Penalties as each House may provide.


Each House may determine the Rules of its Proceedings, punish its Members for disorderly Behaviour, and, with the Concurrence of two thirds, expel a Member.


Each House shall keep a Journal of its Proceedings, and from time to time publish the same, excepting such Parts as may in their Judgment require Secrecy; and the Yeas and Nays of the Members of either House on any question shall, at the Desire of one fifth of those Present, be entered on the Journal.


Neither House, during the Session of Congress, shall, without the Consent of the other, adjourn for more than three days, nor to any other Place than that in which the two Houses shall be sitting.


Section. 6.
The Senators and Representatives shall receive a Compensation for their Services, to be ascertained by Law, and paid out of the Treasury of the United States. They shall in all Cases, except Treason, Felony and Breach of the Peace, be privileged from Arrest during their Attendance at the Session of their respective Houses, and in going to and returning from the same; and for any Speech or Debate in either House, they shall not be questioned in any other Place.


No Senator or Representative shall, during the Time for which he was elected, be appointed to any civil Office under the Authority of the United States, which shall have been created, or the Emoluments whereof shall have been encreased during such time; and no Person holding any Office under the United States, shall be a Member of either House during his Continuance in Office.


Section. 7.
All Bills for raising Revenue shall originate in the House of Representatives; but the Senate may propose or concur with Amendments as on other Bills.


Every Bill which shall have passed the House of Representatives and the Senate, shall, before it become a Law, be presented to the President of the United States; If he approve he shall sign it, but if not he shall return it, with his Objections to that House in which it shall have originated, who shall enter the Objections at large on their Journal, and proceed to reconsider it. If after such Reconsideration two thirds of that House shall agree to pass the Bill, it shall be sent, together with the Objections, to the other House, by which it shall likewise be reconsidered, and if approved by two thirds of that House, it shall become a Law. But in all such Cases the Votes of both Houses shall be determined by yeas and Nays, and the Names of the Persons voting for and against the Bill shall be entered on the Journal of each House respectively. If any Bill shall not be returned by the President within ten Days (Sundays excepted) after it shall have been presented to him, the Same shall be a Law, in like Manner as if he had signed it, unless the Congress by their Adjournment prevent its Return, in which Case it shall not be a Law.


Every Order, Resolution, or Vote to which the Concurrence of the Senate and House of Representatives may be necessary (except on a question of Adjournment) shall be presented to the President of the United States; and before the Same shall take Effect, shall be approved by him, or being disapproved by him, shall be repassed by two thirds of the Senate and House of Representatives, according to the Rules and Limitations prescribed in the Case of a Bill.


Section. 8.
The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States;


To borrow Money on the credit of the United States;


To regulate Commerce with foreign Nations, and among the several States, and with the Indian Tribes;


To establish an uniform Rule of Naturalization, and uniform Laws on the subject of Bankruptcies throughout the United States;


To coin Money, regulate the Value thereof, and of foreign Coin, and fix the Standard of Weights and Measures;


To provide for the Punishment of counterfeiting the Securities and current Coin of the United States;


To establish Post Offices and post Roads;


To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;


To constitute Tribunals inferior to the supreme Court;


To define and punish Piracies and Felonies committed on the high Seas, and Offences against the Law of Nations;


To declare War, grant Letters of Marque and Reprisal, and make Rules concerning Captures on Land and Water;


To raise and support Armies, but no Appropriation of Money to that Use shall be for a longer Term than two Years;


To provide and maintain a Navy;


To make Rules for the Government and Regulation of the land and naval Forces;


To provide for calling forth the Militia to execute the Laws of the Union, suppress Insurrections and repel Invasions;


To provide for organizing, arming, and disciplining, the Militia, and for governing such Part of them as may be employed in the Service of the United States, reserving to the States respectively, the Appointment of the Officers, and the Authority of training the Militia according to the discipline prescribed by Congress;


To exercise exclusive Legislation in all Cases whatsoever, over such District (not exceeding ten Miles square) as may, by Cession of particular States, and the Acceptance of Congress, become the Seat of the Government of the United States, and to exercise like Authority over all Places purchased by the Consent of the Legislature of the State in which the Same shall be, for the Erection of Forts, Magazines, Arsenals, dock-Yards, and other needful Buildings;—And


To make all Laws which shall be necessary and proper for carrying into Execution the foregoing Powers, and all other Powers vested by this Constitution in the Government of the United States, or in any Department or Officer thereof.


Section. 9.
The Migration or Importation of such Persons as any of the States now existing shall think proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and eight, but a Tax or duty may be imposed on such Importation, not exceeding ten dollars for each Person.


The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it.


No Bill of Attainder or ex post facto Law shall be passed.


No Capitation, or other direct, Tax shall be laid, unless in Proportion to the Census or enumeration herein before directed to be taken.


No Tax or Duty shall be laid on Articles exported from any State.


No Preference shall be given by any Regulation of Commerce or Revenue to the Ports of one State over those of another: nor shall Vessels bound to, or from, one State, be obliged to enter, clear, or pay Duties in another.


No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law; and a regular Statement and Account of the Receipts and Expenditures of all public Money shall be published from time to time.


No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince, or foreign State.


Section. 10.
No State shall enter into any Treaty, Alliance, or Confederation; grant Letters of Marque and Reprisal; coin Money; emit Bills of Credit; make any Thing but gold and silver Coin a Tender in Payment of Debts; pass any Bill of Attainder, ex post facto Law, or Law impairing the Obligation of Contracts, or grant any Title of Nobility.


No State shall, without the Consent of the Congress, lay any Imposts or Duties on Imports or Exports, except what may be absolutely necessary for executing it's inspection Laws: and the net Produce of all Duties and Imposts, laid by any State on Imports or Exports, shall be for the Use of the Treasury of the United States; and all such Laws shall be subject to the Revision and Controul of the Congress.


No State shall, without the Consent of Congress, lay any Duty of Tonnage, keep Troops, or Ships of War in time of Peace, enter into any Agreement or Compact with another State, or with a foreign Power, or engage in War, unless actually invaded, or in such imminent Danger as will not admit of delay.


Article. II.


Section. 1.
The executive Power shall be vested in a President of the United States of America. He shall hold his Office during the Term of four Years, and, together with the Vice President, chosen for the same Term, be elected, as follows


Each State shall appoint, in such Manner as the Legislature thereof may direct, a Number of Electors, equal to the whole Number of Senators and Representatives to which the State may be entitled in the Congress: but no Senator or Representative, or Person holding an Office of Trust or Profit under the United States, shall be appointed an Elector.


The Electors shall meet in their respective States, and vote by Ballot for two Persons, of whom one at least shall not be an Inhabitant of the same State with themselves. And they shall make a List of all the Persons voted for, and of the Number of Votes for each; which List they shall sign and certify, and transmit sealed to the Seat of the Government of the United States, directed to the President of the Senate. The President of the Senate shall, in the Presence of the Senate and House of Representatives, open all the Certificates, and the Votes shall then be counted. The Person having the greatest Number of Votes shall be the President, if such Number be a Majority of the whole Number of Electors appointed; and if there be more than one who have such Majority, and have an equal Number of Votes, then the House of Representatives shall immediately chuse by Ballot one of them for President; and if no Person have a Majority, then from the five highest on the List the said House shall in like Manner chuse the President. But in chusing the President, the Votes shall be taken by States, the Representation from each State having one Vote; A quorum for this Purpose shall consist of a Member or Members from two thirds of the States, and a Majority of all the States shall be necessary to a Choice. In every Case, after the Choice of the President, the Person having the greatest Number of Votes of the Electors shall be the Vice President. But if there should remain two or more who have equal Votes, the Senate shall chuse from them by Ballot the Vice President.


The Congress may determine the Time of chusing the Electors, and the Day on which they shall give their Votes; which Day shall be the same throughout the United States.


No Person except a natural born Citizen, or a Citizen of the United States, at the time of the Adoption of this Constitution, shall be eligible to the Office of President; neither shall any Person be eligible to that Office who shall not have attained to the Age of thirty five Years, and been fourteen Years a Resident within the United States.


In Case of the Removal of the President from Office, or of his Death, Resignation, or Inability to discharge the Powers and Duties of the said Office, the Same shall devolve on the Vice President, and the Congress may by Law provide for the Case of Removal, Death, Resignation or Inability, both of the President and Vice President, declaring what Officer shall then act as President, and such Officer shall act accordingly, until the Disability be removed, or a President shall be elected.


The President shall, at stated Times, receive for his Services, a Compensation, which shall neither be encreased nor diminished during the Period for which he shall have been elected, and he shall not receive within that Period any other Emolument from the United States, or any of them.


Before he enter on the Execution of his Office, he shall take the following Oath or Affirmation:—"I do solemnly swear (or affirm) that I will faithfully execute the Office of President of the United States, and will to the best of my Ability, preserve, protect and defend the Constitution of the United States."


Section. 2.
The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States; he may require the Opinion, in writing, of the principal Officer in each of the executive Departments, upon any Subject relating to the Duties of their respective Offices, and he shall have Power to grant Reprieves and Pardons for Offences against the United States, except in Cases of Impeachment.


He shall have Power, by and with the Advice and Consent of the Senate, to make Treaties, provided two thirds of the Senators present concur; and he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint Ambassadors, other public Ministers and Consuls, Judges of the supreme Court, and all other Officers of the United States, whose Appointments are not herein otherwise provided for, and which shall be established by Law: but the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, in the Courts of Law, or in the Heads of Departments.


The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next Session.


Section. 3.
He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient; he may, on extraordinary Occasions, convene both Houses, or either of them, and in Case of Disagreement between them, with Respect to the Time of Adjournment, he may adjourn them to such Time as he shall think proper; he shall receive Ambassadors and other public Ministers; he shall take Care that the Laws be faithfully executed, and shall Commission all the Officers of the United States.


Section. 4.
The President, Vice President and all civil Officers of the United States, shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors.


Article III.


Section. 1.
The judicial Power of the United States, shall be vested in one supreme Court, and in such inferior Courts as the Congress may from time to time ordain and establish. The Judges, both of the supreme and inferior Courts, shall hold their Offices during good Behaviour, and shall, at stated Times, receive for their Services, a Compensation, which shall not be diminished during their Continuance in Office.


Section. 2.
The judicial Power shall extend to all Cases, in Law and Equity, arising under this Constitution, the Laws of the United States, and Treaties made, or which shall be made, under their Authority;—to all Cases affecting Ambassadors, other public Ministers and Consuls;—to all Cases of admiralty and maritime Jurisdiction;—to Controversies to which the United States shall be a Party;—to Controversies between two or more States;— between a State and Citizens of another State,—between Citizens of different States,—between Citizens of the same State claiming Lands under Grants of different States, and between a State, or the Citizens thereof, and foreign States, Citizens or Subjects.


In all Cases affecting Ambassadors, other public Ministers and Consuls, and those in which a State shall be Party, the supreme Court shall have original Jurisdiction. In all the other Cases before mentioned, the supreme Court shall have appellate Jurisdiction, both as to Law and Fact, with such Exceptions, and under such Regulations as the Congress shall make.


The Trial of all Crimes, except in Cases of Impeachment, shall be by Jury; and such Trial shall be held in the State where the said Crimes shall have been committed; but when not committed within any State, the Trial shall be at such Place or Places as the Congress may by Law have directed.


Section. 3.
Treason against the United States, shall consist only in levying War against them, or in adhering to their Enemies, giving them Aid and Comfort. No Person shall be convicted of Treason unless on the Testimony of two Witnesses to the same overt Act, or on Confession in open Court.


The Congress shall have Power to declare the Punishment of Treason, but no Attainder of Treason shall work Corruption of Blood, or Forfeiture except during the Life of the Person attainted.


Article. IV.
Section. 1.
Full Faith and Credit shall be given in each State to the public Acts, Records, and judicial Proceedings of every other State. And the Congress may by general Laws prescribe the Manner in which such Acts, Records and Proceedings shall be proved, and the Effect thereof.


Section. 2.
The Citizens of each State shall be entitled to all Privileges and Immunities of Citizens in the several States.


A Person charged in any State with Treason, Felony, or other Crime, who shall flee from Justice, and be found in another State, shall on Demand of the executive Authority of the State from which he fled, be delivered up, to be removed to the State having Jurisdiction of the Crime.


No Person held to Service or Labour in one State, under the Laws thereof, escaping into another, shall, in Consequence of any Law or Regulation therein, be discharged from such Service or Labour, but shall be delivered up on Claim of the Party to whom such Service or Labour may be due.


Section. 3.
New States may be admitted by the Congress into this Union; but no new State shall be formed or erected within the Jurisdiction of any other State; nor any State be formed by the Junction of two or more States, or Parts of States, without the Consent of the Legislatures of the States concerned as well as of the Congress.


The Congress shall have Power to dispose of and make all needful Rules and Regulations respecting the Territory or other Property belonging to the United States; and nothing in this Constitution shall be so construed as to Prejudice any Claims of the United States, or of any particular State.


Section. 4.
The United States shall guarantee to every State in this Union a Republican Form of Government, and shall protect each of them against Invasion; and on Application of the Legislature, or of the Executive (when the Legislature cannot be convened) against domestic Violence.


Article. V.
The Congress, whenever two thirds of both Houses shall deem it necessary, shall propose Amendments to this Constitution, or, on the Application of the Legislatures of two thirds of the several States, shall call a Convention for proposing Amendments, which, in either Case, shall be valid to all Intents and Purposes, as Part of this Constitution, when ratified by the Legislatures of three fourths of the several States, or by Conventions in three fourths thereof, as the one or the other Mode of Ratification may be proposed by the Congress; Provided that no Amendment which may be made prior to the Year One thousand eight hundred and eight shall in any Manner affect the first and fourth Clauses in the Ninth Section of the first Article; and that no State, without its Consent, shall be deprived of its equal Suffrage in the Senate.


Article. VI.
All Debts contracted and Engagements entered into, before the Adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation.


This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding.


The Senators and Representatives before mentioned, and the Members of the several State Legislatures, and all executive and judicial Officers, both of the United States and of the several States, shall be bound by Oath or Affirmation, to support this Constitution; but no religious Test shall ever be required as a Qualification to any Office or public Trust under the United States.


Article. VII.
The Ratification of the Conventions of nine States, shall be sufficient for the Establishment of this Constitution between the States so ratifying the Same.


The Word, "the," being interlined between the seventh and eighth Lines of the first Page, The Word "Thirty" being partly written on an Erazure in the fifteenth Line of the first Page, The Words "is tried" being interlined between the thirty second and thirty third Lines of the first Page and the Word "the" being interlined between the forty third and forty fourth Lines of the second Page.


Attest William Jackson Secretary


done in Convention by the Unanimous Consent of the States present the Seventeenth Day of September in the Year of our Lord one thousand seven hundred and Eighty seven and of the Independance of the United States of America the Twelfth In witness whereof We have hereunto subscribed our Names,


G. Washington
Presidt and deputy from Virginia


Delaware
Geo: Read
Gunning Bedford jun
John Dickinson
Richard Bassett
Jaco: Broom


Maryland
James McHenry
Dan of St Thos. Jenifer
Danl. Carroll


Virginia
John Blair
James Madison Jr.


North Carolina
Wm. Blount
Richd. Dobbs Spaight
Hu Williamson


South Carolina
J. Rutledge
Charles Cotesworth Pinckney
Charles Pinckney
Pierce Butler


Georgia
William Few
Abr Baldwin


New Hampshire
John Langdon
Nicholas Gilman


Massachusetts
Nathaniel Gorham
Rufus King


Connecticut
Wm. Saml. Johnson
Roger Sherman


New York
Alexander Hamilton


New Jersey
Wil: Livingston
David Brearley
Wm. Paterson
Jona: Dayton


Pennsylvania
B Franklin
Thomas Mifflin
Robt. Morris
Geo. Clymer
Thos. FitzSimons
Jared Ingersoll
James Wilson
Gouv Morris
HTMLText_39DDFE7B_60F3_5F76_41C9_DECD157066E3.html =
Images courtesy of the National Archives.


Transcript of Document:


We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.


Article. I.


Section. 1.
All legislative Powers herein granted shall be vested in a Congress of the United States, which shall consist of a Senate and House of Representatives.


Section. 2.
The House of Representatives shall be composed of Members chosen every second Year by the People of the several States, and the Electors in each State shall have the Qualifications requisite for Electors of the most numerous Branch of the State Legislature.


No Person shall be a Representative who shall not have attained to the Age of twenty five Years, and been seven Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State in which he shall be chosen.


Representatives and direct Taxes shall be apportioned among the several States which may be included within this Union, according to their respective Numbers, which shall be determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years, and excluding Indians not taxed, three fifths of all other Persons. The actual Enumeration shall be made within three Years after the first Meeting of the Congress of the United States, and within every subsequent Term of ten Years, in such Manner as they shall by Law direct. The Number of Representatives shall not exceed one for every thirty Thousand, but each State shall have at Least one Representative; and until such enumeration shall be made, the State of New Hampshire shall be entitled to chuse three, Massachusetts eight, Rhode-Island and Providence Plantations one, Connecticut five, New-York six, New Jersey four, Pennsylvania eight, Delaware one, Maryland six, Virginia ten, North Carolina five, South Carolina five, and Georgia three.


When vacancies happen in the Representation from any State, the Executive Authority thereof shall issue Writs of Election to fill such Vacancies.


The House of Representatives shall chuse their Speaker and other Officers; and shall have the sole Power of Impeachment.


Section. 3.
The Senate of the United States shall be composed of two Senators from each State, chosen by the Legislature thereof, for six Years; and each Senator shall have one Vote.


Immediately after they shall be assembled in Consequence of the first Election, they shall be divided as equally as may be into three Classes. The Seats of the Senators of the first Class shall be vacated at the Expiration of the second Year, of the second Class at the Expiration of the fourth Year, and of the third Class at the Expiration of the sixth Year, so that one third may be chosen every second Year; and if Vacancies happen by Resignation, or otherwise, during the Recess of the Legislature of any State, the Executive thereof may make temporary Appointments until the next Meeting of the Legislature, which shall then fill such Vacancies.


No Person shall be a Senator who shall not have attained to the Age of thirty Years, and been nine Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State for which he shall be chosen.


The Vice President of the United States shall be President of the Senate, but shall have no Vote, unless they be equally divided.


The Senate shall chuse their other Officers, and also a President pro tempore, in the Absence of the Vice President, or when he shall exercise the Office of President of the United States.


The Senate shall have the sole Power to try all Impeachments. When sitting for that Purpose, they shall be on Oath or Affirmation. When the President of the United States is tried, the Chief Justice shall preside: And no Person shall be convicted without the Concurrence of two thirds of the Members present.


Judgment in Cases of Impeachment shall not extend further than to removal from Office, and disqualification to hold and enjoy any Office of honor, Trust or Profit under the United States: but the Party convicted shall nevertheless be liable and subject to Indictment, Trial, Judgment and Punishment, according to Law.


Section. 4.
The Times, Places and Manner of holding Elections for Senators and Representatives, shall be prescribed in each State by the Legislature thereof; but the Congress may at any time by Law make or alter such Regulations, except as to the Places of chusing Senators.


The Congress shall assemble at least once in every Year, and such Meeting shall be on the first Monday in December, unless they shall by Law appoint a different Day.


Section. 5.
Each House shall be the Judge of the Elections, Returns and Qualifications of its own Members, and a Majority of each shall constitute a Quorum to do Business; but a smaller Number may adjourn from day to day, and may be authorized to compel the Attendance of absent Members, in such Manner, and under such Penalties as each House may provide.


Each House may determine the Rules of its Proceedings, punish its Members for disorderly Behaviour, and, with the Concurrence of two thirds, expel a Member.


Each House shall keep a Journal of its Proceedings, and from time to time publish the same, excepting such Parts as may in their Judgment require Secrecy; and the Yeas and Nays of the Members of either House on any question shall, at the Desire of one fifth of those Present, be entered on the Journal.


Neither House, during the Session of Congress, shall, without the Consent of the other, adjourn for more than three days, nor to any other Place than that in which the two Houses shall be sitting.


Section. 6.
The Senators and Representatives shall receive a Compensation for their Services, to be ascertained by Law, and paid out of the Treasury of the United States. They shall in all Cases, except Treason, Felony and Breach of the Peace, be privileged from Arrest during their Attendance at the Session of their respective Houses, and in going to and returning from the same; and for any Speech or Debate in either House, they shall not be questioned in any other Place.


No Senator or Representative shall, during the Time for which he was elected, be appointed to any civil Office under the Authority of the United States, which shall have been created, or the Emoluments whereof shall have been encreased during such time; and no Person holding any Office under the United States, shall be a Member of either House during his Continuance in Office.


Section. 7.
All Bills for raising Revenue shall originate in the House of Representatives; but the Senate may propose or concur with Amendments as on other Bills.


Every Bill which shall have passed the House of Representatives and the Senate, shall, before it become a Law, be presented to the President of the United States; If he approve he shall sign it, but if not he shall return it, with his Objections to that House in which it shall have originated, who shall enter the Objections at large on their Journal, and proceed to reconsider it. If after such Reconsideration two thirds of that House shall agree to pass the Bill, it shall be sent, together with the Objections, to the other House, by which it shall likewise be reconsidered, and if approved by two thirds of that House, it shall become a Law. But in all such Cases the Votes of both Houses shall be determined by yeas and Nays, and the Names of the Persons voting for and against the Bill shall be entered on the Journal of each House respectively. If any Bill shall not be returned by the President within ten Days (Sundays excepted) after it shall have been presented to him, the Same shall be a Law, in like Manner as if he had signed it, unless the Congress by their Adjournment prevent its Return, in which Case it shall not be a Law.


Every Order, Resolution, or Vote to which the Concurrence of the Senate and House of Representatives may be necessary (except on a question of Adjournment) shall be presented to the President of the United States; and before the Same shall take Effect, shall be approved by him, or being disapproved by him, shall be repassed by two thirds of the Senate and House of Representatives, according to the Rules and Limitations prescribed in the Case of a Bill.


Section. 8.
The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States;


To borrow Money on the credit of the United States;


To regulate Commerce with foreign Nations, and among the several States, and with the Indian Tribes;


To establish an uniform Rule of Naturalization, and uniform Laws on the subject of Bankruptcies throughout the United States;


To coin Money, regulate the Value thereof, and of foreign Coin, and fix the Standard of Weights and Measures;


To provide for the Punishment of counterfeiting the Securities and current Coin of the United States;


To establish Post Offices and post Roads;


To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;


To constitute Tribunals inferior to the supreme Court;


To define and punish Piracies and Felonies committed on the high Seas, and Offences against the Law of Nations;


To declare War, grant Letters of Marque and Reprisal, and make Rules concerning Captures on Land and Water;


To raise and support Armies, but no Appropriation of Money to that Use shall be for a longer Term than two Years;


To provide and maintain a Navy;


To make Rules for the Government and Regulation of the land and naval Forces;


To provide for calling forth the Militia to execute the Laws of the Union, suppress Insurrections and repel Invasions;


To provide for organizing, arming, and disciplining, the Militia, and for governing such Part of them as may be employed in the Service of the United States, reserving to the States respectively, the Appointment of the Officers, and the Authority of training the Militia according to the discipline prescribed by Congress;


To exercise exclusive Legislation in all Cases whatsoever, over such District (not exceeding ten Miles square) as may, by Cession of particular States, and the Acceptance of Congress, become the Seat of the Government of the United States, and to exercise like Authority over all Places purchased by the Consent of the Legislature of the State in which the Same shall be, for the Erection of Forts, Magazines, Arsenals, dock-Yards, and other needful Buildings;—And


To make all Laws which shall be necessary and proper for carrying into Execution the foregoing Powers, and all other Powers vested by this Constitution in the Government of the United States, or in any Department or Officer thereof.


Section. 9.
The Migration or Importation of such Persons as any of the States now existing shall think proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and eight, but a Tax or duty may be imposed on such Importation, not exceeding ten dollars for each Person.


The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it.


No Bill of Attainder or ex post facto Law shall be passed.


No Capitation, or other direct, Tax shall be laid, unless in Proportion to the Census or enumeration herein before directed to be taken.


No Tax or Duty shall be laid on Articles exported from any State.


No Preference shall be given by any Regulation of Commerce or Revenue to the Ports of one State over those of another: nor shall Vessels bound to, or from, one State, be obliged to enter, clear, or pay Duties in another.


No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law; and a regular Statement and Account of the Receipts and Expenditures of all public Money shall be published from time to time.


No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince, or foreign State.


Section. 10.
No State shall enter into any Treaty, Alliance, or Confederation; grant Letters of Marque and Reprisal; coin Money; emit Bills of Credit; make any Thing but gold and silver Coin a Tender in Payment of Debts; pass any Bill of Attainder, ex post facto Law, or Law impairing the Obligation of Contracts, or grant any Title of Nobility.


No State shall, without the Consent of the Congress, lay any Imposts or Duties on Imports or Exports, except what may be absolutely necessary for executing it's inspection Laws: and the net Produce of all Duties and Imposts, laid by any State on Imports or Exports, shall be for the Use of the Treasury of the United States; and all such Laws shall be subject to the Revision and Controul of the Congress.


No State shall, without the Consent of Congress, lay any Duty of Tonnage, keep Troops, or Ships of War in time of Peace, enter into any Agreement or Compact with another State, or with a foreign Power, or engage in War, unless actually invaded, or in such imminent Danger as will not admit of delay.


Article. II.


Section. 1.
The executive Power shall be vested in a President of the United States of America. He shall hold his Office during the Term of four Years, and, together with the Vice President, chosen for the same Term, be elected, as follows


Each State shall appoint, in such Manner as the Legislature thereof may direct, a Number of Electors, equal to the whole Number of Senators and Representatives to which the State may be entitled in the Congress: but no Senator or Representative, or Person holding an Office of Trust or Profit under the United States, shall be appointed an Elector.


The Electors shall meet in their respective States, and vote by Ballot for two Persons, of whom one at least shall not be an Inhabitant of the same State with themselves. And they shall make a List of all the Persons voted for, and of the Number of Votes for each; which List they shall sign and certify, and transmit sealed to the Seat of the Government of the United States, directed to the President of the Senate. The President of the Senate shall, in the Presence of the Senate and House of Representatives, open all the Certificates, and the Votes shall then be counted. The Person having the greatest Number of Votes shall be the President, if such Number be a Majority of the whole Number of Electors appointed; and if there be more than one who have such Majority, and have an equal Number of Votes, then the House of Representatives shall immediately chuse by Ballot one of them for President; and if no Person have a Majority, then from the five highest on the List the said House shall in like Manner chuse the President. But in chusing the President, the Votes shall be taken by States, the Representation from each State having one Vote; A quorum for this Purpose shall consist of a Member or Members from two thirds of the States, and a Majority of all the States shall be necessary to a Choice. In every Case, after the Choice of the President, the Person having the greatest Number of Votes of the Electors shall be the Vice President. But if there should remain two or more who have equal Votes, the Senate shall chuse from them by Ballot the Vice President.


The Congress may determine the Time of chusing the Electors, and the Day on which they shall give their Votes; which Day shall be the same throughout the United States.


No Person except a natural born Citizen, or a Citizen of the United States, at the time of the Adoption of this Constitution, shall be eligible to the Office of President; neither shall any Person be eligible to that Office who shall not have attained to the Age of thirty five Years, and been fourteen Years a Resident within the United States.


In Case of the Removal of the President from Office, or of his Death, Resignation, or Inability to discharge the Powers and Duties of the said Office, the Same shall devolve on the Vice President, and the Congress may by Law provide for the Case of Removal, Death, Resignation or Inability, both of the President and Vice President, declaring what Officer shall then act as President, and such Officer shall act accordingly, until the Disability be removed, or a President shall be elected.


The President shall, at stated Times, receive for his Services, a Compensation, which shall neither be encreased nor diminished during the Period for which he shall have been elected, and he shall not receive within that Period any other Emolument from the United States, or any of them.


Before he enter on the Execution of his Office, he shall take the following Oath or Affirmation:—"I do solemnly swear (or affirm) that I will faithfully execute the Office of President of the United States, and will to the best of my Ability, preserve, protect and defend the Constitution of the United States."


Section. 2.
The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States; he may require the Opinion, in writing, of the principal Officer in each of the executive Departments, upon any Subject relating to the Duties of their respective Offices, and he shall have Power to grant Reprieves and Pardons for Offences against the United States, except in Cases of Impeachment.


He shall have Power, by and with the Advice and Consent of the Senate, to make Treaties, provided two thirds of the Senators present concur; and he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint Ambassadors, other public Ministers and Consuls, Judges of the supreme Court, and all other Officers of the United States, whose Appointments are not herein otherwise provided for, and which shall be established by Law: but the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, in the Courts of Law, or in the Heads of Departments.


The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next Session.


Section. 3.
He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient; he may, on extraordinary Occasions, convene both Houses, or either of them, and in Case of Disagreement between them, with Respect to the Time of Adjournment, he may adjourn them to such Time as he shall think proper; he shall receive Ambassadors and other public Ministers; he shall take Care that the Laws be faithfully executed, and shall Commission all the Officers of the United States.


Section. 4.
The President, Vice President and all civil Officers of the United States, shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors.


Article III.


Section. 1.
The judicial Power of the United States, shall be vested in one supreme Court, and in such inferior Courts as the Congress may from time to time ordain and establish. The Judges, both of the supreme and inferior Courts, shall hold their Offices during good Behaviour, and shall, at stated Times, receive for their Services, a Compensation, which shall not be diminished during their Continuance in Office.


Section. 2.
The judicial Power shall extend to all Cases, in Law and Equity, arising under this Constitution, the Laws of the United States, and Treaties made, or which shall be made, under their Authority;—to all Cases affecting Ambassadors, other public Ministers and Consuls;—to all Cases of admiralty and maritime Jurisdiction;—to Controversies to which the United States shall be a Party;—to Controversies between two or more States;— between a State and Citizens of another State,—between Citizens of different States,—between Citizens of the same State claiming Lands under Grants of different States, and between a State, or the Citizens thereof, and foreign States, Citizens or Subjects.


In all Cases affecting Ambassadors, other public Ministers and Consuls, and those in which a State shall be Party, the supreme Court shall have original Jurisdiction. In all the other Cases before mentioned, the supreme Court shall have appellate Jurisdiction, both as to Law and Fact, with such Exceptions, and under such Regulations as the Congress shall make.


The Trial of all Crimes, except in Cases of Impeachment, shall be by Jury; and such Trial shall be held in the State where the said Crimes shall have been committed; but when not committed within any State, the Trial shall be at such Place or Places as the Congress may by Law have directed.


Section. 3.
Treason against the United States, shall consist only in levying War against them, or in adhering to their Enemies, giving them Aid and Comfort. No Person shall be convicted of Treason unless on the Testimony of two Witnesses to the same overt Act, or on Confession in open Court.


The Congress shall have Power to declare the Punishment of Treason, but no Attainder of Treason shall work Corruption of Blood, or Forfeiture except during the Life of the Person attainted.


Article. IV.
Section. 1.
Full Faith and Credit shall be given in each State to the public Acts, Records, and judicial Proceedings of every other State. And the Congress may by general Laws prescribe the Manner in which such Acts, Records and Proceedings shall be proved, and the Effect thereof.


Section. 2.
The Citizens of each State shall be entitled to all Privileges and Immunities of Citizens in the several States.


A Person charged in any State with Treason, Felony, or other Crime, who shall flee from Justice, and be found in another State, shall on Demand of the executive Authority of the State from which he fled, be delivered up, to be removed to the State having Jurisdiction of the Crime.


No Person held to Service or Labour in one State, under the Laws thereof, escaping into another, shall, in Consequence of any Law or Regulation therein, be discharged from such Service or Labour, but shall be delivered up on Claim of the Party to whom such Service or Labour may be due.


Section. 3.
New States may be admitted by the Congress into this Union; but no new State shall be formed or erected within the Jurisdiction of any other State; nor any State be formed by the Junction of two or more States, or Parts of States, without the Consent of the Legislatures of the States concerned as well as of the Congress.


The Congress shall have Power to dispose of and make all needful Rules and Regulations respecting the Territory or other Property belonging to the United States; and nothing in this Constitution shall be so construed as to Prejudice any Claims of the United States, or of any particular State.


Section. 4.
The United States shall guarantee to every State in this Union a Republican Form of Government, and shall protect each of them against Invasion; and on Application of the Legislature, or of the Executive (when the Legislature cannot be convened) against domestic Violence.


Article. V.
The Congress, whenever two thirds of both Houses shall deem it necessary, shall propose Amendments to this Constitution, or, on the Application of the Legislatures of two thirds of the several States, shall call a Convention for proposing Amendments, which, in either Case, shall be valid to all Intents and Purposes, as Part of this Constitution, when ratified by the Legislatures of three fourths of the several States, or by Conventions in three fourths thereof, as the one or the other Mode of Ratification may be proposed by the Congress; Provided that no Amendment which may be made prior to the Year One thousand eight hundred and eight shall in any Manner affect the first and fourth Clauses in the Ninth Section of the first Article; and that no State, without its Consent, shall be deprived of its equal Suffrage in the Senate.


Article. VI.
All Debts contracted and Engagements entered into, before the Adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation.


This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding.


The Senators and Representatives before mentioned, and the Members of the several State Legislatures, and all executive and judicial Officers, both of the United States and of the several States, shall be bound by Oath or Affirmation, to support this Constitution; but no religious Test shall ever be required as a Qualification to any Office or public Trust under the United States.


Article. VII.
The Ratification of the Conventions of nine States, shall be sufficient for the Establishment of this Constitution between the States so ratifying the Same.


The Word, "the," being interlined between the seventh and eighth Lines of the first Page, The Word "Thirty" being partly written on an Erazure in the fifteenth Line of the first Page, The Words "is tried" being interlined between the thirty second and thirty third Lines of the first Page and the Word "the" being interlined between the forty third and forty fourth Lines of the second Page.


Attest William Jackson Secretary


done in Convention by the Unanimous Consent of the States present the Seventeenth Day of September in the Year of our Lord one thousand seven hundred and Eighty seven and of the Independance of the United States of America the Twelfth In witness whereof We have hereunto subscribed our Names,


G. Washington
Presidt and deputy from Virginia


Delaware
Geo: Read
Gunning Bedford jun
John Dickinson
Richard Bassett
Jaco: Broom


Maryland
James McHenry
Dan of St Thos. Jenifer
Danl. Carroll


Virginia
John Blair
James Madison Jr.


North Carolina
Wm. Blount
Richd. Dobbs Spaight
Hu Williamson


South Carolina
J. Rutledge
Charles Cotesworth Pinckney
Charles Pinckney
Pierce Butler


Georgia
William Few
Abr Baldwin


New Hampshire
John Langdon
Nicholas Gilman


Massachusetts
Nathaniel Gorham
Rufus King


Connecticut
Wm. Saml. Johnson
Roger Sherman


New York
Alexander Hamilton


New Jersey
Wil: Livingston
David Brearley
Wm. Paterson
Jona: Dayton


Pennsylvania
B Franklin
Thomas Mifflin
Robt. Morris
Geo. Clymer
Thos. FitzSimons
Jared Ingersoll
James Wilson
Gouv Morris
HTMLText_D370843E_60AF_C2FD_41BD_DE0D07E91A0C.html =
Images courtesy of the National Archives.


Transcript of Document:


We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.


Article. I.


Section. 1.
All legislative Powers herein granted shall be vested in a Congress of the United States, which shall consist of a Senate and House of Representatives.


Section. 2.
The House of Representatives shall be composed of Members chosen every second Year by the People of the several States, and the Electors in each State shall have the Qualifications requisite for Electors of the most numerous Branch of the State Legislature.


No Person shall be a Representative who shall not have attained to the Age of twenty five Years, and been seven Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State in which he shall be chosen.


Representatives and direct Taxes shall be apportioned among the several States which may be included within this Union, according to their respective Numbers, which shall be determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years, and excluding Indians not taxed, three fifths of all other Persons. The actual Enumeration shall be made within three Years after the first Meeting of the Congress of the United States, and within every subsequent Term of ten Years, in such Manner as they shall by Law direct. The Number of Representatives shall not exceed one for every thirty Thousand, but each State shall have at Least one Representative; and until such enumeration shall be made, the State of New Hampshire shall be entitled to chuse three, Massachusetts eight, Rhode-Island and Providence Plantations one, Connecticut five, New-York six, New Jersey four, Pennsylvania eight, Delaware one, Maryland six, Virginia ten, North Carolina five, South Carolina five, and Georgia three.


When vacancies happen in the Representation from any State, the Executive Authority thereof shall issue Writs of Election to fill such Vacancies.


The House of Representatives shall chuse their Speaker and other Officers; and shall have the sole Power of Impeachment.


Section. 3.
The Senate of the United States shall be composed of two Senators from each State, chosen by the Legislature thereof, for six Years; and each Senator shall have one Vote.


Immediately after they shall be assembled in Consequence of the first Election, they shall be divided as equally as may be into three Classes. The Seats of the Senators of the first Class shall be vacated at the Expiration of the second Year, of the second Class at the Expiration of the fourth Year, and of the third Class at the Expiration of the sixth Year, so that one third may be chosen every second Year; and if Vacancies happen by Resignation, or otherwise, during the Recess of the Legislature of any State, the Executive thereof may make temporary Appointments until the next Meeting of the Legislature, which shall then fill such Vacancies.


No Person shall be a Senator who shall not have attained to the Age of thirty Years, and been nine Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State for which he shall be chosen.


The Vice President of the United States shall be President of the Senate, but shall have no Vote, unless they be equally divided.


The Senate shall chuse their other Officers, and also a President pro tempore, in the Absence of the Vice President, or when he shall exercise the Office of President of the United States.


The Senate shall have the sole Power to try all Impeachments. When sitting for that Purpose, they shall be on Oath or Affirmation. When the President of the United States is tried, the Chief Justice shall preside: And no Person shall be convicted without the Concurrence of two thirds of the Members present.


Judgment in Cases of Impeachment shall not extend further than to removal from Office, and disqualification to hold and enjoy any Office of honor, Trust or Profit under the United States: but the Party convicted shall nevertheless be liable and subject to Indictment, Trial, Judgment and Punishment, according to Law.


Section. 4.
The Times, Places and Manner of holding Elections for Senators and Representatives, shall be prescribed in each State by the Legislature thereof; but the Congress may at any time by Law make or alter such Regulations, except as to the Places of chusing Senators.


The Congress shall assemble at least once in every Year, and such Meeting shall be on the first Monday in December, unless they shall by Law appoint a different Day.


Section. 5.
Each House shall be the Judge of the Elections, Returns and Qualifications of its own Members, and a Majority of each shall constitute a Quorum to do Business; but a smaller Number may adjourn from day to day, and may be authorized to compel the Attendance of absent Members, in such Manner, and under such Penalties as each House may provide.


Each House may determine the Rules of its Proceedings, punish its Members for disorderly Behaviour, and, with the Concurrence of two thirds, expel a Member.


Each House shall keep a Journal of its Proceedings, and from time to time publish the same, excepting such Parts as may in their Judgment require Secrecy; and the Yeas and Nays of the Members of either House on any question shall, at the Desire of one fifth of those Present, be entered on the Journal.


Neither House, during the Session of Congress, shall, without the Consent of the other, adjourn for more than three days, nor to any other Place than that in which the two Houses shall be sitting.


Section. 6.
The Senators and Representatives shall receive a Compensation for their Services, to be ascertained by Law, and paid out of the Treasury of the United States. They shall in all Cases, except Treason, Felony and Breach of the Peace, be privileged from Arrest during their Attendance at the Session of their respective Houses, and in going to and returning from the same; and for any Speech or Debate in either House, they shall not be questioned in any other Place.


No Senator or Representative shall, during the Time for which he was elected, be appointed to any civil Office under the Authority of the United States, which shall have been created, or the Emoluments whereof shall have been encreased during such time; and no Person holding any Office under the United States, shall be a Member of either House during his Continuance in Office.


Section. 7.
All Bills for raising Revenue shall originate in the House of Representatives; but the Senate may propose or concur with Amendments as on other Bills.


Every Bill which shall have passed the House of Representatives and the Senate, shall, before it become a Law, be presented to the President of the United States; If he approve he shall sign it, but if not he shall return it, with his Objections to that House in which it shall have originated, who shall enter the Objections at large on their Journal, and proceed to reconsider it. If after such Reconsideration two thirds of that House shall agree to pass the Bill, it shall be sent, together with the Objections, to the other House, by which it shall likewise be reconsidered, and if approved by two thirds of that House, it shall become a Law. But in all such Cases the Votes of both Houses shall be determined by yeas and Nays, and the Names of the Persons voting for and against the Bill shall be entered on the Journal of each House respectively. If any Bill shall not be returned by the President within ten Days (Sundays excepted) after it shall have been presented to him, the Same shall be a Law, in like Manner as if he had signed it, unless the Congress by their Adjournment prevent its Return, in which Case it shall not be a Law.


Every Order, Resolution, or Vote to which the Concurrence of the Senate and House of Representatives may be necessary (except on a question of Adjournment) shall be presented to the President of the United States; and before the Same shall take Effect, shall be approved by him, or being disapproved by him, shall be repassed by two thirds of the Senate and House of Representatives, according to the Rules and Limitations prescribed in the Case of a Bill.


Section. 8.
The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States;


To borrow Money on the credit of the United States;


To regulate Commerce with foreign Nations, and among the several States, and with the Indian Tribes;


To establish an uniform Rule of Naturalization, and uniform Laws on the subject of Bankruptcies throughout the United States;


To coin Money, regulate the Value thereof, and of foreign Coin, and fix the Standard of Weights and Measures;


To provide for the Punishment of counterfeiting the Securities and current Coin of the United States;


To establish Post Offices and post Roads;


To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;


To constitute Tribunals inferior to the supreme Court;


To define and punish Piracies and Felonies committed on the high Seas, and Offences against the Law of Nations;


To declare War, grant Letters of Marque and Reprisal, and make Rules concerning Captures on Land and Water;


To raise and support Armies, but no Appropriation of Money to that Use shall be for a longer Term than two Years;


To provide and maintain a Navy;


To make Rules for the Government and Regulation of the land and naval Forces;


To provide for calling forth the Militia to execute the Laws of the Union, suppress Insurrections and repel Invasions;


To provide for organizing, arming, and disciplining, the Militia, and for governing such Part of them as may be employed in the Service of the United States, reserving to the States respectively, the Appointment of the Officers, and the Authority of training the Militia according to the discipline prescribed by Congress;


To exercise exclusive Legislation in all Cases whatsoever, over such District (not exceeding ten Miles square) as may, by Cession of particular States, and the Acceptance of Congress, become the Seat of the Government of the United States, and to exercise like Authority over all Places purchased by the Consent of the Legislature of the State in which the Same shall be, for the Erection of Forts, Magazines, Arsenals, dock-Yards, and other needful Buildings;—And


To make all Laws which shall be necessary and proper for carrying into Execution the foregoing Powers, and all other Powers vested by this Constitution in the Government of the United States, or in any Department or Officer thereof.


Section. 9.
The Migration or Importation of such Persons as any of the States now existing shall think proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and eight, but a Tax or duty may be imposed on such Importation, not exceeding ten dollars for each Person.


The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it.


No Bill of Attainder or ex post facto Law shall be passed.


No Capitation, or other direct, Tax shall be laid, unless in Proportion to the Census or enumeration herein before directed to be taken.


No Tax or Duty shall be laid on Articles exported from any State.


No Preference shall be given by any Regulation of Commerce or Revenue to the Ports of one State over those of another: nor shall Vessels bound to, or from, one State, be obliged to enter, clear, or pay Duties in another.


No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law; and a regular Statement and Account of the Receipts and Expenditures of all public Money shall be published from time to time.


No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince, or foreign State.


Section. 10.
No State shall enter into any Treaty, Alliance, or Confederation; grant Letters of Marque and Reprisal; coin Money; emit Bills of Credit; make any Thing but gold and silver Coin a Tender in Payment of Debts; pass any Bill of Attainder, ex post facto Law, or Law impairing the Obligation of Contracts, or grant any Title of Nobility.


No State shall, without the Consent of the Congress, lay any Imposts or Duties on Imports or Exports, except what may be absolutely necessary for executing it's inspection Laws: and the net Produce of all Duties and Imposts, laid by any State on Imports or Exports, shall be for the Use of the Treasury of the United States; and all such Laws shall be subject to the Revision and Controul of the Congress.


No State shall, without the Consent of Congress, lay any Duty of Tonnage, keep Troops, or Ships of War in time of Peace, enter into any Agreement or Compact with another State, or with a foreign Power, or engage in War, unless actually invaded, or in such imminent Danger as will not admit of delay.


Article. II.


Section. 1.
The executive Power shall be vested in a President of the United States of America. He shall hold his Office during the Term of four Years, and, together with the Vice President, chosen for the same Term, be elected, as follows


Each State shall appoint, in such Manner as the Legislature thereof may direct, a Number of Electors, equal to the whole Number of Senators and Representatives to which the State may be entitled in the Congress: but no Senator or Representative, or Person holding an Office of Trust or Profit under the United States, shall be appointed an Elector.


The Electors shall meet in their respective States, and vote by Ballot for two Persons, of whom one at least shall not be an Inhabitant of the same State with themselves. And they shall make a List of all the Persons voted for, and of the Number of Votes for each; which List they shall sign and certify, and transmit sealed to the Seat of the Government of the United States, directed to the President of the Senate. The President of the Senate shall, in the Presence of the Senate and House of Representatives, open all the Certificates, and the Votes shall then be counted. The Person having the greatest Number of Votes shall be the President, if such Number be a Majority of the whole Number of Electors appointed; and if there be more than one who have such Majority, and have an equal Number of Votes, then the House of Representatives shall immediately chuse by Ballot one of them for President; and if no Person have a Majority, then from the five highest on the List the said House shall in like Manner chuse the President. But in chusing the President, the Votes shall be taken by States, the Representation from each State having one Vote; A quorum for this Purpose shall consist of a Member or Members from two thirds of the States, and a Majority of all the States shall be necessary to a Choice. In every Case, after the Choice of the President, the Person having the greatest Number of Votes of the Electors shall be the Vice President. But if there should remain two or more who have equal Votes, the Senate shall chuse from them by Ballot the Vice President.


The Congress may determine the Time of chusing the Electors, and the Day on which they shall give their Votes; which Day shall be the same throughout the United States.


No Person except a natural born Citizen, or a Citizen of the United States, at the time of the Adoption of this Constitution, shall be eligible to the Office of President; neither shall any Person be eligible to that Office who shall not have attained to the Age of thirty five Years, and been fourteen Years a Resident within the United States.


In Case of the Removal of the President from Office, or of his Death, Resignation, or Inability to discharge the Powers and Duties of the said Office, the Same shall devolve on the Vice President, and the Congress may by Law provide for the Case of Removal, Death, Resignation or Inability, both of the President and Vice President, declaring what Officer shall then act as President, and such Officer shall act accordingly, until the Disability be removed, or a President shall be elected.


The President shall, at stated Times, receive for his Services, a Compensation, which shall neither be encreased nor diminished during the Period for which he shall have been elected, and he shall not receive within that Period any other Emolument from the United States, or any of them.


Before he enter on the Execution of his Office, he shall take the following Oath or Affirmation:—"I do solemnly swear (or affirm) that I will faithfully execute the Office of President of the United States, and will to the best of my Ability, preserve, protect and defend the Constitution of the United States."


Section. 2.
The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States; he may require the Opinion, in writing, of the principal Officer in each of the executive Departments, upon any Subject relating to the Duties of their respective Offices, and he shall have Power to grant Reprieves and Pardons for Offences against the United States, except in Cases of Impeachment.


He shall have Power, by and with the Advice and Consent of the Senate, to make Treaties, provided two thirds of the Senators present concur; and he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint Ambassadors, other public Ministers and Consuls, Judges of the supreme Court, and all other Officers of the United States, whose Appointments are not herein otherwise provided for, and which shall be established by Law: but the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, in the Courts of Law, or in the Heads of Departments.


The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next Session.


Section. 3.
He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient; he may, on extraordinary Occasions, convene both Houses, or either of them, and in Case of Disagreement between them, with Respect to the Time of Adjournment, he may adjourn them to such Time as he shall think proper; he shall receive Ambassadors and other public Ministers; he shall take Care that the Laws be faithfully executed, and shall Commission all the Officers of the United States.


Section. 4.
The President, Vice President and all civil Officers of the United States, shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors.


Article III.


Section. 1.
The judicial Power of the United States, shall be vested in one supreme Court, and in such inferior Courts as the Congress may from time to time ordain and establish. The Judges, both of the supreme and inferior Courts, shall hold their Offices during good Behaviour, and shall, at stated Times, receive for their Services, a Compensation, which shall not be diminished during their Continuance in Office.


Section. 2.
The judicial Power shall extend to all Cases, in Law and Equity, arising under this Constitution, the Laws of the United States, and Treaties made, or which shall be made, under their Authority;—to all Cases affecting Ambassadors, other public Ministers and Consuls;—to all Cases of admiralty and maritime Jurisdiction;—to Controversies to which the United States shall be a Party;—to Controversies between two or more States;— between a State and Citizens of another State,—between Citizens of different States,—between Citizens of the same State claiming Lands under Grants of different States, and between a State, or the Citizens thereof, and foreign States, Citizens or Subjects.


In all Cases affecting Ambassadors, other public Ministers and Consuls, and those in which a State shall be Party, the supreme Court shall have original Jurisdiction. In all the other Cases before mentioned, the supreme Court shall have appellate Jurisdiction, both as to Law and Fact, with such Exceptions, and under such Regulations as the Congress shall make.


The Trial of all Crimes, except in Cases of Impeachment, shall be by Jury; and such Trial shall be held in the State where the said Crimes shall have been committed; but when not committed within any State, the Trial shall be at such Place or Places as the Congress may by Law have directed.


Section. 3.
Treason against the United States, shall consist only in levying War against them, or in adhering to their Enemies, giving them Aid and Comfort. No Person shall be convicted of Treason unless on the Testimony of two Witnesses to the same overt Act, or on Confession in open Court.


The Congress shall have Power to declare the Punishment of Treason, but no Attainder of Treason shall work Corruption of Blood, or Forfeiture except during the Life of the Person attainted.


Article. IV.
Section. 1.
Full Faith and Credit shall be given in each State to the public Acts, Records, and judicial Proceedings of every other State. And the Congress may by general Laws prescribe the Manner in which such Acts, Records and Proceedings shall be proved, and the Effect thereof.


Section. 2.
The Citizens of each State shall be entitled to all Privileges and Immunities of Citizens in the several States.


A Person charged in any State with Treason, Felony, or other Crime, who shall flee from Justice, and be found in another State, shall on Demand of the executive Authority of the State from which he fled, be delivered up, to be removed to the State having Jurisdiction of the Crime.


No Person held to Service or Labour in one State, under the Laws thereof, escaping into another, shall, in Consequence of any Law or Regulation therein, be discharged from such Service or Labour, but shall be delivered up on Claim of the Party to whom such Service or Labour may be due.


Section. 3.
New States may be admitted by the Congress into this Union; but no new State shall be formed or erected within the Jurisdiction of any other State; nor any State be formed by the Junction of two or more States, or Parts of States, without the Consent of the Legislatures of the States concerned as well as of the Congress.


The Congress shall have Power to dispose of and make all needful Rules and Regulations respecting the Territory or other Property belonging to the United States; and nothing in this Constitution shall be so construed as to Prejudice any Claims of the United States, or of any particular State.


Section. 4.
The United States shall guarantee to every State in this Union a Republican Form of Government, and shall protect each of them against Invasion; and on Application of the Legislature, or of the Executive (when the Legislature cannot be convened) against domestic Violence.


Article. V.
The Congress, whenever two thirds of both Houses shall deem it necessary, shall propose Amendments to this Constitution, or, on the Application of the Legislatures of two thirds of the several States, shall call a Convention for proposing Amendments, which, in either Case, shall be valid to all Intents and Purposes, as Part of this Constitution, when ratified by the Legislatures of three fourths of the several States, or by Conventions in three fourths thereof, as the one or the other Mode of Ratification may be proposed by the Congress; Provided that no Amendment which may be made prior to the Year One thousand eight hundred and eight shall in any Manner affect the first and fourth Clauses in the Ninth Section of the first Article; and that no State, without its Consent, shall be deprived of its equal Suffrage in the Senate.


Article. VI.
All Debts contracted and Engagements entered into, before the Adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation.


This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding.


The Senators and Representatives before mentioned, and the Members of the several State Legislatures, and all executive and judicial Officers, both of the United States and of the several States, shall be bound by Oath or Affirmation, to support this Constitution; but no religious Test shall ever be required as a Qualification to any Office or public Trust under the United States.


Article. VII.
The Ratification of the Conventions of nine States, shall be sufficient for the Establishment of this Constitution between the States so ratifying the Same.


The Word, "the," being interlined between the seventh and eighth Lines of the first Page, The Word "Thirty" being partly written on an Erazure in the fifteenth Line of the first Page, The Words "is tried" being interlined between the thirty second and thirty third Lines of the first Page and the Word "the" being interlined between the forty third and forty fourth Lines of the second Page.


Attest William Jackson Secretary


done in Convention by the Unanimous Consent of the States present the Seventeenth Day of September in the Year of our Lord one thousand seven hundred and Eighty seven and of the Independance of the United States of America the Twelfth In witness whereof We have hereunto subscribed our Names,


G. Washington
Presidt and deputy from Virginia


Delaware
Geo: Read
Gunning Bedford jun
John Dickinson
Richard Bassett
Jaco: Broom


Maryland
James McHenry
Dan of St Thos. Jenifer
Danl. Carroll


Virginia
John Blair
James Madison Jr.


North Carolina
Wm. Blount
Richd. Dobbs Spaight
Hu Williamson


South Carolina
J. Rutledge
Charles Cotesworth Pinckney
Charles Pinckney
Pierce Butler


Georgia
William Few
Abr Baldwin


New Hampshire
John Langdon
Nicholas Gilman


Massachusetts
Nathaniel Gorham
Rufus King


Connecticut
Wm. Saml. Johnson
Roger Sherman


New York
Alexander Hamilton


New Jersey
Wil: Livingston
David Brearley
Wm. Paterson
Jona: Dayton


Pennsylvania
B Franklin
Thomas Mifflin
Robt. Morris
Geo. Clymer
Thos. FitzSimons
Jared Ingersoll
James Wilson
Gouv Morris
HTMLText_D1D0C411_6091_4286_41CE_43BAB8C36726.html =
Images courtesy of the National Archives.


Transcript of Document:


We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.


Article. I.


Section. 1.
All legislative Powers herein granted shall be vested in a Congress of the United States, which shall consist of a Senate and House of Representatives.


Section. 2.
The House of Representatives shall be composed of Members chosen every second Year by the People of the several States, and the Electors in each State shall have the Qualifications requisite for Electors of the most numerous Branch of the State Legislature.


No Person shall be a Representative who shall not have attained to the Age of twenty five Years, and been seven Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State in which he shall be chosen.


Representatives and direct Taxes shall be apportioned among the several States which may be included within this Union, according to their respective Numbers, which shall be determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years, and excluding Indians not taxed, three fifths of all other Persons. The actual Enumeration shall be made within three Years after the first Meeting of the Congress of the United States, and within every subsequent Term of ten Years, in such Manner as they shall by Law direct. The Number of Representatives shall not exceed one for every thirty Thousand, but each State shall have at Least one Representative; and until such enumeration shall be made, the State of New Hampshire shall be entitled to chuse three, Massachusetts eight, Rhode-Island and Providence Plantations one, Connecticut five, New-York six, New Jersey four, Pennsylvania eight, Delaware one, Maryland six, Virginia ten, North Carolina five, South Carolina five, and Georgia three.


When vacancies happen in the Representation from any State, the Executive Authority thereof shall issue Writs of Election to fill such Vacancies.


The House of Representatives shall chuse their Speaker and other Officers; and shall have the sole Power of Impeachment.


Section. 3.
The Senate of the United States shall be composed of two Senators from each State, chosen by the Legislature thereof, for six Years; and each Senator shall have one Vote.


Immediately after they shall be assembled in Consequence of the first Election, they shall be divided as equally as may be into three Classes. The Seats of the Senators of the first Class shall be vacated at the Expiration of the second Year, of the second Class at the Expiration of the fourth Year, and of the third Class at the Expiration of the sixth Year, so that one third may be chosen every second Year; and if Vacancies happen by Resignation, or otherwise, during the Recess of the Legislature of any State, the Executive thereof may make temporary Appointments until the next Meeting of the Legislature, which shall then fill such Vacancies.


No Person shall be a Senator who shall not have attained to the Age of thirty Years, and been nine Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State for which he shall be chosen.


The Vice President of the United States shall be President of the Senate, but shall have no Vote, unless they be equally divided.


The Senate shall chuse their other Officers, and also a President pro tempore, in the Absence of the Vice President, or when he shall exercise the Office of President of the United States.


The Senate shall have the sole Power to try all Impeachments. When sitting for that Purpose, they shall be on Oath or Affirmation. When the President of the United States is tried, the Chief Justice shall preside: And no Person shall be convicted without the Concurrence of two thirds of the Members present.


Judgment in Cases of Impeachment shall not extend further than to removal from Office, and disqualification to hold and enjoy any Office of honor, Trust or Profit under the United States: but the Party convicted shall nevertheless be liable and subject to Indictment, Trial, Judgment and Punishment, according to Law.


Section. 4.
The Times, Places and Manner of holding Elections for Senators and Representatives, shall be prescribed in each State by the Legislature thereof; but the Congress may at any time by Law make or alter such Regulations, except as to the Places of chusing Senators.


The Congress shall assemble at least once in every Year, and such Meeting shall be on the first Monday in December, unless they shall by Law appoint a different Day.


Section. 5.
Each House shall be the Judge of the Elections, Returns and Qualifications of its own Members, and a Majority of each shall constitute a Quorum to do Business; but a smaller Number may adjourn from day to day, and may be authorized to compel the Attendance of absent Members, in such Manner, and under such Penalties as each House may provide.


Each House may determine the Rules of its Proceedings, punish its Members for disorderly Behaviour, and, with the Concurrence of two thirds, expel a Member.


Each House shall keep a Journal of its Proceedings, and from time to time publish the same, excepting such Parts as may in their Judgment require Secrecy; and the Yeas and Nays of the Members of either House on any question shall, at the Desire of one fifth of those Present, be entered on the Journal.


Neither House, during the Session of Congress, shall, without the Consent of the other, adjourn for more than three days, nor to any other Place than that in which the two Houses shall be sitting.


Section. 6.
The Senators and Representatives shall receive a Compensation for their Services, to be ascertained by Law, and paid out of the Treasury of the United States. They shall in all Cases, except Treason, Felony and Breach of the Peace, be privileged from Arrest during their Attendance at the Session of their respective Houses, and in going to and returning from the same; and for any Speech or Debate in either House, they shall not be questioned in any other Place.


No Senator or Representative shall, during the Time for which he was elected, be appointed to any civil Office under the Authority of the United States, which shall have been created, or the Emoluments whereof shall have been encreased during such time; and no Person holding any Office under the United States, shall be a Member of either House during his Continuance in Office.


Section. 7.
All Bills for raising Revenue shall originate in the House of Representatives; but the Senate may propose or concur with Amendments as on other Bills.


Every Bill which shall have passed the House of Representatives and the Senate, shall, before it become a Law, be presented to the President of the United States; If he approve he shall sign it, but if not he shall return it, with his Objections to that House in which it shall have originated, who shall enter the Objections at large on their Journal, and proceed to reconsider it. If after such Reconsideration two thirds of that House shall agree to pass the Bill, it shall be sent, together with the Objections, to the other House, by which it shall likewise be reconsidered, and if approved by two thirds of that House, it shall become a Law. But in all such Cases the Votes of both Houses shall be determined by yeas and Nays, and the Names of the Persons voting for and against the Bill shall be entered on the Journal of each House respectively. If any Bill shall not be returned by the President within ten Days (Sundays excepted) after it shall have been presented to him, the Same shall be a Law, in like Manner as if he had signed it, unless the Congress by their Adjournment prevent its Return, in which Case it shall not be a Law.


Every Order, Resolution, or Vote to which the Concurrence of the Senate and House of Representatives may be necessary (except on a question of Adjournment) shall be presented to the President of the United States; and before the Same shall take Effect, shall be approved by him, or being disapproved by him, shall be repassed by two thirds of the Senate and House of Representatives, according to the Rules and Limitations prescribed in the Case of a Bill.


Section. 8.
The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States;


To borrow Money on the credit of the United States;


To regulate Commerce with foreign Nations, and among the several States, and with the Indian Tribes;


To establish an uniform Rule of Naturalization, and uniform Laws on the subject of Bankruptcies throughout the United States;


To coin Money, regulate the Value thereof, and of foreign Coin, and fix the Standard of Weights and Measures;


To provide for the Punishment of counterfeiting the Securities and current Coin of the United States;


To establish Post Offices and post Roads;


To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;


To constitute Tribunals inferior to the supreme Court;


To define and punish Piracies and Felonies committed on the high Seas, and Offences against the Law of Nations;


To declare War, grant Letters of Marque and Reprisal, and make Rules concerning Captures on Land and Water;


To raise and support Armies, but no Appropriation of Money to that Use shall be for a longer Term than two Years;


To provide and maintain a Navy;


To make Rules for the Government and Regulation of the land and naval Forces;


To provide for calling forth the Militia to execute the Laws of the Union, suppress Insurrections and repel Invasions;


To provide for organizing, arming, and disciplining, the Militia, and for governing such Part of them as may be employed in the Service of the United States, reserving to the States respectively, the Appointment of the Officers, and the Authority of training the Militia according to the discipline prescribed by Congress;


To exercise exclusive Legislation in all Cases whatsoever, over such District (not exceeding ten Miles square) as may, by Cession of particular States, and the Acceptance of Congress, become the Seat of the Government of the United States, and to exercise like Authority over all Places purchased by the Consent of the Legislature of the State in which the Same shall be, for the Erection of Forts, Magazines, Arsenals, dock-Yards, and other needful Buildings;—And


To make all Laws which shall be necessary and proper for carrying into Execution the foregoing Powers, and all other Powers vested by this Constitution in the Government of the United States, or in any Department or Officer thereof.


Section. 9.
The Migration or Importation of such Persons as any of the States now existing shall think proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and eight, but a Tax or duty may be imposed on such Importation, not exceeding ten dollars for each Person.


The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it.


No Bill of Attainder or ex post facto Law shall be passed.


No Capitation, or other direct, Tax shall be laid, unless in Proportion to the Census or enumeration herein before directed to be taken.


No Tax or Duty shall be laid on Articles exported from any State.


No Preference shall be given by any Regulation of Commerce or Revenue to the Ports of one State over those of another: nor shall Vessels bound to, or from, one State, be obliged to enter, clear, or pay Duties in another.


No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law; and a regular Statement and Account of the Receipts and Expenditures of all public Money shall be published from time to time.


No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince, or foreign State.


Section. 10.
No State shall enter into any Treaty, Alliance, or Confederation; grant Letters of Marque and Reprisal; coin Money; emit Bills of Credit; make any Thing but gold and silver Coin a Tender in Payment of Debts; pass any Bill of Attainder, ex post facto Law, or Law impairing the Obligation of Contracts, or grant any Title of Nobility.


No State shall, without the Consent of the Congress, lay any Imposts or Duties on Imports or Exports, except what may be absolutely necessary for executing it's inspection Laws: and the net Produce of all Duties and Imposts, laid by any State on Imports or Exports, shall be for the Use of the Treasury of the United States; and all such Laws shall be subject to the Revision and Controul of the Congress.


No State shall, without the Consent of Congress, lay any Duty of Tonnage, keep Troops, or Ships of War in time of Peace, enter into any Agreement or Compact with another State, or with a foreign Power, or engage in War, unless actually invaded, or in such imminent Danger as will not admit of delay.


Article. II.


Section. 1.
The executive Power shall be vested in a President of the United States of America. He shall hold his Office during the Term of four Years, and, together with the Vice President, chosen for the same Term, be elected, as follows


Each State shall appoint, in such Manner as the Legislature thereof may direct, a Number of Electors, equal to the whole Number of Senators and Representatives to which the State may be entitled in the Congress: but no Senator or Representative, or Person holding an Office of Trust or Profit under the United States, shall be appointed an Elector.


The Electors shall meet in their respective States, and vote by Ballot for two Persons, of whom one at least shall not be an Inhabitant of the same State with themselves. And they shall make a List of all the Persons voted for, and of the Number of Votes for each; which List they shall sign and certify, and transmit sealed to the Seat of the Government of the United States, directed to the President of the Senate. The President of the Senate shall, in the Presence of the Senate and House of Representatives, open all the Certificates, and the Votes shall then be counted. The Person having the greatest Number of Votes shall be the President, if such Number be a Majority of the whole Number of Electors appointed; and if there be more than one who have such Majority, and have an equal Number of Votes, then the House of Representatives shall immediately chuse by Ballot one of them for President; and if no Person have a Majority, then from the five highest on the List the said House shall in like Manner chuse the President. But in chusing the President, the Votes shall be taken by States, the Representation from each State having one Vote; A quorum for this Purpose shall consist of a Member or Members from two thirds of the States, and a Majority of all the States shall be necessary to a Choice. In every Case, after the Choice of the President, the Person having the greatest Number of Votes of the Electors shall be the Vice President. But if there should remain two or more who have equal Votes, the Senate shall chuse from them by Ballot the Vice President.


The Congress may determine the Time of chusing the Electors, and the Day on which they shall give their Votes; which Day shall be the same throughout the United States.


No Person except a natural born Citizen, or a Citizen of the United States, at the time of the Adoption of this Constitution, shall be eligible to the Office of President; neither shall any Person be eligible to that Office who shall not have attained to the Age of thirty five Years, and been fourteen Years a Resident within the United States.


In Case of the Removal of the President from Office, or of his Death, Resignation, or Inability to discharge the Powers and Duties of the said Office, the Same shall devolve on the Vice President, and the Congress may by Law provide for the Case of Removal, Death, Resignation or Inability, both of the President and Vice President, declaring what Officer shall then act as President, and such Officer shall act accordingly, until the Disability be removed, or a President shall be elected.


The President shall, at stated Times, receive for his Services, a Compensation, which shall neither be encreased nor diminished during the Period for which he shall have been elected, and he shall not receive within that Period any other Emolument from the United States, or any of them.


Before he enter on the Execution of his Office, he shall take the following Oath or Affirmation:—"I do solemnly swear (or affirm) that I will faithfully execute the Office of President of the United States, and will to the best of my Ability, preserve, protect and defend the Constitution of the United States."


Section. 2.
The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States; he may require the Opinion, in writing, of the principal Officer in each of the executive Departments, upon any Subject relating to the Duties of their respective Offices, and he shall have Power to grant Reprieves and Pardons for Offences against the United States, except in Cases of Impeachment.


He shall have Power, by and with the Advice and Consent of the Senate, to make Treaties, provided two thirds of the Senators present concur; and he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint Ambassadors, other public Ministers and Consuls, Judges of the supreme Court, and all other Officers of the United States, whose Appointments are not herein otherwise provided for, and which shall be established by Law: but the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, in the Courts of Law, or in the Heads of Departments.


The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next Session.


Section. 3.
He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient; he may, on extraordinary Occasions, convene both Houses, or either of them, and in Case of Disagreement between them, with Respect to the Time of Adjournment, he may adjourn them to such Time as he shall think proper; he shall receive Ambassadors and other public Ministers; he shall take Care that the Laws be faithfully executed, and shall Commission all the Officers of the United States.


Section. 4.
The President, Vice President and all civil Officers of the United States, shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors.


Article III.


Section. 1.
The judicial Power of the United States, shall be vested in one supreme Court, and in such inferior Courts as the Congress may from time to time ordain and establish. The Judges, both of the supreme and inferior Courts, shall hold their Offices during good Behaviour, and shall, at stated Times, receive for their Services, a Compensation, which shall not be diminished during their Continuance in Office.


Section. 2.
The judicial Power shall extend to all Cases, in Law and Equity, arising under this Constitution, the Laws of the United States, and Treaties made, or which shall be made, under their Authority;—to all Cases affecting Ambassadors, other public Ministers and Consuls;—to all Cases of admiralty and maritime Jurisdiction;—to Controversies to which the United States shall be a Party;—to Controversies between two or more States;— between a State and Citizens of another State,—between Citizens of different States,—between Citizens of the same State claiming Lands under Grants of different States, and between a State, or the Citizens thereof, and foreign States, Citizens or Subjects.


In all Cases affecting Ambassadors, other public Ministers and Consuls, and those in which a State shall be Party, the supreme Court shall have original Jurisdiction. In all the other Cases before mentioned, the supreme Court shall have appellate Jurisdiction, both as to Law and Fact, with such Exceptions, and under such Regulations as the Congress shall make.


The Trial of all Crimes, except in Cases of Impeachment, shall be by Jury; and such Trial shall be held in the State where the said Crimes shall have been committed; but when not committed within any State, the Trial shall be at such Place or Places as the Congress may by Law have directed.


Section. 3.
Treason against the United States, shall consist only in levying War against them, or in adhering to their Enemies, giving them Aid and Comfort. No Person shall be convicted of Treason unless on the Testimony of two Witnesses to the same overt Act, or on Confession in open Court.


The Congress shall have Power to declare the Punishment of Treason, but no Attainder of Treason shall work Corruption of Blood, or Forfeiture except during the Life of the Person attainted.


Article. IV.
Section. 1.
Full Faith and Credit shall be given in each State to the public Acts, Records, and judicial Proceedings of every other State. And the Congress may by general Laws prescribe the Manner in which such Acts, Records and Proceedings shall be proved, and the Effect thereof.


Section. 2.
The Citizens of each State shall be entitled to all Privileges and Immunities of Citizens in the several States.


A Person charged in any State with Treason, Felony, or other Crime, who shall flee from Justice, and be found in another State, shall on Demand of the executive Authority of the State from which he fled, be delivered up, to be removed to the State having Jurisdiction of the Crime.


No Person held to Service or Labour in one State, under the Laws thereof, escaping into another, shall, in Consequence of any Law or Regulation therein, be discharged from such Service or Labour, but shall be delivered up on Claim of the Party to whom such Service or Labour may be due.


Section. 3.
New States may be admitted by the Congress into this Union; but no new State shall be formed or erected within the Jurisdiction of any other State; nor any State be formed by the Junction of two or more States, or Parts of States, without the Consent of the Legislatures of the States concerned as well as of the Congress.


The Congress shall have Power to dispose of and make all needful Rules and Regulations respecting the Territory or other Property belonging to the United States; and nothing in this Constitution shall be so construed as to Prejudice any Claims of the United States, or of any particular State.


Section. 4.
The United States shall guarantee to every State in this Union a Republican Form of Government, and shall protect each of them against Invasion; and on Application of the Legislature, or of the Executive (when the Legislature cannot be convened) against domestic Violence.


Article. V.
The Congress, whenever two thirds of both Houses shall deem it necessary, shall propose Amendments to this Constitution, or, on the Application of the Legislatures of two thirds of the several States, shall call a Convention for proposing Amendments, which, in either Case, shall be valid to all Intents and Purposes, as Part of this Constitution, when ratified by the Legislatures of three fourths of the several States, or by Conventions in three fourths thereof, as the one or the other Mode of Ratification may be proposed by the Congress; Provided that no Amendment which may be made prior to the Year One thousand eight hundred and eight shall in any Manner affect the first and fourth Clauses in the Ninth Section of the first Article; and that no State, without its Consent, shall be deprived of its equal Suffrage in the Senate.


Article. VI.
All Debts contracted and Engagements entered into, before the Adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation.


This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding.


The Senators and Representatives before mentioned, and the Members of the several State Legislatures, and all executive and judicial Officers, both of the United States and of the several States, shall be bound by Oath or Affirmation, to support this Constitution; but no religious Test shall ever be required as a Qualification to any Office or public Trust under the United States.


Article. VII.
The Ratification of the Conventions of nine States, shall be sufficient for the Establishment of this Constitution between the States so ratifying the Same.


The Word, "the," being interlined between the seventh and eighth Lines of the first Page, The Word "Thirty" being partly written on an Erazure in the fifteenth Line of the first Page, The Words "is tried" being interlined between the thirty second and thirty third Lines of the first Page and the Word "the" being interlined between the forty third and forty fourth Lines of the second Page.


Attest William Jackson Secretary


done in Convention by the Unanimous Consent of the States present the Seventeenth Day of September in the Year of our Lord one thousand seven hundred and Eighty seven and of the Independance of the United States of America the Twelfth In witness whereof We have hereunto subscribed our Names,


G. Washington
Presidt and deputy from Virginia


Delaware
Geo: Read
Gunning Bedford jun
John Dickinson
Richard Bassett
Jaco: Broom


Maryland
James McHenry
Dan of St Thos. Jenifer
Danl. Carroll


Virginia
John Blair
James Madison Jr.


North Carolina
Wm. Blount
Richd. Dobbs Spaight
Hu Williamson


South Carolina
J. Rutledge
Charles Cotesworth Pinckney
Charles Pinckney
Pierce Butler


Georgia
William Few
Abr Baldwin


New Hampshire
John Langdon
Nicholas Gilman


Massachusetts
Nathaniel Gorham
Rufus King


Connecticut
Wm. Saml. Johnson
Roger Sherman


New York
Alexander Hamilton


New Jersey
Wil: Livingston
David Brearley
Wm. Paterson
Jona: Dayton


Pennsylvania
B Franklin
Thomas Mifflin
Robt. Morris
Geo. Clymer
Thos. FitzSimons
Jared Ingersoll
James Wilson
Gouv Morris
HTMLText_CEA4AB83_6093_458A_41D0_515D02F6F648.html =
Images courtesy of the National Archives.


Transcript of Document:


We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.


Article. I.


Section. 1.
All legislative Powers herein granted shall be vested in a Congress of the United States, which shall consist of a Senate and House of Representatives.


Section. 2.
The House of Representatives shall be composed of Members chosen every second Year by the People of the several States, and the Electors in each State shall have the Qualifications requisite for Electors of the most numerous Branch of the State Legislature.


No Person shall be a Representative who shall not have attained to the Age of twenty five Years, and been seven Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State in which he shall be chosen.


Representatives and direct Taxes shall be apportioned among the several States which may be included within this Union, according to their respective Numbers, which shall be determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years, and excluding Indians not taxed, three fifths of all other Persons. The actual Enumeration shall be made within three Years after the first Meeting of the Congress of the United States, and within every subsequent Term of ten Years, in such Manner as they shall by Law direct. The Number of Representatives shall not exceed one for every thirty Thousand, but each State shall have at Least one Representative; and until such enumeration shall be made, the State of New Hampshire shall be entitled to chuse three, Massachusetts eight, Rhode-Island and Providence Plantations one, Connecticut five, New-York six, New Jersey four, Pennsylvania eight, Delaware one, Maryland six, Virginia ten, North Carolina five, South Carolina five, and Georgia three.


When vacancies happen in the Representation from any State, the Executive Authority thereof shall issue Writs of Election to fill such Vacancies.


The House of Representatives shall chuse their Speaker and other Officers; and shall have the sole Power of Impeachment.


Section. 3.
The Senate of the United States shall be composed of two Senators from each State, chosen by the Legislature thereof, for six Years; and each Senator shall have one Vote.


Immediately after they shall be assembled in Consequence of the first Election, they shall be divided as equally as may be into three Classes. The Seats of the Senators of the first Class shall be vacated at the Expiration of the second Year, of the second Class at the Expiration of the fourth Year, and of the third Class at the Expiration of the sixth Year, so that one third may be chosen every second Year; and if Vacancies happen by Resignation, or otherwise, during the Recess of the Legislature of any State, the Executive thereof may make temporary Appointments until the next Meeting of the Legislature, which shall then fill such Vacancies.


No Person shall be a Senator who shall not have attained to the Age of thirty Years, and been nine Years a Citizen of the United States, and who shall not, when elected, be an Inhabitant of that State for which he shall be chosen.


The Vice President of the United States shall be President of the Senate, but shall have no Vote, unless they be equally divided.


The Senate shall chuse their other Officers, and also a President pro tempore, in the Absence of the Vice President, or when he shall exercise the Office of President of the United States.


The Senate shall have the sole Power to try all Impeachments. When sitting for that Purpose, they shall be on Oath or Affirmation. When the President of the United States is tried, the Chief Justice shall preside: And no Person shall be convicted without the Concurrence of two thirds of the Members present.


Judgment in Cases of Impeachment shall not extend further than to removal from Office, and disqualification to hold and enjoy any Office of honor, Trust or Profit under the United States: but the Party convicted shall nevertheless be liable and subject to Indictment, Trial, Judgment and Punishment, according to Law.


Section. 4.
The Times, Places and Manner of holding Elections for Senators and Representatives, shall be prescribed in each State by the Legislature thereof; but the Congress may at any time by Law make or alter such Regulations, except as to the Places of chusing Senators.


The Congress shall assemble at least once in every Year, and such Meeting shall be on the first Monday in December, unless they shall by Law appoint a different Day.


Section. 5.
Each House shall be the Judge of the Elections, Returns and Qualifications of its own Members, and a Majority of each shall constitute a Quorum to do Business; but a smaller Number may adjourn from day to day, and may be authorized to compel the Attendance of absent Members, in such Manner, and under such Penalties as each House may provide.


Each House may determine the Rules of its Proceedings, punish its Members for disorderly Behaviour, and, with the Concurrence of two thirds, expel a Member.


Each House shall keep a Journal of its Proceedings, and from time to time publish the same, excepting such Parts as may in their Judgment require Secrecy; and the Yeas and Nays of the Members of either House on any question shall, at the Desire of one fifth of those Present, be entered on the Journal.


Neither House, during the Session of Congress, shall, without the Consent of the other, adjourn for more than three days, nor to any other Place than that in which the two Houses shall be sitting.


Section. 6.
The Senators and Representatives shall receive a Compensation for their Services, to be ascertained by Law, and paid out of the Treasury of the United States. They shall in all Cases, except Treason, Felony and Breach of the Peace, be privileged from Arrest during their Attendance at the Session of their respective Houses, and in going to and returning from the same; and for any Speech or Debate in either House, they shall not be questioned in any other Place.


No Senator or Representative shall, during the Time for which he was elected, be appointed to any civil Office under the Authority of the United States, which shall have been created, or the Emoluments whereof shall have been encreased during such time; and no Person holding any Office under the United States, shall be a Member of either House during his Continuance in Office.


Section. 7.
All Bills for raising Revenue shall originate in the House of Representatives; but the Senate may propose or concur with Amendments as on other Bills.


Every Bill which shall have passed the House of Representatives and the Senate, shall, before it become a Law, be presented to the President of the United States; If he approve he shall sign it, but if not he shall return it, with his Objections to that House in which it shall have originated, who shall enter the Objections at large on their Journal, and proceed to reconsider it. If after such Reconsideration two thirds of that House shall agree to pass the Bill, it shall be sent, together with the Objections, to the other House, by which it shall likewise be reconsidered, and if approved by two thirds of that House, it shall become a Law. But in all such Cases the Votes of both Houses shall be determined by yeas and Nays, and the Names of the Persons voting for and against the Bill shall be entered on the Journal of each House respectively. If any Bill shall not be returned by the President within ten Days (Sundays excepted) after it shall have been presented to him, the Same shall be a Law, in like Manner as if he had signed it, unless the Congress by their Adjournment prevent its Return, in which Case it shall not be a Law.


Every Order, Resolution, or Vote to which the Concurrence of the Senate and House of Representatives may be necessary (except on a question of Adjournment) shall be presented to the President of the United States; and before the Same shall take Effect, shall be approved by him, or being disapproved by him, shall be repassed by two thirds of the Senate and House of Representatives, according to the Rules and Limitations prescribed in the Case of a Bill.


Section. 8.
The Congress shall have Power To lay and collect Taxes, Duties, Imposts and Excises, to pay the Debts and provide for the common Defence and general Welfare of the United States; but all Duties, Imposts and Excises shall be uniform throughout the United States;


To borrow Money on the credit of the United States;


To regulate Commerce with foreign Nations, and among the several States, and with the Indian Tribes;


To establish an uniform Rule of Naturalization, and uniform Laws on the subject of Bankruptcies throughout the United States;


To coin Money, regulate the Value thereof, and of foreign Coin, and fix the Standard of Weights and Measures;


To provide for the Punishment of counterfeiting the Securities and current Coin of the United States;


To establish Post Offices and post Roads;


To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries;


To constitute Tribunals inferior to the supreme Court;


To define and punish Piracies and Felonies committed on the high Seas, and Offences against the Law of Nations;


To declare War, grant Letters of Marque and Reprisal, and make Rules concerning Captures on Land and Water;


To raise and support Armies, but no Appropriation of Money to that Use shall be for a longer Term than two Years;


To provide and maintain a Navy;


To make Rules for the Government and Regulation of the land and naval Forces;


To provide for calling forth the Militia to execute the Laws of the Union, suppress Insurrections and repel Invasions;


To provide for organizing, arming, and disciplining, the Militia, and for governing such Part of them as may be employed in the Service of the United States, reserving to the States respectively, the Appointment of the Officers, and the Authority of training the Militia according to the discipline prescribed by Congress;


To exercise exclusive Legislation in all Cases whatsoever, over such District (not exceeding ten Miles square) as may, by Cession of particular States, and the Acceptance of Congress, become the Seat of the Government of the United States, and to exercise like Authority over all Places purchased by the Consent of the Legislature of the State in which the Same shall be, for the Erection of Forts, Magazines, Arsenals, dock-Yards, and other needful Buildings;—And


To make all Laws which shall be necessary and proper for carrying into Execution the foregoing Powers, and all other Powers vested by this Constitution in the Government of the United States, or in any Department or Officer thereof.


Section. 9.
The Migration or Importation of such Persons as any of the States now existing shall think proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and eight, but a Tax or duty may be imposed on such Importation, not exceeding ten dollars for each Person.


The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it.


No Bill of Attainder or ex post facto Law shall be passed.


No Capitation, or other direct, Tax shall be laid, unless in Proportion to the Census or enumeration herein before directed to be taken.


No Tax or Duty shall be laid on Articles exported from any State.


No Preference shall be given by any Regulation of Commerce or Revenue to the Ports of one State over those of another: nor shall Vessels bound to, or from, one State, be obliged to enter, clear, or pay Duties in another.


No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law; and a regular Statement and Account of the Receipts and Expenditures of all public Money shall be published from time to time.


No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince, or foreign State.


Section. 10.
No State shall enter into any Treaty, Alliance, or Confederation; grant Letters of Marque and Reprisal; coin Money; emit Bills of Credit; make any Thing but gold and silver Coin a Tender in Payment of Debts; pass any Bill of Attainder, ex post facto Law, or Law impairing the Obligation of Contracts, or grant any Title of Nobility.


No State shall, without the Consent of the Congress, lay any Imposts or Duties on Imports or Exports, except what may be absolutely necessary for executing it's inspection Laws: and the net Produce of all Duties and Imposts, laid by any State on Imports or Exports, shall be for the Use of the Treasury of the United States; and all such Laws shall be subject to the Revision and Controul of the Congress.


No State shall, without the Consent of Congress, lay any Duty of Tonnage, keep Troops, or Ships of War in time of Peace, enter into any Agreement or Compact with another State, or with a foreign Power, or engage in War, unless actually invaded, or in such imminent Danger as will not admit of delay.


Article. II.


Section. 1.
The executive Power shall be vested in a President of the United States of America. He shall hold his Office during the Term of four Years, and, together with the Vice President, chosen for the same Term, be elected, as follows


Each State shall appoint, in such Manner as the Legislature thereof may direct, a Number of Electors, equal to the whole Number of Senators and Representatives to which the State may be entitled in the Congress: but no Senator or Representative, or Person holding an Office of Trust or Profit under the United States, shall be appointed an Elector.


The Electors shall meet in their respective States, and vote by Ballot for two Persons, of whom one at least shall not be an Inhabitant of the same State with themselves. And they shall make a List of all the Persons voted for, and of the Number of Votes for each; which List they shall sign and certify, and transmit sealed to the Seat of the Government of the United States, directed to the President of the Senate. The President of the Senate shall, in the Presence of the Senate and House of Representatives, open all the Certificates, and the Votes shall then be counted. The Person having the greatest Number of Votes shall be the President, if such Number be a Majority of the whole Number of Electors appointed; and if there be more than one who have such Majority, and have an equal Number of Votes, then the House of Representatives shall immediately chuse by Ballot one of them for President; and if no Person have a Majority, then from the five highest on the List the said House shall in like Manner chuse the President. But in chusing the President, the Votes shall be taken by States, the Representation from each State having one Vote; A quorum for this Purpose shall consist of a Member or Members from two thirds of the States, and a Majority of all the States shall be necessary to a Choice. In every Case, after the Choice of the President, the Person having the greatest Number of Votes of the Electors shall be the Vice President. But if there should remain two or more who have equal Votes, the Senate shall chuse from them by Ballot the Vice President.


The Congress may determine the Time of chusing the Electors, and the Day on which they shall give their Votes; which Day shall be the same throughout the United States.


No Person except a natural born Citizen, or a Citizen of the United States, at the time of the Adoption of this Constitution, shall be eligible to the Office of President; neither shall any Person be eligible to that Office who shall not have attained to the Age of thirty five Years, and been fourteen Years a Resident within the United States.


In Case of the Removal of the President from Office, or of his Death, Resignation, or Inability to discharge the Powers and Duties of the said Office, the Same shall devolve on the Vice President, and the Congress may by Law provide for the Case of Removal, Death, Resignation or Inability, both of the President and Vice President, declaring what Officer shall then act as President, and such Officer shall act accordingly, until the Disability be removed, or a President shall be elected.


The President shall, at stated Times, receive for his Services, a Compensation, which shall neither be encreased nor diminished during the Period for which he shall have been elected, and he shall not receive within that Period any other Emolument from the United States, or any of them.


Before he enter on the Execution of his Office, he shall take the following Oath or Affirmation:—"I do solemnly swear (or affirm) that I will faithfully execute the Office of President of the United States, and will to the best of my Ability, preserve, protect and defend the Constitution of the United States."


Section. 2.
The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States; he may require the Opinion, in writing, of the principal Officer in each of the executive Departments, upon any Subject relating to the Duties of their respective Offices, and he shall have Power to grant Reprieves and Pardons for Offences against the United States, except in Cases of Impeachment.


He shall have Power, by and with the Advice and Consent of the Senate, to make Treaties, provided two thirds of the Senators present concur; and he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint Ambassadors, other public Ministers and Consuls, Judges of the supreme Court, and all other Officers of the United States, whose Appointments are not herein otherwise provided for, and which shall be established by Law: but the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, in the Courts of Law, or in the Heads of Departments.


The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next Session.


Section. 3.
He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient; he may, on extraordinary Occasions, convene both Houses, or either of them, and in Case of Disagreement between them, with Respect to the Time of Adjournment, he may adjourn them to such Time as he shall think proper; he shall receive Ambassadors and other public Ministers; he shall take Care that the Laws be faithfully executed, and shall Commission all the Officers of the United States.


Section. 4.
The President, Vice President and all civil Officers of the United States, shall be removed from Office on Impeachment for, and Conviction of, Treason, Bribery, or other high Crimes and Misdemeanors.


Article III.


Section. 1.
The judicial Power of the United States, shall be vested in one supreme Court, and in such inferior Courts as the Congress may from time to time ordain and establish. The Judges, both of the supreme and inferior Courts, shall hold their Offices during good Behaviour, and shall, at stated Times, receive for their Services, a Compensation, which shall not be diminished during their Continuance in Office.


Section. 2.
The judicial Power shall extend to all Cases, in Law and Equity, arising under this Constitution, the Laws of the United States, and Treaties made, or which shall be made, under their Authority;—to all Cases affecting Ambassadors, other public Ministers and Consuls;—to all Cases of admiralty and maritime Jurisdiction;—to Controversies to which the United States shall be a Party;—to Controversies between two or more States;— between a State and Citizens of another State,—between Citizens of different States,—between Citizens of the same State claiming Lands under Grants of different States, and between a State, or the Citizens thereof, and foreign States, Citizens or Subjects.


In all Cases affecting Ambassadors, other public Ministers and Consuls, and those in which a State shall be Party, the supreme Court shall have original Jurisdiction. In all the other Cases before mentioned, the supreme Court shall have appellate Jurisdiction, both as to Law and Fact, with such Exceptions, and under such Regulations as the Congress shall make.


The Trial of all Crimes, except in Cases of Impeachment, shall be by Jury; and such Trial shall be held in the State where the said Crimes shall have been committed; but when not committed within any State, the Trial shall be at such Place or Places as the Congress may by Law have directed.


Section. 3.
Treason against the United States, shall consist only in levying War against them, or in adhering to their Enemies, giving them Aid and Comfort. No Person shall be convicted of Treason unless on the Testimony of two Witnesses to the same overt Act, or on Confession in open Court.


The Congress shall have Power to declare the Punishment of Treason, but no Attainder of Treason shall work Corruption of Blood, or Forfeiture except during the Life of the Person attainted.


Article. IV.
Section. 1.
Full Faith and Credit shall be given in each State to the public Acts, Records, and judicial Proceedings of every other State. And the Congress may by general Laws prescribe the Manner in which such Acts, Records and Proceedings shall be proved, and the Effect thereof.


Section. 2.
The Citizens of each State shall be entitled to all Privileges and Immunities of Citizens in the several States.


A Person charged in any State with Treason, Felony, or other Crime, who shall flee from Justice, and be found in another State, shall on Demand of the executive Authority of the State from which he fled, be delivered up, to be removed to the State having Jurisdiction of the Crime.


No Person held to Service or Labour in one State, under the Laws thereof, escaping into another, shall, in Consequence of any Law or Regulation therein, be discharged from such Service or Labour, but shall be delivered up on Claim of the Party to whom such Service or Labour may be due.


Section. 3.
New States may be admitted by the Congress into this Union; but no new State shall be formed or erected within the Jurisdiction of any other State; nor any State be formed by the Junction of two or more States, or Parts of States, without the Consent of the Legislatures of the States concerned as well as of the Congress.


The Congress shall have Power to dispose of and make all needful Rules and Regulations respecting the Territory or other Property belonging to the United States; and nothing in this Constitution shall be so construed as to Prejudice any Claims of the United States, or of any particular State.


Section. 4.
The United States shall guarantee to every State in this Union a Republican Form of Government, and shall protect each of them against Invasion; and on Application of the Legislature, or of the Executive (when the Legislature cannot be convened) against domestic Violence.


Article. V.
The Congress, whenever two thirds of both Houses shall deem it necessary, shall propose Amendments to this Constitution, or, on the Application of the Legislatures of two thirds of the several States, shall call a Convention for proposing Amendments, which, in either Case, shall be valid to all Intents and Purposes, as Part of this Constitution, when ratified by the Legislatures of three fourths of the several States, or by Conventions in three fourths thereof, as the one or the other Mode of Ratification may be proposed by the Congress; Provided that no Amendment which may be made prior to the Year One thousand eight hundred and eight shall in any Manner affect the first and fourth Clauses in the Ninth Section of the first Article; and that no State, without its Consent, shall be deprived of its equal Suffrage in the Senate.


Article. VI.
All Debts contracted and Engagements entered into, before the Adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation.


This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding.


The Senators and Representatives before mentioned, and the Members of the several State Legislatures, and all executive and judicial Officers, both of the United States and of the several States, shall be bound by Oath or Affirmation, to support this Constitution; but no religious Test shall ever be required as a Qualification to any Office or public Trust under the United States.


Article. VII.
The Ratification of the Conventions of nine States, shall be sufficient for the Establishment of this Constitution between the States so ratifying the Same.


The Word, "the," being interlined between the seventh and eighth Lines of the first Page, The Word "Thirty" being partly written on an Erazure in the fifteenth Line of the first Page, The Words "is tried" being interlined between the thirty second and thirty third Lines of the first Page and the Word "the" being interlined between the forty third and forty fourth Lines of the second Page.


Attest William Jackson Secretary


done in Convention by the Unanimous Consent of the States present the Seventeenth Day of September in the Year of our Lord one thousand seven hundred and Eighty seven and of the Independance of the United States of America the Twelfth In witness whereof We have hereunto subscribed our Names,


G. Washington
Presidt and deputy from Virginia


Delaware
Geo: Read
Gunning Bedford jun
John Dickinson
Richard Bassett
Jaco: Broom


Maryland
James McHenry
Dan of St Thos. Jenifer
Danl. Carroll


Virginia
John Blair
James Madison Jr.


North Carolina
Wm. Blount
Richd. Dobbs Spaight
Hu Williamson


South Carolina
J. Rutledge
Charles Cotesworth Pinckney
Charles Pinckney
Pierce Butler


Georgia
William Few
Abr Baldwin


New Hampshire
John Langdon
Nicholas Gilman


Massachusetts
Nathaniel Gorham
Rufus King


Connecticut
Wm. Saml. Johnson
Roger Sherman


New York
Alexander Hamilton


New Jersey
Wil: Livingston
David Brearley
Wm. Paterson
Jona: Dayton


Pennsylvania
B Franklin
Thomas Mifflin
Robt. Morris
Geo. Clymer
Thos. FitzSimons
Jared Ingersoll
James Wilson
Gouv Morris
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James Berson
Peaceful Demonstration Helmet (Water Protection), 2017
Mixed media
Collection of the Artist


Freedom of Speech, as expressed through peaceful marches and demonstrations, and their widespread documentation on digital media, was the inspiration for James Berson’s piece. “We must let lawmakers know the will of the people,” wrote the artist, who resides in West Hollywood, California.
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James Billeaudeau
Civil Discord, 2017
Photographic print
Collection of the Artist


For the artist, the centrality of television in American culture has promoted consumption, passivity, and a loss of identity. “The twenty-four hour cable news cycle, with its bloated fabrications and divisive rhetoric, holds us hostage to glowing screens while subjecting us to colorful advertisements. My works are staged reproductions and critiques of who we have become.” In this work, James Billeaudeau of Lafayette, Louisiana comments upon the lack of civil discourse in our times.
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Jane Feldman
Freedom of Religion Re-Imagined, 2013
Digital photograph
Collection of the Artist


A photojournalist from New York City, Jane Feldman comments upon Freedom of Religion in this joyous photograph, which was taken in a garden following a Universal Worship Service originated by Sufi leader Inayat Kahn (1882-1927) to invoke the One Being through indigenous and major faith traditions. “Recommitting ourselves to defending this most sacred Freedom is essential now more than ever,” said the artist, who finds religious bias in our times concerning. “At the core of all spiritual teachings are kindness and compassion, which are essential.”
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Jarrett Christian
Liberty Construct #1, 2014
Ink on rice paper
Collection of the Artist


Jarrett Christian of Atlanta, Georgia, believes that “the four notions of freedom, put forth by Franklin D. Roosevelt are still cause, in the minds of Americans, to get out of bed, go to work, and put food on the table. But I also believe that we question the strength of the structure on which we place the weight of these ideals.” In this allegory, Lady Liberty is represented as a lifeless figure, while elephants and donkeys in the distance, chained to a rail car, are pulling in opposite directions
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John Dempsey
Sunday Night/Monday Morning, 2017
Acrylic on Masonite
Collection of the Artist


The interior of a church and a factory are brought together in John Dempsey’s painting, which reimagines Norman Rockwell’s Freedom of Religion and Freedom from Want. A reflection on “the transition from Sunday night into Monday morning,” the piece connects the spiritual and the temporal. The artist resides in Flint, Michigan, once known as Vehicle City for its active car industry, before a shrinking economy and the loss of jobs caused many to fall into poverty. A view from the Staten Island Ferry looking north into New York Harbor leads us to the Statue of Liberty, which carries a torch that lights a path to liberty, freedom, and hope.
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Jonathan Monaghan
The Friend of the Family, 2017
Digital print on aluminum
Collection of the Artist


Evoking collective fears surrounding authority, commercialism, and technology, Jonathan Monaghan’s video installations and related prints portray a kind of dystopic fantasy. This piece depicts an idealized bedroom, in which an ominous technological contraption hovers like an alien spaceship. Golden surveillance cameras and stanchions evoke a type of security state. “Referencing Norman Rockwell’s Freedom from Fear, my work subverts Rockwell’s warm, family scene in favor of a glossy, dehumanized coldness, eliciting fears and anxieties surrounding technology and the future,” said the artist, who is based in Washington, D.C.
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Kathryn Scott
Grassroots, 2017
Photograph
Collection of the Artist


A resident of Chicago, Illinois, Kathryn Scott is a photographer who takes inspiration from her family’s heritage as part of the Great Migration of African Americans who moved from the South to Northern states during the early twentieth century. “I don’t just see people moving through life when I look through the lens of my camera, but a story on every face,” said the artist. As in this work, she is especially interested in what connects us, and seeks to capture “images that coax in the viewer a feeling of universal familiarity, and an awareness of the freedoms that we hold dear in our nation.”
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Kenneth Laird
Freedom of Speech—Fake News, 2017
Graphite pencil and Photoshop on rag paper
Collection of the Artist


Created as a drawing and completed with digital media, this piece by Kenneth Laird of High Point, North Carolina offers a contemporary perspective on Freedom of Speech. “The American diet of round-the-clock cable news and the proliferation of “fake News” stories on social media has eroded this freedom’s foundation,” said the artist. An accomplished creative director, the artist is also a professional illustrator and portraitist.
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Leslie Sills
Le Marché, 2017
Oil on panel
Collection of the Artist


Le Marché captures the light and color of Italy’s Adriatic coast, where “a Muslim woman checks her cell phone with her baby happily secured on her back—the two about to shop at an outdoor market overflowing with fruits and vegetables,” caused the artist to reflect on the nature of freedom. Leslie Sills is a painter, author, and art educator who resides in Brookline, Massachusetts.



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Lisa Long
Religious Family Tree, 2017
Cut paper on board
Collection of the Artist


For Lisa Long of Dublin, California, “human connection is vital to our existence—connection to each other, to nature, to ideas. These are all part of the great human experience. My work in paper cutting reflects this need for connection because each part is integral to the structure of the overall piece.” Spiritual leaders representing diverse faiths and cultural traditions are represented in her art, including Mahatma Ghandi, Mother Teresa, and the Dalai Lama. A Muslim woman, a Sikh man, an Orthodox Jewish man, and a Hindi woman “who live their religious beliefs” are also integral to the composition.
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Louis Lamone (1918 - 2007)
Reference Photos for Blood Brothers, 1968
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1968 Norman Rockwell Family Agency. All rights reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.



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Louis Lamone (1918 - 2007)
Reference Photos for New Kids in the Neighborhood, 1967
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1967 Norman Rockwell Family Agency. All rights reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Louis Lamone (1918 - 2007)
Reference Photos of a study for Murder in Mississippi, 1965
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1965 Norman Rockwell Family Agency. All rights reserved.



Norman Rockwell (1894-1978)
Study for Murder in Mississippi, 1965
Oil on board
© 1965 Norman Rockwell Family Agency. All rights reserved
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Louis Lamone (models), Brad Herzog (location)
Reference Photos for Christmas Eve in Bethlehem, 1969
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1969 Norman Rockwell Family Agency. All rights reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Mai Ly Degnan
Defend Democracy, 2020
Digital print on paper
Collection of the artist
Mai Ly Degnan © 2020. All rights reserved.


“In this piece, I wanted to illustrate a scene of strong women
performing their civic duty of voting in this time of utmost
uncertainty,” said Mai Ly Degnan, who notes that though we are in the midst of a pandemic, “this is not the time to be silent or sit this one out.”


Degnan is an award winning illustrator currently based in Baltimore, Maryland. She has a passion for visual storytelling and enjoys creating illustrations featuring bright colors, stylized characters, and complex patterns. The Boston Globe, Bust Magazine, Baltimore City Paper, VICE Magazine, National Public Radio, Frankie Magazine, The Bark Magazine, Tigress For Girls, The Oyster Review, Midnight Breakfast, La Guarimba International Film Festival, Shameless Magazine, Until Now, and La La Land Australia are among her clients. She teaches illustration at the Maryland Institute College of Art and at Towson University.
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Marcia Haffmans
Breaking Free through Script (Script from Within), 2018
Synesthetic fibers, Duralar, nuts, and bolts
Collection of the Artist


A Dutch immigrant and former public defender, Marcia Haffmans of Minneapolis, Minnesota, focuses on the loss of freedom and the incarceration of women by incorporating authentic commentary from those behind bars in her art. She obtained personal reflections by distributing a call for submissions to correctional facilities, inviting participants to write any topic of importance to them. “To visualize these unheard voices, I trace fragments of the authentic handwritings of the women through hand-stitching, with needle and thread,” Haffmans said. “Each handwriting sits in a unique sculpture made from synthetic polymers and fibers as a lasting heritage.”
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Norman Rockwell (1894 - 1978)
Portrait of Dwight D. Eisenhower, 1952
Cover illustration for The Saturday Evening Post, October 11, 1952
Tear Sheet
Norman Rockwell Museum Collection
© 1952 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Portrait of Richard M. Nixon, 1960
Cover illustration for The Saturday Evening Post, November 5, 1960
Tear Sheet
Norman Rockwell Museum Collection
© 1960 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Portrait of John F. Kennedy, 1960
Cover illustration for The Saturday Evening Post, October 29, 1960
Tear Sheet
Norman Rockwell Museum Collection
© 1960 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Portrait of Lyndon B. Johnson, 1964
Story illustration for Look Magazine, October 20, 1964
Tear Sheet
Norman Rockwell Museum Collection
© 1964 Norman Rockwell Family Agency


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Norman Rockwell (1894-1978)
Charcoal Study for War News, c,1944
Charcoal on paper
© 1944 Norman Rockwell Family Agency. All rights reserved



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Norman Rockwell (1894-1978)
Color Study for Freedom of Worship, 1943
Digital Reproduction
© 1943 Norman Rockwell Family Agency. All rights reserved


Rockwell’s Four Freedoms went through conceptual and compositional adjustments before they were finalized. An early study for Freedom of Worship reveals that he considered portraying men representing different religious traditions informally enjoying each other’s company in a barbershop. He eventually found this approach to be too lighthearted and stereotypical, and created a more serious, symbolic design.


Study for Freedom of Worship, 1943
Oil and pencil on posterboard with acetate overlay
© 1943 Norman Rockwell Family Agency. All rights reserved
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Norman Rockwell (1894-1978)
Color Study for New Kids in the Neighborhood (Negro in the Suburb), 1967
Oil on canvas
© 1967 Norman Rockwell Family Agency. All rights reserved
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Norman Rockwell (1894-1978)
Color Study for Shuffleton's Barbershop, 1950
Oil on canvas
© 1950 Norman Rockwell Family Agency. All rights reserved


Color Study Shuffleton's Barbershop, 1950
Oil on photograph on mounter board
© 1950 Norman Rockwell Family Agency. All rights reserved
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Norman Rockwell (1894–1978)
Armchair General, c. 1944
The Saturday Evening Post, April 29, 1944
(Partial)
Norman Rockwell Museum Collection
© 1944 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894–1978)
Events, 1965
Handwritten pencil notes on paper
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved




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Norman Rockwell (1894–1978)
Portrait of Model Lynda Gunn
Studies for The Problem We All Live With,
Look, January 14, 1964, pp. 22–23
Oil on board
Norman Rockwell Museum Collection, from Lynda Gunn,
Norman Rockwell Museum Art Collection Trust, NRM.2016.03.1
© 1963 Norman Rockwell Family Agency. All rights reserved.




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Norman Rockwell (1894–1978)
Portraits of Model Lynda Gunn
Studies for The Problem We All Live With,
Look, January 14, 1964, pp. 22–23
Pencil and charcoal on paper
Norman Rockwell Museum Collection, from Lynda Gunn,
Norman Rockwell Museum Art Collection Trust, NRM.2016.03.1
© 1963 Norman Rockwell Family Agency. All rights reserved.


Inscription:
My very best wishes to one of my favorite models,
Lynda Jean Gunn


Sincerely, Norman Rockwell



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Norman Rockwell (1894–1978)
Willie Gillis: Food Package, 1941
Cover illustration for The Saturday Evening Post, October 4, 1941
Tear Sheet
Norman Rockwell Museum Collection
© 1941 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894–1978)
Victims, 1965
Handwritten pencil notes on paper
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Norman Rockwell (1894–1978)
Victims, 1965
Typewritten notes on Norman Rockwell stationery, 10.25 x 7.25 inches
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved




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PETER ROCKWELL: This painting illustrated an article in a 1970 issue of Look magazine called “Uneasy Christmas in the Birthplace of Christ.”


What we’re seeing is the annual Christmas Eve procession at the Basilica of the Nativity in Bethlehem. The Basilica was built on the site where Jesus is thought to have been born. At first, it might be hard to figure out exactly what’s going on. The main event is the brightly lit procession in the courtyard, but we can barely see it, sandwiched between the large dark figures in the foreground, and the brilliant starry sky above.


My father and stepmother traveled to Bethlehem and watched the ceremony from the roof of their hotel. Originally, the cast of characters in the foreground was to include a Christian, an Arab, a Jew and a Muslim. In the finished work, we see a Western family of tourists, two soldiers and, on the left, a lone Arab.


Look closely at the sky above them. It, and the stars, actually seem to sparkle. Layer after layer of transparent glazes on top of the color created this luminescent effect.
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PETER ROCKWELL: This image, from 1966, marked the fifth anniversary of the Peace Corps, and appeared on the cover of Look magazine. We see a group of young people of all races. These are the Peace Corps volunteers, who travel abroad to assist developing countries. Most of the models were actual volunteers. Leading them, in the top left corner, is John F. Kennedy. My father’s portrait of President Kennedy is based on a photograph by Jacque Lowe. Kennedy hoped that this program would promote understanding between nations.


Linda Pero:


LINDA PERO: There’s a group of heads put together in a sort of physically impossible … space … for effect. And Rockwell does this every time he needs to represent a variety of people. So it happens, for instance, … in paintings about the Boy Scouts where he’s illustrating different types of Scouts. And it happens in paintings about, … the military, … where he’s depicting different branches of the service. … The most famous use …of this sort of device is, of course, “Freedom of Worship,” where he’s showing the different religions.
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Peter Zierlein
Freedom of Speech, 2017
Lithograph on paper
Collection of the artist


A native of Germany and resident of Northampton, Mass- achusetts, Peter Zierlein feels that “freedom of speech is under attack. We live in the post-fact era, an era of fake news.” In this work, he chose “a red, white and blue theme, as these issues are American issues, and the colors represent the polarity in society.” The artist has created elaborate papercuts for posters, murals, and illustrations for The New York Times, The Washington Post, and The Nation, among others.



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Pops Peterson
Freedom from What? (I Can’t Breathe), 2015
Digital print on canvas
Collection of the artist


Created in 2014, this work reflects the tragic struggle of Eric Garner, a Staten Island man who died after being placed in a chokehold by an arresting officer. While being held down by police, Garner repeated the words “I can’t breathe” eleven times. “I knew this modern-day lynching would be historic. Yet I never could have fathomed that years later these very words would again be cried out by Manuel Ellis, Javier Ambler, and George Floyd⸺handcuffed Black men pleading with police in vain, and on camera, for their lives,” said Peterson. It is the artist’s hope that “a new golden age of tolerance and brotherly love will rise like the phoenix.”
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Pops Peterson
Freedom of Faith (All Faiths Equal One Faith), 2016
Digital print on paper
Collection of the artist


Inclusion and respect for all faith and non-faith traditions is the theme of this work, which also reflects the diversity of the Berkshire region’s residents. Protestant, Catholic, Jewish, Muslim, Hindu, Spiritualist, independently faithful and atheist models all came to be photographed at Mont Vert Studio in Canaan, New York, to portray their own faiths.
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Pops Peterson
Pride and Joy, 2020
Digital print on canvas
Collection of the artist


Looking on from the far left, Pops Peterson makes a cameo appearance in this contemporary take on Rockwell’s 1957 Post cover, After the Prom. Staged at the West Taghkanic Diner in Ancram, New York, the piece reflects Peterson’s careful attention to the details of gesture, expression, and clothing, and a uniqueness of setting that establishes a clear sense of place—an approach that is reflective of Rockwell’s own working methods. Peterson is enchanted by young lovers Soumya Boutin and Jay Grahm while Sam Backhaus sniffs the fragrant bouquet.
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Pops Peterson
Sailor’s Best Friend, 2014
Digital print on canvas
Collection of the artist


Inspired by Rockwell’s Home on Leave, a September 15, 1945 cover for The Saturday Evening Post, this work is Peterson’s first foray into the appropriation of the illustrator’s art. In Peterson’s version, the sailor’s pack of cigarettes is replaced by a blue iPhone, but like Rockwell, it incorporates just the right model, Nicholas Browne, animal, the late Ricardo, and props. The artist used a reflector to magnify the sense of light and shadow in the work, and Adobe Photoshop transformed his photograph into a painterly narrative.
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Pops Peterson
St. Joan, 2015
Digital print on canvas
Collection of the artist


In Rockwell’s 1954 Girl at Mirror, an adolescent girl dreams of being a movie star, but in Peterson’s St. Joan, she longs to break down gender barriers by becoming a Boy Scout. In 2018, the national scouting organization announced that it was changing its name and that it would welcome both girls and boys, ages eleven to seventeen, into Scouts BSA.
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Pops Peterson
Stockbridge Fire Department to the Rescue, 2014 and 2019
Digital print on canvas
Collection of the artist


Set in Joe’s Diner, a Lee, Massachusetts landmark that also inspired The Runaway, Rockwell’s 1958 Post cover, this scene features Stockbridge police officer Heidi Teutch and young Benjamin Gross in a warm exchange. Teutch volunteered to pose for Peterson’s recreation but had to seek permission to be photographed in her uniform. Ultimately, the Stockbridge fire department assisted by providing a uniform for Teutch to wear. Peterson chose to pair a female police officer and a child of color in this scene, noting that “the chemistry of the woman and the child is warm. She gives him her cap to wear⸺she’s helping him.” Originally shot in 2014 with Jim Finnerty as the soda jerk, it was revised in 2018 to feature Ed Locke, who portrayed the runaway boy in Rockwell’s original.
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Pops Peterson
Thanksgiving Gay Dinner, 2014
Digital print on canvas
Collection of the artist


In this joyous scene, Peterson and husband Mark Johnson host a Thanksgiving Day gathering of the couple’s close friends. Set in the home of Stockbridge neighbors Carol Murko and Jim Finnerty, the image was inspired by the warmth of an actual holiday celebration and by Rockwell’s 1943 Freedom from Want.
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Pops Peterson
The Education of Lance Corporal Will Cisneros, 2015
Digital print on canvas
Collection of the artist


During World War II, Rockwell’s Willie Gillis series for The Saturday Evening Post told the story of a fictional private’s experiences in a decidedly lighthearted tone. In the last of eleven covers, published in 1946, Gillis is studying comfortably at a window looking out at the Old Chapel at Middlebury College, his college education made possible by the GI Bill. “In my update, Latinex soldier Will Cisnernos goes go college after having served in Afghanistan,” Peterson said. He is surrounded by the trappings of his dorm room but close inspection reveals that Cisneros has lost a foot while in service to his country; a purple heart commemorates his sacrifice. Prescription drugs are indicative of his ongoing pain, but his bicycle helmet and guitar reveal that he enjoys mobility and music as he pursues his studies and works toward his future.
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Pops Peterson
Welcome to the Neighborhood, 2019
Digital print on canvas
Collection of the artist


In Peterson’s welcoming scene, Rockwell model Wray Gunn (second from left) appears in this artwork for a new age. A resident of Lee and Stockbridge, Massachusetts in his youth, Gunn modeled for Rockwell as a boy who loved baseball in the artist’s 1967 New Kids in the Neighborhood, which addressed the theme of racial integration in America’s suburbs. An ancestor of Agrippa Hull, who lived in the Berkshires before and after fighting in the American Revolution, Gunn shared his experiences with visitors as a Norman Rockwell Museum guide. This work on the theme of tolerance is a companion to Saying Grace in the Main Street Café.
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Pops Peterson
What the Hell? 2015
Digital print on canvas
Collection of the artist


Inspired by Rockwell’s 1943 Freedom of Speech, the artist notes that this work represents “those who have been marginalized and have fought for inclusion in the political process.”
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Pops Peterson
When I’m in the International Space Station, 2020
Digital print on canvas
Collection of the artist


Massachusetts State Representative Wm. Smitty Pignatelli floats in a gravity-free environment in this work, which takes inspiration from When I Am An Astronaut, Rockwell’s 1969 book illustration featuring Pignatelli as a model. He recalls the difficulty of holding a challenging pose, which required that his head remain lifted during Rockwell’s photography session. We are honored to include Pignatelli’s astronaut suit among the Norman Rockwell Museum’s archival collections.
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Robert Selby
Colored/White, 2016
Oil on wooden door
Collection of the Artist


Robert Selby of Colton, New York has observed that “despite the election of Barack Obama, the first president of color, this nation has yet to come to terms with the legacy of slavery and segregation. Racism confronts America like a closed door. We have made progress, but we are not truly free as long as doors remain closed. My diptych, Colored/White, takes Negro League baseball as a theme because our ability to overcome barriers intersects profoundly in this uniquely American pastime.” A self-taught artist who began his career as a newspaper illustrator, Selby has taught at Rhode Island School of Design and University of Massachusetts, Dartmouth, among others.
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Robyn Phillips-Pendleton
Who Are We The People?, 2018
Oil and Casein on Claybord
Collection of the Artist


Robyn Phillips-Pendleton examines questions of American identity and inclusiveness for people of different races, cultures, and religions who seek the ideals of freedom reflected in Roosevelt’s words and Rockwell’s imagery. Associate Professor of Visual Communications at University of Delaware, Newark, Phillips-Pendleton has worked as a graphic designer and illustrator, creating imagery for institutions, magazines, and books. A United States Air Force Artist, she has been commissioned to create paintings featuring the activities of the armed forces, including their work in Haiti following a catastrophic earthquake.



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Rudy Gutierrez
Sacred Scream/Humanity, Not Politics, 2020
Acrylic, colored pencil, crayon on Bristol paper mounted on board
Collection of the artist
Rudy Gutierrez © 2020. All rights reserved.


Rudy Gutierrez feels “a deep sense of responsibility as a person of color, specifically of Puerto Rican heritage, to tell stories particularly from our point of view.” In this work, the artist addresses injustice “inclusive of the immigrant children at the borders in concentration camps, separated from their families, and racist police killings of people of color, most notably African Americans. Whether we scream sacredly from our hearts, minds, or souls it is about voting for humanity not politics, and each of us to must do what we can where we stand.”


An award-winning illustrator born in the Bronx, New York, Gutierrez is a professor of illustration at Pratt Institute, where he has taught since 1990. His work has appeared in films and performances, and on U.S. Postage stamps (Musical Icon Series/Jimi Hendrix), posters, and LP/CD covers. Gutierrez’s art for Santana’s Shaman was used as a set design in the 2002 Super Bowl half-time show, and more recently, his paintings have been commissioned for Santana’s In Search of Mona Lisa and Chasing Trane: The John Coltrane Documentary. His art is featured in public and private collections including those of musical icons Carlos Santana, Clive Davis, and Wayne Shorter.
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Sarah Fukami
Jiyu (Freedom)
Acrylic and laser cut Plexiglas
Collection of the Artist


For Denver, Colorado artist, Sarah Fukami, the irony of President Franklin D. Roosevelt’s Four Freedoms was the contradiction of these ideals by Executive Order 9066, which led to the internment of thousands of Japanese-Americans following the bombing of Pearl Harbor. Here, the artist focuses on “the façade of freedom propagated by the president through the use of images taken from Manzanar, one of ten internment camps operated by the United States government during World War II. Jiyu (Freedom) seeks to reveal buried histories and warn against the repetition of these atrocities.”
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Sarah Hoskins
Jumpin Jimtown, 2004
Gelatin silver print
Collection of the Artist


This image by Sarah Hoskins of Libertyville, Illinois, is part of The Homeplace, a series of photographs focusing on the African American hamlets in Kentucky’s inner Bluegrass Region. “In the decade after the Civil War, these were originally inhabited by freed slaves who worked on area farms,” wrote the artist. “My project is a tribute to the elders who learned of slavery at their grandparents’ knees and endured the Jim Crow south—who lived ‘separate but equal’ and saw milestones and their impacts, including desegregation, social segregation, and the election of President Barack Obama. The residents did much more than endure and survive negative circumstances, they rose above them and thrived.”
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Soody Sharifi
The Game, 2018
Photograph
Collection of the Artist


Iranian American photographer Soody Sharifi of Houston, Texas has a foot planted firmly in in both cultures, and often explores the notion of identity in his art. His piece was inspired by Norman Rockwell’s 1967 painting for Look, New Kids in the Neighborhood. “The Game asks what it means to be both American and Moslem today,” said the artist. “Is there a conflict between the two identities, particularly during the formative period of adolescence? Are the values of Islam and democracy inherently in conflict with one another, or is this an unquestioned assumption? How have Muslims viewed themselves within American culture, and how has that changed post 9/11?”



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Stephanie Angelo
Four Freedoms (Marriage Equality, Agent Orange, Lettuce Picker, Stalin), 2017
Digital print on paper
Collection of the Artist


Stephanie Angelo of Boston, Massachusetts is drawn to “the immediacy and boldness that characterizes Pop Art.” In considering the Four Freedoms, she thought of the coloring books that she spent much time with as a child, and wanted to combine the comics-inspired stylistic elements of Pop with content focused on current social issues. “Freedom to love and freedom to work, freedom to have clean air and a healthy environment, and freedom to vote in our democracy” were her reflections of freedom today.
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Tim O’Brien
Vote! 2020
Oil on board
Collection of the artist
Tim O’Brien © 2020. All rights reserved.


In this piece, illustrator Tim O’Brien updated J. Howard Miller’s famous World War II icon, Rosie the Riveter, a symbol of women’s strength and determination for a new age. “African American women had a powerful role in the primary season and are likely to make a difference in the national elections this year,” said O’Brien, who reflected this observation in his art.


O’Brien is an award-winning illustrator and portrait painter whose work is frequently published on the covers of Time, and in Der Spiegel, Smithsonian Magazine, GQ, Rolling Stone, Nautilus Magazine, Newsweek, TV Guide, The Atlantic Monthly, Business Week, Entertainment Weekly, Esquire, National Geographic, New York Magazine, The New York Times, and Reader’s Digest. His art has appeared on book jackets for The Hunger Games and many others by Avon Books, Dial, Harper Collins, Penguin, Scholastic, Simon & Schuster, TOR, Viking, and Warner. The designer of several U.S. postage stamps including Hattie McDaniel, Judy Garland, and Shirley Temple, he teaches at University of the Arts in Philadelphia and currently serves as president of the Society of Illustrators in New York.
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Unknown Photographer
Publicty photograph of Four Freedoms models during radio show, c.1943
Digital Scan
Norman Rockwell Museum Archive
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Unknown Photographer
Reference Photos Norman Rockwell Visits a Ration Board, 1944
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1944 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Unknown Photographer
Reference Photos for Armchair General, c. 1944
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1944 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Unknown Photographer
Reference Photos for Liberty Girl, 1943
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust
© 1943 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Unknown Photographer
Reference Photos for Shuffleton's Barbershop, 1950
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1950 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Unknown Photographer
Reference Photos for War News, c.1944
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1944 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Unknown Photographer
Reference photos for Back to Civvies, 1945
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1945 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Unknown Photographer
Reference photos for Thanksgiving: Mother and Son Peeling Potatoes, 1945
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1945 Norman Rockwell Family Agency. All Rights Reserved.


To assist with his artistic process, Rockwell would design scenes with models and props that he would photograph. He would later compose his final image referencing these photographs.
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Whitney Sherman
Vote: Defend Democracy, 2020
Digital print on paper
Collection of the artist
Whitney Sherman © 2020. All rights reserved.


“When thinking about voting today, I’m mindful of the need to be vigilant…and of the energetic beauty that comes from everyone doing their part to be good citizens,” said Whitney Sherman, who found inspiration in initiatives like the Women’s March on Washington when designing this piece. “To vote means to participate in the experiment of democracy, an experiment that doesn’t continue on its own. It needs each and every one of us to exist.”


Sherman is an illustrator, educator, and author whose art has appeared in The New York Times, Business Week, Forbes and most national publications. The Discovery Channel, Random House, Henry Holt & Co, McGraw-Hill, Southern Poverty Law Center, The American Red Cross, The Ad Council, American Federation of Teachers, American Medical Association, Johns Hopkins Hospital, American Bar Association, Robert Wood Johnson Foundation, Stanford University, and Harvard University are among her many clients. Sherman is the creator of the Breast Cancer Research stamp, the nation’s first semi-postal stamp, which has raised over $88 million dollars for research; it is the longest running stamp in the U.S. Postal Service’s history. She is Founding Director of the MFA in Illustration Practice at Maryland Institute College of Art, and is co-editor of History of Illustration, the first textbook devoted to illustration history across cultures.
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Yuko Shimizu
Defend Democracy (Lady Liberty), 2020
Digital print on paper
Design by Atelier Olschinsky Grafik und Design OG
Collection of the artist
Yuko Shimizu © 2020. All rights reserved.


In her poster design, Yuko Shimizu reimagined the Statue of Liberty as a superheroine, draped in the American flag, her torch replaced by a flaming fist. “Each individual voter is a superhero,” she said. “This is the beauty of democracy and we have to keep this intact. I wanted to create a poster that is unapologetically American, powerful and hopeful.”


A Japanese illustrator who is based in New York City, Shimizu teaches at the School of Visual Arts. Newsweek Japan has chosen her as one of “100 Japanese People the World Respects.” Her art has been seen on t-shirts for The Gap, Pepsi cans, VISA billboards, and on MTV; in advertisements for T-Mobile, Target, Apple, Microsoft, NIKE, Visa, and Target; and in publications by Penguin, Scholastic, and DC Comics. Time, Newsweek, The New Yorker, GQ, Rolling Stone, and WIRED frequently feature her illustrations. Yuko Shimizu, her self-titled monograph, was released in 2011, and Living with Yuko Shimizu was published in 2016. A Wild Swan, Barbed Wire Baseball, and Japanese Tales are among her illustrated books.
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讲述人:
Alice Carter
作家、插画家、诺曼洛克威尔博物馆主席


1939年9月29日,德国与苏联就占领的波兰达成划分协议。希特勒政权将接管布格河以西的所有范围,斯大林势力则将控制东面的一切。


第二天,也就是1939年9月30日,休赫顿(Hugh Hutton)的社论漫画“葬礼致辞”出现在《费城调查者》上。在其漫长的职业生涯中,赫顿共为《费城调查者》完成了3800多幅社论漫画。他很少刻画名人或政治家的形象,更喜欢通过寓言人物传达他的思想。他经常会用穿白衣的女性代表和平、正义与真理等价值观。在这幅作品中,所有美好形象均已倒下,代表德国和苏联的两只秃鹰则夸耀着自己的胜利。


赫顿1897年9月11日出生于内布拉斯加州林肯市。在明尼苏达大学就读两年后,他入伍参军并在一战中服役。战争结束后,他继续在明尼阿波利斯艺术学校学习。在职业生涯转向纽约后,他曾在Art Students学习,并在United Features Syndicate出版社找到了自己社论插画的市场。


1934年,他接受了《费城调查者》抛出的橄榄枝并一直为其工作到1969年退休。
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讲述人:
Alice Carter
作家、插画家、诺曼洛克威尔博物馆主席


在其近60年的职业生涯中,Jerry Aloysius Doyle的社论漫画曾出现在费城各大主流报纸上,并通过联合供稿发表在全国其它数百份期刊中。作为罗斯福国内外政策的热心拥护者,Doyle从不讽刺总统,反而常常为之加注英雄光环。


在《罗斯福支持养老金》中,Doyle将总统描绘成一对老夫妻的潜在救世主,穿着旧时代的服装,十分正式。尽管十分贫穷,但他们仍努力保持体面。壁炉中燃着火,盖罩上摆着玫瑰花,但窗户已然开裂、桌布上有补丁。他们脚下的地上有两张报纸,描绘了他们将要面对的未来。其中一份标题写着:“罗斯福将推迟养老金”,另一份则写着:“罗斯福支持养老金”。摆在玫瑰花旁的则是罗斯福的肖像,标有“我们的总统”。


罗斯福担任纽约州州长时首次提出养老金计划,这也成为新政的重要组成部分之一。关键在于如何找到资金。任何国家保险计划都要建立在工人薪水的纳税基础上——但1942年之前都没有这笔资金。另一方面,老年群体则饱受着煎熬。解决方案是《社会保障法》第一项——这是各州与联邦政府为提供即时老年补助的联合计划。1935年8月14日,罗斯福总统签署了这项法案,并在放下笔时说到:“多年心愿终于大体实现了”。
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讲述人:
Alice Carter
作家、插画家、诺曼洛克威尔博物馆主席


玛莎索耶斯(Martha Sawyers)1902年出生于德克萨斯科西卡纳。她在纽约艺术生联盟呆了五年——后来,用她的话说:“他们把我踢出去了,说我必须利用自己所知而有所作为。”


“我们应当帮助中国”是索耶斯在1942年至1943年期间为美国援华联合会——一家在二战期间致力于帮助中国难民的援助机构协会——设计的两款海报之一。虽然索耶斯更喜欢创作油画,但紧迫的交稿时间让她不得不混用多种媒介——正如这幅海报中所见,她有时会融合油画、水彩、蜡笔和普通彩色蜡笔画来营造她需要的效果。


这幅描绘难民家庭的感性画作是索耶斯亲眼所见的场景。1937年,在与插画师丈夫威廉罗斯维格(William Ruesswig)*一起旅行时,她侥幸从日军进攻中国卢沟桥的战役中逃脱。当她回到纽约后,她旅行中的绘画作品引起了积极关注,于是科利尔杂志委托她创作一系列文章和插画以记录她的亚洲印象。二战期间,勇敢的索耶斯回到亚洲,以科利尔和生活杂志特约艺术家/通讯员身份报道太平洋战区的状况。
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讲述人:
Allida M. Black
乔治华盛顿大学历史与国际事务研究教授


每个人提到四大自由都会首先想到诺曼洛克威尔和那四幅标志性画作,然后会有一半人会想到罗斯福地标。


和罗斯福一样,不过更多出于直觉,埃莉诺理解先有消极自由,再有积极自由。因此,在他们阐明“四大自由”的概念之前,她先讲述了免于饥饿的自由。谈到了免于恐惧的自由。也谈及梦想的自由。语言也许不同,但原则无异,也正是罗斯福夫人在美国冒着人身危险来支持其真正内含。


当她抵达联合国时,她看到了遍及亚洲、遍及欧洲、遍及美国的伤者。联合国安排她前往大屠杀营,送她去安置营。最终,她憧憬着我们永远不会被仇恨、种族优越感、宗教偏见和性别歧视所定义,真正担负起救助世界的责任。我们必须给自己新的视野。


她还将“四大自由”带进了谈判室,并解释了“四大自由”的含义。希望大家思考一下。餐桌大小的房间。围坐着18个国家。彼此信奉的上帝各不相同,更有甚者不相信上帝的存在。它们不相信财产私有,也不认为钱是好的。他们对家庭有不同的理解。他们对公民权利有不同的解释。他们唯一的共同点是:“上帝,我们打败了德国人。”因此,她把与生俱来的责任化作免于恐惧的自由、言论自由、信仰自由、免于匮乏的自由,并把它们合在一起,让大家团结起来。


能够证明她的卓越领导力的不只有“世界人权宣言”,还有30个“四大自由”的实例。希望大家能看看这些文章,然后欣赏洛克威尔四幅作品——包括黄金法则、包括鲁比布里奇斯——的任一幅作品,而不是通过作品的所有DNA去观察它们。
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讲述人:
Brian Allen
美国艺术学者


《言论自由》是洛克威尔为数不多的几幅根据真实发生的事件创作的作品之一。


阿灵顿原本有一所20世纪20年代创立的高中,但1940年的一场大火将它烧毁。因此,小镇需要立即决定是再新建一所高中,还是选择把孩子们送到邻镇上学。于是,小镇发起了一项为新建高中筹集资金的活动,而这一行为需要通过镇上选民大会的批准。


在佛蒙特州和新英格兰地区的大部分城镇中,镇政府会议会赋予每个人投票权,每一位业主都是立法者。每位选民都有权利出席选民大会并投票决定拨款额,这次的拨款对象是高中。


吉姆埃杰顿(Jim Edgerton)是镇上的一位农场主,他在会上站起来反对花钱新建高中的做法。当时正值大萧条时期,商品价格暴跌,他每个月要靠卖牛奶支付各项账单。他其实并不穷,但佛蒙特州的大萧条让他和其它所有人一样,倍感沮丧。因此,他对提高税收的问题十分敏感。


洛克威尔选取的场景就是埃杰顿说出自己想法的那一刻,大家都在认真听他讲话——其它选民、其他立法者都在认真聆听他的意见,礼貌而尊重。


虽然吉姆埃杰顿才是真正站起来讲话的人,但他却并不是洛克威尔想要突出每个人在选民大会上都有独立投票权和话语权这一主题的典型人物。洛克威尔想要的是如林肯一般的人,这才是他追求的。他要的是一个普普通通的人。所以,他将卡尔赫斯(Carl Hess)——镇上加油站的老板——作为典型;他的长相正是洛克威尔寻求的样子。
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讲述人:
Brian Allen
美国艺术学者


《言论自由》是洛克威尔为数不多的几幅根据真实发生的事件创作的作品之一。


阿灵顿原本有一所20世纪20年代创立的高中,但1940年的一场大火将它烧毁。因此,小镇需要立即决定是再新建一所高中,还是选择把孩子们送到邻镇上学。于是,小镇发起了一项为新建高中筹集资金的活动,而这一行为需要通过镇上选民大会的批准。


在佛蒙特州和新英格兰地区的大部分城镇中,镇政府会议会赋予每个人投票权,每一位业主都是立法者。每位选民都有权利出席选民大会并投票决定拨款额,这次的拨款对象是高中。


吉姆埃杰顿(Jim Edgerton)是镇上的一位农场主,他在会上站起来反对花钱新建高中的做法。当时正值大萧条时期,商品价格暴跌,他每个月要靠卖牛奶支付各项账单。他其实并不穷,但佛蒙特州的大萧条让他和其它所有人一样,倍感沮丧。因此,他对提高税收的问题十分敏感。


洛克威尔选取的场景就是埃杰顿说出自己想法的那一刻,大家都在认真听他讲话——其它选民、其他立法者都在认真聆听他的意见,礼貌而尊重。


虽然吉姆埃杰顿才是真正站起来讲话的人,但他却并不是洛克威尔想要突出每个人在选民大会上都有独立投票权和话语权这一主题的典型人物。洛克威尔想要的是如林肯一般的人,这才是他追求的。他要的是一个普普通通的人。所以,他将卡尔赫斯(Carl Hess)——镇上加油站的老板——作为典型;他的长相正是洛克威尔寻求的样子。
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讲述人:
Brian Allen
美国艺术学者


《言论自由》是洛克威尔为数不多的几幅根据真实发生的事件创作的作品之一。


阿灵顿原本有一所20世纪20年代创立的高中,但1940年的一场大火将它烧毁。因此,小镇需要立即决定是再新建一所高中,还是选择把孩子们送到邻镇上学。于是,小镇发起了一项为新建高中筹集资金的活动,而这一行为需要通过镇上选民大会的批准。


在佛蒙特州和新英格兰地区的大部分城镇中,镇政府会议会赋予每个人投票权,每一位业主都是立法者。每位选民都有权利出席选民大会并投票决定拨款额,这次的拨款对象是高中。


吉姆埃杰顿(Jim Edgerton)是镇上的一位农场主,他在会上站起来反对花钱新建高中的做法。当时正值大萧条时期,商品价格暴跌,他每个月要靠卖牛奶支付各项账单。他其实并不穷,但佛蒙特州的大萧条让他和其它所有人一样,倍感沮丧。因此,他对提高税收的问题十分敏感。


洛克威尔选取的场景就是埃杰顿说出自己想法的那一刻,大家都在认真听他讲话——其它选民、其他立法者都在认真聆听他的意见,礼貌而尊重。


虽然吉姆埃杰顿才是真正站起来讲话的人,但他却并不是洛克威尔想要突出每个人在选民大会上都有独立投票权和话语权这一主题的典型人物。洛克威尔想要的是如林肯一般的人,这才是他追求的。他要的是一个普普通通的人。所以,他将卡尔赫斯(Carl Hess)——镇上加油站的老板——作为典型;他的长相正是洛克威尔寻求的样子。
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讲述人:
Daisy Rockwell
艺术家兼作家


在我看来,只要放开视野,任何人都有让周围世界变美好的潜力这一点非常震撼人心;我认为很明显的是……让他的视野变得更加开阔,民权运动的精神更鼓舞着他。我是说我并没有和他坐下来询问他这些问题,但从他画作的变化中,我们可以读出这一轨迹。那段时期改变了许多人,他也不例外;这段故事似乎尚不为大众所知,因此我很高兴它能在《四大自由》展中展出。因为这体现了他经历过的40年代到60年代间的变化过程,我们不能只顾其一,不及其二。


我绝对同意艺术可以激发人们参与,因为每当社会发生重大问题,其实一定程度上是因为我们的思想陷入困境。人们的思维出现僵化,而如今这种情况可能甚至更糟。人们深陷其中,谁也无法走出去。我们都明白,对错相生、黑白共存,但它们无法……因此艺术家所做的就是打破一切——如果把它比作一件瓷器,那么艺术家就是将它打碎然后粘成另一种形态,好让我们从不同的角度去看待它。
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讲述人:
Douglas B. Dowd
艺术与美国文化研究教授 - 华盛顿大学圣路易斯分校


在电视出现之前的年代,美国人民了解其他人如何生活、其他人穿什么、其他人的房子怎样,甚至日常基本的产品是什么样等相关信息的来源主要有两个:电影和杂志。各大杂志及其插画师无疑描绘了一幅社会生活各方面的画面,也描绘了一幅比真实社会略微美好的场景,并使之成为了理想标准:我可以这样。我可以有这个。我可以穿这个。


他们的说服力和驱动力有一大部分来自视觉表达、从风格和文字到直观的插图和照片。仔细想想,如果我们把杂志里的所有插图抽出,大概不会再有人愿意读它们。人们提到出版,总会想到内容。但实际上,包装、呈现与展示的方式对人们如何反应有着很大影响。


在报业历史发展中,好的排版——比如使用大尺寸的印刷排版营造视觉层次——往往被嘲讽为王婆卖瓜。因此,负责内容的人往往会对视觉排版进行嘲讽,但它其实很重要,一直很重要。也就是说,这些出版刊物的说服力来自其强有力的视觉效果。而那些图画和照片中的人以及他们所做的、他们穿的,乃至图中对未来生活的描绘才是其吸引力的核心。
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讲述人:
George Church III
志愿讲解员 - 诺曼洛克威尔博物馆


二战爆发、日本袭击珍珠港时,我和我父亲一起在看电影。然后我们看到,在这个场景的开始,看到一张纸在镜头和投影仪的光束之间晃动。上面说日本袭击珍珠港了。美国军队也报道过这件事。


但无论如何,这就是我对二战的认识的开始。在这之后,我开始参与飞机侦察工作。飞机侦察是我在文法学校通过几个朋友知道的。但是……我只有星期六才有机会拍摄飞机,因为我周一到周五要上学。我一般早上4点半或4点45分起床,吃完早饭后就骑着自行车出门。我得骑3英里才能到科勒尔盖布尔斯的迈阿密比特摩尔酒店。然后,我要放好自行车,然后走进大厅爬一会楼梯,才能找到能带我上去的电梯。再然后,我要找到塔楼并爬上塔楼,找到酒店塔楼里的观景台。这栋楼是迈阿密最高的楼,位于迈阿密国际机场正南方。这也是我们飞机侦察开始的地方。


我每周六早上6点到9点会去值班,带着我的飞机侦察记录本。我还有一台电话。我当时有一个伙伴,我们会彼此报告看到的在迈阿密机场起飞和降落的以及飞过的飞机的情况,我们时刻在线,也会通过电话沟通这些信息。


那本书十分宝贵,它是我与外界相连的方式,即使我……当时年纪很小。12月战争开始时,我12岁。我觉得这……与兵役本身无关,但这是我与那段历史的一种联系。我知道那本书是我经历的见证,也是我在战争的早期阶段……尽可能参与贡献力量的证明。
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讲述人:
Herman Eberhardt
监督博物馆策展人 - 富兰克林罗斯福总统图书馆与博物馆


1941年初,欧洲战争的炮火向所有人不断逼近。1939年至1940年间,德国横扫大部分西欧国家,英国则近乎孤立地抵抗着轴心国的攻击,这时的英国仿佛悬在一根绳子上。实际上,1940年底,丘吉尔曾向罗斯福写过一封长信,表示英国即将破产,很快将无力支付从美国进口武器的费用。


这则耸人听闻的消息让罗斯福萌生出租赁武器的想法,对英国出租更多物资,但不收取任何费用。1940年12月中旬,罗斯福在一次新闻发布会上首次公开讨论了这个租赁的概念或者想法。当月29日,他在电台发表了著名的炉边谈话,宣告美国将成为他所称的民主兵器库。总统计划用其国情咨文演讲争取通过国会通过这项租赁法案。


1941年1月1日晚,罗斯福召集了他的三个幕僚——哈里霍普金斯、萨姆罗森曼和罗伯特舍伍德——到他的白宫住宅中私下研究讨论。他们围坐在罗斯福的办公桌前,与他共同讨论总统一年一度的国会国庆咨文,该活动一般安排于1月6日进行。


在此次编辑会话的某一时刻,罗斯福说他突然想到应该怎样结束演讲。正如萨姆罗森曼后来回忆时所说,总统靠在他的转椅背上,向上看着天花板,像这样停了许久。随时间流逝,屋内其他人开始感到不安。然后,罗斯福猛然坐起来,从容宣布“四大自由”。总统就这样以从容不迫的节奏进行演讲,说罗森曼可以用黄色记录本将他说的每个词记录下来。那本记有罗森曼手写笔记的黄色笔记本现珍藏于罗斯福图书馆。有趣的是,如果我们把黄色笔记本上的内容与总统最后提交给国会联席会议的演讲终稿做比较,会发现它的内容与罗斯福的口吻几乎完全一致。几乎没有任何改动。
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讲述人:
Irvin Ungar
创始人兼CEO - Historicana /策展人 - The Arthur Szyc Society


很荣幸有机会向大家介绍亚瑟希克(Arthur Szyk),1894年出生于波兰Łódź(与Norman Rockwell同年),是一名犹太裔波兰艺术家。亚瑟希克于1940年移民美国,并于1951年逝世。


当他最终到达美国时,他认为自己是这场反希特勒斗争中的一员。他还认为自己是艺术界的罗斯福士兵(正如他在自己部分作品中的署名)。


亚瑟希克二战期间十分努力,积极反抗轴心国,还参与了欧洲犹太人的救援工作。


他在美国非常出名,尽管许多人都已忘记他是谁,他做过什么。比如,正如大家(观众)所知,20世纪40年代早期,诺曼洛克威尔曾为《星期六晚报》创作封面。同时,亚瑟希克还为科利尔杂志创作封面。《星期六晚报》的发行量有多少?三百万份左右。科利尔杂志的发行量有多少呢?二百五十万。


接下来我们聊一聊亚瑟希克与“四大自由”。这始于亚瑟希克创作的Washington and his Times(华盛顿与他的时代)系列作品。由38幅描绘国父华盛顿和美国独立战争的系列画作组成。1930年完成,并于1932年作为系列作品出版。1935年,亚瑟希克展出了这些作品。随后,波兰总统莫希奇茨基购买了这些作品,并于1935年将其赠给富兰克林罗斯福,一定程度上在二战前夕——纳粹已掌权的时候——为波兰与美国建立了更紧密的关系。


罗斯福将这些作品保存在白宫内;1941年1月罗斯福发表“四大自由”演讲时,这38幅自由之画就挂在白宫的墙上。它们都是亚瑟希克的作品。


1942年,希克开始创作《四大自由》。它们……就像一位中世纪骑士,几乎全力为自由而战,即努力争取所有自由;而希克采取的方式就是通过中世纪骑士,用他的矛、他的匕首、他的剑,捍卫每一寸自由。这些作品通过两种方式被转载。一种是作为画报邮票像复活节邮封一样广为发放。另一种,这是印刷成大号明信片发行。


这就是亚瑟希克与“四大自由”的渊源,既指罗斯福演讲时挂在白宫的作品,也与作品的复制印刷有关。
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讲述人:
James J. Kimble 博士
传媒学副教授 - 传媒与艺术学院
西东大学


在这张如今常常被称为“铆工露斯”的战争海报中,艺术家J.霍华德米勒向我们展示了一位正在展示自己的肌肉并自信表达自己能够完成手头工作的能力的坚定、自信的女性场景。虽然我们倾向于认为这幅作品在二战时期非常有名,但实际上它的名气相对来说并不大,它仅在西屋弹药工厂出现了两周(1943年2月)。两周后,由于纸张短缺,海报很快被回收。不过在这两周中,海报为西屋工人(包括男女工人)为公司劳动者建立了统一团结的典范,肯定了西屋每位工人都能完成各自的重要战时任务的能力。如今,已知现存的海报原件仅有2张。尽管原件稀少,但自20世纪80年代作为二战周年纪念再次出现后,米勒创作的这个形象在全世界广泛传播。它还不断被模仿,成为有史以来最著名的形象之一。
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讲述人:
James J. Kimble 博士
传媒学副教授 - 传媒与艺术学院
西东大学


这张新闻照片被广泛认为是J·霍华德·米勒(J. Howard Miller)“We Can Do It!”海报的灵感来源,如今一般被称为“铆工露斯”。20世纪80年代起,这张黑白照片与密歇根女子Geraldine Hoff Doyle联系在一起,她认为这是她1942年在工厂做工时的照片。但实际上,照片上的女子是一位名叫内奥米·帕克(Naomi Parker)的加州女性,她是第一批走进旧金山湾阿拉米达海军航空站机械工厂工作的女性之一。在阿拉米达工作期间,帕克确实当过铆钉工,除此之外还做过焊接工、装配工、机械工等(数十份与海军战机维修有关的工作)。1942年,这张照片登上美国各大报纸,让帕克收到了许多粉丝来信甚至求婚。不过,随着战争的结束,它渐渐从大众记忆中消失,直到Doyle在20世纪80年代的杂志上看到这张照片并错误地以为她是照片的主题,它才再次回到公众眼前。虽然这张照片与“We Can Do It!”海报的关系仍无法确定,艺术家米勒留下的记录很少,但帕克的容貌与海报中女子的样貌有许多明显相似之处。此外,20世纪40年代,这张照片确实在米勒家乡附近的匹兹堡报纸上出现过,因此他偶然发现照片并将之收藏作为创作参考图片的情况是有可能的。
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讲述人:
James J. Kimble, Ph.D.
传媒学副教授 - 传媒与艺术学院
西东大学


二战最著名的士兵并不是一名真实存在的士兵。他的名字叫威利吉利斯(Willie Gillis),是插画家诺曼洛克威尔丰富想象力的产物。1941年10月4日,这幅画出现在《星期六晚报》封面,标志着吉利斯第一次与世人见面。画中,艺术家向我们展示了一位天真稚气的新兵在新泽西州迪克斯堡新兵训练营的轻松时刻。观众会很快注意到,吉利斯收到了家里寄来的爱心包裹,包裹中很可能装有一些亲朋好友为了慰劳辛苦的士兵寄来的小礼物。不过,吉利斯的队友也注意到了包裹,他们脸上的表情透露出他们正在思考如何让他拿出新包裹。洛克威尔创作的这张轻松封面立即引起轰动,使得《星期六晚报》要求其创作更多关于Private吉利斯生活的场景。洛克威尔同意了,这个人物最终出现在近十期《星期六晚报》封面上;现在看到的这幅是1946年战后的最后一张插图,描绘友善的吉利斯前往GI Bill校园的场景,他的许多现实同伴也正做着一样的事情。那时,这个人物已十分有名。实际上,许多年轻的女粉丝都以为他的确是个小人物。其中一位粉丝Natalie Barden,最终遇见了威利的现实原型Robert Otis Buck,并与他结婚了。
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讲述人:
Mark Spelman
萨拉劳伦斯学院历史系


罗斯福的“四大自由系列”旨在阐明战后自由主义安全秩序的愿景,让和平与繁荣与信仰自由和言论自由等公民和政治权利都成为安全所需的要素。


“四大自由”被纳入罗斯福与丘吉尔签订的大西洋公约,并融入联合国1945年夏天颁布的宪章精神。当然,1945年夏天,罗斯福总统已经逝世。美国有了新总统——一位话少、更注重实干的总统。杜鲁门总统是一位非常聪明的政治家,他任命罗斯福总统的遗孀埃莉诺罗斯福担任委员会主席,负责起草《联合国世界人权宣言》。


罗斯福夫人埃莉诺在委员会与世界各地的杰出学者、外交官、理论学者和政治家一起工作,起草了这份绝妙的文件——《世界人权宣言》,联合国于1948年12月10日通过了这份文件。《世界人权宣言》明显就是“四大自由”。序言明确承认采用“四大自由”理论,并将其作为战后秩序重建的基础。而《宣言》本身则不断充实,并清楚地阐明实现“四大自由”的世界真正需要的每一种要素。
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讲述人:
Paul M. Sparrow
馆长 - 富兰克林罗斯福总统图书馆与博物馆,海德公园,纽约


罗斯福总统与丘吉尔首相的关系确实不一般,某种程度上可以说是20世纪历史,甚至整个美国史上最重要的一段合作关系。丘吉尔自一战以来一直参与英国的军事行动,这一点与罗斯福一样。他对世界格局有着非常独到的见解,他依然坚信大英帝国是世界上最重要的政治实体而且势不可挡,因此他决不允许大英帝国在他执政期间分崩离析。


因此罗斯福与丘吉尔在两艘大型战舰中的秘密会晤象征着巨头的到来。那时,丘吉尔率领不列颠群岛抵御纳粹进攻已有一年之久。他明白,英国的存亡取决于美国是否参战。罗斯福还在犹豫。他无法公开承诺,但他知道,美国终将参与其中;这正是他们真正最初起草“四大自由”的基础。


当然,丘吉尔曾在战时数次访问美国。珍珠港事件爆发后,他前往白宫并留驻数星期,占着一间卧房,穿着浴袍在宫中随意行走,疯狂饮酒,让每个人几乎崩溃,最重要的是,带着罗斯福整夜喝酒吸烟,让埃莉诺对整件事头疼不已。但这就是丘吉尔的工作方式。他可以将所有人卷入他的疯狂之中,但他总能找到令人拍手叫绝的好办法,也的确拥有全球视野。他们俩的关系非凡,我们应该庆幸的是,最终应对20世纪那场最大危机的幸好是这两位领导人。
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讲述人:
Ruby Bridges
民权活动家兼作者


那一天,我坐在送我去学校的车里,当车开过街角,路的两旁挤满了抗议者,但警察设置的封锁线将他们阻挡在外。到处都是警察。有的甚至骑着马或摩托车。所有你们在嘉年华狂欢时和游行时看到的人群管制场景,其实就是我当时看到的场景,我想象自己正在游行队伍中间;如今再想到这一点,才发现那是小孩的天真。我觉得这种天真在当时其实不知不觉地保护了我。


我记得自己直接被送到了校长办公室。我猜想,这是第一天开学,我是来报道的。我想,我已经入学了,就等着被送进教室认识老师,开始我的学业啦。但我那天其实和母亲在校长室里坐了一整天,联邦警察就站在门外。可以直接看到他们。透过玻璃窗。


然后,我看到所有原本站在外面的人们都冲进来、推搡着、隔着窗户指着我。他们看起来很愤怒。感觉好像很忙,让我很是茫然。我看着他们走过窗边,又带着孩子回到窗边。一整天都是这样,反反复复。


最后铃声响了,3点了;然后有人走进来说:“学校解散了。你可以走了。”我清楚地记得这一点,因为我当时心想:“哇,这个学校也太轻松了”,完全不知道当时各个家长冲进学校、走进各个教室带走每个孩子。那天有500多个孩子离开那里,而我也在其中之列。我没想到这一切会发生在我眼前。


第二天,情况依然如此。联邦警察敲开门,我跟着他们坐上车。他们护送我回到学校。那天开车的时候,人群几乎增加了一倍,因为那时所有人都知道了。


我妈妈说,那是她最紧张的一天,因为她回到家打开电视发现,全世界都注视着这件事。她说她回家一直祈祷到3点,希望孩子能安全回家。
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讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
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讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


在成功拍摄农场安全管理局工作人员后,1942年3月,伟大的纪实摄影师多萝西娅·兰格(Dorothea Lange)受战时指挥中心所雇,记录日裔公民被驱逐和大规模监禁的过程。自第一天起,她的新闻摄影风格和对这些日裔美国公民的同情便与军方官员的要求相悖。严禁拍摄与塔内机关枪有关的照片。同样禁止拍摄的还有钢丝网、警卫队和任何有抵抗迹象的照片。用她的话说:“时刻有人跟在我身后。”她曾因军官要求出示证件而被拖延,被要求解释每一张底片以及所花费的每一分钱,还被禁止与营内群众交流。所有洗出的照片都必须提交审查,如有认为不当的照片被扣留,且战争期间禁止发布底片。


1942年3月13日,兰格在加州奥克兰市拍摄了这张Wanto Co.杂货店照片,当时罗斯福已签署第9066号行政命令近一个月,要求店主及其家人离开。店主增田达郎出生于奥克兰,刚结婚不久。他告诉兰格:“珍珠港事件之后第二天我才付的钱。”他和妻子被送往位于亚利桑那的希拉河集中营。再也没有回到店里。


在与WRA合作的三个月中,兰格几乎每周全天候工作,最终拍摄出近850张照片。虽然她许多为政府拍摄的照片被誉为20世纪最具代表性的作品之一,但其中大部分几乎无法得见,直到2006年一本关于这些照片与兰格的书出版时才为人所知。
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讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


安瑟亚当斯(Ansel Adams)拍摄的这幅图片摄于1943年加州死亡谷附近一个叫做Manzanar的集中营里。这是美国当时为囚禁日裔美国公民及其移民父母而建的美国十大集中营之一。


照片中,一位男子望着塞拉山(Sierras)的辽阔风景,典型的亚当斯远景构图。奇怪的是,钢丝网、警戒塔、探照灯、带枪士兵等任何可能暗示他们所处环境恶劣的不安景象都没有出现。


亚当斯个人强烈认为美国公民不应该被自己的国家如此对待,他的第一批纪实摄影恰恰源于他的这种渴望:告诉他的美国同胞这些人与他们一样——生而自由平等,这也成为他1944年编写并出版的书的题目。


然而,这本书出版后,深陷战争的美国公众并未接受他的观点,也无法原谅他对这些被囚禁者的同情。据称,书的所有印刷本最后在抗议中被焚毁。还有一种说法,当时政府买下并销毁了数千本。无论这些书的命运如何,1944年的原稿都被认为是稀有珍藏。更讽刺的是:随着民众对日裔美国人的憎恶减轻,亚当斯的照片再度引发争议;但这一次,政府和民众并未否定它们的价值,而是将其作为证明集中营残酷甚至不人道待遇的证据。这些摄影照并不是纪实性记录,也不能算作纯粹的宣传媒介,但它们在摄影界中始终占有一席之地。
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讲述人:
Stephanie Haboush Plunkett
副总监 / 总策展人 - 诺曼洛克威尔博物馆


《信仰自由》对洛克威尔来说是一个巨大挑战,因为他认为宗教是一件非常个人化、甚至十分微妙的事情。他希望最终呈现的作品能表现“求同存异”的含义,传达一个没有因宗教实践或宗教信仰而歧视的世界观。


他的最初想法是描绘一幅乡村理发店中的场景,理发师正在为犹太人理发,而一位天主教神父和一名非裔美国人正在排队等候。在几近完成的时候,洛克威尔发现它表现的观点十分老套刻板,而他对此并不满意;于是,他把它弃置一旁从头开始。


我们今天看到的最终作品更注重崇拜的概念而非宗教概念,这个近角画面中有八个人物侧面相,表现的是不同信仰的人祈祷时的样子。整幅画采用单色调的绘画方法,给人一种包容和团结感。


洛克威尔认为,在构图时,手的位置和姿势仅次于面部表情特征,正如《信仰自由》所体现的那样。“每个人都受自己内心良知的驱使”正是洛克威尔自己宗教思想的体现。如果有人问洛克威尔在哪里看到的这句话,他不记得。其实,美国许多州宪法中都有这句话,乔治华盛顿在1789年写给弗吉尼亚联邦浸信会(United Baptist Chamber of Virginia)的信中也曾用过这句话。
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讲述人:
Stephanie Haboush Plunkett
副总监 / 总策展人 - 诺曼洛克威尔博物馆


《免于匮乏的自由》这幅作品并不像洛克威尔前两幅“四大自由”系列画《言论自由》与《信仰自由》那么具有观点上的挑战性。作品灵感源于感恩节,并自此成为了美国感恩节范例。


虽然这幅画是洛克威尔在模特摆好姿势的情况下独自完成的,但画中家庭团聚的场景有许多洛克威尔自己的邻居和家人。画中人物的原型是家中大厨Thaddeus Wheaton夫人(做出这只巨大感恩节火鸡的人)、作者的妻子玛丽巴斯托洛克威尔和作者的母亲南希希尔洛克威尔,即右边这位女士。


与《免于匮乏的自由》一起发表的还有相对名气较小的小说家和诗人卡洛斯布洛桑(Carlos Bulosan)创作的散文,他是一位菲律宾裔移民,也是为那些遭受国内苦难而创作的移民。与洛克威尔作品温和的表达方式相反,布洛桑的散文期待那些社会非主流群体、农场迁徙工人、工会组织者、劳工、苦于隔离制度的非裔美国人、亚裔、拉美移民等群体未来都能够真正享受自由。


从艺术角度来看,这幅作品被高度评价为以视觉艺术再现感官质感的大师级水平,如白色桌布上的一抹白瓷光和玻璃瓶中水的透明质感无不体现这一点。


尽管洛克威尔总体上持乐观态度,但在二战爆发导致许多欧洲国家人民忍饥挨饿、侵略被占、流离失所的情况下,他也曾对描绘如此巨大的火鸡的做法持有疑虑。许多评论家也都认为此画中的食物过于丰盛,同时也指出这幅画描绘了家庭团聚、欢乐和安全感,也认同对于匮乏的正解是富富有余而不仅仅是温饱水平。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


J.C. Leyendecker是美国著名插画家,比诺曼洛克威尔年长近20岁,在洛克威尔开始成名时,Leyendecker已经是《星期六晚报》最受欢迎的插画师。Leyendecker生活在新罗谢尔,与诺曼洛克威尔住得很近,洛克威尔曾说过他其实会跟在J.C. Leyendecker后面,观察他会注意商店橱窗里哪些东西,他对下一幅报纸封面插画有什么想法,他们也成为了十分亲密的好友。


J.C. Leyendecker最重要的成就之一就是他的《新年婴儿》,这幅作品广为美国民众所知,因为《新年婴儿》在1907年至1943年间每年均出现在《星期六晚报》上,也象征着新一年的到来和对新一年的美好期许。Leyendecker描画了一个天真而聪慧的胖宝宝,关注女性投票权、禁酒令和20世纪30年代股票市场动荡等众多国家大事。


1940年,战争尚未触及美国。但它却在海外肆虐。在这幅画中,新年婴儿头戴防毒面具,手拿一把雨伞暗指英国首相内维尔张伯伦,他对那个年代的和平保证并没有实现。在这幅作品发表时,《星期六晚报》的每周订阅人数超过300万,据杂志方所称,每一份杂志在订阅者家中、医生办公室或其它公共场所约有10个人会拿起来阅读。杂志非常有名,甚至插画师创作时遮挡住刊头也不会造成任何问题,因为这就是《星期六晚报》。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


《免于恐惧的自由》创作时欧洲正处在围困之中,从画中父亲手中的报纸标题也可以发现这一点。洛克威尔希望传递的是这样一种观念,即所有父母都应该能够在保证孩子安全的情况下每晚带孩子入睡。


在这里,父亲和母亲仿佛在凝视着他们睡着的孩子,美丽的笔触讲述了一个温馨的中产家庭生活。孩子房中堆着画册、衣服和玩具,尽管孩子们都挤在单人床上。从一楼散发出柔和灯光,说明这个家庭已经实现一些财政安全和美国梦。


尽管洛克威尔并不十分重视《免于恐惧的自由》这幅作品,但这幅画依然非常有意义,并在重大世界事件时引发了许多共鸣。911事件发生后,《纽约时报》将《免于恐惧的自由》登在报纸首页,并用一些谈及纽约、华盛顿和宾夕法尼亚的袭击事件的措辞取代洛克威尔的原标题。


面对全国各地的种族暴力导致的骚乱,许多艺术家重新解读《免于恐惧的自由》和洛克威尔经典之作《我们共视的难题》以反映当代的时事和问题。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


二战为政治漫画家提供了丰富的创作源泉,因为人们群情激昂,世界正处于危急关头,前途未知。鲍里斯阿茨巴舍夫(Boris Artzybasheff)20岁时从俄国移民至美国;那时他完全不懂英语,据称登陆时身上只有17美分。作为插画师,他以将机器和无生命物体变成有生命的灵物著称,包括你们在这里看到的万字符。


二战期间,他既是军队心理战支队的顾问;同时,他还为《生活》、《财富》、《时代》等重要刊物创作,总共为它们创作了200多幅封面。1942年在《生活》杂志上发表的《女巫的安息日》重点关注艺术家的观点,漫画把海因里希希姆莱、赫曼戈林及约瑟夫戈培尔等纳粹党主要领导人和纳粹政治宣传工作者描绘为纳粹的双十字轮标志。


阿茨巴舍夫和其他许多同时代政治性艺术家一样,试图遮掩社会弊病,这一点与倾向于表达更激进观点的洛克威尔截然不同。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


像许多20世纪60年代的美国人一样,越南战争是诺曼洛克威尔心中的痛。1966年,他曾在弗吉尼亚匡提科海军基地待过一周,拍摄一位经验丰富的海军,思考受命设计的一幅海报。但1967年3月,他写信给海军陆战队,拒绝了这一任务并说:“我不能画一幅自己不相信的作品”。


大约一年后,洛克威尔开始创作“知情权”——一幅为《Look》 杂志创作并于1968年8月出版的社论漫画。这幅画问世一个月后,《纽约时报》报道称维斯特莫兰德将军要求增派206000名士兵前往越南的消息,这个消息曾一度被白宫试图压制。


增兵的消息被报道出后,又爆出了美莱大屠杀(My Lai Massacre)的新闻,导致反战群体不断扩大。洛克威尔的政治评论表达了美国公民有了解其政府行为的权利。洛克威尔提到那段时期的作品时说到:“我觉得我的风格没有变,但美国变了,所以我的主题也随之变了。”上帝知道我们存在问题,很多问题,但我们应该对这一代年轻人抱有信心,他们是我们最好的一代,未来很长时间依然如此。谁敢说这些嬉皮士里没有未来的天才呢?”


在其插画中,洛克威尔介绍了各个种族、年龄段和不同党派的人。他刻画各界人士的方法也运用在此次展览的另外两幅作品中,一幅是1953年创作的与联合国和世界人民有关的插画,另一幅是他为《星期六晚报》创作的封面插画《黄金法则》,于1961年出版,并标有这样一句话:“己所不欲,勿施于人”。


诺曼洛克威尔创作这幅作品时已是74岁高龄;他非常喜欢这幅作品,因此他把自己也画进了这幅作品,就在最右侧,嘴上叼着他标志性的烟斗。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


插画家米德谢弗(Mead Schaeffer)是诺曼洛克威尔的一位密友,曾在佛蒙特州阿灵顿生活;二战期间,他根据战时需求调整了自己的创作方法。放弃了他长期关注的浪漫主义和文学主题,将关注焦点转向真实的人物与场景,并接受了当时《星期六晚报》的创作邀请。


1942年,愿意为战争贡献己力的洛克威尔和谢弗前往华盛顿特区,草拟了一些项目并走访多个政府机构。不幸的是,当时他们的项目并没有获得资金支持。略受打击踏上回家之路的他们在费城停了下来,并见到了《星期六晚报》的编辑本希布斯(Ben Hibbs)。希布斯立即接受了他们的想法,并分别聘任他们为杂志创作画作。


谢弗决定创作一系列军队纪念封面,突显每个军事部门做出的努力。他仔细研究主题,并运用非凡技术技巧创造了一系列英雄式作品,着重表现美国士兵在任何情况下表现的敬业和奉献精神。他的作品让身处不稳定时期的民众放下心来。在1943年2月20日出版的那一期《星期六晚报》中谢弗和洛克威尔的画其实都出现了。在这期杂志中,封面是谢弗描绘的栩栩如生的战中海洋,洛克威尔的第一幅《四大自由》插画——《言论自由》则出现在杂志内页。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


诺曼洛克威尔的1961年4月1日《星期六晚报》封面作品——《黄金法则》其实最开始只是一张素描画。1952年,正值冷战高峰期且朝鲜战争已爆发两年,洛克威尔构思了联合国一图,并将其作为世界未来的希望。这幅描绘联合国安理会成员和65位各国代表的旷世杰作的创作灵感来自于他对该组织及其使命的欣赏。这幅他原本打算以绘画形式完成的艺术作品,从研究和发展到最后作画阶段,洛克威尔的《联合国》从未搬上画布。


洛克威尔在提到他的《联合国》作品时说:“我和其他人一样,关注世界态势,也希望像其他人一样贡献自己的力量。我能恭献力量的唯一方式就是我的画。”作为艺术上的完美主义者,洛克威尔会精心研磨能够准确描绘其思想的照片,直到找到最合适的创作模型。他仔细研究服装和道具,并在将颜料涂上画布之前仔细策划设计细节并拍照。


洛克威尔以他的照片为参考,在这幅用Wolff铅笔和炭棒创造而成、细节丰富的黑白画上不断完善其构图和价值内含。“我很重视炭描构图。”他说,“我觉得太多初学者都等到要在帆布上画画了才开始尝试解决各种问题。提前研究并解决问题会好得多。”


尽管为这幅作品的创意付出许多努力,但他最后发现这个想法过于复杂,无法创作成完整插画,七年之后,他转而探索运用《黄金法则》中的新方法的可能性。


洛克威尔说:“我有一天突然想到《黄金法则》——己所不欲,勿施于人——正是我一直寻求的主题。”


在《黄金法则》中,洛克威尔描绘了四对母子。右上角的那位其实是他的第二任妻子玛丽巴斯托洛克威尔,于1959年去世;两年后,这幅作品出版。在画中,她与第一个孙子杰弗里洛克威尔聚在一起,但实际上他们并没有见过面。


洛克威尔的《黄金法则》发表于近60年前,是他最具代表性的画作之一,描绘了普遍人性,更反映了依然与我们时代息息相关的洛克威尔自身的信念。
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Southern Justice, 1965
Look, June 29, 1965
tearsheet
Norman Rockwell Museum Collection





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The Problem We All Live was created to be an illustration in Look Magazine. The final image appeared as a 2-page spread (image on far right) that was not accompanied by any text or article, which was not typical for a Norman Rockwell image in the interior of a magazine. Initial studies of the image show that Rockwell placed the little girl on the right side of the gutter (spine of the magazine). However, he felt that this portrayed her as timid and wanted her to look more assertive, so he moved her to the left side of the gutter in another study, which is how she appeared in the final image.


Color study for The Problem We All Live With
1963
Oil on Board
Norman Rockwell Museum Collection
Norman Rockwell Museum Art Collection Trust,
© 1963 Norman Rockwell Family Agency. All Rights Reserved.


Color study for The Problem We All Live With
1964
Oil on Photographic Paper
Norman Rockwell Museum Collection
Norman Rockwell Museum Art Collection Trust,
© 1964 Norman Rockwell Family Agency. All Rights Reserved.


Charcoal study for The Problem We All Live With
1963
Charcoal and Gouache on pPaper
Norman Rockwell Museum Collection
Norman Rockwell Museum Art Collection Trust,
© 1963 Norman Rockwell Family Agency. All Rights Reserved.


The Problem We All Live With, 1964
Illustration for Look, January 14, 1964, pp. 22-23
Magazine
Norman Rockwell Museum Collection
Norman Rockwell Museum Art Collection Trust
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The Saturday Evening Post
February 21, 1943
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


By the 1940's. The Saturday Evening Post grew to become the most widely circulated weekly magazine in America. The magazine gained prominent status under the leadership of its longtime editor George Horace Lorimer


The Saturday Evening Post published current event articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (with contributions submitted by readers), single-panel gag cartoons and stories by the leading writers of the time. It was known for commissioning lavish illustrations and original works of fiction.
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The Saturday Evening Post
February 27, 1943
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


By the 1940's. The Saturday Evening Post grew to become the most widely circulated weekly magazine in America. The magazine gained prominent status under the leadership of its longtime editor George Horace Lorimer


The Saturday Evening Post published current event articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (with contributions submitted by readers), single-panel gag cartoons and stories by the leading writers of the time. It was known for commissioning lavish illustrations and original works of fiction.
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The Saturday Evening Post
March 13, 1943
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


By the 1940's. The Saturday Evening Post grew to become the most widely circulated weekly magazine in America. The magazine gained prominent status under the leadership of its longtime editor George Horace Lorimer


The Saturday Evening Post published current event articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (with contributions submitted by readers), single-panel gag cartoons and stories by the leading writers of the time. It was known for commissioning lavish illustrations and original works of fiction.
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The Saturday Evening Post
March 6, 1943
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


By the 1940's. The Saturday Evening Post grew to become the most widely circulated weekly magazine in America. The magazine gained prominent status under the leadership of its longtime editor George Horace Lorimer


The Saturday Evening Post published current event articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (with contributions submitted by readers), single-panel gag cartoons and stories by the leading writers of the time. It was known for commissioning lavish illustrations and original works of fiction.
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Correspondence to Norman Rockwell from Chester Martin regarding The Problem We All Live With
January 6, 1964 (mistake written on year)
Handwritten Letter on paper
Norman Rockwell Museum Collection
Norman Rockwell Museum Art Collection Trust,
© 1964 Norman Rockwell Family Agency. All Rights Reserved.


Correspondence to Norman Rockwell from David J. Malarcher regarding The Problem We All Live With (3 pages)
February 12, 1964
Typed Letter on paper
Norman Rockwell Museum Collection
Norman Rockwell Museum Art Collection Trust,
© 1964 Norman Rockwell Family Agency. All Rights Reserved.



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In place of newpapers and magazines like The Saturday Evening Post, children were more apt to collect trading cards, play with paper dolls and read comic books. Here are three comic books that were publised around the time of the publication of Freedom from Fear.
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Norman Rockwell Museum Collection,
from Lynda Gunn,
Norman Rockwell Model for The Problem We All Live With,
NRM.2016.03.2


Rockwell commissioned this white dress, and two others like it, in different sizes from a local Stockbridge, Massachusetts, seamstress. He was not yet sure of the age or size of his model, and he typically posed several people in the same role before deciding who best fit the part. For the child in The Problem We All Live With, he ultimately selected his neighbor, Lynda Gunn.



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Short interview with models Tracey Gunn and Wray Gunn Jr. on their experience of modeling for Norman Rockwell in New Kids in the Neighborhood.
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Since their creation, many Norman Rockwell images have been appropriated for contemporary use. Freedom from Want is considered to be one of Rockwell’s most celebrated images and it is no coincidence that it is also the most parodied. Here is a collection of images inspired by Rockwell’s work.


Image Credit:
Charlie Brown / Peanuts
Freedom from Want
Peanuts are a trademark of Peanuts Worldwide LLC
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American Life before World War II - Overview
Narrated by: Jayne Atkinson



President Franklin D. Roosevelt famously told Americans in 1933 that “the only thing we have to fear is fear itself,” but the nation was justified in its concerns during this turbulent time. A quarter of the labor force was out of work, wages had fallen dramatically, and nearly half of the country’s banks had failed.


This gallery brings together a group of artists and illustrators who portrayed life in 1930s America. Photographers employed by the federally funded Farm Security Administration including Walker Evans, Dorothea Lange, and Gordon Parks (whose photograph of a Chinese-American laundry in Washington, DC is highlighted in the exhibition) focused on the struggles of southern sharecroppers and migrant workers in the Midwest and western United States. At the same time, illustrators and cartoonists found ways to provide lighthearted reflections on difficult times, using pathos and humor to express a common humanity.


Also introduced in this gallery is the theme of American working women who, during WWII, would enter the workforce in unprecedented numbers. On view are photographs and video documenting women at work, as well as illustrations idealizing working women to promote and celebrate those who answered the call to serve.


By the end of the decade, concerns were increasing about the international situation, in particular the rise of fascism in Germany and the outbreak of war in Europe. While the American public had little interest in getting involved in another war, FDR began to reflect on the meaning of freedom on a worldwide scale.
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Artists Support the War Effort - Overview
Narrated by: Jayne Atkinson


As the nation found itself sliding closer to direct involvement in World War II, the underlying importance of the President’s words captured surprisingly little attention; many Americans could not list even one of the Four Freedoms and their meaning was unclear. FDR grew increasingly concerned that Americans were not enthusiastically embracing his vision or rationale to enter the war.


Hoping to build upon the success of the WPA’s Federal Art Project that put thousands of artists to work during the Depression, President Roosevelt and the Office of War Information invited the art world to help raise public awareness about the Four Freedoms. Artists, writers, actors, designers, composers, and musicians responded to the call, creating a flood of Four Freedoms tributes in the form of sculptures, paintings, drawings, quilts, poems, plays, and exhibitions.


Many artists explored the theme of war and freedom more generally. Composer Aaron Copland created A Fanfare for the Common Man, an orchestral work intended to honor the commitments of everyone working toward victory in the war. This is Nazi Brutality by artist Ben Shahn was designed to instill fear and make clear that losing the war to the Axis powers would be a global catastrophe. This and other posters on view would have been hung in government offices and buildings, to be seen on a regular basis by many Americans. Four paintings by Mead Schaeffer, portraying different branches of the armed forces and celebrating the heroism of the American soldier, were published as part of an extensive commemorative cover series in The Saturday Evening Post. Other artists pointed to the ways the U.S. fell short in fulfilling its promise of freedom; poet Langston Hughes drew connections between the fight against fascism and the fight against White supremacy, writing: “Freedom’s not just to be won Over There. It means Freedom at home too--- Now--- right here!



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Contemporary Artists on Freedom - Overview
Narrated by: Jayne Atkinson


This section of the exhibition explores the enduring influence of the Four Freedoms as expressed in Roosevelt’s words and as pictured by Rockwell. The exhibition’s curators invited a group of contemporary artists to consider two questions: How might the notions of Four Freedoms be reinterpreted for our times? What does freedom look like today? Divided into two parts, this portion of the exhibition brings together a selection of artworks that imaginatively respond to those queries.



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FDR's Four Freedoms - Overview
Narrated by: Jayne Atkinson


President Roosevelt saw the fear-inducing crisis of the accelerating war as the ideal time to promote freedom across the world. In January 1941, he used his annual address to Congress to introduce the Four Freedoms. Building on his reflections on the nature of freedom in the months beforehand (including his experience opening the 1939 World’s Fair in front of Four Freedoms, a sculptural installation by artist Leo Friedlander), FDR enumerated for his audience each of the freedoms, stressing that they were not just national objectives, but ones that were needed “everywhere in the world.” With the war looming closer, Roosevelt believed it would be critical for Americans to understand what they would be fighting for, especially given the tremendous sacrifices ahead.


After Japan’s military strike on Pearl Harbor in December 1941, many Americans feared another enemy attack. Under pressure, FDR signed an executive order to incarcerate 120,000 people of Japanese descent, including 80,000 American citizens. Unfortunately, FDR failed to see the contradiction of promoting democratic ideals for some while taking away the human rights of others.


Working at a distance from the war raging in Europe, Norman Rockwell found it challenging to record the effects of the war on American servicemen and women. He created the unassuming character of Willie Gillis, a young American GI, for a series in The Saturday Evening Post. Rockwell portrays Willie Gillis doing all sorts of mundane tasks: receiving a care package from home, peeling potatoes, or reading the hometown news. The horror and violence of war is nowhere to be seen, as was typical in mainstream magazines and movies of the time.
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Illustration and the American Magazine


In the first half of the twentieth century, general-interest magazines like the Saturday Evening Post and Collier’s—and popular women’s magazines such as Ladies’ Home Journal, Good Housekeeping, and McCall’s—built vast, loyal followings. Emerging from a long period of political and economic transformation following the Great Depression and World War I, Americans began to re-imagine themselves and the new lives that they hoped to lead. Production, finely tuned by wartime necessity, enabled a booming peacetime economy with a plethora of new products and modern, time-saving conveniences.


Directly linked to commerce and to selling the notion of affluence for everyone, richly illustrated magazines featured aspirational images depicting idealized standards of living, reflecting and shaping visual culture, public perception, and consumption. The top publications boasted subscriptions of two to nine million in the 1940s and 1950s, and copies were shared widely among family and friends, bringing readership even higher. J.C. Leyendecker, Norman Rockwell, Al Parker, and other popular illustrators working at the time were far more than picture makers—they played a crucial role in affecting cultural beliefs and desires. Their influence in shaping the American character as we know it is linked to the development of an industry that embraced the aspirations of a nation and created the American dream.
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Norman Rockwell: Imaging Freedom - Exhibition Overview
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Norman Rockwell: Imagining Freedom


Many thanks to the scholars, artists, and museum professionals who provided guidance and expertise in the development of this exhibition:


Allida Black, Michele Bogart, Liza Donnelly, Erika Doss, D.B. Dowd, Herman Eberhardt, Stéphane Grimaldi, Harvey J. Kaye, Nora Krug, Anita Kunz, Dr. Steven Lomazow, James McCabe, Lester C. Olson, Robyn Phillips-Pendleton, Chuck Pyle, Melanie Reim, Paul Sparrow, Setsuko Sato Winchester, Ambassador William J. vanden Heuvel


We appreciate the contributions of our catalogue essayists, who offered meaningful commentary relating to the Four Freedoms and their legacy:


Brian Allen, Ruby Bridges, D.B. Dowd, Jan Eliasson, Stéphane Grimaldi, Harold Holzer, Harvey J. Kaye, James McCabe, James Kimble, Laurie Norton Moffatt, Lester C. Olson, Daisy Rockwell, Ramón Saldívar, Mark Shulman, Irvin Ungar, William J. vanden Heuvel


We are grateful for the generosity of our lenders, whose partnership has made this exhibition possible:
Anonymous, American Legion Post 193, Alice A. Carter and Courtney Granner/The Eisenstat Collection, The Coca-Cola Company, Scott Delman, Drs. Daniel and Lois Fermaglich, Four Freedoms Park Conservancy, Franklin D. Roosevelt Presidential Library and Museum, Stewart Grace and Cannon Grace, Louise Holland, James J. Kimble, Ned and Annie Lamont, Lawrence Matteson, D.B. Dowd Modern Graphic History Library at Washington University in St. Louis, Nebraska State Historical Society, New York Historical Society and Museum, Arthur Susser, Syracuse University Art Galleries, Irvin and Raziel Ungar, USAA, Alex and Carrie Vik, Denys Wortman and the Center for Cartoon Studies, Vic Wortmann, Jr.


Exhibition Curators: Stephanie Haboush Plunkett and James J. Kimble, Ph.D.


Digital/Video Installations: Rich Bradway


Four Freedoms Curatorial Team:
Martin Mahoney, Mary Melius, Thomas Mesquita, Jana Purdy, Barbara Rundback, Joseph Tonetti, Venus Van Ness


Graphic Design/Fabrication: Hans Teensma/Impress, GVH Studio
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Norman Rockwell: Imagining Freedom


The power of images to shape cultural narratives is revealed in this dynamic exhibition, which traces the origins and legacy of the Four Freedoms from the trials of the Great Depression and World War II to the Civil Rights movement of the 1960s, and the call for freedom today across racial, gender, ethnic, and religious lines. Norman Rockwell: Imagining Freedom inspires conversation about our most pressing social concerns through the lenses of art and history, and invites us to consider how we can become allies in the creation of a more humane world.


Rockwell’s most iconic works are featured, including his Four Freedoms paintings inspired by Franklin D. Roosevelt’s vision for a peaceful post-war world; The Golden Rule, the artist’s personal plea for unity; his appeals for human rights in The Problem We All Live With and Murder in Mississippi; and The Right to Know, a petition for truth and transparency. Rockwell’s artworks join the paintings, drawings, photography, and writings of artists working across the decades for the cause of freedom—including Dorothea Lange, Gordon Parks, Arthur Rothstein, Mead Schaeffer, Arthur Szyk, Martha Sawyers, Langston Hughes, Thomas Lea, Boris Artzybasheff, and others. The exhibition also features the voices of contemporary artists, who present thought-provoking perspectives on freedom, justice, and democracy in our times.


Returning to Stockbridge following a six-city tour that has taken the exhibition to New York, Detroit, Washington DC, Normandy (France), Houston, and Denver, Norman Rockwell: Imagining Freedom explores the indelible odyssey of the Four Freedoms, humanity’s greatest and most elusive ideals.


Norman Rockwell: Imagining Freedom is an exhibition organized by Norman Rockwell Museum, Stockbridge, MA.
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Norman Rockwell’s Four Freedoms - Overview
Narrated by: Jayne Atkinson


In the spring of 1942, Norman Rockwell decided to contribute to the war effort by illustrating Roosevelt’s Four Freedoms. Finding new ideas for paintings never came easily, but this was a greater challenge.


While considering his options, Rockwell by chance attended a town meeting where a Vermont neighbor was met with respect when he rose among his fellow citizens to voice an unpopular view. That night the artist awoke with the realization that he could best paint the Four Freedoms from the perspective of his own experience, using everyday scenes as his guide.


Rockwell made some sketches and went to Washington to propose his ideas to the Ordnance Department of the US Army. Unfortunately, funding for a commission was not forthcoming, so instead Rockwell presented his concept to The Saturday Evening Post. The Post editor was extremely enthusiastic and gave Rockwell permission to interrupt his other work for the magazine to allow him time to complete the project. Once he received the commission, Rockwell experienced a “bad case of stage fright,” and it was more than two months before he even started. “It was so darned high-blown,” Rockwell said. “Somehow I just couldn’t get my mind around it.” Despite his early misgivings, the paintings were a phenomenal success.



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Norman Rockwell’s Four Freedoms


In the spring of 1942, Norman Rockwell was working on a piece commissioned by the Ordnance Department of the US Army, a painting of a machine gunner in need of ammunition. Posters featuring Let’s Give Him Enough and On Time were distributed to munitions factories throughout the country to encourage production. But Rockwell wanted to do more for the war effort and decided to illustrate Roosevelt’s Four Freedoms. Finding new ideas for paintings never came easily, but this was a greater challenge.


While considering his options, Rockwell by chance attended a town meeting where a Vermont neighbor was met with respect when he rose among his neighbors to voice an unpopular view. That night the artist awoke with the realization that he could best paint the Four Freedoms from the perspective of his own experiences, using everyday scenes as his guide. Rockwell made some sketches and, accompanied by fellow Saturday Evening Post artist Mead Schaeffer, went to Washington to propose his ideas.


The timing was wrong—the Ordnance Department did not have the resources for another commission. Disappointed, Rockwell stopped at Curtis Publishing Company in Philadelphia on his way home and presented his concept to Post editor Ben Hibbs. Hibbs immediately made plans to publish the illustrations, giving Rockwell permission to interrupt his cover work for a period of three months. He “got a bad case of stage fright,” though, and it was more than two months before he even began the project. “It was so darned high-blown,” Rockwell said. “Somehow I just couldn’t get my mind around it.” Despite his early misgivings, the paint-ings were a phenomenal success. After their publication, the magazine received thousands of requests for reprints, and in May 1943, the Post and the US Department of the Treasury announced a joint campaign to sell war bonds and stamps capitalizing on Rockwell’s vision.
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Pops Peterson: Reinventing Rockwell - Overview
Narrated by: Jayne Atkinson


In his project entitled “Reinventing Rockwell,” artist Pops Peterson updates the Four Freedoms and other iconic Rockwell paintings to create a more inclusive and contemporary picture of America. His interpretation of these paintings recast Rockwell’s artworks with 21st century characters and events. He uses our familiarity with Rockwell’s works to draw critical attention to an expanded range of topics related to freedom today, including same sex marriage, police-involved violence and brutality, and contemporary gender politics.



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Rockwell in the Civil Rights Era - Overview
Narrated by: Jayne Atkinson


The 1960s marked an important turning point in Norman Rockwell’s artistic career. As evidenced in his Four Freedoms paintings, Rockwell wanted to make a difference with his art, and as a trusted and highly marketable illustrator, he had the opportunity to do so. Humor and pathos—traits that made his Saturday Evening Post covers successful—were replaced by a new direct journalistic style.


For decades, Rockwell had worked under editorial policies of The Saturday Evening Post that restricted the portrayal of people of color in his illustrations. In 1963, Rockwell left the magazine to begin working with Look where he was able to create a more inclusive picture of America. Following the Golden Rule (1961), a later work published by the Post, Rockwell created a series of paintings for Look including The Problem We All Live With (1965), Murder in Mississippi (1965) and New Kids in the Neighborhood (1967). These works explored the nuances and complexities of contemporary life in a racially diverse country, and highlighted Rockwell’s longstanding belief in the democratic values of tolerance and equality.



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Rockwell’s Four Freedoms on Tour - Overview
Narrated by: Jayne Atkinson


After the publication of Norman Rockwell’s Four Freedoms in The Saturday Evening Post, the magazine received thousands of requests for reprints. In May 1943, the Post and the US Department of the Treasury announced a joint campaign to sell war bonds and stamps capitalizing on Rockwell’s vision. Over four million posters and prints featuring Rockwell’s Four Freedoms were issued by the Post and the Office of War Information. Produced in several sizes and styles as single images or composites with boldly lettered messages, the reproductions were displayed in government buildings, factories, offices, stores, and schools. Larger posters were intended for display in post offices where people purchased war bonds and stamps.


In partnership with the Post, the US Treasury Department’s War Finance Division organized a traveling exhibition of Rockwell’s four paintings to promote the purchasing of war bonds and stamps. The exhibition includes a photo of Norman Rockwell pictured at the first stop of the tour at Hecht’s Department Store in Washington, DC. The exhibition traveled across the country to a total of 16 cities. The tour was a huge success, raising over $132 million in war bond sales and reaching 1.2 million war-weary viewers. Equally important was the elevation of Roosevelt’s Four Freedoms in the public consciousness and their emergence as democratic ideals worth fighting for.





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Rosie the Riveter and Women in the Work Force


Rosie the Riveter emerged as an emblem of the working woman during World War II. She was the heart of a campaign aimed at recruiting female workers for defense industries. Visualized in the early 1940s by American illustrators J. Howard Miller and Norman Rockwell, Rosie represented the women who entered the workforce in unprece-dented numbers during the war. In 1943, when Rockwell painted his overalls-clad icon, more than 310,000 women were employed in the U.S. aircraft industry alone, making up sixty-five percent of its total workforce compared to just one percent in the pre-war years. As a popular song by Redd Evans and John Jacob Loeb recounted:


All the day long whether rain or shine
She’s a part of the assembly line
She’s making history,
working for victory
Rosie the Riveter


By 1945, nearly one out of every four married women worked outside the home. Such gains were often temporary, however, as female workers were demobilized at war’s end to make way for returning servicemen. In the postwar years, Rosie the Riveter experienced a rebirth, coming to symbolize women’s rights and feminist causes.
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Spotlight: Murder in Mississippi - Overview
Narrated by: Jayne Atkinson


This gallery presents Rockwell’s working process behind his dramatic painting Murder in Mississippi (1965), based on the murder of three young civil rights workers in Philadelphia, Mississippi the previous year. The victims—James Chaney, Andrew Goodman, and Michael Schwerner—had been working to register Black Americans to vote after years of systemic disenfranchisement in the South. The three men were stopped by the police for speeding, then arrested, jailed, briefly released, and later abducted and shot at close range and buried. Initially declared missing, their bodies were later recovered, and an FBI investigation revealed that the murders had been carried out by members of the Ku Klux Klan, along with county and local police. The news of the murders sparked national outrage and helped gain support for the passage of the Civil Rights Act of 1964.


In preparation for the painting, Rockwell did extensive research into the case. He collected news clippings, compiled photographs of the victims, and looked to images from art history and contemporary events for inspiration. He drew preparatory sketches and photographed models in different poses and light conditions. The resulting painting stands out from Rockwell’s previous work that almost always tells a complete story at a glance. It is much less detailed and the only color in the otherwise monochrome composition is the red blood on James Chaney’s shirt. Rockwell deliberately choose not to include the figures of the murderers, instead showing only their menacing shadows.



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The Great Depression


The longest and most severe economic downturn of the twentieth century, the Great Depression, began on Black Tuesday with the stock market crash of October 29, 1929, and lasted for a decade. Though it originated in the United States, it fostered unemployment and uncertainty in almost every country in the world. Nationally, the situation represented the harshest adversity faced by Americans since the Civil War. By 1933, when President Franklin D. Roosevelt took office, a quarter of the labor force was without work, wages had fallen dramatically, and nearly half of the country’s banks had failed—with dire consequences for the poor and the wealthy across urban and rural communities.


The photographs of the Farm Security Administration establish a gripping pictorial record of life at the time. Headed by Roy E. Stryker, this government agency employed such noted photographers as Walker Evans, Dorothea Lange, Gordon Parks, and Arthur Rothstein. Among their most compelling images are those created from 1937 to 1942, focusing on the lives of southern sharecroppers, and on migratory agricultural workers in the Midwest and western United States. As the scope of the project expanded, photographers began recording the American way of life more broadly, as well as mobilization efforts for World War II. Meanwhile, illustrators and cartoonists found ways to provide lighthearted reflections on difficult times, using pathos and humor to express a common humanity.
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The War Generation


President Franklin D. Roosevelt famously told Americans in 1933 that “the only thing we have to fear is fear itself,” but the nation was justified in its concerns during that turbulent time. The stock market crash of 1929 had swiftly transformed the Roaring Twenties into the Great Depression. Banks closed their doors, bread lines became a common sight, and so-called Hoovervilles dotted the landscape. Jim Crow policies and racial inequality were facts of life for millions, and much of the nation’s grain belt became a dusty wasteland, fostering a mass exodus of destitute migrants seeking jobs that were no longer available. Dorothea Lange’s timeless photograph of a forlorn pea picker and her daughters came to represent a generation and a nation that seemed to have lost its way.


The President and his New Deal team worked intensively to address the emergency, but they were simultaneously becoming concerned about the international situation. As they were well aware, much of the world shared in America’s economic misery, and by the mid-1930s a number of aggressive dictators in Europe and Asia—who addressed the global malaise by offering a kind of new fascism—had begun to emerge. Americans were overwhelmingly isolationist at the time, and concerned about solving their domestic problems first. FDR had to be content with speaking out against international lawlessness. Yet as the end of the decade neared, he also began to muse about the meaning of freedom on a worldwide scale.
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Unity Project - Overview
Narrated by: Jayne Atkinson


Organized by the Rockwell Museum, the Unity Project was a non-partisan “get out the vote” campaign for the 2020 Presidential election. The Museum commissioned six artists to create illustrations that could be reproduced as posters and digital content. Inspired by the legacy of Norman Rockwell and the democratic values in his work, the Unity Project aimed to encourage civic engagement and voter participation among contemporary Americans.    



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Narrated By: Alice Carter
Author, Illustrator, and Norman Rockwell Museum Board President
アリス・カーターによるナレーション付き
作家、イラストレーター、ノーマンロックウェル美術館理事長


During a career that spanned nearly sixty years, Jerry Aloysius Doyle’s editorial cartoons appeared in leading Philadelphia newspapers and, through syndication, in hundreds of other periodicals across the nation.


ほぼ60年間にわたるキャリアの最中に、ジェリーアロイシャスドイルの編集漫画は、フィラデルフィアの主要新聞に掲載され、シンジケーション(独立系放送番組)を通じて、数百の他の定期刊行物に全米で公開されました。


As an avid supporter of Franklin Roosevelt’s domestic and foreign policies, Doyle never caricatured the president, and always showed him in a heroic light.


フランクリン・ルーズベルトの国内外の政策の熱心な支持者として、ドイルは大統領を決して欺くことはなく、常に彼を英雄的な光として見せました。


In “Roosevelt Favors Old Age Pensions,” Doyle pictures the President as the potential savior of an elderly couple, dressed formally in the clothes of a bygone era.


「ルーズベルトが老齢年金を支持する」では、ドイルは大統領を老齢夫婦の潜在的救世主として描き、過去の時代の服を正式に着せています。


Although obviously impoverished, they are trying to keep up appearances.


明らかに貧困に陥っていますが、彼らは外観を維持しようとしています。


There is a fire in the grate and a rose on the mantle, but the window is cracked and the tablecloth patched.


火格子に火があり、マントルにはバラがありますが、窓にはひびが入って、テーブルクロスは継ぎはぎがされています。


On the floor at their feet are two newspapers showing what their future might bring.


彼らの足元の床には、未来がもたらすものを示す2つの新聞があります。


One headline reads, “Roosevelt to Delay Old Age Pensions,” and the other, “Roosevelt Favors Old Age Pensions.”


1つの見出しは「ルーズベルトが老後年金を先延ばしする」であり、もう1つは「ルーズベルトが老齢年金を支持する」です。


Enshrined on the mantle (next to the rose) is a portrait of FDR labeled “Our President.”


マントル(バラの隣)には、「私たちの大統領」というラベルのルーズベルトの肖像画が飾られています。


Roosevelt first proposed old age pensions when he was governor of New York, and the idea was an integral part of the New Deal.


ルーズベルト氏は、ニューヨークの知事であったときに老後年金を最初に提案し、この考えはニューディールの不可欠な部分でした。


The sticking point was how to fund them.


障害となる点は、それらの財源でした。


Any national insurance plan would have to be built up by contributions from workers’ wages—and there would not be enough money until 1942.


すべての国家保険プランは、労働者の賃金からの拠出によって建設されなければならず、1942年までは十分な資金がありません。


Meanwhile, elderly citizens were suffering.


一方、高齢者の市民は苦しんでいました。


The solution was Title One of the Social Security Act—a joint program between the States and the Federal Government to provide immediate old-age assistance.


その解決策は、社会保障法の第1号でした。これは、州と連邦政府との間の共同プログラムであり、即時の老齢援助を提供するものでした。


On August 14, 1935, President Roosevelt signed the bill, remarking as he laid down his pen, “a hope of many years standing is in large part fulfilled.”


ルーズベルト大統領は、1935年8月14日、この法案に署名し、「長年にわたる希望が大部分達成された」と述べました。
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Narrated By: Alice Carter
Author, Illustrator, and Norman Rockwell Museum Board President
アリス・カーターによるナレーション付き
作家、イラストレーター、ノーマンロックウェル美術館理事長


On September 29th, 1939, Germany and the Soviet Union reached an agreement to divide occupied Poland.


1939年9月29日、ドイツとソ連は占領されたポーランドを分裂させる合意に達しました。


Hitler’s forces would take everything to the West of the Bug river and Stalin’s army would control everything to the East.


ヒトラーの部隊はバグ川の西側を全て占領し、スタ-リンの軍隊は東側の全てを支配します。


The following day, September 30th, 1939, Hugh Hutton’s editorial cartoon, titled “The Funeral Oration,” appeared in the Philadelphia Inquirer.


翌1939年9月30日、ヒュー・ハットンの編集漫画「葬儀の演説」が「フィラデルフィアインクワイアラー」に掲載されました。


Hutton completed more than 3,800 editorial cartoons for the Inquirer during his long career.


ハットンは、彼の長いキャリアの間に「インクワイアラー」のため3,800以上の編集漫画を完成させました。


He rarely drew caricatures of celebrities and politicians, preferring to use allegorical figures to convey his ideas.


彼はまれに有名人や政治家の似顔絵を描き、寓意的な数字を使って自分のアイディアを伝えようとした。


He typically drew a white-robed female to depict values like peace, justice, and truth.


彼は通常、平和、正義、真実のような価値観を描くために白衣の女性を描きました。


In this case, these virtues have fallen face down, while the twin vultures of Germany and the Soviet Union gloat over their victory.


この場合、これらの美徳はうつむきになり、ドイツとソ連の双子のコンドルは勝利を嘆きました。


Hutton was born in Lincoln, Nebraska, on December 11, 1897.


ハットンは1897年12月11日、ネブラスカ州リンカーンで生まれました。


After attending the University of Minnesota for two years, he enlisted in the Army and served in World War I.


2年間ミネソタ大学に通った後、彼は軍隊に入隊し、第一次世界大戦に就いた。


When the war ended, he continued his education at the Minneapolis School of Art.


戦争が終わったとき、彼はミネアポリス美術学校で教育を続けました。


Following a career move to New York, he studied at the Art Students’ league and found a market for his editorial illustrations with United Features Syndicate.


ニューヨークにキャリアを移した後、彼はアートスチューデンツリーグで学び、ユナイテッドフューチャーシンジケートで彼の編集したイラストレーションの市場を見つけました 。


In 1934, Hutton accepted his position at the Philadelphia Inquirer where he worked until his retirement in 1969.


1934年、ハットンは「フィラデルフィアインクワイアラー」での職を見つけ、1969年に引退するまで働いていました。
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Narrated By: Alice Carter
Author, Illustrator, and Norman Rockwell Museum Board President
アリス・カーターによるナレーション付き:
作家、イラストレーター、ノーマンロックウェル美術館理事長


Martha Sawyers was born in Corsicana, Texas, in 1902.


マーサ・ソーヤーズは1902年にテキサス州コルシカナで生まれました。


She attended New York’s Art Students League for five years—until, as she put it, “They kicked me out and said I had to do something with what I knew.”


彼女はニューヨークのアート・スチューデント・リーグに5年間(そこを離れるまで)在籍し、「彼らは私を放り出して、自分が知り得たことで何かをしてくるようにと言いました。」と言っています。


“China Shall Have Our Help” is one of two posters Sawyers designed between 1942 and 1943 for United China Relief—an association of aid agencies dedicated to helping Chinese refugees during World War II.


「China Shall Have Our Help(中国は私たちの助けを必要としている)」は、第二次世界大戦中に中国難民支援を目的とした援助機関の協会である「United China Relief(米国の中国救済)」のために、1942年から1943年の間にソイヤーズが設計した2つのポスターの1つです。


Although Sawyers preferred to work in oil, deadlines often forced her to mix mediums—and as you can see in this poster, she sometimes combined oil, watercolor, nu-pastel and ordinary colored crayons to produce the effects she needed.


ソーヤーはオイルでの作業を好みましたが、しばしば締め切り期限に追われて、このポスターで見られるように、オイル、水彩、ニューパステル、通常の色付きのクレヨンを組み合わせたミックスを余儀なくされました。


This emotional painting of a refugee family replicates a scene Sawyers witnessed first hand.


難民家族のこの感情的な絵は、ソイヤーズが最初に目撃した場面を再現しています。


In 1937, while traveling with her husband, illustrator William Ruesswig* she narrowly escaped the Japanese attack on China’s Marco Polo Bridge.


1937年、彼女の夫でイラストレーターのウィリアム・ルースウィッグと一緒に旅行している間、彼女は中国のマルコポーロ橋への日本軍の攻撃を間近に逃れました。


When she returned to New York, an exhibition of paintings from her travels attracted positive attention, and Collier’s magazine commissioned her to record her impressions of Asia in a series of articles and illustrations.


彼女がニューヨークに戻ったとき、彼女の旅行からの絵画の展示は肯定的な注目を集め、Collierの雑誌は彼女にアジアの印象を一連の記事やイラストで記録するよう依頼しました。


During World War II, the intrepid Sawyers returned to Asia to cover the Pacific theater as an artist/correspondent for both Collier’s and Life magazines.


第二次世界大戦中、勇敢なソーヤーはアジアに戻って、コリアーとライフ雑誌の両方のアーティスト/通信者として太平洋劇場をカバーしました。
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Narrated By: Allida M. Black
Research Professor of History and International Affairs - The George Washington University


アリダブラックによるナレーション付き:
ジョージ・ワシントン大学歴史・国際問題研究教授


Everybody thinks the Four Freedoms with Norman Rockwell and the four iconic paintings and then the other half of the scale is they think of FDR’s landmark address.


誰もが「4つの自由」とノーマン・ロックウェル、それと4つの象徴的な絵画をセットで考え、残りの半分はルーズベルトの画期的な取り組みを考えるものです。


And Eleanor understood, as did FDR, but in a very different, gut level way, that you couldn’t be free to unless you were free from.


そしてエレノアは、本人がそれから自由でなければ自由にはなれないことを、ルーズベルトがそうであったように、しかし本能的にまったく違う方法で理解していました。


And so even before they could articulate the concept of the Four Freedoms, she would talk about freedom from hunger.


そして、彼らが「4つの自由」という概念を明確にする前でさえ、彼女は飢えからの自由を話すことでしょう。


She would talk about freedom from fear.


恐怖からの自由についても話すでしょう。


She would talk about freedom to dream.


夢を見ることの自由についても話すことでしょう。


Now, that’s different language, but it’s the same principles, and it was Eleanor who really risked her personal safety in the United States to champion what this means.


それは違う言葉表現かもしれませんが、同じ原則です。そして、これが意味するものを擁護するために米国での個人的な安全を実際に危険にさらしたのはエレノアでした。


When she gets to the UN, she saw wounded all through Asia, all through Europe, all through the United States.


彼女が国連に着いたころには、彼女はアジア全土、ヨーロッパ全土、米国全土で負傷者を見てきました。


And the United Nations sends her to Holocaust camps, sends her to displacement camps.


そして、国連は彼女をホロコーストキャンプに送り、彼女を強制収容キャンプに送ります。


She ends up being responsible for really helping the world come up with a new vision to say that we are not going be defined forever by hate and racial superiority and religious bigotry and gender discrimination.


彼女は、憎しみや人種的優位、宗教的偏見やジェンダーの差別によって永遠に定義されることはないと言う新たなビジョンを世界が生み出すのを本当に支援するという責任を果たしたのです。


We’ve got to give ourselves a new vision.


私たちは自分自身に新しいビジョンを与えなければなりません。


And she took the Four Freedoms, and what she interpreted the Four Freedoms to mean, into that negotiating room.


そして、彼女は4つの自由を手にして、4つの自由はその交渉部屋に入ることを意味すると解釈しました。


And I just want you all to think about this.


そして、私は皆さんにこれについて考えて欲しいだけなのです。


It’s a dining room table size.


それはダイニングルームのテーブルサイズです。


You know, there are 18 nations.


そこには18カ国があるとしましょう。


None of the people believe in the same god or if a god exists.


誰も同じ神を信じておらず、また神が存在するかどうかも信じていません。


They don’t believe that there’s private property or, you know, if money is good.


彼らは、私的財産があるとは信じていません。もちろんお金が価値あればの話ですが。


They don’t have the same concept of family.


彼らは家族についての同じ概念を持っていません。


They don’t have the same concept of citizenship.


彼らは市民権について同じ概念を持っていません。


The only thing they share is, “By god, we beat the Germans.”


彼らが共有する唯一のものは、「神によって、私たちはドイツ人を打ち負かす」ということです。


And so she takes her innate commitment to freedom from fear, freedom of speech, freedom of worship, you know, freedom from want and puts them together in a way that keeps people at the table.


そして彼女は、恐れからの自由、言論の自由、崇拝の自由、欲望からの自由への彼女の本質的な約束をもって、人々を交渉のテーブルに就かせるように一致させるのです。


And the thing that’s so remarkable about her leadership is not only do we get the Universal Declaration of Human Rights, which I firmly believe are 30 examples of the Four Freedoms.


彼女のリーダーシップについて非常に注目すべきことは、私たちが得られるものは4つの自由のうち30の実例であると確信している世界人権宣言を得るだけにとどまらないということです。


You know, I dare you to look at one of those articles and then look at one of Rockwell’s four paintings including the golden rule, including Ruby Bridges, and not see them throughout all the DNA of the paint.


これらの記事の1つを見て、ルビーブリッジや金色律を含むロックウェルの4つの絵を見ると、絵のDNA全体を通してでなければ本当の意味でそれらを見ることはできないということです。
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Narrated By: Daisy Rockwell
デイジーロックウェルによるナレーション付き:
Artist and Author
アーティストと著者


I think it’s inspiring in the sense that we all have that potential within us to bring more to the world around us if we open our eyes more, and I think his eyes were opened also by, obviously . . . the passions of the Civil Rights movement inspired him as well.


私たちがもっと目をこらせば、もっと多くのものを私たちの周りの世界にもたらす可能性を私たちすべてが持っているという意味のインスピレーションだと私は思います。彼の目も明らかに開かれたと思いますが、 市民権運動の情熱も彼に影響を与えました。


I mean it’s not like I ever sat down and asked him these things, but you can read that as part of the trajectory when you look at the changes in his paintings.


これらのことを座ってゆっくり彼に尋ねたわけではありませんが、彼の絵画の変化を見ると、その軌跡の一部としてそれを読みとることができるということです。


It seems like that time changed a lot of people, and he was not immune, and I feel that narrative is still not known to a lot of the public, so I’m glad it will be part of the Four Freedoms show.


その当時は多くの人が変わったと思いますが、彼は影響を受けないわけではなく、ナレーションはまだ多くの人に知られていなかったのだと私は思います。それが4つの自由ショーの一部となることを私はうれしく思います。


Because that is an evolution from the 40s to the 60s that he went through, and you can’t look at just one and not the other.


それは40年代から60年代にかけて進化してきたものなので、ただ一つだけを見て、他を見ないことはできません。


I definitely think that art can make people engage because when we have sort of severe problems in our society, part of the problem is we get stuck in our thinking.


社会に深刻な問題を抱えている場合、問題の一部は私たちの考えに固執してしまうため、芸術は人々を関与させることができると確信しています。


People’s ideas get ossified, and it’s, you know, today even worse than it’s ever been, probably.


人々のアイデアは骨化してしまい、おそらくこれまでよりも悪化しています。


People get stuck, and they can’t get each other out of these spaces. You know, there’s right and there’s wrong and there’s black and there’s white, and they can’t . . . so a job that the artist can do is break everything, you know, think of it as a china plate and the artist smashes it, and then glues it back together in another shape so that you can see it differently.


人々は立ち往生し、これらの空間からお互いを得ることはできません。 あなたは知っている、間違っていると黒があり、白があり、できない。 。 。 アーティストが行うことができる仕事はすべてを壊している、あなたは知っている、それは中国のプレートと考えて、アーティストはそれを粉砕し、別の形でそれを一緒に戻って別の形で見ることができます。
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Narrated By: George Church III
Docent and Volunteer - Norman Rockwell Museum
ジョージチャーチ3世によるナレーション付き
博士とボランティア - ノーマンロックウェル博物館


When World War II started and the Japanese bombed Pearl Harbor, I was in a movie with my dad.


第二次世界大戦が始まり、日本が真珠湾を爆撃したとき、私は父と一緒に映画の中にいました。


And then we saw, during the course of the beginning on this one occasion, we saw this piece of paper slide in between the lens and the light in the camera, in the projector.


そして、私たちはこの出来事の初めに、プロジェクター内のレンズとカメラの光との間にこの紙のスライドが入るのを見ました。


And it said the Japanese had bombed Pearl Harbor.


そして、日本人が真珠湾を爆撃したと説明されました。


This has been reported by the US Army.


これは米軍によって報告されています。


But anyway, that was my introduction to World War II.


それはともかく、それは第二次世界大戦への私の序曲でした。


It was after that that I started getting involved in the aircraft spotting work.


それ以降、私は航空機の点検作業に携わり始めました。


The plane spotting was something I got into through a couple of other friends who were in my class in grammar school.


航空機の点検作業は、私が小学校で同じクラスだった何人かの友人たちの中に入れてもらったものでした。


And . . . I could only go plane spotting on Saturdays because I was going to school Monday through Friday.


そして、私は月曜日から金曜日まで学校に通っていたので、土曜日しか航空機の点検作業ができませんでした。


And I’d get up around 4:30 or quarter to 5, and have breakfast and get on my bicycle.


私は約4:30か4:45には起床し、朝食を取って自転車で通いました。


And I had to ride about three miles to get to the Miami Biltmore Hotel, which was in Coral Gables.


コーラルゲーブルスにあるマイアミビルトモアホテルに行くためには、約3マイルは乗らなければなりませんでした。


And I had to be able to park my bike and then go into the lobby and then climb the stairs, and the elevator would take me up.


着いたら自転車を止めて、ロビーに入ってから階段を登り、エレベーターで上に上がりました。


And then, I got to the tower, and then I had to climb up into the tower where we had a spotting booth that was built inside the tower . . . of the hotel.


ホテルの塔に着いてから塔の中に建てられた点検作業ブースがある場所まで塔を登っていく必要がありました。


And, but the building was the tallest building in Miami, and we were directly south of Miami International Airport.


その建物はマイアミで一番高い建物で、私たちはマイアミ国際空港のすぐ南にいました。


And that is where we did our plane spotting from there.


そこが私たちが航空機を点検する場所でした。


And I worked the shift from 6:00 to 9:00 on Saturday mornings, and I had my plane spotter book with me.


そして、私は土曜日の午前6時から9時までのシフトで作業を行いました。手元には航空機の点検書を持っていました。


And I had a telephone.


私は電話も持っていました。


I was with one other person, and between the two of us, we reported everything that we saw land and take off at Miami airport, and also planes that flew over that we would always log in and telephone about those as well.


私はもう一人と一緒にいて、私たち2人でマイアミ空港の離着陸について見たすべてを報告しました。飛行機が飛び去ると私たちはいつも記録して、同様に電話していました。


The book has really been a treasure because it was the way I was able to connect, even at my . . . young age.


この本は本当に宝物でした。なぜなら、この年若い私でも接続できる方法だったからです。


Well, when the war started in December, I was 12 years old.


さて、12月に戦争が始まったとき、私は12歳でした。


And I think it was just being . . . not being able to get involved in the service per se, but it was a connection for me, and that part of history.


そして、それは、、サービスそのものに関わることはできませんが、それは私とのつながり、そしてその歴史の一部であったと思います。


And I just knew that that book was what validated my experience and made the point that I was involved in doing as much as I possibly could . . . during the course of the early part of the war.


私はその本が私の経験を証するものであり、戦争初期の段階で私が可能な限り多くのことをすることに関わったという点を知っていました。
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Narrated By: Irvin Ungar
Founder and CEO - Historicana / Curator - The Arthur Szyc Society
アーヴィンアンガーによるナレーション付き:
創設者兼CEO - ヒストリカナ/収集者 - アーサー・スジック協会


I’m delighted to introduce you to Arthur Szyk, who was a Polish Jewish artist born in Łódź, Poland, in 1894, in the same year as Norman Rockwell was born.


1894年、ポーランドのウッチで生まれたポーランドのユダヤ人アーティスト、アーサー・スジック(Arthur Szyk)をご紹介しますが、彼はノーマン・ロックウェルと同じ年に生まれました。


And Arthur Szyk came to America in 1940 as an immigrant and died 1951.


アーサー・スジックは1940年に移民としてアメリカに渡り、1951年に亡くなりました。


When he ultimately arrived in America he saw himself as a one man army in this fight against Hitler.


彼が最終的にアメリカに到着したとき、彼はヒトラーに対抗するこの戦いにおける一人の軍人として自分自身を見ていました。


He also considered himself to be FDR’s soldier in art (as he signed a few of his works).


彼はまた、自分が美術のFDR兵士であると考えていました(彼は作品のいくつかに署名しています)。


Arthur Szyk worked during World War II, fighting against the Axis and he worked also on behalf of the rescue of European Jewry.


アーサー・スジックは第二次世界大戦中に枢軸軍と戦い、ヨーロッパユダヤ人の救助のためにも働きました。


He became very famous in America even though many people have forgotten who he was, what he accomplished during his lifetime, but he was as famous as famous could be.


多くの人は彼が誰で、生涯を通じて何を達成したかも覚えていませんが、彼はアメリカでは非常に有名になり、有名人ほど有名であったかもしれません。


And to give you an idea of that, as you, the viewer, know, Norman Rockwell was illustrating the early 1940s, the covers of the Saturday Evening Post.


また、読者がご存じのように、ノーマン・ロックウェルは、1940年代初めのサタデイイブニングポスト誌の表紙を描いていました。


At that time Arthur Szyk was illustrating the covers of Collier’s magazine.


当時、アーサー・スジックは「Collier’s」誌の表紙を描いていました。


What was the circulation of the Saturday Evening Post?


サタデイイブニングポスト誌の部数はいくらだったでしょうか?


About three million people got each copy.


約300万人がそれぞれのコピーを持っています。


How many people received each copy of Colliers?


どれほどの人が「Colliers」誌のコピーを受け取ったのでしょうか?


Two and a half million.


250万人です。


Let me talk about Arthur Szyk and the Four Freedoms.


アーサー・スジックと「フォーフリーダム(四つの自由)」についてお話ししましょう。


It begins with Arthur Szyk creating a series entitled Washington and his Times.


それは、アーサー・スジックが「ワシントンと彼のタイムズ」というタイトルのシリーズを作り始めることから始まります。


These are 38 paintings dealing George Washington and the American Revolution.


ジョージワシントンとアメリカ革命を扱う38の絵です。


Arthur Szyk completed those works in 1930, it was published as a portfolio in 1932.


アーサー・スジックは1930年にこれらの作品を完成させ、1932年にポートフォリオとして出版されました。


In 1935, Arthur Szyk was exhibiting these works and they were purchased by the president of Poland, Mościcki, and in 1935 he presented these to Franklin Roosevelt as a gift, in a way to create closer relations between Poland and the United States virtually on the eve of World War II—the Nazis had been in power already.


1935年にアーサー・スジックはこれらの作品を展示していましたが、ポーランドのMościcki社長が購入し、1935年には、第二次世界大戦の前夜(ナチスはすでに権力を握っていましたが)にポーランドと米国の関係をより緊密にするために、ギフトとしてフランシス・ルーズベルトにプレゼントされました。


Roosevelt kept those in the White House and when Roosevelt gave his Four Freedoms speech in January of 1941, 38 paintings of freedom were hanging in the White House.


ルーズベルトはホワイトハウスでそれらを保持し、ルーズベルトが1941年1月に彼の「4つの自由」の演説をしたとき、自由の38の絵がホワイトハウスに飾られていました。


And these were works by Arthur Szyk.


これらはアーサー・スジックの作品でした。


Then Szyk set out, actually in 1942, to illustrate the Four Freedoms.


その後、スジックは-実際には1942年に-「フォーフリーダム(四つの自由)」を描くことを立案しました。


They were . . . really featured a medieval knight, almost fighting for freedom, that meaning all the freedoms had to be fought for and Szyk’s way was to use a medieval knight who would have a lance, a dagger, a sword, accompanying almost each one of them.


彼らは自由のために戦っている中世の騎士に着目し-それはすべての自由が勝ち取らなければならないものであることを意味しますが-槍、短剣、剣及びそれに付随する全てを持つ中世の騎士を使用すること、それがスジックのやり方でした。


And these were reproduced in two formats.


そしてこれらは2つの形式で再現されました。


One as poster stamps that were widely distributed as if one would distribute Easter Seals.


1つは、イースターシールを配布するかのように広く配布されたポスタースタンプです。


And secondly, they were reproduced as in large postcards and also distributed.


そして二つ目は大きなはがきのように再現され、配布されました。


So this was Arthur Szyk’s connection to the Four Freedoms, both in terms of his artwork being in the White House when the speech was given, and then also, literally, to reproduce them as well.


スピーチが行われたときに彼の作品がホワイトハウスに飾られたという点でも、それから文字通り、それらを再現するという点でも、これはアーサー・スジックと4つの自由とのつながりでした。
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Narrated By: James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


ジェームスJキンブル 博士によるナレーション付き


コミュニケーション准教授 - コミュニケーションアンドアートカレッジ


セトンホール大学


This press wire photograph is widely believed to have inspired J. Howard Miller’s “We Can Do It!” poster, commonly known today as “Rosie the Riveter.”


今日、「ロージー・リベッター」として一般に知られているこのプレス・ワイヤーの写真は、ハワード・ミラーの「We Can Do It!(わたしたちもできる)」ポスターにインスピレーションを与えたと広く信じられています。


Starting in the 1980s, the black and white photograph came to be associated with Geraldine Hoff Doyle, a Michigan woman who believed that it featured an image of her working in a 1942 factory.


1980年代には、1942年の工場で働いているイメージを特徴としていると信じられていたミシガン州の女性ジェラルディンホフドイルが、ある白黒写真と関連づけられていました。


However, the photograph is actually of a California woman named Naomi Parker, who was one of the first women to work in the machine shop at the Alameda Naval Air Station on San Francisco Bay.


しかし、この写真は実際には、サンフランシスコ湾のアラメダ海軍航空基地の機械工場で働く初めての女性職員の一人だったナオミ・パーカーというカリフォルニア州の女性のものでした。


While working at Alameda, Parker did indeed serve as a riveter, but also as a welder, a bucker, and a machinist (among dozens of other tasks related to the repair of the Navy’s war planes).


アラメダで働いている間、パーカーは実際にリベッターとして働いていただけでなく、(海軍の戦闘機の修理に関連する何十もの仕事の中で)溶接工、のこぎり工、機械工としても働いていました。


The photograph appeared in scores of American newspapers during 1942, earning Parker some fan mail and even a marriage proposal.


この写真は、1942年にアメリカの新聞に掲載され、パーカーにはいくつかのファンメールと結婚の申し出が届きました。


However, it faded in public memory after the war, only resurging when Doyle, who saw it in a 1980s magazine, mistakenly came to believe that she was its subject.


しかし、1980年誌でそれを見た人が誤ってドイルが主題だと思い込んでからというもの、それは戦後の大衆の記憶の中から消えていきました。


While the photograph’s connection to the “We Can Do It!” poster remains uncertain, as the artist Miller left very few records, there are a number of telling similarities between Parker’s appearance and the woman in the poster.


ミラー氏の記録はほとんど残っていないため、「We Can Do It!(わたしたちもできる)」ポスターとの関連は不明ですが、パーカーの姿とポスター中の女性には類似点がたくさんあります。


Moreover, the photograph did appear in a Pittsburgh newspaper, near Miller’s home during the 1940s, and so it is possible that he came across it and kept it for his collection of reference images.


さらに、その写真は1940年代にミラーの家の近くのピッツバーグの新聞に掲載されたので、関連する画像を収集して保管していた可能性が
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


Following her success photographing laborers for the Farm Security Administration, the great documentary photographer Dorothea Lange was hired to record the process of removal and mass incarceration of citizens and non-citizens of Japanese ethnicity for the War Relocation Authority in March of 1942.


1942年3月、戦争移住局の市民と非民族人の移住と大量収容の過程を記録するために、ドキュメンタリーフォトグラファーのドローテア・ランゲが牧場経営管理のための労働者の撮影に成功した。


From the very first days, her photojournalism style and personal sympathies for the plight of these Americans conflicted with the demands of army officials.


非常に最初の日から、彼女のフォトジャーナリズムスタイルと、これらのアメリカ人の窮状に対する個人的な同情は、軍関係者の要求と矛盾していました。


Strictly taboo were pictures of machine guns in towers.


厳重なタブーは、塔の中の機関銃の写真でした。


Also restricted were photos of barbed wire, armed guards, and any signs of resistance.


また、有刺鉄線、武装した警備員の写真、抵抗の兆候も制限されていた。


In her own words, she says: “I had a man following me all the time.” She was met with delays by officials asking for credentials, was made to account for every negative and every cent she spent, and was prohibited from talking to people in the camps.


彼女は自分の言葉で言います:「私はいつも私のもとにいる男がいました」彼女は資格を求めている役人の遅れに会い、彼女が過ごしたすべてのマイナスと1セントを説明するようになっていて、 キャンプの人々。


All prints were submitted for review and those considered inappropriate were marked ‘impounded” and the negatives embargoed for the duration of the war.


全ての印刷物は審査のために提出され、不適切と見なされた印刷物は戦争中に「没収された」と表示され、ネガは禁輸された。


Lange took this photo of the Wanto Co. grocery store in Oakland, California, on March 13, 1942, nearly a month after FDR had signed Executive Order 9066, requiring the owner and his family to leave.


Langeは、カリフォルニア州オークランドのWanto Co.食料品店の写真を、1942年3月13日に、FDRが大統領令9066に署名してから約1ヵ月後に、所有者とその家族に去らせるよう要求した。


Tatsuro Masuda, the owner, was born in Oakland and newly married.


オーナーの増田達郎はオークランドで生まれ、新たに結婚した。


He told Lange, “I paid for it the day after Pearl Harbor.”


彼はランゲに言った、 "私は真珠湾の翌日にそれを支払った。


He and his wife were sent to the Gila River concentration camp in Arizona.


彼と彼の妻はアリゾナのギラ川強制収容所に送られました。


They never returned to the store.


彼らは決して店に戻りませんでした。


In the three months with the WRA, working nearly seven days a week, Lange managed to take nearly 850 images.


週に7日間働くWRAの3ヶ月間で、ランゲは約850の画像を撮ることができました。


While many of her other photos for the government had gone on to become some of the most iconic images of the 20th Century, most of these remained virtually unseen until a book about them and Lange was published in 2006.


政府のための彼女の他の写真の多くは、20世紀の最も象徴的なイメージの一部になっていましたが、これらのほとんどは、彼らに関する書籍と2006年にランゲが出版されるまで、ほとんど見られませんでした。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


This Ansel Adams image was taken in 1943, near Death Valley, California, in a camp called Manzanar.


このアンセルアダムスの画像は、1943年、カリフォルニア州デスバレー近郊のマンザナールというキャンプで撮影されました。


It was one of ten American concentration camps built to imprison US citizens of Japanese ancestry and their immigrant parents.


この画像は、両親が移民である日系米国市民を投獄するために建てられた10のアメリカの強制収容所の1つでした。


It shows a man looking out at a vast open landscape in the foothills of the Sierras, the typical kind of vista Adams was known for as a photographer.


それは、写真家として知られていたアダムスの代表的な種類の眺望であるシエラスの丘陵地帯の広大な風景を見渡す男をとらえています。


What it oddly misses is any barbed wire fences, guard towers, searchlights, soldiers with machine guns or any discomfiting scenes that may have hinted at the harsh conditions in which these people had been placed.


奇妙なことに、有刺鉄線のフェンス、警備員タワー、サーチライト、機械銃を持った兵士、またはこれらの人々が置かれた過酷な状況を暗示していると思われる不快なシーンがあります。


Adams personally felt strongly that US citizens should not be treated this way by their own country and his first attempt at documentary photography was born of a desire: to show to his fellow Americans that these people were just like any other citizen, Born Free and Equal, as the book he would eventually compile and publish in 1944 would be titled.


アダムズは米国市民が自分の国でこのように扱われるべきではないと個人的に強く感じました。彼のドキュメンタリー撮影の最初の試みは、仲間のアメリカ人に、これらの人々が他の市民と全く同じであることを示すことでした。彼が最終的に編集して1944年に出版された本が「(Born Free and Equal)自由で平等に生まれる」という題名にされたとおりです。


When the book came out, however, his aims were not appreciated by an American public which, still bogged down in war, did not forgive his sympathetic take on those imprisoned.


しかし、この本が出版されたとき、まだ戦争の泥沼にはまっていた米国の世論は、投獄された人々に同情的な彼の態度を許すことができず、彼の目的は評価されませんでした。


As a result, it is said that copies of his book were burned in protest. It’s also said that the government itself had bought thousands of copies and had them destroyed.


その結果、彼の本のコピーは抗議活動で燃やされたと言われており、政府が何千ものコピーを買って処分したとも言われています。


Whatever their fate, an original 1944 copy of this book is considered a rare find.


その運命が何であれ、この本のオリジナルの1944年のコピーはまれな発見と認識されています。


And there’s further irony: as antipathy towards Japanese Americans eased, so Adam’s photographs became controversial yet again, because this time, the government and the public rather than rejecting them, began using them as proof that conditions at the camps were anything but harsh or inhumane.


さらに、日系アメリカ人に対する反感が緩和されたことで、アダムの写真は議論の余地が出てきました。なぜなら今回は政府と国民を拒絶するためではなく、キャンプでの条件が厳しいか非人道的であるという証拠として使われ始めたからです。


Considered neither true documentary nor pure propaganda, these images lie somewhere in a kind of photographic nether world.


真のドキュメンタリーでも純粋なプロパガンダでもないと考えられているこれらの画像は、写真家の世界のどこかに存在していると言えま
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


ステファニー・ハボース・プランケットによるナレーション付き
副所長/チーフキュレーター - ノーマンロックウェル博物館


As with many Americans in the mid 1960s, the Vietnam War was on Norman Rockwell's mind.


1960年代半ばの多くのアメリカ人と同様に、ベトナム戦争はノーマンロックウェルの心にありました。


In 1966, he spent a week at Quantico Marine Base in Virginia taking photos of an experienced marine with a thought of designing an image for a poster that he had been commissioned to do.


1966年、彼はヴァージニアのクオンティコ海兵隊基地で一週間、経験豊富な海洋の写真を撮り、ポスターのイメージをデザインしました。


But in March 1967, he wrote to the Marine Corps declining the assignment saying, "I just can't paint a picture unless I have my heart in it."


しかし、1967年3月、彼は「私の絵に心がない限り私は絵を描くことができません」と書き、海兵隊に任務を辞退する旨を申し出ました。


About a year later, Rockwell began work on The Right To Know, an editorial illustration for Look Magazine that was published in August of 1968.


約1年後、ロックウェルは、1968年の8月に出版されたルックマガジンの編集イラスト「知る権利」の作業を開始しました。


Just months after the painting appeared, the New York Times reported that General Westmoreland had requested 206,000 additional troops to be sent to Vietnam, a story that the White House had tried to suppress.


絵画が登場したわずか数ヶ月後、ニューヨークタイムズ紙はウェストモアランド将軍が、ベトナムに20万6000人の追加兵隊を派遣するよう要求していたと報道しました。これはホワイトハウスが封じ込もうと思っていた件でした。


After troop escalation was reported, news of the My Lai Massacre broke, fueling growing descent against the war.


兵力の増強が報告された後、マイライ大虐殺のニュースが報道され、戦争に対する反感が増しました。


Rockwell's political statement expressed the right of American citizens to understand their government's actions.


ロックウェルの政治声明は、政府の行動をアメリカ国民が理解する権利を表明しました。


Of his work during that period, Rockwell said, "I don't think my style has changed, but America has and hence, so has my subject matter. Lord knows we have problems, plenty of them, but we should also have great confidence in the present generation of young people who are, I think, the very best we have produced, long hair and all. Who is to say that one of these hippies won't be a genius of the future?"


彼は仕事の合間に、「私は自分のスタイルが変わったとは思わないが、私の主題はアメリカと同じだ。主は私たちに多くの問題があることを知っている。だが、私たちは若者の今の世代に大きな自信を持つべきだと思う。私が思うには、私たちが作り出した最高のもの、知識人、それら全て、これらのヒッピーのうちの1人でも未来の天才にはならないと誰が言えますか?」と言いました。


In his illustration, Rockwell presents a group of people of many races, ages, and political persuasions.


イラストレーション中で、ロックウェルは、多くの人種、年齢、政治的一派の人々のグループを示しています。


His format of massing people from all walks of life was also used in two other works in this exhibition, a drawing created in 1953 relating to the United Nations and the peoples of the world, and in his famous Saturday Evening Post cover illustration, Golden Rule, published in 1961, which portrayed the peoples of the world united under the phrase, "Do onto others as you would have them do onto you."


この展覧会では、1953年に国連と世界の人々に関連して作成された絵画と、1961年に出版され彼の有名なサタデーイブニング ポスト紙の表紙イラストであるゴールデン・ルールの「己の欲するところを人に施せ」という言葉で世界の人々を一致させました。


Norman Rockwell who was 74 years old when he painted this work, felt so strongly about this painting that he had included himself in the work on the far right side with his signature pipe in his mouth.


この作品を描いたときに74歳だったノーマン・ロックウェルは、彼自身を含めて描いたこの作業に強い思いを感じて、口にパイプをくわえながら右端に自分のサインをしました。
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き
副所長/チーフキュレーター - ノーマンロックウェル博物館


A close friend of Norman Rockwell's in Arlington, Vermont, illustrator Mead Schaeffer, adapted his approach to his work during the World War II years to satisfy wartime needs.


バーモント州アーリントンのノーマン・ロックウェルの友人で、イラストレーターのミード・シェーファーは戦時中のニーズを満たすために、第二次世界大戦中に彼の仕事にアプローチしました。


He abandoned the romantic and literary themes that had been his focus and turned his attention to real people and places, embracing the repertorial direction of The Saturday Evening Post at the time.


彼は自分が取り組んでいたロマンチックで文学的なテーマを放棄し、当時のサタデイイブニングポストのレパートリーの方向性を取り入れて、実際の人物や場所に注意を向けました。


In 1942, seeking ways to contribute their talents to the war effort, Rockwell and Schaeffer traveled to Washington, D.C., with sketches for some proposed projects and visited several government agencies.


ロックウェルとシェーファーは、彼らの才能を戦争努力に貢献する方法を模索するため、1942年、ワシントンDCに渡って、いくつかの提案されたプロジェクトをスケッチし、いくつかの政府機関を訪問しました。


Unfortunately, at the time no funds were available for their projects.


残念なことに、当時、彼らのプロジェクトに使える資金がありませんでした。


A bit dejected, on the way home they stopped in Philadelphia to see Saturday Evening Post editor, Ben Hibbs.


少し落ち込んだ彼らは家に帰る途中、フィラデルフィアに立ち寄ってサタデイイブニングポストの編集者、ベン・ヒブスに会いました。


Hibbs immediately embraced their ideas and commissioned them each to develop their paintings for publication.


ヒブスはすぐに彼らのアイデアを受け入れ、出版用に絵を作成するようそれぞれに依頼しました。


Schaeffer determined to create a series of armed forces commemorative covers highlighting the work of every military branch.


シェーファーはすべての軍事支部の作業をハイライトする軍隊記念碑的カバーシリーズを創作することにしました。


He carefully researched his subjects and, with great technical proficiency, created heroic works that emphasized the professionalism and dedication of the American soldier in all circumstances.


彼は慎重に自分の主題を研究し、優れた技術的能力で、あらゆる状況における米軍の専門性と献身性を強調した英雄的な作品を作りました。


His imagery was reassuring to the public during unstable times.


彼の絵は、不安定な時期に大衆を安心させていました。


In one issue of the Saturday Evening Post, the February 20, 1943, publication, Schaeffer's and Rockwell's paintings actually overlapped.


1943年2月20日のサタデイイブニングポストの1つの議題では、シェーファーとロックウェルの絵が実際にオーバーラップしていました。


In that issue Schaeffer's dynamic portrayal of a marine in battle appeared on the cover, and Rockwell's first Four Freedoms illustration, Freedom of Speech, appeared inside.


その議題では、シェーファー作の戦闘における海兵隊のダイナミックな描写が表紙に現れ、ロックウェルの最初の「4つの自由」のイラストのうち「言論の自由」の絵がその中に登場しました。
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き
副所長/チーフキュレーター - ノーマンロックウェル博物館


Freedom of Worship posed a challenge for Rockwell, for he understood that religion was a deeply personal and sometimes delicate subject.


宗教は非常に個人的で時にはデリケートな主題であることを彼は理解していたため、信教の自由はロックウェルにとって挑戦でした。


He wanted to paint an image conveying unity despite differences, presenting a vision for a world without discrimination based upon is religious practice or belief.


彼は差異があるにもかかわらず統一性を伝えられるイメージを描くことを望んだため、宗教上の習慣や信念に基づき且つ差別のない世界のビジョンを提示したのです。


His initial concept depicted an amicable scene in a country barbershop, in which a Jewish man is attended to by a barber, while a Catholic priest and an African American man wait their turn.


彼の初期のコンセプトは、カトリックの司祭とアフリカ系アメリカ人の男が自分の順番を待つ間に、ユダヤ人の男が散髪してもらっている田舎の理髪店という親しみやすい場面を描きました。


But Rockwell found upon almost completing the image, that it presented a stereotypical view, so dissatisfied with this approach, he set it aside and started over again.


しかし、絵はほぼ完成していましたが、ステレオタイプのビューを提示していたので、ロックウェルはこのアプローチには不満があり、別の場所に置いて、やり直しました。


The final image that we see today focuses more on the concept of worship rather than the concept of religion and is composed of the profiles of eight heads in a shallow visual space.


現在の最終的な絵は、宗教の概念ではなく礼拝の概念に焦点を当てており、浅い視覚空間に8つの頭部のプロファイルで構成されています。


The various figures represent people of different faiths in a moment of prayer.


様々な数字は、祈りの時間の中における異なる信仰の人々を表しています。


The image was painted as in monochromatic hues to provide a sense of inclusion and unity.


画像は単色の色相で描かれ、多様性の受け入れと統一感を与えています。


Rockwell felt that in a composition, the positions and gestures of hands are second only to the expressive qualities of faces, as is exemplified in Freedom of Worship.


ロックウェルは、構図において、手の位置と身振りは、「信教の自由」の中に示されているように、顔の表情的な性質に次ぐものであると感じました。


The wording "Each according to the dictates of his own conscience." was a phrase that reflected Rockwell’s own thoughts on religion.


「各自は自分の良心の指示に従うべし」という表現は、 ロックウェル自身の宗教思想を反映したフレーズでした。


When asked where he had heard these words, Rockwell could not recall.


どこでこれらの言葉を聞いたのか尋ねられたとき、ロックウェルは思い出すことができませんでした。


In fact, the phrase exists in many state constitutions of the United State, and was also used by George Washington in a letter penned to the United Baptist Chamber of Virginia, in 1789.


実際、このフレーズは、米国の多くの州の憲法に存在し、1789年にバージニア州の連合バプテスト協議会(United Baptist Chamber)に送られたジョージ・ワシントンの手紙でも使用されました。
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き:
副所長/チーフキュレーター - ノーマンロックウェル博物館


Freedom from Fear was painted while Europe was under siege, as revealed in the headline of the newspaper held in the father's hand.


父親の手に握られた新聞の見出しに示されているように、ヨーロッパが包囲されているときに「恐怖からの自由」が描かれました。


Rockwell's intention was to convey the notion that all parents should be able to put their children to bed each night with the assurance of their safety.


ロックウェルの意図は、すべての保護者が子供の安全を保証しながら毎晩寝ることができるようにという概念を伝えることでした。


Here, a mother and father appear to check on their sleeping children as beautiful touches tell the story of a comfortable, middle-class life.


ここでは、中産階級の快適な人生の物語を美しいタッチで伝えるように、母親と父親が、眠っている子供たちをチェックしているように見えます。


Pictures, clothing, and toys are in the children's bedroom, though the children do share a single bed.


写真、衣服、おもちゃが子供たちのベッドルームにありますが、子供たちは1つのベッドに一緒に横になっています。


A warm light shines from the first floor of their home, implying that this family has attained some fiscal security and the American dream.


暖かい光が彼らの家の一階から輝き、この家族が経済的な安定とアメリカンドリームを達成したことを意味しています。


Although Rockwell did not view Freedom from Fear as particularly strong, the painting has remained relevant and has struck a chord in response to notable world events.


ロックウェルは「恐怖からの自由」を特に強く示しませんでしたが、この絵は重要な世界の出来事に対応して関連性を保ち続けています。


After 9/11, The New York Times published Freedom from Fear on the front page of the paper, substituting Rockwell's heading with language referencing the attacks in New York, Washington, D.C., and Pennsylvania.


9月11日以降、ニューヨーク・タイムズ紙は新聞の第1面に「恐怖からの自由」を載せ、ニューヨーク、ワシントンDC、ペンシルバニア州での攻撃に関するロックウェルの言葉を引用して見出しを付けました。


In response to riots resulting from racial violence around the country, many artists have reinterpreted Freedom from Fear, as well as Rockwell's iconic Problem We All Live With, to reflect those contemporary events and concerns.


国内の人種差別的暴力によって引き起こされた暴動に対応して、多くの芸術家は、現代の出来事や懸念を反映するために、「共有すべき問題」と同様にロックウェルを象徴する「恐怖からの自由」を再解釈しました。
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き:
副所長/チーフキュレーター - ノーマンロックウェル博物館


Freedom from Want was not as great a conceptual challenge as Rockwell's other two previous Four Freedoms paintings (Speech and Worship).


欠乏からの自由」は、ロックウェルの「4つの自由」の他の2つの絵画(言論と崇拝)と同じほど概念的な挑戦ではありませんでした。


The piece was inspired by, and has since become a model for the All-American Thanksgiving.


この作品はインスピレーションを受けて以来、全米の感謝祭の模範となっています。


Though created as a composite with Rockwell's models posing for him in his studio at individual sessions, this family scene includes some of the artist's own neighbors and family members.


個々のセッションで彼のスタジオで彼のためにポーズを取るロックウェルのモデルとのコンポジットとして作成されていますが、この家族のシーンにはアーティストの隣人や家族の一部が含まれています。


Featured is Mrs. Thaddeus Wheaton, the family's cook, who supports a large holiday turkey, as well as Mary Barstow Rockwell, the artist's wife, and his mother Nancy Hill Rockwell who is seen on the right.


注目されているのは、大きなホリデイターキー(七面鳥)を支えている家族の料理人であるタデウスウィートン夫人と、アーティストの妻であるメアリー・バーストウ・ロックウェルと、右側に見られる母親のナンシー・ヒル・ロックウェルです。


Freedom from Want was published with an essay by the relatively unknown novelist and poet Carlos Bulosan, a Filipino immigrant to America, and a migrant worker who wrote on behalf of those enduring domestic hardship.


「欠乏からの自由」は、比較的知られていない小説家であり詩人のカルロス・ブローサン(フィリピン系米国移民)と、国内の苦難を耐え忍ぶ人々のために書いた移民労働者によるエッセイで出版されました。


A counterpoint to the gentle representations in Rockwell's paintings, Bulosan's essay looked forward to a possible future in which those outside the social mainstream, migrant farm workers, union organizers, laborers, African-American victims of segregation, Asian, and Latino immigrants, might be allowed to experience true freedom.


ロックウェルの絵の穏やかな表現とは対照的に、ブローサンのエッセーは、社会の主流から離れた、移民農家労働者、労働組合主催者、労働者、アフリカ系アメリカ人の分離犠牲者、アジア人、ラテン系移民の真の自由を感じ取ることができました。


Artistically, the work is highly regarded as an example of the mastery of the challenges of portraying visual texture in art, including the gleam of white china on white tablecloth, and the transparency of water in glasses.


芸術的には、この作品は、白いテーブルクロスの上で白い陶磁器が輝いていることや、グラスの中の水の透明性が描かれていることなど、芸術における視覚的な質感を描くという課題を見事にクリアした例として高く評価されています。


Despite Rockwell's general optimism, he had misgivings of having depicted such a large turkey when much of Europe was starving, overrun, and displaced as World War II raged.


ロックウェルは一般的には楽観主義ですが、その彼でも第二次世界大戦が勃発したときには、ヨーロッパの多くの国が飢えに苦しみ、限界に達し、避難しているときに、このような大きな七面鳥を描いたことに対する不安を抱いていました。


Many critics acknowledge the over abundance of food depicted in this image, but also noted that the image displays family, conviviality, and security, and were of the opinion that abundance rather than mere sufficiency was the truest answer to the notion of want.


多くの批評家は、この画像に描かれている食べ物が単に豊富だというだけでなく、家族、陽気さ、安全性を示すイメージがあり、単に十分というよりも豊富であることが、欠乏の概念に対する真の答えだと考えています。
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き:
副所長/チーフキュレーター - ノーマンロックウェル博物館


In this April 29, 1944 cover for The Saturday Evening Post, a man is literally charting war maneuvers as he listens to the radio and holds in his hands several maps that would represent the places where his own sons were stationed.


1944年4月29日付のサタデイイブニングポスト誌のカバーには、ラジオを聴きながら自分の息子が駐留していた場所を表すいくつかの地図を手にする男が実際に戦術を描いている様子が載せられてます。


The image is a detailed portrayal of what a parent's own experience might actually be during World War II.


この画像は、第二次世界大戦中における親自身の経験が実際にどのようなものかを詳細に描いたものです。


We can see in the painting that the man has a flag with three blue stars, noting that each of his sons is engaged in the war.


絵の中には、3つの青い星がついた旗があり、息子たちがそれぞれ戦争に従事していることがわかります。


By their photographs, we learn that one is in the Army, one in the Navy, and one in the Air Corps.


それらの写真では、陸軍に1人、海軍に1人、航空隊に1人がいることがわかります。


If he had actually been listening to the radio at that time, he might come upon the music of the Glen Miller Orchestra, or perhaps even a show called You Can't Do Business With Hitler, which was a radio series written and produced by the Office of War Information.


当時彼が実際にラジオを聴いていたのであれば、グレン・ミラー・オーケストラの音楽を聴いたかもしれず、「ヒットラーと取引はするな」という番組でさえ、恐らくは戦争情報局によって編集されたラジオシリーズでした。


One of thousands of government propaganda plays that were broadcast to support the war effort.


戦争努力を支えるために放送された数千の政府プロパガンダ劇の一つだったのです。


Rockwell would typically use props that he had in his own studio in his paintings.


ロックウェルは彼の絵画の中で自分のスタジオで持っていた小道具を使うのが常でした。


One of the objects that we identify here was Rockwell's own Windsor chair, which the man is seated on.


私たちがここで特定している物体の1つは、ロックウェルが所有するウィンザーチェアで、男が座っています。


The Windsor chair that you see here is the actual type of chair that Rockwell typically painted on, though he did sometimes paint standing up.


ここでご覧になるウィンザーチェアは、ロックウェルが典型的に描いた椅子の実際のタイプです。


It was a chair that he actually took with him from studio to studio.


それはスタジオからスタジオへ彼が実際に持ち運んだ椅子です。


The image that you see here is actually the second that Rockwell created, on the concept of listening to news of the war.


あなたがご覧になっている画像は、実際には、戦争のニュースを聞くというコンセプトで、ロックウェルが作成した2番目の画像です。


The first was actually an unpublished image that Rockwell worked on in the winter of 1944, and that he and the Saturday Evening Post deemed unreadable.


最初はロックウェルが1944年の冬に作成した未発表の画像であり、彼とサタデイイブニングポストは判読できない(無表情)と考えていました。


In it, we see a group of men gathered in a diner, and though they all appear to be very attentive, we are not exactly sure what they're listening to.


そこでは食堂に集まった一群の男性が見うけられます。彼らはすべて非常に集中しているように見えますが、彼らが何を聞いているのか正確にはわかりません。


If we look closely, in the upper right hand corner of the painting, there's a glowing light that comes from a playing radio.


よく見ると、絵の右上隅には、放送中のラジオから放たれる光があります。


As an illustrator for a mass published magazine, Rockwell had to tell his story very quickly, and his imagery had to appeal to a very vast audience.


大量に出版された雑誌のイラストレーターとして、ロックウェルは急いでストーリーを伝えなければならず、彼の画像は非常に広大な聴衆にアピールしなければならなかったのです。


In this case, The War News is a beautiful painting, it did not communicate effectively in the way that Rockwell would have hoped, and so he chose to abandon this particular way of telling the story.


このケースでは、「戦争ニュース」は美しい絵となってしまい、ロックウェルが望んでいた方法で効果的に伝えることができなかったので、彼はストーリーを伝えるこの特定の方法を放棄することを選びました。
HTMLText_18E44361_3292_646B_41C8_F166580358E8.html =
Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き:
副所長/チーフキュレーター - ノーマンロックウェル博物館


In this April 29, 1944 cover for The Saturday Evening Post, a man is literally charting war maneuvers as he listens to the radio and holds in his hands several maps that would represent the places where his own sons were stationed.


1944年4月29日付のサタデイイブニングポスト誌のカバーには、ラジオを聴きながら自分の息子が駐留していた場所を表すいくつかの地図を手にする男が実際に戦術を描いている様子が載せられてます。


The image is a detailed portrayal of what a parent's own experience might actually be during World War II.


この画像は、第二次世界大戦中における親自身の経験が実際にどのようなものかを詳細に描いたものです。


We can see in the painting that the man has a flag with three blue stars, noting that each of his sons is engaged in the war.


絵の中には、3つの青い星がついた旗があり、息子たちがそれぞれ戦争に従事していることがわかります。


By their photographs, we learn that one is in the Army, one in the Navy, and one in the Air Corps.


それらの写真では、陸軍に1人、海軍に1人、航空隊に1人がいることがわかります。


If he had actually been listening to the radio at that time, he might come upon the music of the Glen Miller Orchestra, or perhaps even a show called You Can't Do Business With Hitler, which was a radio series written and produced by the Office of War Information.


当時彼が実際にラジオを聴いていたのであれば、グレン・ミラー・オーケストラの音楽を聴いたかもしれず、「ヒットラーと取引はするな」という番組でさえ、恐らくは戦争情報局によって編集されたラジオシリーズでした。


One of thousands of government propaganda plays that were broadcast to support the war effort.


戦争努力を支えるために放送された数千の政府プロパガンダ劇の一つだったのです。


Rockwell would typically use props that he had in his own studio in his paintings.


ロックウェルは彼の絵画の中で自分のスタジオで持っていた小道具を使うのが常でした。


One of the objects that we identify here was Rockwell's own Windsor chair, which the man is seated on.


私たちがここで特定している物体の1つは、ロックウェルが所有するウィンザーチェアで、男が座っています。


The Windsor chair that you see here is the actual type of chair that Rockwell typically painted on, though he did sometimes paint standing up.


ここでご覧になるウィンザーチェアは、ロックウェルが典型的に描いた椅子の実際のタイプです。


It was a chair that he actually took with him from studio to studio.


それはスタジオからスタジオへ彼が実際に持ち運んだ椅子です。


The image that you see here is actually the second that Rockwell created, on the concept of listening to news of the war.


あなたがご覧になっている画像は、実際には、戦争のニュースを聞くというコンセプトで、ロックウェルが作成した2番目の画像です。


The first was actually an unpublished image that Rockwell worked on in the winter of 1944, and that he and the Saturday Evening Post deemed unreadable.


最初はロックウェルが1944年の冬に作成した未発表の画像であり、彼とサタデイイブニングポストは判読できない(無表情)と考えていました。


In it, we see a group of men gathered in a diner, and though they all appear to be very attentive, we are not exactly sure what they're listening to.


そこでは食堂に集まった一群の男性が見うけられます。彼らはすべて非常に集中しているように見えますが、彼らが何を聞いているのか正確にはわかりません。


If we look closely, in the upper right hand corner of the painting, there's a glowing light that comes from a playing radio.


よく見ると、絵の右上隅には、放送中のラジオから放たれる光があります。


As an illustrator for a mass published magazine, Rockwell had to tell his story very quickly, and his imagery had to appeal to a very vast audience.


大量に出版された雑誌のイラストレーターとして、ロックウェルは急いでストーリーを伝えなければならず、彼の画像は非常に広大な聴衆にアピールしなければならなかったのです。


In this case, The War News is a beautiful painting, it did not communicate effectively in the way that Rockwell would have hoped, and so he chose to abandon this particular way of telling the story.


このケースでは、「戦争ニュース」は美しい絵となってしまい、ロックウェルが望んでいた方法で効果的に伝えることができなかったので、彼はストーリーを伝えるこの特定の方法を放棄することを選びました。
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Narrated By: Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum
ステファニー・ハボース・プランケットによるナレーション付き:
副所長/チーフキュレーター - ノーマンロックウェル博物館


World War II was a fertile era for political cartoonists because passions ran high and the fate of the world was uncertain and at stake.


愛国的な情熱が高まり、世界の先行きが不透明で危機に瀕していたため、第二次世界大戦中は政治漫画家の活躍した時代でした。


Boris Artzybasheff immigrated to the United States at the age of 20 from Russia, and, at the time, he spoke no English at all and reportedly arrived with just 17 cents in his pocket.


ボリスアルツィバシェフは20歳でロシアからアメリカに移住しましたが、当時は英語を全く話せず、ポケットにはわずか17セントしかない状態で到着したと伝えられています。


He was renowned for his ability as an illustrator to turn machines and inanimate objects into living beings, including the swastikas as seen here.


彼は、ここに見られるようなスワスティカを含むような、機械や無生物を生き物に変えることができるイラストレーターとしての能力で有名でした。


During World War II, he was an advisor to the Psychological Warfare branch of the Armed Forces, and as a profuse illustrator, even during that time, he did work for major publications, like Life, Fortune, and Time, for which he produced more than 200 covers.


第二次世界大戦の間、彼は軍隊の心理戦争支部の顧問を務めていました。そして、その時代を過ごした偉大なイラストレーターとして、ライフ、フォーチュン、タイムのような主要な出版物上で200以上のカバーをプロデュースすることに携わりました。


Witches' Sabbath, published in Life magazine in 1942, provided a focus on the artist viewpoint, and the image actually portrays Heinrich Himmler, Hermann Goring, and Joseph Goebbels leading members of the Nazi party and purveyors of Nazi propaganda as swastikas.


1942年にライフ誌に掲載されたWitches 'Sabbath(魔女の安息日)は、アーティストの視点に焦点を当てたもので、ナチス党の指導者であるハインリヒ・ヒムラー、ヘルマンゴーリング、ジョセフ・ゲッベルスや、ナチス宣伝の援助者をスワスティカとして描いています。


Artzybasheff and other political artists of the era sought to pull back the curtain on society's ills, an approach that differed from Rockwell's, who tended to provide more aspirational statements.


アルツィバシェフなどの時代の政治家たちは、ロックウェルのものとは違ったアプローチで(より有望な声明を出す傾向がありましたが)社会の病気のカーテンを取りはらおうとしました。
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Narrated By:
James J. Kimble, Ph.D.
Associate Professor of Communication - College of Communication and the Arts
Seton Hall University


ジェームスJキンブル 博士によるナレーション付き
コミュニケーション准教授 - コミュニケーションアンドアートカレッジ
セトンホール大学


One of the most famous soldiers of World War II was not a real soldier.


第二次世界大戦の最も有名な兵士の1人は本当の兵士ではありませんでした。


His name was Willie Gillis, and he was the product of illustrator Norman Rockwell’s rich imagination.


彼の名前はウィリー・ギリスであり、彼はイラストレーターのノーマンロックウェルの豊かな想像力の産物でした。


This painting marks Gillis’s first public appearance, on the cover of the Saturday Evening Post on October 4th, 1941. In it, the artist shows us a boyish, innocent private in a lighter moment while engaged in boot camp at Fort Dix, New Jersey.


この絵は1941年10月4日のサタデイイブニングポスト紙のカバーでギリスが初登場しています。その中でアーティストは無邪気な少年がニュージャージー州のフォート・ディックスのブート・キャンプに参加している間のひとときを表現しています。


The viewer quickly sees that Gillis has just received a care package from home, and that the package probably contains a few tasty gifts for a hard-working soldier from his loved ones.


見る人はすぐにギリスが家から差し入れを受け取ったばかりであり、そのパッケージには愛する人から勤勉な兵士のためのおいしい贈り物が含まれている可能性があることがすぐに分かります。


However, Gillis’s colleagues have also noticed the package, and their facial expressions indicate that they are thinking of relieving him of his new bounty.


しかし、ギリスの同僚もパッケージに気付き、彼らはギリスのおいしい贈り物を狙っている表情をしています。


Rockwell’s light-hearted cover was an instant hit, leading the Post to request more scenes from Private Gillis’s life.


ロックウェルの軽快な表紙は即座にヒットし、ポスト紙はギリスの生活のより多くの場面を要求しました。


The artist agreed, and the character ultimately appeared in nearly a dozen Post covers, the last one in postwar 1946, showing the amiable Gillis going to college on the GI Bill, as so many of his real-life peers were also doing at the time.


アーティストは同意し、そのキャラクターは最終的に複数回ポスト紙の表紙に登場しました。戦後1946年最後のポスト紙の表紙に登場し、現実の同輩の多くがその時にやっていたように、復員兵援護法案で大学に行く愉快なギリスを表現しています。


By then, the character’s fame was assured.


それまでに、このキャラクターの名声が保証されました。


In fact, many of his young female fans came to regard him as a pin-up.


実際、若い女性ファンの多くは、彼を有名人と見なすようになりました。


One of them, Natalie Barden, eventually met Robert Otis Buck, Willie’s real-life model, and married him.


そのうちの1人、ナタリー・バーデンは、ウィリーの現実のモデルであるロバート・オーティス・バックに出会い彼と結婚しました。


HTMLText_5ECE92FD_4688_BFF5_41BF_D909876A7398.html =
Narrated By:James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


ジェームスJキンブル 博士によるナレーション付き


コミュニケーション准教授 - コミュニケーションアンドアートカレッジ


セトンホール大学


In this wartime poster, commonly referred to today as “Rosie the Riveter,” the artist J. Howard Miller shows us a determined, confident woman flexing her muscles and confidently expressing her ability to complete the task at hand.


この戦時のポスターは、現在では一般的に「ロージーリベッター」と呼ばれています。J ハワード・ミラーは自信に満ちた女性が自分の筋肉を鍛え、自分の仕事を完遂する能力があることを表現しています。


Although today we tend to assume that this poster was famous during WWII, it actually was relatively unknown since it appeared for only two weeks (in February 1943) within Westinghouse munitions factories.


今日では、このポスターは第二次世界大戦中に有名だと思われがちですが、実際にはウェスティンハウス社の軍需工場内でわずか2週間(1943年2月)だけ掲示されため、比較的知られていませんでした。


Once its two weeks were up, the posters were recycled due to wartime paper shortages.


2週間後には、戦時中の紙不足のためにポスターがリサイクルされました。


During those two weeks, however, the poster modeled for Westinghouse laborers—both men and women—a gesture of solidarity common to the corporation’s workforce, affirming that every worker within Westinghouse was ready to complete their vital wartime mission.


しかし、ウェスティングハウス社の労働者たち(男性と女性の両方)をモデルにしたポスターは、企業の労働力に共通の連帯感を持たせ、ウェスティングハウス社内のすべての労働者が重要な戦時作戦を完遂する準備ができていることを示しました。


Only two original copies of this poster are known to exist today.


このポスターのオリジナルコピーは2枚しか存在しません。


Despite the scarcity of the originals, Miller’s image has gained worldwide fame since reemerging in the 1980s as part of anniversary observances of WWII.


オリジナルの希少性にもかかわらず、ミラーのイメージは、第二次世界大戦の記念の一環として、1980年代に再出現して以来、世界的な名声を得ています。


It has also been endlessly parodied, ensuring its status as one of the most famous images of all time.


それはまた、いつまでも最も有名なイメージの1つとしての地位を確保しており、無限に模索されています。
HTMLText_133F05B1_43A3_703E_41C7_82B7BE3B860A.html =
Narrated By:James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


ジェームスJキンブル 博士によるナレーション付き


コミュニケーション准教授 - コミュニケーションアンドアートカレッジ


セトンホール大学


In this wartime poster, commonly referred to today as “Rosie the Riveter,” the artist J. Howard Miller shows us a determined, confident woman flexing her muscles and confidently expressing her ability to complete the task at hand.


この戦時のポスターは、現在では一般的に「ロージーリベッター」と呼ばれています。J ハワード・ミラーは自信に満ちた女性が自分の筋肉を鍛え、自分の仕事を完遂する能力があることを表現しています。


Although today we tend to assume that this poster was famous during WWII, it actually was relatively unknown since it appeared for only two weeks (in February 1943) within Westinghouse munitions factories.


今日では、このポスターは第二次世界大戦中に有名だと思われがちですが、実際にはウェスティンハウス社の軍需工場内でわずか2週間(1943年2月)だけ掲示されため、比較的知られていませんでした。


Once its two weeks were up, the posters were recycled due to wartime paper shortages.


2週間後には、戦時中の紙不足のためにポスターがリサイクルされました。


During those two weeks, however, the poster modeled for Westinghouse laborers—both men and women—a gesture of solidarity common to the corporation’s workforce, affirming that every worker within Westinghouse was ready to complete their vital wartime mission.


しかし、ウェスティングハウス社の労働者たち(男性と女性の両方)をモデルにしたポスターは、企業の労働力に共通の連帯感を持たせ、ウェスティングハウス社内のすべての労働者が重要な戦時作戦を完遂する準備ができていることを示しました。


Only two original copies of this poster are known to exist today.


このポスターのオリジナルコピーは2枚しか存在しません。


Despite the scarcity of the originals, Miller’s image has gained worldwide fame since reemerging in the 1980s as part of anniversary observances of WWII.


オリジナルの希少性にもかかわらず、ミラーのイメージは、第二次世界大戦の記念の一環として、1980年代に再出現して以来、世界的な名声を得ています。


It has also been endlessly parodied, ensuring its status as one of the most famous images of all time.


それはまた、いつまでも最も有名なイメージの1つとしての地位を確保しており、無限に模索されています。
HTMLText_428F58EB_6EBD_90FC_419A_70B5BA19699F.html =
Narrated By:Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


ステファニー・ハボース・プランケットによるナレーション付き
副所長/チーフキュレーター - ノーマンロックウェル博物館


Norman Rockwell's April 1st 1961, Saturday Evening Post cover, Golden Rule actually started out as a drawing.


ノーマン・ロックウェルの1961年4月1日、サタデイイブニングポストの表紙であるゴールデン・ルールは、実際には絵として始まりました。


In 1952 at the height of The Cold War and two years into the Korean War, Rockwell conceived an image of The United Nations as the world's hope for the future.


ロックウェルは1952年の冷戦と朝鮮戦争の2年間で、世界の未来への希望として「国連」のイメージを構想しました。


His appreciation for the organization and its mission inspired a complex work portraying members of The United Nations' Security Council and 65 people representing the nations of the world.


組織とその使命への感謝は、国連安全保障理事会のメンバーと世界の国々を代表する65人のメンバーを描いた複雑な作業に影響を与えました。


A study for an artwork that he originally intended to complete in painted form, researched and developed to the final drawing stage, the artist's United Nations piece never actually made it to canvas.


彼がもともと絵を完成させようとしていたアートワークの研究で、最終的な描画段階まで研究されましたが、アーティストの国連の作品は、実際にキャンバス化されたことはありませんでした。


Of his work on The United Nations drawing, Rockwell said, "Like everyone else, I'm concerned with the world's situation and like everyone else, I'd like to contribute something to help. The only way I can contribute is through my pictures."


ロックウェルは、国連画家としての活動の中で「他のみんなと同様に、私は世界の状況を懸念しており、他のみんなと同じように私は何か助けになることに貢献したいと思います。私が貢献できる唯一の方法は、私の絵画を通してです。」と言っています。


A perfectionist in his art, Rockwell went to elaborate lengths to create photographs that portrayed his concepts exactly and to find just the right models for his work.


芸術の完璧主義者であるロックウェルは、彼のコンセプトを正確に描写し、彼の作品にちょうどよいモデルを見つけるための写真を作成するため入念に取り組みました。


He researched costumes and props and carefully orchestrated each element of the design to be photographed before putting paint to canvas.


彼は衣装や小道具を研究し、絵画をキャンバスに入れる前に写真のデザインの各要素を慎重に調整しました。


Using his photographs as a reference, Rockwell worked with the details of composition and value in this richly detailed black and white drawing, created with Wolff pencil and charcoal.


ロックウェルは彼の写真を参考にして、ウォルフの鉛筆と木炭で作られた、この細かい黒と白の絵画の構成と価値の詳細を取り上げました。


"I take the making of the charcoal layouts very seriously." he said, "Too many novices, I believe, wait until they are on the canvas before trying to solve many of their problems. It is much better to wrestle with them ahead though studies."


「私は木炭のレイアウトの作成に非常に真剣に取り組んでいます。」「多くの初心者は、問題の多くを解決しようとする前に、キャンバス上に出るまで待っています。研究を重ねるうちに、彼らと取り組む方がずっと良い」と彼は述べています。


Though he was dedicated to the concept of this work, he ultimately found it too complex to create as a final illustration and eventually, about seven years later, explored the possibility of a new approach which he took in Golden Rule.


彼はこの作品のコンセプトに専念していましたが、最終的なイラストレーションを作成するにはあまりにも複雑すぎることが判明し、最終的には約7年後にゴールデンルールから取った新しいアプローチの可能性を模索しました。


Rockwell said, "One day I suddenly go the idea that The Golden Rule, do unto others as you would have them do unto you, was the subject I was looking for."


ロックウェルは、「ある日、私は突然ゴールデン・ルールの〝己の欲するところを人に施せ”というアイデアがひらめき、それが私が探していたものだった。」と言いました。


In Golden Rule, Rockwell portrays four sets of mothers and their children.


ゴールデンルールでは、ロックウェルは4組の母親とその子供を描いています。


The one in the upper right hand corner actually represents his second wife Mary Barstow Rockwell who had passed away in 1959, two years before this image was published.


右上隅にあるのは、この画像が出版される2年前の1959年に亡くなった2人目の妻メアリー バーストウ ロックウェルを描いています。


Here she is united with her first grandchild, Geoffrey Rockwell, who she never actually had the opportunity to meet.


ここで彼女は彼女の最初の孫、ジェフリー ロックウェルと協力していますが、彼女は実際には会う機会はありませんでした。


Published almost six decades ago, Norman Rockwell's Golden Rule is one of his most iconic images, portraying our common humanity and reflecting Rockwell's own beliefs, which remain relevant for our times.


ほぼ60年前に出版されたノーマン・ロックウェルのゴールデン・ルールは、私たちの共通の人間性を描き、私たちの時代に関係するロックウェルの信念を反映した彼の最も象徴的なイメージの一つです。
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Narrated by: Herman Eberhardt
Supervisory Museum Curator - Franklin D.Roosevelt Presidential Library and Museum
ハーマンエーベルハートによるナレーション付き:
監督美術館キュレーター - フランクリンD.ルーズベルト大統領図書館と博物館


The war in Europe was really looming over everyone in early 1941.


ヨーロッパにおける戦争は、1941年の初めに全ての人に迫っていました。


Germany had swept through most of Western Europe in 1939 and 1940, and Great Britain was standing nearly alone in resisting the Axis onslaught, and the British were hanging on by a thread at this point.


ドイツは1939年と1940年に西ヨーロッパの大部分を席巻しました。そして、イギリスは枢軸軍の攻撃に抵抗してほぼ孤立おり、イギリス人はこの時点で宙ぶらりんでした。


In fact, in late 1940, Winston Churchill had written a long letter to FDR in which he said that Britain was nearly bankrupt, and would soon be unable to pay for weapons that it was importing from the United States.


実際には、1940年後半、ウィンストン・チャーチルはルーズベルトに長い手紙を書いており、英国はほぼ破産していて、まもなく米国から輸入している兵器の支払いができなくなると言いました。


That very dire message had led Roosevelt to dream up the idea of lend-lease, which would allow the US to lend or lease more materials to Great Britain without receiving payment for them.


その非常に悲惨なメッセージは、米国が英国から支払いを受けずに英国にもっと多くの兵器を貸し出すことを可能にする方法をルーズベルトに思いつかせました。


FDR had first publicly discussed the concept or idea of lend-lease at a press conference in mid- December in 1940.


ルーズベルトは、1940年の12月中旬の記者会見で初めて、貸し借りのコンセプトやアイデアについて公的に議論しました。


Later that month on December 29th, he had delivered a famous fireside chat on the radio in which he asserted that the United States should become, what he called, the arsenal of democracy.


その月の12月29日には、ラジオ番組中で有名な「炉端会議」を行い、米国は民主化の武器になるべきだと主張しました。


The president planned to use his State of the Union address to argue for congressional passage of a lend-lease bill.


大統領は、連邦議会の演説を使って、貸借法案の議会通過を主張しました。


On the night of January 1, 1941, Roosevelt summoned three of his advisors—Harry Hopkins, Sam Rosenman, and Robert Sherwood—to his private study in the White House residence.


1941年1月1日の夜、ルーズベルトはハリー・ホプキンス、サム・ローゼンマン、ロバート・シャーウッドの3人の顧問をホワイトハウスの住居での彼の私的研究会に召喚しました。


They gathered there around FDR’s desk to work with him on the president’s annual State of the Union address to Congress, which was scheduled to be delivered on January 6th.


彼らは、ルーズベルトの机の周りに集まって、1月6日に予定されていた大統領の連邦議会演説で彼と協働するよう話し合いました。


At one point during this editing session, FDR said that he had an idea for the closing section of the speech.


この話し合い中のある時点で、ルーズベルトはスピーチの最終セクションのアイデアがすでにあると言いました。


As Sam Rosenman later recalled, the president leaned far back in his swivel chair, looked up at the ceiling, and then paused for a long while.


サム・ローゼンマンが後に思い出していますが、大統領は回転式の椅子で後ろにのけぞり、天井を見上げてから、しばらくの間動きませんでした。


As the seconds ticked by, the others in the room began to get a bit uncomfortable.


時計の針の音だけが聞こえ、部屋にいた他の人たちは少し不快になり始めました。


Then FDR suddenly leaned forward and slowly and deliberately dictated the Four Freedoms.


そのとき、ルーズベルトは突然前のめりになり、わざとゆっくりめに、4つの自由を記録させたのです。


The president spoke at such a deliberate pace that Rosenman was able to take down everything he said word for word on a sheet in a yellow notepad.


大統領はそのようなゆっくりしたペースだったので、ローゼンマンは黄色のメモ帳に大統領が語った言葉をすべて書き留めることができました。


That yellow sheet with Rosenman’s longhand notes is now housed at the Roosevelt Library.


ローゼンマンの縦長の黄色のメモ帳は、現在ルーズベルト図書館に収められています。


And interestingly, if you compare the words on that yellow sheet to the final speech as it was delivered by the President to a joint session of Congress, it’s almost exactly as FDR dictated it.


そして興味深いことに、その黄色のメモ帳の言葉と大統領が議会の合同会議に提出した最終的なスピーチとを比較すると、それはルーズベルトがそれを指示したのとほぼ同じです。


There are almost no changes.


ほとんど変更はなかったのです。


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Narrated by: Mark Shulman
History Faculty - Sarah Lawrence College


マーク・シュルマンによるナレーション付き
歴史学部 - サラローレンスカレッジ


Franklin Roosevelt’s package of Four Freedoms was an effort to articulate a vision for a post-war liberal order for security, for peace and prosperity as elements necessary for security just as much as the civil and political rights of freedom of religion and the freedom of expression.


フランクリン ルーズベルトの4つの自由は、信教の自由と言論の自由の民主的および政治的権利と同じくらい安全保障に必要な要素として、平和と繁栄のための戦後の自由秩序のビジョンを明確にするための努力でした。


The Four Freedoms were embraced in the Atlantic Charter that Roosevelt worked out with Churchill, and then they went into the DNA of the charter that the United Nations adopted in the summer of 1945.


ルーズベルトがチャーチルと協力した大西洋憲章には4つの自由が含まれていましたが、1945年の夏に国連が採択した憲章のDNAになりました。


By the summer of 1945, of course, President Roosevelt had passed away.


1945年の夏までにルーズベルト大統領は亡くなりました。


The United States had a new president, one, perhaps, less worldly and in some ways more practical.


米国にはおそらく世才のあまりない、実務に適した新しい大統領がいました。


A savvy politician, President Truman appointed Eleanor Roosevelt, the widow of Franklin, to serve as the chief of the committee that would draft a United Nations Universal Declaration of Human Rights.


賢明な政治家であるトルーマン大統領は、フランクリンの未亡人エレノア ルーズベルトを、国連世界人権宣言を草案する委員長に任命しました。


Eleanor, Mrs. Roosevelt, working with a committee of distinguished scholars, diplomats, theorists, and statesmen from around the world, drafted this wonderful document, the Universal Declaration of Human Rights, and the United Nations adopted it on December 10th, 1948.


1948年12月10日に国連は、エレノアルーズベルトと世界の著名な学者、外交官、理論家、政治家からなる委員会と協力して草案した世界人権宣言を採択しました。


The Universal Declaration of Human Rights is the Four Freedoms writ large.


世界人権宣言は4つの自由が大きく掲げられています。


The Preamble explicitly recognizes that the Four Freedoms have been adopted, have been recognized as the basis for a just postwar order.


前文は、4つの自由が採用されたことを明確にし、戦後の秩序の基礎として認識されています。


And then the Declaration itself proceeds to flesh out, to articulate, each of the elements that would really be necessary for a world in which the Four Freedoms are realized.


そして4つの自由が実現される世界に本当に必要な要素のそれぞれを具体化し明瞭にすることを進める宣言です。
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Narrated by: Paul M. Sparrow
Director - Franklin D.Roosevelt Presidential Library and Museum, Hyde Park, New York
ポール・M・スズロウによるナレーション付き:
監督 - フランクリンD.ルーズベルト大統領図書館&博物館、ハイドパーク、ニューヨーク


The relationship between President Roosevelt and Prime Minister Winston Churchill is truly extraordinary, and in some ways one of the most important partnerships in 20th century history, maybe in all of American history.


ルーズベルト大統領とウィンストン・チャーチル首相との関係は本当に特筆すべきことで、20世紀の歴史のなかで最も重要なパートナーシップの一つであり、米国の歴史においてはなおさらかもしれません。


Winston Churchill had been involved with the military in Great Britain from World War I as FDR had been.


ウィンストン・チャーチルはFDR(ルーズベルト)のように、第一次世界大戦から英国の軍隊に関わっていました。


He had very, very specific views on the structure of the world, and at that point he still believed the British empire was the most important political entity in the world, that it was unstoppable and he was not going to allow the British empire to come apart while he was in charge.


彼は世界の体制について非常に具体的な見解を持っていましたが、その時点で彼は依然として大英帝国が世界で最も重要な政治体制であると信じており、そしてその流れは止められず、自分の在位中は英国の帝国が崩壊することを許さないと考えていました。


So when FDR and Churchill met in the secret rendezvous aboard the two great battleships, it was a coming of giants.


ですからルーズベルトとチャーチルが2つの巨大な戦艦に乗って秘密の場所で出会ったとき、それはまるで巨人の到来だったのです。


At that point, Churchill had been involved in defending the British Isles against the Nazi onslaught for a year, so he was immersed in the war and he knew that his survival depended on bringing America into the war.


その時点でチャーチルは、ナチスの攻撃から英国の島々を守ることに1年間関わっていたので、彼は戦争に没頭すると共に、自分の政治生命が米国を戦争に引き込めるか否かに依存していることを知っていました。


Roosevelt was still somewhat hesitant. He couldn’t commit publicly, but he also knew that eventually the United States was going to get in here and this is where they first really start drafting the foundation of what became the Four Freedoms.


ルーズベルトはやや躊躇していました。 彼は公表することはできませんでしたが、最終的には米国が参加せざるを得ないことを知っていました。そして、これが、本当に四つの自由となったものの基礎を立てるところとなったのです。


Churchill of course, came to the United States several times during the war.


もちろん、チャーチルは戦争中に数回米国にやってきました。


After Pearl Harbor he comes to the White House and stays there for several weeks living in one of the bedrooms, walking around the house in his bathrobe, drinking furiously, driving everyone crazy, and, you know, keeping FDR up til all hours of the night drinking and smoking, and Eleanor sort of frowning on the whole thing.


パールハーバーの後、彼はホワイトハウスに来て、ベッドルームの1つに住んで数週間滞在し、バスローブで家の周りを歩いては激しく酒を飲み、誰もを困らせたものです。しかも夜の飲酒と喫煙までルーズベルトを放さず、エレノアの頭痛の種でした。


But that was the way Churchill worked.


しかし、それはチャーチルが用いた方法でした。


He sort of encompassed everyone in his whirlwind of insanity, but always ended up with these incredibly brilliant ideas and really had a global vision.


彼は狂気の渦の中にみんなを巻き込んでいましたが、いつでも信じられないほど華麗なアイデアに終始し、本当にグローバルなビジョンを持っていました。


So the two of them were just an extraordinary partnership and we’re very lucky that they were the two leaders who ended up facing, you know, the greatest crisis of the 20th century.


ですから2人は特別なパートナーシップを有しており、20世紀最大の危機に直面したときにこの2人の指導者がいたことは我々にとって非常に幸運だったのです。
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Narrated by: Ruby Bridges
Civil Rights Activist and Author


ルビーブリッジによるナレーション付き
市民権活動家と作家


That particular day, when I was in the car being escorted to school, when we turned the corner, the streets were lined with protesters, and they were barricaded, because that's how the police had set it up.


その日、私は車に乗せられてエスコートされながら学校に行くところで、車が角を曲がると、通りには抗議者が並んでいましたが、警察の計らいで、彼らはバリケードされてました。


There were policemen everywhere.


そこらじゅうに警官がいました。


Some were on horseback and motorcycles.


そのうちの数人は馬とバイクに乗っていました。


All of that is what you see during Mardi Gras season to control the crowd and during a parade, so that is actually what I saw and I just assumed that I was in the middle of a parade, which I think about it today, and it was the innocence of a child.


それはマーディ・グラスのシーズンに群衆をコントロールするために、パレード中にかつて実際に私が見たものと同じだったので、私は無邪気な子供のように自分がパレードの真っ只中にいると思っていました。


I think that protected me, not knowing.


何も知らなかったことは私を保護したと思います。


I remember being escorted straight to the principal’s office.


私はまっすぐ校長室までエスコートされたことを覚えています。


I guess I was there, first day, to enroll.


入学した最初の日はそこにいたと思います。


And I had already been enrolled, but to be escorted to my classroom, possibly meet my teacher, and to get started with my studies.


私は既に入学登録されていましたが、私の教室までエスコートされ、おそらく教師に会い、私の勉強を始めることができました。


But I sat in the principal’s office actually all day with my mom that day, and I remember the Federal Marshals standing right outside the doors.


しかし、私はその日お母さんと一緒に一日中校長室に座っていました。私は連邦警察官がドアの外に立っていたのを覚えています。


You could see them.


そこにいるのが見えました。


You know, there were glass windows.


ガラスの窓がありましたから。


And the next thing that I saw was all of those people that had been standing outside rushing in, shoving and pushing and pointing at me through the windows.


そして、私が次に見たことは、外に立っていた人々がすべて、駆け込んできて、もみあったり押し合ったりしながら窓越しに私を指差していることでした。


Their faces seemed very angry about something.


その人たちの顔は何かについて非常に怒っていたようでした。


It just seemed really busy and confusing to me.


まるでとても忙しく、混乱しているように見えました。


And I saw them pass the window, and when they would come back by the window, there were kids with them.


私は彼らが窓のそばを通過するのを見ました。そして彼らがまた窓のそばに帰ってきたとき、彼らは子供を連れていました。


And that happened all day long, back and forth.


そしてそれは一日中繰り返し何度も起こったのです。


Finally the bell rang, it was 3:00, and I remember someone entering the room and saying, “School is dismissed. You can leave.”


ようやく最後に鐘が鳴るとそれは3時でした。誰かが部屋に入ってきて「授業は終わったので、ここから出てもいいですよ」言ったのを覚えています。


And I distinctly remember that, because I thought to myself, “Wow, this school is easy,” not knowing that what was really happening is that parents rushed in to the school and went into every classroom and pulled out every child.


実際に起きていたことは、生徒たちの両親が学校に駆け込んできて、すべての教室に入って、すべての子供たちを連れて帰ったということなど知らずに、「なんだ、学校って意外と簡単なんだ」と私は思っていたのを覚えています。


There were over 500 kids that actually left the building that day, and it was because I was there.


その日、実際に校舎を離れた子供たちは500人以上いました。それは私がそこにいたからです。


So I had no idea that that was taking place right before my eyes.


私はそれが自分の目の前で起こっているとは知りませんでした。


The very next day, it was the same thing.


その翌日も、状況は同じことでした。


Federal Marshals knocked on the door, and I got into the car with them.


連邦警察官が我が家のドアをノックし、私は彼らと一緒に車に乗り込むのです。


They escorted me back to the school.


彼らは学校まで私をエスコートしてくれました。


When we drove up that day, the crowds had almost doubled in size, because at that point, everybody knew.


その日に私たちが到着したとき、群衆はほぼ倍増していました。その時には誰もが知っていたからです。


My mother said that that is the day she was the most nervous, because after she got home and watched television, she saw how the whole world was watching it.


私の母は、家に帰ってテレビを見たとき世界中がこのことに注目しているのを見たので、その日は彼女がいままでで最も緊張した日だったと言っていました。


She said she would go home and pray until 3:00, hoping that her child would come home.


母は家に帰ると、子供が無事に家に帰ってくることを願って、(下校時間の)3時までずっと祈っていたと言っていました。
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Narrated By: Douglas B. Dowd
Professor of Art and American Culture Studies - Washington University in St. Louis


ダグラス・B・ダウドによるナレーション付き


アート・アメリカ文化研究教授 - セントルイスのワシントン大学


In the years before television, people in the United States had two primary sources for getting information about how other people were living their lives, what they were wearing, what their houses looked like, even what basic products might look like.


テレビが出現する前の数年間、米国の人々は、他の人々の生活様式や、身に着けるもの、家の外観、基本的な製品の外観などの情報を得るための2つの主要な情報源を持っていました。


They had two sources: the movies, and the magazines.


彼らには映画と雑誌という2つの情報源がありました。


The magazines and the illustrators who worked for them really did paint a picture of how life was being lived in the society, or paint a picture of life a little better than it was being lived in the society so that it remained an aspirational standard: I could be that. I could have that. I could wear that.


彼らのために仕事をしていた雑誌やイラストレーターは、人が社会でどのように生きているのかを描いたり、実際の社会での生活よりも少し理想的に絵を描いて、「自分もきっとそうなれる、きっとそれを持てる、きっとそれを着れる」という合理的な基準を印象付けました。


Their persuasiveness and their power comes a lot from the visual presentation, from the type and the lettering, to obviously the illustration, and photography, too.


それらの説得力とパワーは、視覚的なプレゼンテーション、タイプとレタリングから、明瞭なイラストレーションや写真撮影まで、多くのものからなっています。


When you think about it, if you took all the illustrations out of those magazines, no one would have read them.


考えてみると、もしそれらの雑誌からすべてのイラストレーションを取った場合、恐らく誰も読まないでしょう。


People have always thought that publishing is always about the content.


出版は常にコンテンツ次第だと人々は常に考えてきました。


Actually, the way it’s packaged and presented and shown has a great deal to do with how people respond to it.


実際、パッケージ化される方法、提示される方法、及び表示される方法は、人々がどのようにそれに反応するのかと大きく関係しています。


In the history of the newspaper business, good presentation, like using typography at bigger sizes to create visual hierarchies, that was called self-advertising, in kind of a sneering way.


新聞ビジネスの歴史では、ビジュアルヒエラルキーを生成するためにより大きなサイズでタイポグラフィを使用するような良いプレゼンテーションは、冷笑的なやり方で、自家広告と呼ばれていました。


So, the people who were in charge of the content have often pooh-poohed the visual presentation, but actually, it’s really important and it always has been.


ですから、コンテンツを担当していた人々は、しばしばビジュアルプレゼンテーションを嘲笑っていましたが、実際には、それは本当に重要であり、常にそうだったのです。


And the persuasiveness of those publications is powerfully visual.


そして、それらの出版物の説得力は非常に強く、視覚的です。


And the pictures of the people and the stuff they’re doing and the stuff they’re wearing and the portrait of life that emerges are at the heart of their appeal.


そして、スタッフの写真、彼らがしていることや彼らが着ているもの、そこに表現される人生のポートレートこそが彼らの魅力の源なのです。
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Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney
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Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney
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Kittridge (Kit) Hudson poses as Andrew Goodman
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Norman Rockwell poses his hand for Murder in Mississippi
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Transfer of the evacuees from the Assembly Centers to War Relocation Centers
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Four Freedoms (Marriage Equality, Agent Orange, Lettuce Picker, Stalin)
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Eleanor Roosevelt and the United Nations Declaration of Human Rights
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Norman Rockwell standing in front of his painting Freedom of Speech
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Wings Over the World: Mankind Must Resolve to Make This the Last War
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Letter to Norman Rockwell relating to his member ship in the NAACP
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The Life of Franklin D. Roosevelt, 32nd President of the United States
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1939 World's Fair, Four Freedoms Sculptures by Leo Friedlander
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Central Park Hooverville with Central Park West in the background
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1932 Baby New Year Charting
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1935 Baby New Year Balances the Budget
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1940 Baby New Year Ready for War
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1941 New Year’s Baby Warring Fist
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1942 New Year’s Baby No Trespassing
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1943 Baby New Year at War
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A Greyhound bus driver, and his family eating Sunday dinner
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Aid from the Padre
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An Uncertain Future
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An Uncertain Future
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Arrested
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Blood Brothers (Study)
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Blood Brothers (Study)
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Breaking Free through Script (Script from Within)
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Civil Discord
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Colored/White
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Defend Democracy (Lady Liberty)
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Defend Democracy
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Every Vote Counts
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Family of a Portuguese Dory Fisherman
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Freedom from Fear - Essay
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Freedom from Fear - War Bonds Poster
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Freedom from Fear
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Freedom from Want - Essay
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Freedom from Want - War Bonds Poster
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Freedom from Want
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Freedom from Want
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Freedom of Faith (All Faiths Equal One Faith)
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Freedom of Religion, Freedom to Believe, Version 6
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Freedom of Speech - Essay
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Freedom of Speech - Study
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Freedom of Speech - War Bonds Poster
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Freedom of Speech Jacket
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Freedom of Speech
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Freedom of Speech
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Freedom of Speech—Fake News
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Freedom of Worship - Essay
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Freedom of Worship - War Bonds Poster
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Freedom of Worship
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Golden Rule
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Grassroots
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Iran, Women, Hijab
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JFK’s Legacy: The Peace Corps
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Jiyu (Freedom)
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Jumpin Jimtown
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Le Marché
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Letter to Norman Rockwell regarding the “Committee of 100”
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Let’s Give Him Enough and on Time
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Let’s Give Him Enough and on Time
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Liberty Construct #1
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Margarete, Helen, and Pablita
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Mary Ann Johnson Riveting the Skin onto a Boeing Bomber
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Mary Ann Johnson Riveting the Skin onto a Boeing Bomber
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Mother and Daughter Changing Tire
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Mother and Daughter Ice Skating
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Mother and Daughter Wrapping Christmas Presents
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Mother and Daughter, Women’s March
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Mother, Daughter, and Infant Son
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Mother, Daughter, and Son
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Murder in Mississippi (Pencil Tracing)
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Murder in Mississippi (Study)
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Murder in Mississippi - Handwritten Notes
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Murder in Mississippi
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Murder in Mississippi
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Murder in Mississippi
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My Studio Burns
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New Kids in the Neighborhood
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Peaceful Demonstration Helmet (Water Protection)
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Portrait of Model Lynda Gunn
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Portraits of Model Lynda Gunn
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Pride and Joy
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Problem We All Live With - Reference Photo
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Problem We All Live With - Reference Photo
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Problem We All Live With - Reference Photos
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Refuge
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Refugee Families in Winter
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Religious Family Tree
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Religious Family Tree
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Sacred Scream/Humanity, Not Politics
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Sailor’s Best Friend
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Saying Grace at the Main Street Café
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So You Want to See the President
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Southern Justice
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St. Joan
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Stockbridge Fire Department to the Rescue
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Sunday Night/Monday Morning
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Thanksgiving Gay Dinner
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The Education of Lance Corporal Will Cisneros
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The Four Freedoms (A Tribute to Norman Rockwell)
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The Four Freedoms in the Style of Pontormo
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The Game
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The Problem Persists, 1964-2014
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The Right to Know (Study)
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The Right to Know
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There was a time, Mopey, when bein’ in the bread line...
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Those Who Were Killed in U.S. During Civil Rights Movement
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Thoughts of Home
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Through Many Dangers, Toils, and Snares
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Untitled III (Capture the Flag)
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Eleanor Roosevelt visits the Gila Relocation Center, Arizona
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Speaking of Pictures...Swastikas Make Ghoulish Symbols
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. . . because somebody talked!
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1943 Stamp Cover—Four Freedoms
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1944 Roosevelt Presidential Campaign Sticker
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A group of elderly Jews from Subcarpathian Rus
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Aaron Copland by candlelight, studio in the Berkshires
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Adolf Hitler, German Chancellor and Führer
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Atlantic Charter Medallion
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Atlantic Charter and Four Freedoms Ashtray
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Brass Merchant
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Buddy, could you spare a dime for a Defense Stamp?
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Burning Car on Woodward near Stimpson
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By His Deeds... Measure Yours
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Candy Box
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Candy Box
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Casablanca Portfolio: Loading the Wounded on Plane
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Casablanca Portfolio: Soldier Entering Building Ruins
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Casablanca Portfolio: Soldiers Looking at German Tank
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Chamberlain Meets Hitler in Peace Effort
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Child survivors of Auschwitz
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Christmas Eve in Bethlehem
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Cigarette Holder
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Civilian Type Gas Mask
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Civilian exclusion order #5
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Correspondence to Norman Rockwell
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Deadline (Artist Facing Blank Canvas)
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Emperor Hirohito of Japan
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Even a little can help a lot—NOW
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Evicted sharecroppers along Highway 60
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Family Home from Vacation
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Family Quilting
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Flight Controller on Aircraft Carrier
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Four Freedoms Victory, Franklin D. Roosevelt Medal
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Four Freedoms War Bonds Show Booklet
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Four Freedoms and Arsenal of Democracy Posters
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Four Freedoms textile
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Four Freedoms
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Franklin D. Roosevelt Ashtray
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Franklin D. Roosevelt
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Freedom of Choice
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German Invasion of Poland
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Give ‘em the stuff to fight with . . . Work for Freedom!
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Heinrich Himmler, Nazi Gestapo Chief
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Hitler Threatens Force to Free Sudetens
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Horror Camps in Naziland
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I am an American
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If you’re going home, I’ll give you a lift...
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Immigrant Family Dinner
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It Can Be Done, It Must Be Done, It Will Be Done
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It’s a Tradition with Us, Mister!
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I’m worried about post-war conditions...
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I’ve found the job where I fit best!
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Know Your War Planes
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Know your Airlanes Plane-O-Graph, 1942
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Liberty Girl
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Lighting Supervision
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Man Charting War Maneuvers (Armchair General)
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Man Without a Country
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Marbles Champion
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Mary Ruth Berry Working on Boeing Aircraft
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Medical Corps
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Mine America's Coal
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Mississippi Delta Negro Children
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More Production. USA
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Naval Lookout
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Norman Rockwell Visits a Ration Board (tearsheet)
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Norman Rockwell Visits a Ration Board
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Norman Rockwell interacting with fans
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Norman Rockwell signing Four Freedoms prints
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Norman Rockwell speaking at Hecht’s Department Store
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On to Washington, August 21–30, 1935
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One Million Fighting Men
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Overconfidence can be a Great Enemy
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Paratrooper
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Portrait of Langston Hughes
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Raising the Flag
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Reading Copy of Roosevelt’s Message to Congress
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Remember December 7th!
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Roosevelt Favors Old Age Pensions
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Roosevelt and Churchill aboard the "HMS Prince of Wales"
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Rosenman’s Draft of Peroration
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Shuffleton's Barbershop
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Soviet Forces in Helsinki, Finland
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Steel Shelter
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Street Scene in French Morocco
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Test Blackout
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Thanksgiving: Mother and Son Peeling Potatoes
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That 2,000 Yard Stare
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The Atlantic Charter
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The Four Freedoms – Norman Rockwell
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The Four Freedoms
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The Funeral Oration for Poland
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The Last Bowl of Rice
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The Liberator
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The Voice of the Four Freedoms
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The suitcase was full...
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They are Gone Forever
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This is Nazi Brutality
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Ticket Seller
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Tom Kobayashi, Landscape, South Fields, Manzanar
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Tuskegee Airmen at Ramitelli, Italy
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U.S. #933 5¢ FDR and Four Freedoms
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United China Relief
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United China Relief
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United We Are Strong, United We Will Win
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United We Win
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Waiting for Their Turn to be Heard
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War News
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We French workers warn you . . .
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What Did You Do Today . . . For Freedom
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When mother says “More?” Say no...
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Willie Gillis in Convoy
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Willie Gillis: Food Package
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Winston Churchill Ashtray
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Witches’ Sabbath
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Woman posing in front of Freedom of Speech
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You sorta took the place of his mother...
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‘OK,’ the Pause that Refreshes
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Bill Scovill (1914 - 1997)
Reference Photos for Golden Rule, 1961
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1961 Norman Rockwell Family Agency. All rights reserved.


In these photos, we witness Rockwell's work to get paint on canvas, starting with the initial drawing, incrementally painting the faces in, adding the stenciled text, and finally the finishing touches.
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讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
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讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
HTMLText_AF9A4D4B_666A_A27B_41C2_61D84CC478B2.html =
讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
HTMLText_6771AF75_6639_FE2F_41D2_40847E6DEF21.html =
讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
HTMLText_6787FB96_66D9_66EA_41D9_3EB154166278.html =
讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
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讲述人:
Setsuko Winchester
艺术家、摄影师兼记者


1943年4月23日,第一夫人埃莉诺罗斯福走访了亚利桑那的希拉河集中营。WRA摄影师弗兰西斯斯图尔特(Francis Stewart)拍摄了她和陪同的国家战时指挥中心主任狄龙迈尔(Dillon Myer)的照片,记录了她们受到广大被囚者欢迎的画面。


罗斯福夫人是罗斯福执政期间, 在珍珠港事件发生前后为数不多愿为爱国公民和日裔美国公民发声的少数几人之一。她曾试图阻止总统下达大规模驱逐令,虽然并没有成功;她认为这是对人权与公民理念的侵犯,甚至邀请了日裔美国公民进入白宫。


她之所以访问集中营,是因为当地媒体有指责联邦政府娇惯营中日裔美国人的言论。她的目的是巡视这些营地并调查出现这些言论的原因。离开营地后,她特地强调了被囚者在伪装网和和船模工厂为战争所做的贡献,并提到她在食堂尝到的牛奶是酸的——以此回应媒体认为被囚者在狱中所过生活比普通美国民众好的报道。


三天后,《洛杉矶时报》在一篇文章中报道了她的这次巡视,文中她形容营内生活条件(虽称不上不妥)“绝算不上奢华”,并补充:“至少我不愿这样生活。”她的言论也被引用:“我们越早让年轻[本土]日本裔民众走出集中营越好。否则,我们一不小心就会导致又一个印第安问题。”
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


诺曼洛克威尔的1961年4月1日《星期六晚报》封面作品——《黄金法则》其实最开始只是一张素描画。1952年,正值冷战高峰期且朝鲜战争已爆发两年,洛克威尔构思了联合国一图,并将其作为世界未来的希望。这幅描绘联合国安理会成员和65位各国代表的旷世杰作的创作灵感来自于他对该组织及其使命的欣赏。这幅他原本打算以绘画形式完成的艺术作品,从研究和发展到最后作画阶段,洛克威尔的《联合国》从未搬上画布。


洛克威尔在提到他的《联合国》作品时说:“我和其他人一样,关注世界态势,也希望像其他人一样贡献自己的力量。我能恭献力量的唯一方式就是我的画。”作为艺术上的完美主义者,洛克威尔会精心研磨能够准确描绘其思想的照片,直到找到最合适的创作模型。他仔细研究服装和道具,并在将颜料涂上画布之前仔细策划设计细节并拍照。


洛克威尔以他的照片为参考,在这幅用Wolff铅笔和炭棒创造而成、细节丰富的黑白画上不断完善其构图和价值内含。“我很重视炭描构图。”他说,“我觉得太多初学者都等到要在帆布上画画了才开始尝试解决各种问题。提前研究并解决问题会好得多。”


尽管为这幅作品的创意付出许多努力,但他最后发现这个想法过于复杂,无法创作成完整插画,七年之后,他转而探索运用《黄金法则》中的新方法的可能性。


洛克威尔说:“我有一天突然想到《黄金法则》——己所不欲,勿施于人——正是我一直寻求的主题。”


在《黄金法则》中,洛克威尔描绘了四对母子。右上角的那位其实是他的第二任妻子玛丽巴斯托洛克威尔,于1959年去世;两年后,这幅作品出版。在画中,她与第一个孙子杰弗里洛克威尔聚在一起,但实际上他们并没有见过面。


洛克威尔的《黄金法则》发表于近60年前,是他最具代表性的画作之一,描绘了普遍人性,更反映了依然与我们时代息息相关的洛克威尔自身的信念。
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讲述人:
Stephanie Haboush Plunkett
副总监/总策展人 - 诺曼洛克威尔博物馆


展览的这一板块更多关注生活中的小乐趣,这也是大萧条时期美国杂志非常受欢迎的主题,因为当时许多人都无法花大量的钱来进行娱乐活动。我们在1936年《星期六晚报》这幅封面插图中可以看到,一群人聚在理发店里一起唱歌,共度欢乐时光。理发店四重唱和大众唱歌娱乐的概念在19世纪90年代非常受欢迎,并一直持续到大萧条时期。在画中,洛克威尔真正开始展现他对人物形象的喜爱、生动的面部表情、画中人物的许多美好特质以及与每个人物相关联的手势。


场景非常美好,还有另一位曾为《星期六晚报》及其它杂志社供稿的重要插画家。右手边的这位是沃尔特比奇汉弗莱(Walter Beach Humphrey),他脸上的胡子一半被剃光,另一半抹着剃须膏。他的手上还拿着一本名叫《警务报》的刊物,我们大概会以为这是一本讲述美国警察活动的刊物,但它实际上是一本讲述生活阴暗面故事的绅士杂志。


1936年洛克威尔创作这幅插画时住在纽约州的新罗谢尔,当时那里是全国插画师最多的城市。新罗谢尔距离百老汇仅45分钟路程,因此艺术家可以享受田园气息更加浓郁的乡村生活,尽管在新罗谢尔与艺术相关的活动也不少。搭乘短途火车即可到达纽约市,因此住在那里的插画师们可以轻松把自己的作品送到出版商手上。
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Norman Rockwell: Imagining Freedom
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By: Setsuko Winchester
Artist, Photographer and Journalist
節子ウィンチェスターによるナレーション付き:
アーティスト、写真家、ジャーナリスト


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona.


1943年4月23日、大統領夫人エレノア・ルーズベルトがアリゾナ州のギラ川強制収容所を訪問しました。


WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


WRAの写真家、フランシス・スチュワートは、熱心な受刑者の集まりに迎えられ、戦争強制収容局のディレクター、ディロン・マイヤー氏と一緒に、大統領夫人の写真を撮りました。


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor.


ルーズベルト夫人は、真珠湾の前後でも日系で(米国に)忠実な市民や移民のために公然と発言するという、ルーズベルト政権中の少数派の一人でした。


She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


夫人は、人権や米国の理想に反していると彼女がみなした大量強制退去を大統領に断念させることに成功しませんでしたが、日系アメリカ人をホワイトハウスに招待しました。


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps.


キャンプへの彼女の訪問は、連邦政府がキャンプで日系アメリカ人を甘やかせているという地元の報道からの告発に応えていました。


Her aim was to tour the facilities and investigate those claims.


彼女の目的は施設を見学し、それらの主張を調査することでした。


She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.


彼女は施設を離れてから、囚人が迷彩ネットと船モデル工場での戦争努力のためにやっていた作業を評価し、会食ホールで味わった牛乳は酸っぱいと指摘しました。これは囚人が他のアメリカ人よりも質の高い配給を受けていたという報道への対応の彼女の方法でした。


The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.”


ロサンゼルス・タイムズ紙は、3日後、彼女が(劣悪ではない)生活条件を "確かに豪華ではない"と書いた記事で、「私はそのように生きていけない」と付け加えました。


She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”


彼女はまた、「若い(米国生まれの)日本人をこのキャンプからすぐに救い出さなければならない。もし私たちが目を覚まさなければ、もう一つのインディアン問題が生じるだろう」と述べたことが引用されています。
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Narrated By:Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


ステファニー・ハボース・プランケットによるナレーション付き
副所長/チーフキュレーター - ノーマンロックウェル博物館


Norman Rockwell's April 1st 1961, Saturday Evening Post cover, Golden Rule actually started out as a drawing.


ノーマン・ロックウェルの1961年4月1日、サタデイイブニングポストの表紙であるゴールデン・ルールは、実際には絵として始まりました。


In 1952 at the height of The Cold War and two years into the Korean War, Rockwell conceived an image of The United Nations as the world's hope for the future.


ロックウェルは1952年の冷戦と朝鮮戦争の2年間で、世界の未来への希望として「国連」のイメージを構想しました。


His appreciation for the organization and its mission inspired a complex work portraying members of The United Nations' Security Council and 65 people representing the nations of the world.


組織とその使命への感謝は、国連安全保障理事会のメンバーと世界の国々を代表する65人のメンバーを描いた複雑な作業に影響を与えました。


A study for an artwork that he originally intended to complete in painted form, researched and developed to the final drawing stage, the artist's United Nations piece never actually made it to canvas.


彼がもともと絵を完成させようとしていたアートワークの研究で、最終的な描画段階まで研究されましたが、アーティストの国連の作品は、実際にキャンバス化されたことはありませんでした。


Of his work on The United Nations drawing, Rockwell said, "Like everyone else, I'm concerned with the world's situation and like everyone else, I'd like to contribute something to help. The only way I can contribute is through my pictures."


ロックウェルは、国連画家としての活動の中で「他のみんなと同様に、私は世界の状況を懸念しており、他のみんなと同じように私は何か助けになることに貢献したいと思います。私が貢献できる唯一の方法は、私の絵画を通してです。」と言っています。


A perfectionist in his art, Rockwell went to elaborate lengths to create photographs that portrayed his concepts exactly and to find just the right models for his work.


芸術の完璧主義者であるロックウェルは、彼のコンセプトを正確に描写し、彼の作品にちょうどよいモデルを見つけるための写真を作成するため入念に取り組みました。


He researched costumes and props and carefully orchestrated each element of the design to be photographed before putting paint to canvas.


彼は衣装や小道具を研究し、絵画をキャンバスに入れる前に写真のデザインの各要素を慎重に調整しました。


Using his photographs as a reference, Rockwell worked with the details of composition and value in this richly detailed black and white drawing, created with Wolff pencil and charcoal.


ロックウェルは彼の写真を参考にして、ウォルフの鉛筆と木炭で作られた、この細かい黒と白の絵画の構成と価値の詳細を取り上げました。


"I take the making of the charcoal layouts very seriously." he said, "Too many novices, I believe, wait until they are on the canvas before trying to solve many of their problems. It is much better to wrestle with them ahead though studies."


「私は木炭のレイアウトの作成に非常に真剣に取り組んでいます。」「多くの初心者は、問題の多くを解決しようとする前に、キャンバス上に出るまで待っています。研究を重ねるうちに、彼らと取り組む方がずっと良い」と彼は述べています。


Though he was dedicated to the concept of this work, he ultimately found it too complex to create as a final illustration and eventually, about seven years later, explored the possibility of a new approach which he took in Golden Rule.


彼はこの作品のコンセプトに専念していましたが、最終的なイラストレーションを作成するにはあまりにも複雑すぎることが判明し、最終的には約7年後にゴールデンルールから取った新しいアプローチの可能性を模索しました。


Rockwell said, "One day I suddenly go the idea that The Golden Rule, do unto others as you would have them do unto you, was the subject I was looking for."


ロックウェルは、「ある日、私は突然ゴールデン・ルールの〝己の欲するところを人に施せ”というアイデアがひらめき、それが私が探していたものだった。」と言いました。


In Golden Rule, Rockwell portrays four sets of mothers and their children.


ゴールデンルールでは、ロックウェルは4組の母親とその子供を描いています。


The one in the upper right hand corner actually represents his second wife Mary Barstow Rockwell who had passed away in 1959, two years before this image was published.


右上隅にあるのは、この画像が出版される2年前の1959年に亡くなった2人目の妻メアリー バーストウ ロックウェルを描いています。


Here she is united with her first grandchild, Geoffrey Rockwell, who she never actually had the opportunity to meet.


ここで彼女は彼女の最初の孫、ジェフリー ロックウェルと協力していますが、彼女は実際には会う機会はありませんでした。


Published almost six decades ago, Norman Rockwell's Golden Rule is one of his most iconic images, portraying our common humanity and reflecting Rockwell's own beliefs, which remain relevant for our times.


ほぼ60年前に出版されたノーマン・ロックウェルのゴールデン・ルールは、私たちの共通の人間性を描き、私たちの時代に関係するロックウェルの信念を反映した彼の最も象徴的なイメージの一つです。
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Narrated By:
ナレーション付き
Stephanie Haboush Plunkett
ステファニー・ハボース・プランケット
Deputy Director / Chief Curator - Norman Rockwell Museum
副所長/チーフキュレーター - ノーマンロックウェル博物館


This section of the exhibition looks at life's small pleasures, which were especially popular subjects in American magazines during the Great Depression, when many people really did not have the means to spend a lot of money for entertainment.


展覧会のこのセクションでは、多くの人がエンターテインメントのために多くのお金を費やす手段を持っていなかった大恐慌時のアメリカ雑誌で特に人気だった生活の小さな楽しみを見せています。


What we're seeing here in the wonderful 1936 cover illustration for The Saturday Evening Post are a group of men who have gathered in a barbershop and are just having a wonderful time singing together.


私たちがここに見ているのは、1936年のサタデーイブニングポスト紙用の素晴らしいカバー・イラストで、理髪店に集まって一緒に歌を歌って楽しい時間を過ごしている男性のグループです。


The concept of the barbershop quartet and amateur singing in general really became popular in the 1890’s and continued right up through the Depression.


理髪店カルテットとアマチュア歌唱のコンセプトは、不景気の中1890年代に人気を博しました。


Here, Rockwell, really gets to show off the thing that he so enjoyed about people, animated facial expressions, lots of wonderful idiosyncrasies in his characters, and even hand gestures that connect each of the figures to each other.


ここでは、ロックウェルは、本当に人々が楽しんでいたこと、アニメーションの表情、素敵な素質のキャラクター、さらにはそれぞれの人物をつなぐ手のジェスチャーを披露しています。


It's a great scene that actually includes another important illustrator, who also illustrated for the Post and other magazines.


ポスト紙や他の雑誌のイラストレーターとしても活躍している素晴らしいイラストレーターです。


Walter Beach Humphrey is seen on the right hand side, his face half-shaved, half-covered with shaving cream.


ウォルター・ビーチハンフリーは右側に見え、彼の顔の半分は剃られ、半分はシェービングクリームで覆われています。


He holds a publication called the Police Gazette, which we might imagine to tell us about the activities of the American policemen, but instead was actually a gentleman's magazine that had stories about the darker side of life.


彼は、「警察官報」という出版物を持っていて、アメリカの警察官の活動について私たちに伝えるような雑誌をイメージするかもしれませんが、実際には、人生の暗い一面に関する物語を扱った紳士誌でした。


When Rockwell did this piece in 1936, he was living in New Rochelle, New York, which, at the time, had the highest per capita number of illustrators of any city in the entire nation.


ロックウェルが1936年にこの作品を作ったとき、彼はニューヨークのニューロシェルに住んでいましたが、その当時は、全国のどの都市も一人当たりのイラストレーターの人数が一番多い頃でした。


New Rochelle had the advantage of being 45 minutes from Broadway, and so artists could enjoy a more bucolic rural existence, though New Rochelle certainly had its share of activity.


ニューロシェルはブロードウェイから45分という長所があったので、活動のシェアもありましたが、芸術家たちは田舎の農村の存在も楽しむことができました。


It was a short train ride from New York City, so illustrators living there could actually deliver their work very easily to their publishers.


それはニューヨーク市から電車ですぐだったので、そこに住んでいるイラストレーターは実際に彼らの作品を出版社に簡単に届けることができました。
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1943 Stamp Cover—Four Freedoms
Printed envelope with stamps,
postmarked February 12, 1943
Courtesy of the Franklin D. Roosevelt Library & Museum, Hyde Park, NY











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1944 Roosevelt Presidential Campaign Sticker
Paper and adhesive
Courtesy of Franklin D. Roosevelt Library and Museum, Hyde Park, NY,
Gift of John Vargo


Franklin D. Roosevelt was the only president to have served more than two terms in United States history. In 1944, he won reelection, but his physical health steadily declined, and he died in April 1945, less than three months into his fourth term in office. Harry S. Truman was Roosevelt’s Vice President at the time, and his successor.
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Altman Masterpiece
Advertisement for B. Altman, Vogue, September 15, 1943
Norman Rockwell Museum Collection


Here, a fashion model in a tailored suit is photographed with Norman Rockwell’s Freedom of Speech and Freedom of Worship. The paintings were widely reproduced as posters to spur the sale of war bonds.






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Cigarette Holder
c. 1945
Band inscribed “To the Father of the Four Freedoms,
The Master-Builder of Glorious America and Free Humility,
Alexander Isserman, FDR”
Amber with gold band
Courtesy of Franklin D. Roosevelt Library and Museum, Hyde Park, NY,
Bequest of Franklin D. Roosevelt


President Franklin D. Roosevelt was frequently seen and photographed with a cigarette and holder clenched in his teeth. Generally held at a forty-five degree angle, it became a symbol of presidential confidence. This is one of the many cigarette holders that were gifted to Roosevelt, but it is unique in its inscription relating to the Four Freedoms.
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Franklin D. Roosevelt Ashtray
Royal Fenton, Staffordshire, England, c. 1941
China
Collection of the Franklin D. Roosevelt Presidential Library
and Museum,
Bequest of Franklin D. Roosevelt


Among many commemorations of the Atlantic Charter meeting in 1941, this ashtray is part of a smoke set that was presented to President Roosevelt on February 13, 1943 by Albert A. Arditti, President of Edward P. Paul & Co., Inc.



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Franklin D. Roosevelt and Winston Churchill
Atlantic Charter Meeting Cigarette Box
c.1941
Ceramic
Courtesy of Franklin D. Roosevelt Library and Museum,
Hyde Park, NY


After the August 14, 1941 signing of the Atlantic Charter, many objects were designed to commemorate the event, from cigarette boxes, plates, and thimbles to specially minted coins.







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Freedom from Fear
By: Stephen Vincent Benét


What do we mean when we say “freedom from fear”? It isn’t just a formula or a set of words. It’s a look in the eyes and a feeling in the heart and a thing to be won against odds. It goes to the roots of life — to a man and a woman and their children and the home they can make and keep.


Fear has walked at man’s heels through many ages — fear of wild beasts and wilder nature, fear of the inexplicable gods of thunder and lightning, fear of his neighbor man.


He saw his rooftree burned with fire from heaven — and did not know why. He saw his children die of plague — and did not know why. He saw them starve, he saw them made slaves. It happened — he did not know why. Those things had always happened.


Then he set himself to find out — first one thing, then another. Slowly, through centuries, he fought his battle with fear. And wise men and teachers arose to help him in the battle.


His children and he did not have to die of plague. His children and he did not have to make human sacrifices to appease the wrath of inexplicable gods. His children and he did not have to kill the stranger just because he was a stranger. His children and he did not have to be slaves. And the shape of Fear grew less.


No one man did this by himself. It took many men and women, over many years. It took saints and martyrs and prophets — and the common people. It started with the first fire in the first cave — the fire that scared away the beasts of the night. It will not end with the conquest of far planets.


Since our nation began, men and women have come here for just that freedom — freedom from the fear that lies at the heart of every unjust law, of every tyrannical exercise of power by one man over another man. They came from every stock — the men who had seen the face of tyranny, the men who wanted room to breathe and a chance to be men. And the cranks and the starry-eyed came, too, to build Zion and New Harmony and Americanopolis and the states and cities that perished before they lived — the valuable cranks who push the world ahead an inch. And a lot of it never happened, but we did make a free nation.


“How are you ever going to live out there, stranger?”


“We’ll live on weevily wheat and the free air.” If they had the free air, they’d put up with the weevily wheat.


So, in our corner of the world, and for most of our people, we got rid of certain fears. We got rid of them, we got used to being rid of them. It took struggle and fighting and a lot of working things out. But 130 million people lived at peace with one another and ran their own government. And because they were free from fear, they were able to live better, by and large and on the whole, than any 130 million people had lived before. Because fear may drive a burdened man for a mile, but it is only freedom that makes his load light for the long carry.


And meanwhile around us the world grew smaller and smaller. If you looked at it on the school maps, yes, it looked like the same big world with a big, safe corner for us. But all the time invention and mechanical skill were making it smaller and smaller. When the Wright brothers made their first flights at Kittyhawk, the world shrank. With those first flights, the world began to come together, and distant nations to jostle their neighbor nations.


Now, again in our time, we know Fear — armed Fear, droning through the sky. It’s a different sound from the war whoop and the shot in the lonesome clearing, and yet it is much the same for all of us. It is quiet in the house tonight and the children are asleep. But innocence, good will, distance, peaceable intent, will not keep those children safe from the fear in the sky. No one man can keep his house safe in a shrunken world. No one man can make his own clearing and say “This is mine. Keep out.” And yet, if the world is to go on, if man is to survive and prosper, the house of man must be kept safe.


So, what do we mean by “freedom from fear”?


We do not mean freedom from responsibility — freedom from struggle and toil, from hardship and danger. We do not intend to breed a race wrapped in cotton wool, too delicate to stand rough weather. In any world of man that we can imagine, fear and the conquest of fear must play a part.


But we have the chance, if we have the brains and the courage, to destroy the worst fears that harry man today — the fear of starving to death, the fear of being a slave, the fear of being stamped into the dust because he is one kind of man and not another, the fear of unprovoked attack and ghastly death for himself and for his children because of the greed and power of willful and evil men and deluded nations.


It will not be easy to destroy those fears. No one man can do it alone. No one nation can do it alone. It must be all men.


It is not enough to say, “Here, in our country, we are strong. Let the rest of the world sink or swim. We can take care of ourselves.” That may have been true at one time, but it is no longer true. We are not an island in space, but a continent in the world. While the air is the air, a bomb can kill your children and mine. Fear and ignorance a thousand miles away may spread pestilence in our own town. A war between nations on the other side of the globe may endanger all we love and cherish.


War, famine, disease are no longer local problems or even national problems. They are problems that concern the whole world and every man. That is a hard lesson to learn, and yet, for our own survival, we must learn it.


A hundred and sixty-odd years ago, we, as a nation, asserted that all men were created equal, that all men were entitled to life, liberty, and the pursuit of happiness. Those were large assertions, but we have tried to live up to them. We have not always succeeded; we have often failed. But our will and desire as a nation have been to live up to them.


Now, in concert with other free nations, we say that those children you see and other children like them all over the world shall grow to manhood and womanhood free from fear. We say that neither their minds nor their bodies shall be cramped or distorted or broken by tyranny and oppression. We say they shall have a chance, and an equal chance, to grow and develop and lead the lives they choose to lead, not lives mapped out for them by a master. And we say that freedom for ourselves involves freedom for others — that it is a universal right, neither lightly given by providence nor to be maintained by words alone, but by acts and deeds and living.


We who are alive today did not make our free institutions. We got them from the men of the past, and we hold them in trust for the future. Should we put ease and selfishness above them, that trust will fail and we shall lose all, not a portion or a degree of liberty, but all that has been built for us and all that we hope to build. Real peace will not be won with one victory. It can be won only by long determination, firm resolve, and a wish to share and work with other men, no matter what their race or creed or condition. And yet, we do have the choice. We can have freedom from fear.


Here is a house, a woman, a man, their children. They are not free from life and the obligations of life. But they can be free from fear. All over the world, they can be free from fear. And we know they are not yet free.
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Freedom from Want
By Carlos Bulosan


If you want to know what we are, look upon the farms or upon the hard pavements of the city. You usually see us working or waiting for work, and you think you know us, but our outward guise is more deceptive than our history.


Our history has many strands of fear and hope, that snarl and converge at several points in time and space. We clear the forest and the mountains of the land. We cross the river and the wind. We harness wild beast and living steel. We celebrate labor, wisdom, peace of the soul.


When our crops are burned or plowed under, we are angry and confused. Sometimes we ask if this is the real America. Sometimes we watch our long shadows and doubt the future. But we have learned to emulate our ideals from these trials. We know there were men who came and stayed to build America. We know they came because there is something in America that they needed, and which needed them.


We march on, though sometimes strange moods fill our children. Our march toward security and peace is the march of freedom — the freedom that we should like to become a living part of. It is the dignity of the individual to live in a society of free men, where the spirit of understanding and belief exist; of understanding that all men are equal; that all men, whatever their color, race, religion or estate, should be given equal opportunity to serve themselves and each other according to their needs and abilities.


But we are not really free unless we use what we produce. So long as the fruit of our labor is denied us, so long will want manifest itself in a world of slaves. It is only when we have plenty to eat — plenty of everything — that we begin to understand what freedom means. To us, freedom is not an intangible thing. When we have enough to eat, then we are healthy enough to enjoy what we eat. Then we have the time and ability to read and think and discuss things. Then we are not merely living but also becoming a creative part of life. It is only then that we become a growing part of democracy.


We do not take democracy for granted. We feel it grow in our working together — many millions of us working toward a common purpose. If it took us several decades of sacrifices to arrive at this faith, it is because it took us that long to know what part of America is ours.


Our faith has been shaken many times, and now it is put to question. Our faith is a living thing, and it can be crippled or chained. It can be killed by denying us enough food or clothing, by blasting away our personalities and keeping us in constant fear. Unless we are properly prepared, the powers of darkness will have good reason to catch us unaware and trample our lives.


The totalitarian nations hate democracy. They hate us because we ask for a definite guaranty of freedom of religion, freedom of expression, and freedom from fear and want. Our challenge to tyranny is the depth of our faith in a democracy worth defending. Although they spread lies about us, the way of life we cherish is not dead. The American Dream is only hidden away, and it will push its way up and grow again.


We have moved down the years steadily toward the practice of democracy. We become animate in the growth of Kansas wheat or in the ring of Mississippi rain. We tremble in the strong winds of the Great Lakes. We cut timbers in Oregon just as the wild flowers blossom in Maine. We are multitudes in Pennsylvania mines, in Alaskan canneries. We are millions from Puget Sound to Florida. In violent factories, crowded tenements, teeming cities. Our numbers increase as the war revolves into years and increases hunger, disease, death, and fear.


But sometimes we wonder if we are really a part of America. We recognize the mainsprings of American democracy in our right to form unions and bargain through them collectively, our opportunity to sell our products at reasonable prices, and the privilege of our children to attend schools where they learn the truth about the world in which they live. We also recognize the forces which have been trying to falsify American history — the forces which drive many Americans to a corner of compromise with those who would distort the ideals of men that died for freedom.


Sometimes we walk across the land looking for something to hold on to. We cannot believe that the resources of this country are exhausted. Even when we see our children suffer humiliations, we cannot believe that America has no more place for us. We realize that what is wrong is not in our system of government, but in the ideals which were blasted away by a materialistic age. We know that we can truly find and identify ourselves with a living tradition if we walk proudly in familiar streets. It is a great honor to walk on the American earth.


If you want to know what we are, look at the men reading books, searching in the dark pages of history for the lost word, the key to the mystery of living peace. We are factory hands, field hands, mill hands, searching, building, and molding structures. We are doctors, scientists, chemists, discovering and eliminating disease, hunger, and antagonism. We are soldiers, Navy men, citizens, guarding the imperishable dream of our fathers to live in freedom. We are the living dream of dead men. We are the living spirit of free men.


Everywhere we are on the march, passing through darkness into a sphere of economic peace. When we have the freedom to think and discuss things without fear, when peace and security are assured, when the futures of our children are ensured — then we have resurrected and cultivated the early beginnings of democracy. And America lives and becomes a growing part of our aspirations again.


We have been marching for the last 150 years. We sacrifice our individual liberties, and sometimes we fail and suffer. Sometimes we divide into separate groups and our methods conflict, though we all aim at one common goal. The significant thing is that we march on without turning back. What we want is peace, not violence. We know that we thrive and prosper only in peace.


We are bleeding where clubs are smashing heads, where bayonets are gleaming. We are fighting where the bullet is crashing upon armorless citizens, where the tear gas is choking unprotected children. Under the lynch trees, amidst hysterical mobs. Where the prisoner is beaten to confess a crime he did not commit. Where the honest man is hanged because he told the truth.


We are the sufferers who suffer for natural love of man for another man, who commemorate the humanities of every man. We are the creators of abundance.


We are the desires of anonymous men. We are the subways of suffering, the well of dignities. We are the living testament of a flowering race.


But our march to freedom is not complete unless want is annihilated. The America we hope to see is not merely a physical but also a spiritual and an intellectual world. We are the mirror of what America is. If America wants us to be living and free, then we must be living and free. If we fail, then America fails.


What do we want? We want complete security and peace. We want to share the promises and fruits of American life. We want to be free from fear and hunger.


If you want to know what we are — we are marching!



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Freedom of Speech
By: Booth Tarkington


In a small chalet on the mountain road from Verona to Innsbruck, two furtive tourists sat, pretending not to study each other. Outdoors, the great hills rose in peace that summer evening in 1912; indoors, the two remaining patrons, both young, both dusty from the road, sat across the room from each other, each supping at his own small table


One was a robustly active figure, dark, with a bull head; the other was thin and mouse-haired. It was somewhat surprising to see him take from his knapsack several sketches in watercolor. Upon this, the dark young traveler, who’d been scribbling notes in a memorandum book, decided to speak.


“You’re a painter, I see.”


“Yes,” the insignificant one replied, his small eyes singularly hard and cold. “You, sir, I take to be a writer?”


The dark young man brought his glass of red wine and his plate of cheese and hard sausage to the painter’s table. “You permit?” he asked as he sat down. “By profession I am a journalist.”


“An editor, I think,” the watercolor painter responded. “I might guess that you’ve written editorials not relished by the authorities.”


“Why do you guess that?”


“Because,” the painter said, “when other guests were here, a shabby man slipped in and whispered to you. A small thing, but I observed it, though I am not a detective.”


“Not a detective,” the dark young man repeated.


“And yet perhaps dangerously observant. This suggests that possibly you do a little in a conspiratorial way yourself.”


“Why do you say that?”


“Because of your appearance. You’re precisely a person nobody would notice, but you have an uneasy yet coldly purposeful eye. And because behind us it’s only a step over the mountain path to Switzerland, where political refugees are safe.”


“Yes, no doubt fortunately for you!” The mouse-haired painter smiled. “As for me, I am in no trouble with the authorities, but I admit that I have certain ideas.”


“I was sure you have.” The journalist drank half his wine. “Ideas? With such men as you and me, that means ambitions. Socialism, of course. That would be a first step only toward what we really want. Am I right?”


“Here in this lonely place” — the painter smiled faintly — “it is safe to admit that one has dazzling thoughts. You and I, strangers and met by chance, perceive that each in his own country seeks an extreme amount of success. That means power. That is what we really want. We are two queer men. Should we both perhaps be rightly thought insane?”


“Greatness is easily mistaken for insanity,” the swarthy young man said.
“Greatness is the ability to reduce the most intricate facts to simple terms. For instance, take fighting. Success is obtained by putting your enemy off his guard, then striking him where he is weakest — in the back, if possible. War is as simple as that.”


“Yes, and so is politics,” the painter assented absently as he ate some of the fruit that formed his supper. “Our mutual understanding of greatness helps to show that we are not lunatics, but only a simple matter of geography is needed to prove our sanity.”


“Geography?” The journalist didn’t follow this thought. “How so?”


“Imagine a map.” The painter ate a grape. “Put yourself in England, for instance, and put me and my dazzling ideas into that polyglot zoo, the United States of America. You in England can bellow attacks on the government till you wear out your larynx, and some people will agree with you and some won’t, and that is all that would happen. In America I could do the same. Do you not agree?”


“Certainly,” the journalist said. “In those countries the people create their own governments. They make them what they please, and so the people really are the governments. They let anybody stand up and say what he thinks. If they believe he’s said something sensible, they vote to do what he suggests. If they think he is foolish, they vote no. Those countries are poor fields for such as you and me, because why conspire in a wine cellar to change laws that permit themselves to be changed openly?”


“Exactly.” The watercolor painter smiled his faint strange smile. “Speech is the expression of thought and will. Therefore, freedom of speech means freedom of the people. If you prevent them from expressing their will in speech, you have them enchained, an absolute monarchy. Of course, nowadays he who chains the people is called a dictator.”


“My friend!” the dark young man exclaimed.


“We understand each other. But where men cannot speak out, they will whisper. You and I will have to talk out of the sides of our mouths until we have established the revolutions we contemplate. For a moment, suppose us successful. We are dictators, let us say. Then in our turn do we permit no freedom of speech? If we don’t, men will talk out of the sides of their mouths against us. So they may overthrow us in turn. You see the problem?”


“Yes, my friend. Like everything else, it is simple. In America or England, so long as governments actually exist by means of freedom of speech, you and I could not even get started; and when we shall have become masters of our own countries, we shall not be able to last a day unless we destroy freedom of speech. The answer is this: We do destroy it.”


“But how?”


“By means of a purge.”


“Purge?” The word seemed new to the journalist. “What is that?”


Once more was seen the watercolor painter’s peculiarly icy smile. “My friend, if I had a brother who talked against me, either out of the side of his mouth or the front of it, and lived to run away, he might have to leave his wife and child behind him. A purge is a form of carbolic acid that would include the wife and child.”


“I see.” The dark youth looked admiring, but shivered slightly. “On the one hand, then, there is freedom of speech, and on the other this fatal acid you call a purge. The two cannot exist together in the same country. The people of the earth can take their choice, but you and I can succeed only where we persuade them to choose the purge. They would be brainless to make such a choice — utterly brainless!”


“On the other hand,” said the painter, “many people can be talked into anything, even if it is terrible for themselves. I shall flatter all the millions of my own people into accepting me and the purge instead of freedom.”
He spoke with a confidence so monstrous in one of his commonplace and ungifted appearance that the other stared aghast. At this moment, however, a shrill whistle was heard outside. Without another word the dark young man rose, woke the landlord, paid his score and departed hurriedly.


The painter spoke to the landlord: “That fellow seems to be some sort of shady character, rather a weak one. Do you know him?”


“Yes and no,” the landlord replied. “He’s in and out, mainly after dark. One meets all sorts of people in the Brenner Pass. You might run across him here again, yourself, someday. I don’t know his whole name, but I have heard him called ‘Benito,’ my dear young Herr Hitler.”



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Freedom of Worship
By: Will Durant


Down in the valley below the hill where I spend my summers is a little white church whose steeple has been my guiding goal in many a pleasant walk.


Often, as I passed the door on weekdays when all was silent there, I wished that I might enter, sit quietly in one of the empty pews, and feel more deeply the wonder and the longing that had built such chapels — temples and mosques and great cathedrals — everywhere on the earth.


Man differs from the animal in two things: He laughs, and he prays. Perhaps the animal laughs when he plays, and prays when he begs or mourns; we shall never know any soul but our own, and never that. But the mark of man is that he beats his head against the riddle of life, knows his infinite weakness of body and mind, lifts up his heart to a hidden presence and power, and finds in his faith a beacon of heartening hope, a pillar of strength for his fragile decency.


These men of the fields, coming from afar in the uncomfortable finery of a Sabbath morn, greeting one another with bluff cordiality, entering to worship their God in their own fashion — I think, sometimes, that they know more than I shall ever find in all my books. They have no words to tell me what they know, but that is because religion, like music, lives in a world beyond words, or thoughts, or things. They have felt the mystery of consciousness within themselves, and will not say that they are machines. They have seen the growth of the soil and the child, they have stood in awe amid the swelling fields, in the humming and teeming woods, and they have sensed in every cell and atom the same creative power that wells up in their own striving and fulfillment. Their unmoved faces conceal a silent thankfulness for the rich increase of summer, the mortal loveliness of autumn and the gay resurrection of the spring. They have watched patiently the movement of the stars, and found in them a majestic order so harmoniously regular that our ears would hear its music were it not eternal. Their tired eyes have known the ineffable splendor of earth and sky, even in tempest, terror, and destruction; and they have never doubted that in this beauty some sense and meaning dwell. They have seen death, and reached beyond it with their hope.


And so they worship. The poetry of their ritual redeems the prose of their daily toil; the prayers they pray are secret summonses to their better selves; the songs they sing are shouts of joy in their refreshened strength. The commandments they receive, through which they can live with one another in order and peace, come to them as the imperatives of an inescapable deity, not as the edicts of questionable men. Through these commands they are made part of a divine drama, and their harassed lives take on a scope and dignity that cannot be canceled out by death.


This little church is the first and final symbol of America. For men came across the sea not merely to find new soil for their plows but to win freedom for their souls, to think and speak and worship as they would. This is the freedom men value most of all; for this they have borne countless persecutions and fought more bravely than for food or gold. These men coming out of their chapel — what is the finest thing about them, next to their undiscourageable life? It is that they do not demand that others should worship as they do, or even that others should worship at all. In that waving valley are some who have not come to this service. It is not held against them; mutely these worshipers understand that faith takes many forms, and that men name with diverse words the hope that in their hearts is one.


It is astonishing and inspiring that after all the bloodshed of history, this land should house in fellowship a hundred religions and a hundred doubts. This is with us an already ancient heritage; and because we knew such freedom of worship from our birth, we took it for granted and expected it of all mature men. Until yesterday, the whole civilized world seemed secure in that liberty.


But now suddenly, through some paranoiac mania of racial superiority, or some obscene sadism of political strategy, persecution is renewed, and men are commanded to render unto Caesar the things that are Caesar’s, and unto Caesar the things that are God’s. The Japanese, who once made all things beautiful, begin to exclude from their realm every faith but the childish belief in the divinity of their emperor. The Italians, who twice littered their peninsula with genius, are compelled to oppress a handful of hunted men. The French, once honored in every land for civilization and courtesy, hand over desolate refugees to the coldest murderers that history has ever known. The Germans, who once made the world their debtors in science, scholarship, philosophy, and music, are prodded into one of the bitterest persecutions in all the annals of savagery by men who seem to delight in human misery, who openly pledge themselves to destroy Christianity, who seem resolved to leave their people no religion but war, and no God but the state.


It is incredible that such reactionary madness can express the mind and heart of an adult nation. A man’s dealings with his God should be a sacred thing, inviolable by any potentate. No ruler has yet existed who was wise enough to instruct a saint; and a good man who is not great is a hundred times more precious than a great man who is not good. Therefore, when we denounce the imprisonment of the heroic Niemoller, the silencing of the brave Faulhaber, we are defending the freedom of the German people as well as of the human spirit everywhere. When we yield our sons to war, it is in the trust that their sacrifice will bring to us and our allies no inch of alien soil, no selfish monopoly of the world’s resources or trade, but only the privilege of winning for all peoples the most precious gifts in the orbit of life — freedom of body and soul, of movement and enterprise, of thought and utterance, of faith and worship, of hope and charity, of a humane fellowship with all men.


If our sons and brothers accomplish this, if by their toil and suffering they can carry to all mankind the boon and stimulus of an ordered liberty, it will be an achievement beside which all the triumphs of Alexander, Caesar, and Napoleon will be a little thing. To that purpose they are offering their youth and their blood. To that purpose and to them we others, regretting that we cannot stand beside them, dedicate the remainder of our lives.
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Reading Copy
of Roosevelt’s Message to Congress (Four Freedoms Speech),
January 6, 1941
Digital reproduction
Franklin D. Roosevelt Library and Museum, Hyde Park, NY


On Monday, January 6, 1941—eleven months before the Japanese attack at Pearl Harbor—Roosevelt delivered his Message to Congress. The thirty-six-minute address was carried live by domestic radio networks, and was translated into six languages for broadcast across the world. The international audience was important to the White House, as the text’s main emphasis was the Lend-Lease bill. In Roosevelt’s view, this military aid for nations resisting international aggression was essential. The Four Freedoms peroration served as a vision of the postwar world that could emerge if those nations—with the assistance of the United States—were to be victorious.
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Sixth Draft
of Roosevelt’s Message to Congress
(Four Freedoms Speech),
January 6, 1941
Digital reproduction
Franklin D. Roosevelt Library and Museum, Hyde Park, NY


As the 1941 Message to Congress evolved, the president and his team carefully edited the speech text for content and flow. In this draft (the sixth, counting an unnumbered intermediate version), the Four Freedoms passage began to reflect a more definable goal. The speech writers struck out the words everywhere and anywhere as well as the word international (twice). World and the related phrases everywhere in the world and anywhere in the world replaced them. These changes gave the passage a more percussive sense of repetition, and made the president’s goals more concrete.



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The Atlantic Charter
1943
Office of War Information, U. S. Government Printing Office
Poster
Collection of the Norman Rockwell Museum,
Gift of William W. Hargreaves


The Roosevelt administration publicized the Atlantic Charter widely, but although the document was widely recognized, few Americans actually read it. Norman Rockwell, expecting to be inspired by the text, instead found it “platitudinous” and was unable “to get beyond the first paragraph.” Others were upset that only two of the president’s Four Freedoms— Freedom from Want and Freedom from Fear—had made it into the document. This poster, disseminated by the Office of War Information in 1943, suggests that the White House continued to promote the virtues of the Atlantic Charter long after the nation was at war.
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U.S. #933 5¢ FDR and Four Freedoms
Postage stamp block, issued January 30, 1946
Bureau of Engraving and Printing, Washington D. C.
Norman Rockwell Museum Collection,
Gift of Henry H. Williams


After FDR’s death in April 1945, the US Postal Service made plans to issue four new stamp series—the so-called Roosevelt Memorial stamps—to commemorate his service to the nation and the world. The fourth issue was this five- cent Four Freedoms stamp. It was released on January 30,
1946, the late president’s 64th birthday. By superimposing all four of the freedoms over an image of the world, the stamp presented a visual echo of FDR’s January 1941 address, which suggested that the Four Freedoms should thrive “everywhere in the world.”



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Winston Churchill Ashtray
Royal Fenton, Staffordshire, England, c. 1941
China
Collection of the Franklin D. Roosevelt Presidential Library
and Museum,
Bequest of Franklin D. Roosevelt





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Albert Gold (1916–2006)
Immigrant Family Dinner, c. 1939
Watercolor on board
The Eisenstat Collection of American Illustration,
Courtesy of Alice Carter and Courtney Granner


This scene of an immigrant family sharing a simple meal exemplifies the Depression-era art of Albert Gold, whose sensitive portrayals of people’s daily lives were mainstays of his art. In 1942, Gold was awarded the coveted Prix de Rome for a painting of three circus cooks at work. He was drafted into the Army that year, and later became one of three official combat artists in Europe during World War II. Discharged in 1945, he went on to teach at the Philadelphia Museum School of Industrial Art, now the University of the Arts, for 37 years.
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Alexander Liberman (1912–1999)
United We Win, 1943
Poster
Norman Rockwell Museum Collection


The Roosevelt administration understood the critical need for a unified industrial effort on the home front. However, segregation and racism in the 1940s presented formidable obstacles to that goal. Munitions production slowed, for instance, when some white factory laborers refused to work alongside African Americans. This poster, designed by editor, photographer, and sculptor Alexander Liberman, was issued by the War Manpower Commission to address the problem directly. It depicts an integrated work team concerned, not about skin color, but about winning the war.
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Alfred Charles Parker (1906–1985)
Mother and Daughter Changing Tire, 1943
Cover illustration for The Ladies’ Home Journal, March 1943
Tearsheet
Norman Rockwell Museum Collection,
Gift of Kit Parker
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Alfred Charles Parker (1906–1985)
Mother and Daughter Ice Skating, 1939
Cover illustration for The Ladies’ Home Journal, February 1939
Tearsheet
Norman Rockwell Museum Collection,
Gift of Kit Parker





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Alfred Charles Parker (1906–1985)
Mother and Daughter Soldier’s Homecoming, 1945
Cover illustration for The Ladies’ Home Journal, July 1945
Tearsheet
Norman Rockwell Museum Collection,
Gift of the Rosenbaum Family, RC.1989.12.1



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Alfred Charles Parker (1906–1985)
Mother and Daughter Swimmers, 1940
Cover illustration for The Ladies’ Home Journal, July 1940
Gouache on board
Collection of D.B. Dowd Modern Graphic History Library,
Washington University in St. Louis


A founder of the modern glamour aesthetic, Al Parker defined the progressive look and feel of published imagery at a time of sweeping change, when following the Great Depression, Americans sought symbols of hope on the pages of periodicals. His innovative artworks created for mass- appeal women’s magazines like Ladies’ Home Journal, Good Housekeeping, and Cosmopolitan captivated upwardly mobile readers, reflecting and influencing the values and aspirations of women and their families during and after World War II.





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Alfred Charles Parker (1906–1985)
Mother and Daughter Wrapping Christmas Presents, 1939
Cover illustration for The Ladies’ Home Journal, December 1939
Tearsheet
Norman Rockwell Museum Collection,
Gift of Kit Parker







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Alfred Charles Parker (1906–1985)
Mother, Daughter, and Infant Son, 1947
Cover illustration for The Ladies’ Home Journal, September 1947
Tearsheet
Norman Rockwell Museum Collection, Gift of Kit Parker
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Alfred Charles Parker (1906–1985)
Mother, Daughter, and Son, 1950
Gouache on board
Collection of D.B. Dowd Modern Graphic History Library,
Washington University in St. Louis


When the first of Al Parker’s mother and daughter covers for Ladies’ Home Journal appeared in February 1939, they created a sensation and inspired a matching outfit fashion trend. Over the next thirteen years, Parker’s mothers and daughters celebrated holiday traditions, shared a love of sport, and played their part during World War II. In July 1945, they welcomed their returning soldier and signaled the start of the baby boomer generation. By that December, two knitted booties—one pink and one blue—were already underway, and in 1946 a son was born.







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Alfred T. Palmer (1906–1993)
Four Freedoms and Arsenal of Democracy Posters, February 1942
Digital reproduction
Library of Congress: Prints & Photographs Division,
Washington, D. C., LC-USE6-D-004848


This large photographic display designed by French graphic designer Jean Carlu highlighted the Four Freedoms on one side and FDR’s Arsenal of Democracy on the other. It was installed in Washington, DC, in November 1941, and as seen here, was displayed in New York City in the winter of 1942.




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Allen Hurlburt (1910-1983)
Letter from Look Art Director - Allen Hurlburt - to Norman Rockwell,
February 21, 1966
Norman Rockwell Museum Collection



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Allen Saalburg (1899 - 1987)
Remember December 7th!, 1942
Poster illustration for the Office of War Information,
U.S. Government Printing Office Poster
Norman Rockwell Museum Collection


The attack on Pearl Harbor impacted the consciousness of mid-century Americans more forcefully than any other single event during World War II. Posters such as this, depicting a tattered flag at half mast, kept the memory of December 7, 1941 alive.


It's interesting to note that this poster was portrayed by Rockwell on the back wall of his Shuffleton's Barbershop painting. Though Shuffleton's was completed in 1950, it would not have been unusual for World War II era posters to remain on display in shops and public buildings after the war, and Remember Dec. 7! was a well-known slogan to the American public.
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Anna C. Frank
Letter to Norman Rockwell regarding the “Committee of 100”
NAACP Legal Defense and Educational Fund
Norman Rockwell Museum Collection


In this letter, Anna C. Frank thanks Rockwell for allowing Murder in Mississippi to be reproduced for distribution as a fundraising premium for the NAACP’s Legal Defense and Educational Fund.







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Ansel Adams (1902-1984)
Tom Kobayashi, Landscape, South Fields, Manzanar, 1943
Digital reproduction
Farm Security Administration -
Office of War Information Photograph Collection,
Library of Congress, Washington, D. C., LC-A351-3-M-19


On February 19, 1942, two months after the bombing of Pearl Harbor and more than a year after his Four Freedoms speech, President Franklin D. Roosevelt signed Executive Order 9066 authorizing the internment of people of Japanese descent. By June of that year, more than 120,000 people of all ages had been relocated to remote internment camps.


This photograph of Thomas Kobayashi (1916-2018) was taken at the Manzanar War Relocation Center in California, one of ten concentration camps where Japanese Americans were interned during World War II. A champion of the poor, Kobayashi collected food and clothing for people in need, and volunteered for the U.S. Army’s 442nd Infantry Battalion, a Japanese-American unit. In the Military Intelligence Service, he decoded intercepted Japanese messages, and in 2012, received the Congressional Gold Medal in honor of his distinguished service. Kobayashi died at 101 years of age.
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Arnold Machin (1911–1999)
It Can Be Done, It Must Be Done, It Will Be Done, 1942
Franklin D. Roosevelt Cameo Mug, Wedgewood,
Barlaston, England
Ceramic
Collection of the Franklin D. Roosevelt Presidential Library and Museum, Gift of the Mayborn Museum


Wedgwood’s mission to combine its export with a patriotic commitment to the alliance between Britain and America was displayed in the work of talented designer Arnold Machin. As a conscientious objector, Machin spent the war years at Barlaston. Among his debut pieces were representations of Churchill and Roosevelt, and in 1942, these were incorporated into designs for two mugs in white on lavender embossed queen’s ware. The exercise revived the long tradition of using ceramic art to promote praiseworthy causes.









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Arthur Szyk (1894–1951)
Arsenal of Democracy II, 1942
Pen, ink and graphite on paper
Collection of Raziel Ungar


In this drawing, Szyk describes FDR’s vision of American industry as an “arsenal of democracy” that arms the Allies with military supplies. The work challenges and inspires American workers to forge and fortify weapons of freedom.
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Arthur Szyk (1894–1951)
The Four Freedoms, c. 1940’s
Issued by the Emergency Committee to Save the Jewish People of Europe
Sheet of stamps
Norman Rockwell Museum Collection


The prolific and gifted Polish Jewish illustrator Arthur Szyk was passionate about Roosevelt’s Four Freedoms and considered himself the president’s Soldier in Art. His Four Freedoms images reflect his spirit as a fighting artist—the central figure in all four paintings is a medieval knight. The swords, daggers, and lances acknowledge that freedom must be defended, and the shield emblazoned with stars and stripes calls upon the United States to be its guardian. Szyk’s Four Freedoms images were widely circulated in sheets of stamps and oversized postcards.



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Atlantic Charter Medallion
1941
Turner & Simpson, Ltd., Birmingham, England
Silver over bronze
Collection of the Franklin D. Roosevelt Presidential Library
and Museum,
Gift of Eleanor Roosevelt


In addition to profiles of King George VI and Queen Elizabeth, this commemorative piece features likenesses of President Roosevelt and Prime Minister Churchill with United States and British flags, on the reverse.
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Ben Eisenstat (1915–2001)
Briquebec Normandy, June 1944
Graphite on paper
The Eisenstat Collection of American Illustration,
Courtesy of Alice Carter and Courtney Granner


Artist and soldier Ben Eisenstat landed with his unit on Utah Beach, the code name for one of the five sectors of the Allied invasion of German-occupied France in Normandy. This drawing of Briquebec, located twenty-seven miles from the landing site, is one of the first of many drawings that he completed during his military service in Europe.
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Ben Shahn (1898–1969)
Give ‘em the stuff to fight with . . . Work for Freedom!, 1942
Poster illustration for the Office of War Information,
U.S. Government Printing Office
Poster
Norman Rockwell Museum Collection


As the Allied victory in World War II gradually become more certain, the Soviet Union’s Joseph Stalin was moved to salute “American production, without which this war would have been lost.” Wartime posters targeting munitions workers typically tried to motivate laborers by personalizing the war and by making it clear that the role of the factory worker was as important as the role of the soldier. John Falter was a popular Saturday Evening Post illustrator who contributed to the war effort through his art.
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Ben Shahn (1898–1969)
This is Nazi Brutality, 1942
Office of War Information,
U. S. Government Printing Office Poster
Norman Rockwell Museum Collection


This poster by social realist Ben Shahn was inspired by atrocities in Lidice, a Czech mining village that was destroyed in retaliation for the 1942 shooting of a Nazi official. It was designed to instill fear of Nazi brutality and make clear that losing the war to the Axis powers would be a global catastrophe.







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Ben Shahn (1898–1969)
We French workers warn you . . . defeat means slavery, starvation, death, 1942
Office of War Information,
U. S. Government Printing Office Poster
Norman Rockwell Museum Collection


In this iconic poster by social realist, Ben Shahn, four French workers, head and shoulders visible with their hands above their heads, move from right to left past a stone wall bearing a red Official Vichy Decree concerning forced labor for Frenchmen.





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Bernhardt Walter and Ernst Hofmann
A group of elderly Jews from Subcarpathian Rus sit alongside the train on the ramp at Auschwitz-Birkenau. In time these people will be put on trucks and driven to the gas chamber,
May 1944
Digital reproduction
United States Holocaust Memorial Museum,
courtesy of Yad Vashem, Israel


During the course of World War II, Nazis led by Adolf Hitler murdered nearly six million European Jews. President Roosevelt’s record in relationship to this genocide will be debated by scholars and historians for years to come. Some criticize Roosevelt’s approach to refugee issues and policies before and during World War II. Others contextualize his actions more broadly, pointing to the American public’s pre-war isolationism and anti-Semitism, strict immigration and quota laws that had wide public and Congressional support, and military reach that for much of the war limited the Allies’ ability to reach Jews trapped behind enemy lines.


In a December 13, 1942 radio broadcast heard by millions, popular newsman Edward R. Murrow described “a horror beyond what imagination can grasp . . . there are no longer ‘concentration camps’—we must speak now only of ‘extermination camps.’” Four days later, the United States joined ten other Allied governments in issuing a solemn public declaration condemning Nazi Germany’s “bestial policy of cold-blooded extermination” of the Jews. Roosevelt believed that the surest way to stop the killing of innocent civilians was to defeat Hitler’s Germany as quickly and decisively as possible. Critics say that his “win the war” discounted the possibility many may have been rescued.


This image is part of the Auschwitz Album, the only known pictorial evidence of the extermination process inside Auschwitz II-Birkenau, the German extermination camp in occupied Poland. The photographers were two SS men, the director and deputy director of the camp’s Erkennungsdienst, or identification service.
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Boris Artzybasheff (1899–1965)
Adolf Hitler, German Chancellor and Führer, 1945
Cover illustration for Time, May 7, 1945
Gouache on board
Norman Rockwell Museum Collection


This penetrating portrait of Adolf Hitler appeared on the cover of Time just a week after the German Chancellor’s suicide, with his longtime companion, Eva Braun. For publication, Artzybasheff’s image was overlaid with a bloody letter X in reference to his heinous deeds. The final battles of the European Theatre of World War II, and the German surrender to the Allies, took place in late April and early May 1945.



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Boris Artzybasheff (1899–1965)
Emperor Hirohito of Japan, 1945
Cover illustration for Time, May 21, 1945
Gouache on board
Norman Rockwell Museum Collection


Hirohito was emperor of Japan from 1926 until his death in 1989. He took over at a time of rising democratic sentiment, but his country soon turned toward ultra-nationalism and militarism. During World War II, Japan attacked nearly all of its Asian neighbors, allied itself with Nazi Germany, and launched a surprise assault on the U.S. naval base at Pearl
Harbor. Though Hirohito later portrayed himself as a virtually powerless constitutional monarch, he played an active role in the war effort. After Japan’s surrender in 1945, he became a figurehead with no political power.





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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Speaking of Pictures . . . Swastikas Make Ghoulish Symbols, 1942
Life, September 14, 1942, pp. 10–11
Magazine
Norman Rockwell Museum Collection


World War II was a fertile era for political cartoonists. Russian émigré and artist Boris Artzybasheff came to the United States at the age of twenty and painted more than 200 cover illustrations for Time magazine, contributing also to Life and Fortune. In the 1940s, he often represented evil in the form of serpents, reptiles, and flying prehistoric birds in the shape of swastikas, with Hitler and his minions portrayed as harbingers of doom.



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Boris Artzybasheff (1899–1965)
Witches’ Sabbath, 1942
Illustration for Life, September 14, 1942, p. 11
Gouache on board
Courtesy of the Syracuse University Art Collection


In Artzybasheff’s Witches’ Sabbath, Hitler oversees a grotesque world filled with living swastikas. As described in the work’s caption, “Creatures of Hitler’s turgid nightmare swamp are a medal-heavy Göring, a prating Goebbels, a smirking Himmler and, trapped by swastika, a simian Pierre Laval.” Vehemently anti-Fascist, Artzybasheff sought to pull back the curtain on society’s ills, an approach that differed from Rockwell’s aspirational visual statements.
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Carlton F. Wells
Correspondence to Norman Rockwell regarding
The Four Freedoms,
February 28, 1943
Handwritten letter on University Club letterhead
Norman Rockwell Museum Collection


Carlton F. Wells of Ann Arbor, Michigan, like many Americans, had relatives in the service. In a complimentary message to Rockwell, he wrote, “Your great pictures will do much to keep America’s head high and its purpose true.”
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Daniel Stern
Bill of Rights, 1942
Franklin D. Roosevelt Four Freedoms Poster
Collection of the Franklin D. Roosevelt Presidential Library and Museum, Received through exchange from H. E. Walden


In this image, Franklin D. Roosevelt is writing at a desk in close proximity to a poster by Howard Chandler Christy featuring Lady Liberty and four freedoms derived from the Bill of Rights. Ratified in 1791, the first ten amendments to the Constitution make up the Bill of Rights. Written by James Madison, the amendments list specific prohibitions on governmental power, in response to the call for greater constitutional protection for individual liberties, including Freedom of Speech, Freedom of Assembly, Freedom of Worship, and Freedom of the Press.
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David Karp (1905–1944)
The Voice of the Four Freedoms, 1944
Published by Freedom Distributors, New York Poster
Courtesy of Franklin D. Roosevelt Library and Museum, Hyde Park, NY, Bequest of the Estate of Franklin D. Roosevelt


Produced soon after the death of Franklin D. Roosevelt on April 12, 1945—just months before World War II ended in an Allied victory—this poster features a 1944 Four Freedoms illustration by David Karp and a photo of the president by Pach Brothers, one of the oldest photographic firms in New York City.
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Dorothea Lange (1895–1965)
A large sign reading “I am an American” placed in the window of a store, at Eighth and Franklin Streets [Oakland, CA], on December 8, the day after Pearl Harbor, March 1942
Digital reproduction
Farm Security Administration -
Office of War Information Photograph Collection (Library of Congress),
Washington, D. C., LC-USZ62-23602


In the tense weeks after Japan’s December 7, 1941 attack on Pearl Harbor, many Americans—particularly those on the Pacific Coast—feared enemy attack. Sensational media reports created a heightened sense of anxiety, and under pressure from military and political leaders, President Roosevelt issued Executive Order 9066 on February 19, 1942. Understood today as a serious violation of human rights, the order led to the incarceration of 120,000 people of Japanese descent, including approximately 80,000 American citizens, during World War II.
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Dorothea Lange (1895–1965)
Civilian exclusion order #5, posted at First and Front streets, directing removal by April 7 of persons of Japanese ancestry, from the first San Francisco section to be affected by evacuation, April 1942
Digital reproduction.
Library of Congress Prints and Photographs Division
Washington, D.C. 20540 USA, LC-USZ62-34565


These posters, photographed in San Francisco by Dorothea Lange, document the evacuation orders given to people of Japanese descent prior to their internment. Lange was hired by the War Relocation Authority to document the forced removal of people from their homes and businesses as orderly and humane. She accepted the assignment but disagreed with Roosevelt’s decision to intern American citizens, and tried to capture the confusion and distress of the evacuees. Though she hoped her photographs would encourage a change of course, the majority were censored and never published during the war.
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Erzählt von:
Alice Carter
Autorin, Illustratorin and Vorstandsvorsitzende des Norman Rockwell Museum


Während ihrer Karriere, die nahezu 70 Jahre umfasste, erschienen die redaktionellen Karikaturen von Jerry Aloysius Doyle in führenden Zeitungen Philadelphias und, obgleich eine Syndikation, landesweit in hunderten anderen Zeitschriften. Als begeisterte Verfechterin von Franklin Roosevelts Innen- und Außenpolitik karikierte Doyle niemals den Präsidenten und stellte ihn immer in heroischem Licht dar.


In „Roosevelt Favors Old Age Pensions (Roosevelt befürwortet Altersversorgung)“, bildet Doyle den Präsidenten als potentiellen Retter eines älteren Ehepaars ab, dass die förmliche Kleidung einer vergangenen Zeit trägt. Obgleich offensichtlich verarmt, versuchen Sie den Anschein zu wahren. Im Kamin brennt ein Feuer und eine Rose steht auf dem Kaminsims, aber das Fenster ist gesprungen und das Tischtuch zusammengeflickt. Auf dem Boden zu ihren Füssen befinden sich zwei Zeitungen, auf denen gezeigt wird, wie ihre Zukunft aussehen könnte. Eine Überschrift lautet: „Roosevelt verschiebt die Altersversorgung“ und die andere lautet „Roosevelt befürwortet die Altersversorgung“. Auf dem Kaminsims ist (neben der Rose) ein Porträt von FDR aufbewahrt, beschriftet mit „Unser Präsident“.


Roosevelt schlug zum ersten Mal eine Altersversorgung vor, als er Governeur von New York war und dieser Gedanke war ein Bestandteil des New Deals. Der Knackpunkt war die Finanzierung. Jeder nationale Versicherungsplan müsste aus Beiträgen der Arbeiterlöhne kommen — und bis 1942 würde es nicht genug Geld geben. Inzwischen litten die älteren Mitbürger. Die Lösung war Title One des Social Security Acts — ein gemeinsames Programm zwischen den Bundesstaaten und der Bundesregierung, um eine sofortige Altershilfe bereitzustellen. Am 14. August 1935 unterzeichnete Präsident Roosevelt das Gesetz, und während er seine Feder niederlegte merkte er an „die Hoffnung langjähriger Arbeit geht zu einem großen Teil in Erfüllung.“
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Erzählt von:
Alice Carter
Autorin, Illustratorin und Vorstandsvorsitzende des Norman Rockwell Museums


Am 29. September 1939 vereinbarten Deutschland und die Sowjetunion die Aufteilung des besetzten Polens. Hitlers Truppen würden alles westlich des Flusses Bug erhalten und Stalins Armee sollte alles östlich davon kontrollieren.


Am folgenden Tag, dem 30. September 1939, erschien im Philadelphia Inquirer Hugh Huttons redaktionelle Karikatur mit dem Titel „Die Grabrede“. Hutton zeichnete im Laufe seiner Karriere für den Inquirer mehr als 3.800 redaktionelle Karikaturen. Er zeichnete selten Karikaturen von Berühmtheiten und Politikern und bevorzugte zur Vermittlung seiner Ideen allegorische Figuren. Typischerweise zeichnete er eine weiß gekleidete Frau, um Werte wie Frieden, Gerechtigkeit oder Wahrheit darzustellen. In diesem Falle sind die Tugenden mit dem Gesicht zur Erde gefallen, während die Zwillings-Geier Deutschland und die Sowjetunion sich hämisch über ihren Sieg freuen.


Hutton wurde in Lincoln, Nebraska, am 11. Dezember 1897 geboren. Nach einem zweijährigen Besuch der Universität Minnesota trat er in die Armee ein und diente während des Ersten Weltkriegs. Nach Kriegsende setze er seine Ausbildung an der Minneapolis School of Art fort.Ein nächster Karriereschritt brachte ihn nach New York. Er studierte an der Art Students’ League und fand mit United Features Syndicate einen Markt für seine redaktionellen Karikaturen.


Im Jahr 1934 nahm Hutton die Stelle beim Philadelphia Inquirer an, für den er bis zu seiner Pensionierung im Jahre 1969 arbeitete.
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Erzählt von:
Alice Carter
Autorin, Illustratorin und Vorstandsvorsitzende des Norman Rockwell Museums


Martha Sawyers wurde in Corsicana, Texas, im Jahr 1902 geboren. Sie besuchte fünf Jahre lang die New York Art Students League bis -wie sie es sagte: „Sie schmissen mich raus und sagten, ich solle etwas tun, von dem ich Bescheid weiß.“


“China Shall Have Our Help (China soll unsere Hilfe erhalten)” ist eines von zwei Plakaten, die Sawyers zwischen 1942 und 1943 für United China Relief entwarf — einem Zusammenschluss von Hilfswerken, die sich der Unterstützung chinesischer Flüchtlinge während des Zweiten Weltkriegs widmeten. Obgleich Sawyers das Arbeiten mit Ölfarbe bevorzugte, zwangen Abgabefristen sie häufig, die Medien zu mischen — und wie Sie bei diesem Plakat sehen können, kombinierte Sie manchmal Öl, Wasserfarben, Pastellfarben und normale Farbstifte, um die Effekte zu erzeugen, die sie benötigte.


Dieses emotionale Gemälde einer Flüchtlingsfamilie bildet eine Szene nach, die Sawyers aus erster Hand gesehen hat. Im Jahr 1937, während einer Reise mit ihrem Mann, dem Zeichner William Ruesswig*, entkam sie nur knapp dem Angriff der Japaner auf Chinas Marco Polo Brücke. Als sie nach New York zurückkehrte, zog eine Ausstellung der Gemälde von ihren Reisen die positive Aufmerksamkeit auf sich und die Zeitschrift Collier's gab ihr den Auftrat, ihre Eindrücke von Asien in einer Reihe von Artikeln und Illustrationen wiederzugeben. Während des Zweiten Weltkriegs, kehrte die unerschrockene Sawyers nach Asien zurück, um das Pazifik-Theater als Künstlerin/Korrespondentin sowohl für die Zeitschriften Collier‘s und Life zu erfassen.
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Erzählt von:
Allida M. Black
Professorin für Geschichte und internationale Angelegenheiten - Die George Washington University


Jeder glaubt, die Vier Freiheiten mit Norman Rockwell und die vier ikonischen Gemälde und dann die andere Hälft der Skala sei FDR’s landmark address.


Und Eleanor verstand, wie auch FDR, aber auf eine andere, mehr instinktive Art, dass man nicht frei sein konnte, ehe man nicht von etwas befreit ist. Und noch bevor das Konzept der Vier Freiheiten formuliert werden konnte, sprach sie über das frei sein von Hunger. Sie sprach von der Freiheit vor Furcht. Sie sprach über die Freiheit zu träumen. Das ist natürlich eine andere Sprache, aber es sind dieselben Prinzipien und Eleanor war es, die wirklich ihre persönliche Sicherheit in den Vereinigten Staaten riskierte, um das zuwas das bedeutet.


Als sie sich mit den Vereinten Nationen befasste, sah sie Verwundete in ganz Asien, in ganz Europa, in den gesamten Vereinigten Staaten. Und die Vereinigten Nationen schickten sie zu den Holocaust-Lagern, schickten sie zu den displacement camps. Sie wurde verantwortlich dafür, der ganzen Welt zu helfen eine neue Vision zu erlangen und sagen zu können, wir bestimmen uns nicht für immer über Hass und die Überlegenheit von Rassen und religiöse Bigotterie und Diskriminierung der Geschlechter. Wir müssen uns eine neue Vision geben.


Und sie nahm Die vier Freiheiten und wie sie die Bedeutung diese Vier Freiheiten interpretierte, mit in den Verhandlungsraum. Und ich möchte, dass Sie dies alles bedenken. Es hat die Grösse eines Esszimmertisches und da sind 18 Nationen. Keine dieser Personen glaubt an den gleichen Gott oder ob es einen Gott gibt. Sie glauben nicht an Privatbesitz oder ob Geld eine gute Sache sei. Sie haben nicht das gleiche Familienkonzept. Sie haben nicht das gleiche Konzept von Staatsbürgerschaft. Das Einzige, was sie teilen ist: „Wir werden auf alle Fälle die Deutschen schlagen”. Und so nimmt sie die ihr innewohnende Verpflichtung zur Freiheit ( innate commitment) von Furcht, Freiheit der Rede, Freiheit der Religion, die Freiheit von Bedürftigkeit (want)und verbindet sei auf eine Weise, die die Menschen veranlassten, an diesem Tisch zu bleiben.


Und das, was an ihrer Führung so bemerkenswert ist, ist nicht nur ob wir die allgemeine Menschenrechtserklärung erhalten, von denen ich der festen Ansicht bin, dass es sich dabei um 30 Beispiele der Vier Freiheiten handelt. Ich möchte, dass Sie sich einen dieser Artikel ansehen und und sich dann eines von Rockwell vier Gemälden einschliesslich der goldenen Regel, darunter Ruby Bridges ansehen und sie nicht durch die Ganze DNA der Farbe sehen.
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Erzählt von:
Brian Allen
Amerikanischer Kunstgelehrter


Bei Freedom of Speech handelt es sich um eines der wenigen von Rockwell gemalten Bilder, die auf einer wahren Begebenheit beruhen.


Arlington hatte eine Sekundarschule, die in den 1920er-Jahren gebaut wurde und 1940 einem Brand zum Opfer fiel. Die Stadt sah sich schlagartig vor die Aufgabe gestellt, zu entscheiden, ob man eine neue Sekundarschule bauen oder die Kinder in die Sekundarschulen der umliegenden Städte schicken sollte. Es gab eine Gesinnungsgemeinschaft in der Stadt, die Gelder für die Errichtung einer neuen Sekundarschule bereitstellen wollte, und dazu war die Genehmigung der Bürgerversammlung erforderlich.


In den meisten Städten Vermonts, wie auch in den meisten Städten der übrigen Neuenglandstaaten, kommt jedem Stimmberechtigten, jedem Grundstückseigentümer eine gesetzgebende Funktion in der Bürgerversammlung als Stadtregierung zu. Jeder Stimmberechtigte hat das Recht, zur Bürgerversammlung zu kommen und über die Bereitstellung von Geldern abzustimmen – in diesem Fall für die Sekundarschule.


Jim Edgerton, ein ortsansässiger Landwirt, erhob sich bei der Bürgerversammlung und sprach sich gegen das Vorhaben, Geld für den Bau einer neuen Sekundarschule auszugeben, aus. Man befand sich gerade in der Wirtschaftskrise, die Rohstoffpreise waren im Keller, und Jim Edgerton kam für seine monatlich anfallenden Rechnungen auf, indem er Milch verkaufte. Er war zwar nicht arm, spürte jedoch den Druck wie jeder andere auch während der Wirtschaftskrise in Vermont. Und deshalb reagierte er auf höhere Steuern äußerst empfindlich.


Der Augenblick, den Rockwell sich ausgesucht hat, war jener Moment, als Edgerton gerade sagte, was er dachte und die Leute ihm zuhörten – andere Stimmberechtige, andere Gesetzgeber, die ihm respektvoll lauschten.


Auch wenn es Jim Edgerton war, der tatsächlich sprach, war er nicht der Typ, nach dem Rockwell eigentlich suchte, um die Themen der einzelnen Personen, die über ein unabhängiges Stimmrecht und eine Stimme in der Bürgerversammlung verfügten, hervorzuheben. Tatsächlich war er darauf aus, jemanden zu finden, der aussah wie Abraham Lincoln. Er war auf der Suche nach einem Allerweltsgesicht. Und so zog er Carl Hess als Modell heran, der eine Tankstelle in der Stadt führte; Carl Hess besaß nämlich genau jenes Aussehen, nach dem Rockwell auf der Suche gewesen war.
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Erzählt von:
Brian Allen
Amerikanischer Kunstgelehrter


Bei Freedom of Speech handelt es sich um eines der wenigen von Rockwell gemalten Bilder, die auf einer wahren Begebenheit beruhen.


Arlington hatte eine Sekundarschule, die in den 1920er-Jahren gebaut wurde und 1940 einem Brand zum Opfer fiel. Die Stadt sah sich schlagartig vor die Aufgabe gestellt, zu entscheiden, ob man eine neue Sekundarschule bauen oder die Kinder in die Sekundarschulen der umliegenden Städte schicken sollte. Es gab eine Gesinnungsgemeinschaft in der Stadt, die Gelder für die Errichtung einer neuen Sekundarschule bereitstellen wollte, und dazu war die Genehmigung der Bürgerversammlung erforderlich.


In den meisten Städten Vermonts, wie auch in den meisten Städten der übrigen Neuenglandstaaten, kommt jedem Stimmberechtigten, jedem Grundstückseigentümer eine gesetzgebende Funktion in der Bürgerversammlung als Stadtregierung zu. Jeder Stimmberechtigte hat das Recht, zur Bürgerversammlung zu kommen und über die Bereitstellung von Geldern abzustimmen – in diesem Fall für die Sekundarschule.


Jim Edgerton, ein ortsansässiger Landwirt, erhob sich bei der Bürgerversammlung und sprach sich gegen das Vorhaben, Geld für den Bau einer neuen Sekundarschule auszugeben, aus. Man befand sich gerade in der Wirtschaftskrise, die Rohstoffpreise waren im Keller, und Jim Edgerton kam für seine monatlich anfallenden Rechnungen auf, indem er Milch verkaufte. Er war zwar nicht arm, spürte jedoch den Druck wie jeder andere auch während der Wirtschaftskrise in Vermont. Und deshalb reagierte er auf höhere Steuern äußerst empfindlich.


Der Augenblick, den Rockwell sich ausgesucht hat, war jener Moment, als Edgerton gerade sagte, was er dachte und die Leute ihm zuhörten – andere Stimmberechtige, andere Gesetzgeber, die ihm respektvoll lauschten.


Auch wenn es Jim Edgerton war, der tatsächlich sprach, war er nicht der Typ, nach dem Rockwell eigentlich suchte, um die Themen der einzelnen Personen, die über ein unabhängiges Stimmrecht und eine Stimme in der Bürgerversammlung verfügten, hervorzuheben. Tatsächlich war er darauf aus, jemanden zu finden, der aussah wie Abraham Lincoln. Er war auf der Suche nach einem Allerweltsgesicht. Und so zog er Carl Hess als Modell heran, der eine Tankstelle in der Stadt führte; Carl Hess besaß nämlich genau jenes Aussehen, nach dem Rockwell auf der Suche gewesen war.
HTMLText_1B1FC34E_3292_65B6_41C0_2B1E5C8F2576.html =
Erzählt von:
Brian Allen
Amerikanischer Kunstgelehrter


Bei Freedom of Speech handelt es sich um eines der wenigen von Rockwell gemalten Bilder, die auf einer wahren Begebenheit beruhen.


Arlington hatte eine Sekundarschule, die in den 1920er-Jahren gebaut wurde und 1940 einem Brand zum Opfer fiel. Die Stadt sah sich schlagartig vor die Aufgabe gestellt, zu entscheiden, ob man eine neue Sekundarschule bauen oder die Kinder in die Sekundarschulen der umliegenden Städte schicken sollte. Es gab eine Gesinnungsgemeinschaft in der Stadt, die Gelder für die Errichtung einer neuen Sekundarschule bereitstellen wollte, und dazu war die Genehmigung der Bürgerversammlung erforderlich.


In den meisten Städten Vermonts, wie auch in den meisten Städten der übrigen Neuenglandstaaten, kommt jedem Stimmberechtigten, jedem Grundstückseigentümer eine gesetzgebende Funktion in der Bürgerversammlung als Stadtregierung zu. Jeder Stimmberechtigte hat das Recht, zur Bürgerversammlung zu kommen und über die Bereitstellung von Geldern abzustimmen – in diesem Fall für die Sekundarschule.


Jim Edgerton, ein ortsansässiger Landwirt, erhob sich bei der Bürgerversammlung und sprach sich gegen das Vorhaben, Geld für den Bau einer neuen Sekundarschule auszugeben, aus. Man befand sich gerade in der Wirtschaftskrise, die Rohstoffpreise waren im Keller, und Jim Edgerton kam für seine monatlich anfallenden Rechnungen auf, indem er Milch verkaufte. Er war zwar nicht arm, spürte jedoch den Druck wie jeder andere auch während der Wirtschaftskrise in Vermont. Und deshalb reagierte er auf höhere Steuern äußerst empfindlich.


Der Augenblick, den Rockwell sich ausgesucht hat, war jener Moment, als Edgerton gerade sagte, was er dachte und die Leute ihm zuhörten – andere Stimmberechtige, andere Gesetzgeber, die ihm respektvoll lauschten.


Auch wenn es Jim Edgerton war, der tatsächlich sprach, war er nicht der Typ, nach dem Rockwell eigentlich suchte, um die Themen der einzelnen Personen, die über ein unabhängiges Stimmrecht und eine Stimme in der Bürgerversammlung verfügten, hervorzuheben. Tatsächlich war er darauf aus, jemanden zu finden, der aussah wie Abraham Lincoln. Er war auf der Suche nach einem Allerweltsgesicht. Und so zog er Carl Hess als Modell heran, der eine Tankstelle in der Stadt führte; Carl Hess besaß nämlich genau jenes Aussehen, nach dem Rockwell auf der Suche gewesen war.
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Erzählt von:
Daisy Rockwell
Künstlerin und Autorin


Ich denke, dies ist in der Hinsicht anregend, da wir alle in uns das Potential tragen, der uns umgebenden Welt mehr zu geben, falls wir unsere Augen stärker öffnen, und ich denke, die Augen wurden offensichtlich auch geöffnet durch . . . auch die Leidenschaft der Bürgerrechtsbewegung hat ihn inspiriert. Also damit meine ich nicht, ich hätte mich mit ihm zusammengesetzt und ihn diese Dinge gefragt, aber man kann dies als eine Teil des Verlaufs lesen, wenn man sich die Veränderungen in seinen Gemälden ansieht. Es scheint, als hätte die Zeit viele Menschen verändert und er war dagegen nicht immun. Meinem Empfinden nach ist dieses Narrativ einer breiten Öffentlichkeit noch immer nicht bekannt und daher bin ich froh, dass es Teil unserer Ausstellung Die vier Freiheiten sein wird. Denn dieses ist eine Entwicklung, die er in den 40-er bis in die 60-er Jahren durchgemacht hat und man kann sich nicht einfach das eine und nicht das andere ansehen.


Für mich ist es offensichtlich, dass Menschen durch Kunst aktiviert werden können, denn wenn wir in unserer Gesellschaft schwerwiegende Probleme haben, dann ist es ein Teil des Problems, dass wir in unserem Denken festgefahren sind. Die Ideen der Menschen verknöchern, und wissen Sie, vielleicht ist das heute noch schlimmer als jemals zuvor. Die Menschen sind festgefahren und sie können sich gegenseitig nicht aus diesen Räumen befreien. Sie wissen schon, da gibt es richtig und falsch und da ist schwarz und weiß und sie vermögen nicht . . . eine Arbeit, die die Künstler daher leisten kann ist es, alles aufzubrechen. Man sieht etwas als einen Porzellanteller und der Künstler zerschlägt ihn und klebt ihn danach wieder in einer anderen Form zusammen, damit man ihn anders sehen kann.
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Erzählt von:
Douglas B. Dowd
Professor für Kunst und amerikanische Kultur an der Washington University in St. Louis


In den Jahren, als es noch kein Fernsehen gab, hatten die Menschen in den Vereinigten Staaten zwei Hauptquellen, aus denen sie ihre Informationen bezogen, wie andere Menschen lebten, welche Kleidung sie trugen, wie ihre Häuser aussahen und selbst darüber, wie Grundprodukte wohl aussahen. Sie hatten zwei Quellen –das Kino und die Zeitschriften. Die Zeitschriften und die Illustratoren, die für sie arbeiteten, ließen tatsächlich ein Bild davon entstehen, wie das Leben in der Gesellschaft geführt wurde, bzw. das Bild eines Lebens, das ein wenig besser war als in der Realität, sodass es ein erstrebenswertes Vorbild blieb: Das könnte ich sein. Das könnte mir gehören. Diese Kleidung könnte ich tragen.


Ihre Überzeugungskraft und Energie ist in einem hohen Maße auf die optische Darstellung zurückzuführen, auf die Schrift und die Buchstaben, und selbstverständlich auf die Illustrationen und Fotos. Genau genommen hätte diese Zeitschriften niemand gelesen, hätte man alle Illustrationen daraus entfernt. Die Leute haben immer geglaubt, dass es beim Publizieren stets um den Inhalt geht. In Wirklichkeit ist die Art, wie dieser Inhalt verpackt, präsentiert und dargestellt wird, in hohem Maße dafür verantwortlich, wie die Leute darauf reagieren.


In der Geschichte des Zeitungsgeschäfts nannte man eine gute Präsentation – etwa die Nutzung größerer Schriften zur Schaffung optischer Hierarchien – Eigenwerbung, und das mit einem leicht spöttischem Unterton. Diejenigen, die für den Inhalt verantwortlich waren, haben also die optische Präsentation oft als bedeutungslos abgetan – tatsächlich aber ist sie durchaus wichtig und war es schon immer. Und die Überzeugungskraft dieser Druckwerke ist überaus visuell. Und die Bilder von den Menschen und das, was sie tun, und das, was sie tragen, und das Porträt des Lebens, das dabei entsteht, sind das Herzstück ihrer Anziehungskraft.
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Erzählt von:
George Church III
Dozent und Ehrenamtlicher - Norman Rockwell Museum


Als der Zweite Weltkrieg begann und die Japaner Pearl Harbor bombardierten, war ich mit meinem Vater im Kino. Und dann sahen wir bei dieser Gelegenheit während des Filmbeginns ein Stück Papier, dass beim Projektor zwischen das Objektiv und das Licht der Kamera geschoben wurde. Und darauf stand, dass die Japaner Pearl Harbor bombardiert hätten. Dies war von der US-Armee berichtet worden.


Es war meine erste Begegnung mit dem Zweiten Weltkrieg. Nach diesem Ereignis begann ich mich an der Flugzeugbeobachtung zu beteiligen. Das Beobachten von Flugzeugen war etwas, zu dem mich ein paar andere Freunde gebracht hatten, die in meiner Klasse im Gymnasium waren. Und . . . ich konnte nur samstags Flugzeuge beobachten, da ich von Montag bis Freitag zur Schule ging. Ich stand gegen 4.30 Uhr oder ein Viertel vor 5 Uhr auf, frühstückte und nahm mein Fahrrad. Und ich musste ungefähr drei Meilen fahren, um zum Miami Biltmore Hotel zu gelangen, das sich in Coral Gables befand. Ich musste mein Fahrrad abstellen, dann in die Lobby gehen, die Treppen hinaufsteigen und der Fahrstuhl brachte mich nach oben. Und dann gelangte ich zum Turm und musste den Turm hinaufsteigen, wo wir einen Beobachtungsstand hatten, der in den Turm des Hotels eingebaut war. Das Gebäude war das höchste in Miami und wir befanden uns direkt südlich vom Miami International Airport. Das war der Ort, von dem aus wir Flugzeuge beobachteten.


Ich arbeitete in der Schicht von 6.00 bis 9.00 Uhr an den Samstagmorgen und hatte mein Flugzeugbeobachterbuch bei mir. Und ich hatte ein Telefon. Mit mir war da noch eine andere Person und wir beide berichteten über alles, was wir am Miami Flughafen landen und abheben sahen und auch die Flugzeuge, die darüber hinwegfolgen. Da loggten wir uns immer ein und berichteten auch telefonisch über diese.


Das Buch war ein wirklicher Schatz, denn es war die Möglichkeit, durch die ich eine Verbindung herstellen konnte, selbst in meinem jungen Alter. Als der Krieg im Dezember begann, war ich 12 Jahre alt. Und ich denke, er begann gerade erst . . . ich konnte nicht in den Militärdienst eintreten, aber dieses war eine Verbindung für mich und zu diesem Teil der Geschichte. Und ich wusste einfach, dass das Buch das war, was mein Erlebnis bestätigte und darauf hinwies, dass ich beteiligt war und so viel leistete, wie mir das möglich war . . . während der ersten Hälfte des Krieges.
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Erzählt von:
Herman Eberhardt
Aufsichtsführender Museumsdirektor - Franklin D.Roosevelt Presidential Library and Museum


Der Krieg in Europa lag Anfang 1941 drohend über jedermann. Deutschland war über fast das ganze westliche Europa in den Jahren 1939 und 1940 hinweggefegt und Großbritannien stand nahezu alleine in seinem Widerstand gegen die Achsenmächte da und die Briten hingen zu dem Zeitpunkt an einem seidenen Faden. Tatsächlich hatte Winston Churchill gegen Ende 1940 einen langen Brief an FDR geschrieben, in dem er angab, Britannien sei nahezu bankrott und würde bald seine Waffen nicht mehr bezahlen können, die es aus den Vereinigten Staaten importierte.


Das war eine katastrophale Nachricht, die Roosevelt zur Idee des Leih- und Pachtgesetzes veranlasste, welches es den Vereinigten Staaten ermöglichte, Großbritannien mehr Materialien zu leihen oder zu vermieten, ohne von ihm Zahlungen zu erhalten. FDR hatte zum ersten Mal öffentlich das Konzept oder die Idee des Leih- und Pachtgesetzes auf einer Pressekonferenz Mitte Dezember 1940 öffentlich diskutiert. Später in diesem Monat, am 29. Dezember hatte er ein berühmtes Kamingespräch über Radio senden lassen, in dem er ausführte, dass die Vereinigten Staaten das werden sollten, was er ein Arsenal der Demokratie nannte. Der Präsident plante, dies bei seiner Rede zur Nation anzusprechen, um für die Verabschiedung des Leih- und Pachtgesetzes durch den Kongress zu argumentieren.


In der Nacht zum 1. Januar 1941 beorderte Roosevelt drei seiner Berater, Harry Hopkins, Sam Rosenman und Robert Sherwood — in sein privates Studio im Weißen Haus. Sie versammelten sich um den Schreibtisch von FDR, um dort mit ihm an des Präsidenten Rede zur Nation vor dem Kongress zu arbeiten, die am 6. Januar gehalten werden sollte.


Zu diesem Zeitpunkt, während dieser Editiersitzung, meinte FDR, er habe eine Idee für den abschließenden Teil der Rede. Wie sich Sam Rosenman später erinnerte, lehnte sich der Präsident weit in seinem Drehstuhl zurück, schaute an die Decke und hielt dann für eine Weile inne. Während die Sekunden vergingen, begannen sich die anderen im Raum etwas unbehaglich zu fühlen. Dann lehnte sich FDR plötzlich nach vorn und diktierte langsam und konzentriert die Vier Freiheiten. Der Präsident sprach in einem so überlegten Tempo, dass Rosenman in der Lage war, alles, was gesagt wurde, Wort für Wort auf einem gelben Notizblock niederzuschreiben. Dieses gelbe Blatt, mit Notizen in Rosenmans normaler Handschrift, befindet sich jetzt in der Roosevelt Bibliothek. Und interessanterweise, wenn man die Wörter auf dem gelben Blatt, mit denen der abschließenden Rede vergleicht, die der Präsident vor dem versammelten Kongress hielt, so entsprechen sie fast exakt denen, die der Präsident diktierte. Es gibt fast keine Änderungen.
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Erzählt von:
Irvin Ungar
Gründer und CEO - Historicana / Kurator - Die Arthur Szyc Gesellschaft


Ich freue mich, Ihnen Arthur Szyk vorstellen zu dürfen, einen polnisch-jüdischen Künstler der im Jahr 1894 in Łódź, Polen, geboren wurde, im gleichen Jahr wie Norman Rockwell. Arthur Szyk kam im Jahre 1940 als Einwanderer nach Amerika und starb 1951.


Als er schließlich in Amerika ankam, verstand er sich als eine Ein-Mann-Armee im Kampf gegen Hitler. Er betrachtete sich auch als einen FDR-Soldaten der Kunst (während dieser ein paar seiner Arbeiten signierte).


Arthur Szyk arbeitete während des Zweiten Weltkriegs, kämpfte gegen die Achsenmächte und arbeitete im Auftrag der Rettung europäischer Juden.


Er wurde in Amerika sehr berühmt, auch wenn viele Menschen vergessen haben, wer er war, was er während seiner Lebzeiten erreicht hatte, aber er war so berühmt, wie man nur berühmt sein konnte. Und um Ihnen, dem/der BetrachterIn, davon eine Vorstellung zu geben, sollte Sie wissen, dass Norman Rockwell, der in den frühen 1940-er Jahren illustriert wurde, auf dem Titelblatt der Saturday Evening Post zu sehen war. Zu der Zeit illustriert Arthur Szyk die Titelseiten der Zeitschrift Colliers. Wie hoch war damals die Auflage der Saturday Evening Post? Etwa drei Millionen Menschen erhielten eine Ausgabe. Wie viele Menschen erhielten eine Ausgabe des Colliers? Zwei und eine halbe Million.


Lassen Sie mich von Arthur Szyk und den vier Freiheiten erzählen. Es begann damit, dass Arthur Szyk eine Reihe schuf, die Washington and his Times [Washington und seine Zeit] genannt wurde. Es handelt sich dabei um 38 Gemälde, die von George Washington und der amerikanischen Revolution handeln. Arthur Szyk vollendete diese Arbeiten im Jahr 1930, sie wurden als ein Portfolio im Jahr 1932 veröffentlicht. 1935 stellte Arthur Szyk diese Arbeiten aus und sie wurden vom Präsidenten Polens, Mościcki, erworben, der diese im Jahre 1935 Franklin Roosevelt als Geschenk überreichte, um dadurch eine engere Beziehung zwischen Polen und den Vereinigten Staaten zu schaffen, praktisch am Vorabend des Zweiten Weltkriegs — die Nazis hatten bereits die Macht ergriffen.


Roosevelt behielt die Werke im Weißen Haus und als Roos Freiheiten-Rede hielt, waren 38 Gemälde der Freiheit im Weißen Haus aufgehängt. Und das waren Arbeiten von Arthur Szyk.


Dann begann Szyk tatsächlich im Jahre 1942 die Vier Freiheiten zu illustrieren. Sie waren . . . stellten wirklich einen mittelalterlichen Ritter dar, fast im Kampf für die Freiheit, was besagte, dass man um alle Freiheiten kämpfen muss und Szyks Ansatz war es, einen mittelalterlichen Ritter zu verwenden, der eine Lanze, einen Dolch, ein Schwert trug und der fast jede der Freiheiten begleitete. Diese Arbeiten wurden in zwei Formaten erstellt. Das eine Format waren Werbemarken, die eine weite Verbreitung erfuhren, als würde man Easter Seals verbreiten. Und das zweite Format war ihre Reproduktion in großen Postkarten, die ebenfalls verbreitet wurden.


Das also war Arthur Szyks Verbindung zu den Vier Freiheiten, sowohl was seine Kunstwerke im Weißen Haus betraf, als jene Rede gehalten wurde, und danach auch buchstäblich bei deren Reproduktion.
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Erzählt von:
James J. Kimble, Ph.D.
Professor der Kommunikation - College of Communication and the Arts
Seton Hall University


Auf diesem Plakat aus der Kriegszeit, das heute häufig “Rosie the Riveter” genannt wird, zeigt uns der Künstler J. Howard Miller eine entschlossene, zuversichtliche Frau, die ihre Muskeln spielen lässt und selbstbewusst ihre Fähigkeit, die anstehende Arbeit auszuführen, zum Ausdruck bringt. Obgleich wir heute annehmen, dieses Plakat sei während des Zweiten Weltkriegs weithin bekannt gewesen, so war es eigentlich eher unbekannt, da es nur zwei Wochen lang (im Februar 1943) in den Westinghouse Munitionsfabriken zu sehen war. Nachdem Plakate zwei Wochen lang ausgehängt worden waren, recycelte man sie während des Krieges aufgrund der Papierknappheit. In diesen zwei Wochen formte das Plakat für die Arbeiter von Westinghouse — für Männer wie für Frauen — eine Geste der Solidarität, die der Belegschaft des Unternehmens gemein war und durch die bekräftigt wurde, dass jeder Arbeiter bei Westinghouse bereit war, seinen/ihren wichtigen Kriegsauftrag zu vollenden. Man kennt heute nur zwei Originale dieses Plakats. Trotz der Seltenheit des Originals erlangte das Bild Millers weltweiten Ruhm, seit es in den 1980-er Jahren als Teil einer Jahresfeier zum Zweiten Weltkrieg wiederaufgetaucht war. Es ist auch endlos parodiert worden, was seinen Status als eines der berühmtesten Bilder aller Zeiten sicherstellt.
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Erzählt von:
James J. Kimble, Ph.D.
Professor der Kommunikation - College of Communication and the Arts
Seton Hall University


Einer der berühmtesten Soldaten des Zweiten Weltkriegs war kein realer Soldat. Er hieß Willie Gillis und war das Produkt des großen Einfallsreichtums des Zeichners Norman Rockwell. Dieses Gemälde markiert das erste öffentliche Erscheinen von Gillis auf dem Titelbild der Saturday Evening Post am 4. Oktober 1941. Auf diesem Bild zeigt uns der Künstler einen jungenhaften, unschuldigen Gefreiten während eines der leichteren Momente im Ausbildungslager Fort Dix, New Jersey. Der Betrachter sieht schnell, dass Gillis gerade ein Verpflegungspaket von Zuhause erhalten hat und dass dieses Paket vermutlich ein paar leckere Geschenke seiner Lieben für den hart arbeitenden Soldaten enthält. Allerdings haben auch Gillis Kollegen das Paket bemerkt und der Ausdruck ihrer Gesichter zeigt ihre Überlegungen, wie sie ihn um sein gerade erhaltendes Geschenk erleichtern könnten. Dieses unbeschwerte Titelbild von Rockwell wurde sofort ein Hit und veranlasste die Post, weitere Szenen aus dem Leben des Gefreiten Gillis zu verlangen. Der Künstler willigte ein und diese Figur erschien schließlich auf nahezu einem Dutzend Titelblättern der Post das letzte nach dem Krieg im Jahr 1946, das den liebenswerten Gillis dabei zeigte, wie er mit Hilfe des GI Bill das College besucht, wie es zu dieser Zeit so viele seiner Kameraden aus dem echten Leben taten. Damals war der Ruhm dieser Figur bereits gefestigt. Tatsächlich schätzten ihn viele seiner jungen weiblichen Fans bereits als Pin-up. Eine von ihnen, Natalie Barden, traf sogar Robert Otis Buck, das echte Modell des Willie, und heiratete ihn.
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Erzählt von:
James J. Kimble, Ph.D.
Professor der Kommunikation - College of Communication and the Arts
Seton Hall University


Von dieser telegrafisch übertragenen Pressefotografie wird weitgehend angenommen, dass sie J. Howard Millers Plakat „We Can Do It! (Wir schaffen das!)“, heute allgemein bekannt unter dem Namen „Rosie the Riveter (Rosie die Nieterin) inspiriert hat. Ab den 1980-er Jahren assoziierte man die Schwarzweißfotografie mit Geraldine Hoff Doyle, einer Frau aus Michigan, die glaubte, dies würde ein Bild von ihr im Jahr 1942 bei der Arbeit in einer Fabrik zeigen. Tatsächlich zeigt diese Fotografie eine Frau aus Kalifornien mit Namen Naomi Parker, einer der ersten Frauen, die in der Maschinenwerkstatt bei der Alameda Luftbase am San Francisco Bay arbeitete. Während ihrer Arbeit in Alameda, arbeitete Parker tatsächlich als Nieterin, aber auch als Schweißerin und als Mechanikerin (neben Dutzend anderen Aufgaben in Zusammenhang mit der Reparatur von Kriegsflugzeugen der Marine). Die Fotografie erschien im Jahre 1942 in mehreren amerikanischen Zeitungen, was Parker einige Fanpost bescherte und sogar einen Heiratsantrag. Allerdings verblasste es nach dem Krieg im öffentlichen Bewusstsein und lebte erst wieder auf, als Doyle, die es in einer Zeitschrift der 1980-er Jahre sah, fälschlicherweise glaubte, sie sei Gegenstand des Bildes. Während die Verbindung des Fotografen zum Plakat “We Can Do It!” im Ungewissen bleibt, da der Künstler Miller nur sehr wenige Aufzeichnungen hinterließ, gibt es eine Reihe vielsagender Gemeinsamkeiten zwischen dem Erscheinungsbild Parkers und der Frau auf dem Plakat. Darüber hinaus erschien das Bild in den 1940-er Jahren in der Nähe von Millers Zuhause in einer Pittsburgher Zeitschrift. Es ist daher möglich, dass er darauf gestoßen ist und es in seiner Sammlung von Referenzbildern aufbewahrte.
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Erzählt von:
Mark Shulman
Historische Fakultät – Sarah Lawrence College


Franklin Roosevelts „Four Freedoms“-Paket diente dem Zweck, die Vision einer liberalen Ordnung der Sicherheit, des Friedens und des Wohlstands für die Zeit nach dem Krieg zu formulieren – Elemente, die für die Sicherheit ebenso wichtig waren wie die bürgerlichen und politischen Rechte der Religions- und Ausdrucksfreiheit.


Die vier Freiheiten wurden in die Atlantik-Charta aufgenommen, die Roosevelt mit Churchill zusammen ausarbeitete, und gingen danach in die im Sommer 1945 unterzeichnete Gründungsurkunde der Vereinten Nationen ein. Bis zum Sommer 1945 allerdings war Präsident Roosevelt bereits verstorben. Die Vereinigten Staaten hatten einen neuen Präsidenten – einen, der vielleicht etwas weniger weltgewandt, dafür aber in mancherlei Hinsicht praxisnaher war. Präsident Truman, ein versierter Politiker, bestellte Eleanor Roosevelt, die Witwe von Franklin D. Roosevelt, zur Vorgesetzten jener Kommission, die einen Entwurf für die Allgemeine Erklärung der Menschenrechte der Vereinten Nationen.


Eleanor Roosevelt verfasste gemeinsam mit einer Kommission aus angesehenen Gelehrten, Diplomaten, Theoretikern und Staatsmännern aus aller Welt dieses wunderbare Dokument, die Allgemeine Erklärung der Menschenrechte, und die Vereinte Nationen verabschiedeten sie am 10. Dezember 1948. Die vier Freiheiten kommen in der Allgemeinen Erklärung der Menschenrechte klar zum Ausdruck. In der Präambel wird ausdrücklich darauf hingewiesen, dass die vier Freiheiten übernommen werden und als Grundlage für eine gerechte Nachkriegsordnung anerkannt werden. Auch die Erklärung selbst konkretisiert und definiert sämtliche Elemente, die in einer Welt, in der man die vier Freiheiten realisieren will, unverzichtbar sind.
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Erzählt von:
Paul M. Sparrow
Direktor - Franklin D.Roosevelt Presidential Library and Museum, Hyde Park, New York


Die Beziehung zwischen Präsident Roosevelt und Premierminister Winston Churchill ist wirklich außergewöhnlich und in gewisser Hinsicht eine der wichtigsten Partnerschaften in der Geschichte des 20. Jahrhunderts, vielleicht sogar in der gesamten amerikanischen Geschichte. Winston Churchill war im Ersten Weltkrieg in der Armee Großbritanniens, ebenso wie FDR. Er hatte außerordentlich spezielle Ansichten über die Gestaltung der Welt und zu dem Zeitpunkt glaubte er noch, das britische Empire sei die wichtigste politische Macht der Welt, dass sie durch nichts aufzuhalten sei und er es nicht zulassen würde, dass das britische Empire auseinanderfiel, solange er die Verantwortung dafür trüge.


Als daher FDR und Churchill sich zu einer geheimen Verabredung an Bord der zwei großen Schachtschiffe trafen, war es ein Zusammentreffen von Giganten. Zu diesem Zeitpunkt war Churchill seit einem Jahr an der Verteidigung der britischen Inseln gegen den Ansturm der Nazis beteiligt. Er war also in den Krieg eingebunden und wusste, dass sein Überleben von der Einbeziehung Amerikas in den Krieg abhing. Roosevelt war noch immer eher zögernd. Er konnte sich nicht öffentlich verpflichten, wusste aber, dass die Vereinigten Staaten letztendlich darin einwilligen würden und damals begannen sie zuerst das Fundament zu skizzieren, was dann Die vier Freiheiten geworden sind.


Churchill besuchte natürlich während des Krieges mehrmals die Vereinigten Staaten. Nach dem Angriff auf Pearl Harbor kam er ins Weiße Haus und blieb dort mehrere Wochen, wohnte in einem der Schlafzimmer, lief in seinem Bademantel ums Haus, trank unmäßig, fuhr noch verrückter und hielt FDR die ganze Nacht über trinkend und rauchend wach und Eleanor runzelte bei dem Ganzen ziemlich die Stirn. Aber das war die Art und Weise, wie Churchill arbeitete. Gewissermaßen bezog er jeden in den Wirbel seines Wahnsinns mit ein, hatte am Ende aber immer diese unglaublich brillanten Ideen und verfügte in der Tat über eine weltweite Vision. Die beiden waren einfach außerordentliche Partner und wir können uns sehr glücklich schätzen, dass sie die beiden Führer waren, die am Ende, wie Sie wissen, der größten Krise des 20. Jahrhunderts gegenüberstanden.
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Erzählt von:
Ruby Bridges Hall
Bürgerrechtsaktivistin und Autorin


Als ich an diesem speziellen Tag mit dem Auto zur Schule gebracht wurde und wir gerade um die Ecke bogen, waren die Straßen von Demonstranten gesäumt und abgesperrt, denn so hatte die Polizei es eingerichtet. Überall waren Polizisten, manche davon auf Pferden oder Motorrädern. So etwas sieht man sonst in der Faschingszeit, wenn die Menge unter Kontrolle gehalten werden muss, oder während einer Parade. Und weil ich genau das gesehen habe, glaubte ich, mich bloß mitten in einer Parade zu befinden – so denke ich heute darüber – und es war die Unschuld eines Kindes. Ich glaube, diese Unwissenheit hat mich damals beschützt.


Ich weiß noch, dass ich direkt in das Direktorat eskortiert worden bin. Vermutlich war ich dort, um eingeschult zu werden, es war ja mein erster Tag. Und ich hätte nach meiner Einschulung wohl zu meinem Klassenzimmer gebracht werden sollen, um vielleicht meine Lehrerin kennenzulernen und mit dem Unterricht zu beginnen. Tatsächlich aber saß ich an jenem Tag mit meiner Mutter den ganzen Tag lang im Direktorat, und ich erinnere mich an die Federal Marshals, die direkt vor der Tür standen. Man konnte sie sehen, es gab nämlich Glasfenster.


Und das nächste, was ich sah, war, dass all diese Leute, die vorher draußen gestanden hatten, hereinstürmten und drängelten und schubsten und durch die Fenster auf mich deuteten. Sie sahen aus, als wären sie über irgendetwas sehr verärgert und es wirkte alles sehr hektisch und verwirrend auf mich. Ich sah, wie sie am Fenster vorbeigingen, und als sie wieder zurückkamen, hatten sie Kinder bei sich. Das ging den ganzen Tag lang so weiter, hin und her.


Endlich läutete die Glocke – es war 15:00 Uhr – und ich weiß noch, dass jemand in den Raum kam und sagte: „Der Unterricht ist beendet. Du kannst gehen.“ Daran erinnere ich mich genau, weil ich bei mir dachte: „Donnerwetter, diese Schule ist ja einfach.“ Ich wusste nicht, dass in Wirklichkeit die Eltern in die Schule stürmten und alle Kinder aus den Klassenzimmern herausholten. Tatsächlich haben an diesem Tag über 500 Kinder das Gebäude verlassen, und ich war der Grund dafür. Ich hatte also keine Ahnung, was sich da direkt vor meinen Augen abspielte.


Am folgenden Tag war es genau das Gleiche. Federal Marshals klopften an die Tür und ich stieg mit ihnen ins Auto. Wieder begleiteten sie mich zur Schule. Als wir an diesem Tag ankamen, war die Menschenmenge beinahe doppelt so groß, weil zu diesem Zeitpunkt jeder schon Bescheid wusste.


Meine Mutter sagte, das war der Tag, an dem sie am nervösesten war, weil sie, nachdem sie nach Hause gekommen war und ferngesehen hatte, sah, dass die ganze Welt das Geschehen beobachtete. Sie sagte, dass sie jedes Mal nach Hause ging und bis 15:00 Uhr betete, in der Hoffnung, dass ihr Kind nach Hause kommen würd
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Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Als Folge des Erfolgs der von ihr fotografierten Arbeiter für die Farm Security Administration, wurde die große Dokumentarfotografin Dorothea Lange angestellt, um für die War Relocation Authority im März 1942 den Prozess der Deportation und Massenverhaftung von Bürgern und Nicht-Bürgern japanisch-ethnischer Zugehörigkeit aufzuzeichnen. Vom ersten Tag an kollidierten der Stil ihres Fotojournalismus und ihre persönlichen Sympathien für die Not dieser Amerikaner mit den Forderungen der Beamten des Militärs. Streng untersagt waren Bilder von Maschinengewehren in den Türmen. Ebenfalls eingeschränkt wurden Aufnahmen von Stacheldraht, bewaffneten Wachen und irgendwelche Zeichen von Widerstand. Sie selbst sagte: „Mir folgte die ganze Zeit über ein Mann.“ Sie erfuhr Verzögerungen durch Beamte, die Bescheinigungen verlangte, wurde für jedes Negativ und jeden von ihr ausgegebenen Cent zur Rechenschaft gezogen und ihr wurde untersagt, mit den Menschen des Lagers zu sprechen. Alle Drucke waren zur Prüfung vorzulegen und diejenigen, die als unangemessen angesehen wurden, als „beschlagnahmt“ markiert und die Negative für die Dauer des Krieges beschlagnahmt.


Dorothea Lange brachte dieses Foto am 13. März 1942 zum Wanto Co. Lebensmittelgeschäft in Oakland, Kalifornien, beinahe einen Monat, nachdem FDR den Executive Order 9066 unterzeichnet hatte, der von dem Besitzer und seiner Familie verlangte, dass sie gehen müssten. Tatsuro Masuda, der Besitzer, war in Oakland geboren und frisch verheiratet. Er erzählte Lange: „Ich habe am Tag nach Pearl Harbor für das Geschäft bezahlt.“ Er und seine Frau wurden in das Konzentrationslager Gila River in Arizona geschickt. Sie sind nie wieder zu dem Geschäft zurückgekehrt.


In den drei Monate bei der WRA, während sie nahezu 7 Tage die Woche arbeitete, war es Lange möglich, fast 850 Bilder aufzunehmen. Während ihre anderen Fotos für die Regierung zu den aussagekräftigsten Bildern des 20. Jahrhunderts gehören, blieben die meisten dieser Bilder so gut wie verborgen, bis ein Buch über sie und Lange im Jahre 2006 veröffentlicht wurde.
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Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
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Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Diese Bild von Ansel Adams wurde im Jahr 1943, nahe des Death Valley, Kalifornien, in einem Lager mit Namen Manzanar aufgenommen. Es war eines der zehn amerikanischen Konzentrationslager, die erbaut worden waren, um US-amerikanische Bürger japanischer Herkunft und ihre zugewanderten Eltern gefangen zu halten.


Es zeigt einen Mann, der in die weite, offene Landschaft der Foothills der Sierras hinausschaut, die typische Art Ausblick, für die Adams als Fotograf bekannt war. Was seltsamerweise fehlt sind Stacheldrahtzäune, Wachtürme, Scheinwerfer, Soldaten mit Maschinengewehren oder irgendwelche beunruhigenden Szenen, die einen Hinweis darauf geben könnten, unter welchen harten Bedingungen diese Menschen hier leben mussten.


Adams empfand persönlich sehr stark, dass US-amerikanische Bürger von ihrem eigenen Land nicht auf diese Weise behandelt werden sollten und sein erster Versuch einer Dokumentarfotografie entstand aus dem Wunsch, seinen amerikanischen Mitbürgern zu zeigen, dass dieses Menschen wie alle anderen Bürger waren, Born Free and Equal [Frei und gleich geboren], wie der Titel des Buchs besagte, das er schließlich 1944 fertigstellte und veröffentlichte.


Als das Buch erschien, wurden seine Intentionen allerdings von der amerikanischen Öffentlichkeit, die noch immer im Krieg verhaftet war, nicht anerkannt. Man vergab ihm seine sympathisierende Einstellung gegenüber jenen Gefangenen nicht. Es wird berichtet, Exemplare seines Buchs seien aus Protest verbrannt worden. Es wird auch berichtet, die Regierung selbst habe tausende Exemplare aufgekaufte und sie dann vernichten lassen. Was immer ihr Schicksal war, eine Originalausgaben dieses Buchs von 1944 wird als seltener Fund angesehen. Und es gibt noch eine weitere Ironie: Als sich die Antipathie gegenüber den japanischen Amerikanern legte, waren Adams Fotografien erneut umstritten. Dieses Mal aber nicht deshalb, weil Regierung und Öffentlichkeit sie zurückwies, sondern man begann, sie als einen Beweis dafür zu verwenden, dass die Bedingungen in jenen Lagern alles andere als hart und unmenschlich gewesen seien. In Anbetracht dessen, dass es sich bei den Fotografien weder um echte Dokumentation noch um reine Propaganda handelt, sind diese Bilder irgendwo in einer Art fotografischem Niemandsland angesiedelt.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Freedom from Want war keine so große konzeptionelle Herausforderung wie die beiden vorausgehenden Gemälde aus Rockwells Four Freedoms-Reihe (Speech und Worship – Rede und Glauben). Das Werk war vom typisch amerikanischen Thanksgiving inspiriert und hat sich seitdem zu einer Vorlage dafür entwickelt.


Obwohl diese Familienszene als Kompositum entstanden ist, für das Rockwells Modelle in separaten Sitzungen in seinem Atelier posierten, sind darauf einige Nachbarn und Familienmitglieder des Künstlers zu sehen. Mit dabei sind Mrs. Thaddeus Wheaton, die Köchin der Familie, wie sie einen großen Festtagstruthahn aufträgt, Mary Barstow Rockwell, die Gattin des Künstlers, und seine Mutter Nancy Hill Rockwell, die auf der rechten Seite zu sehen ist.


Freedom from Want wurde zusammen mit einem Essay des relativ unbekannten Autoren und Dichters Carlos Bulosan veröffentlicht, einem philippinischen Einwanderer und Wanderarbeiter, der im Namen derer schrieb, die zu Hause Entbehrungen erleiden mussten. Als Kontrapunkt zu den sanften Darstellungen auf Rockwells Gemälden blickte Bulosans Essay einer möglichen Zukunft entgegen, in der jene außerhalb des gesellschaftlichen Mittelfelds, Wanderlandarbeiter, Gewerkschaftsorganisatoren, Hilfsarbeiter, afroamerikanische Opfer der Rassentrennung sowie asiatische und lateinamerikanische Einwanderer vielleicht die Möglichkeit erhalten würden, echte Freiheit zu erleben.


Aus künstlerischer Sicht ist das Werk ein hoch angesehenes Beispiel für die meisterhafte Darstellung visueller Texturen, wie etwa dem Schimmer weißen Porzellans auf weißem Tischtuch oder der Transparenz von Wasser in Gläsern.


Rockwells allgemeinem Optimismus zum Trotz regten sich in ihm Bedenken, weil er in einer Zeit, in der der Zweite Weltkrieg wütete und ein Großteil Europas hungerte, überrollt und vertrieben wurde, einen so großen Truthahn gemalt hatte. Viele Kritiker bestätigten die übertriebene Fülle an Speisen auf diesem Bild, wiesen aber auch darauf hin, dass darauf Familie, Geselligkeit und Sicherheit zur Schau gestellt werden, und waren der Meinung, dass Fülle, und nicht eine gerade nur ausreichende Menge, die wirkungsvollste Antwort auf die Vorstellung von Not sei.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Freedom of Worship stellte für Rockwell eine Herausforderung dar, weil ihm bewusst war, dass Religion eine zutiefst private und manchmal auch heikle Angelegenheit ist. Er wollte ein Bild malen, das Eintracht trotz bestehender Unterschiede vermittelte und die Vision einer Welt präsentierte, auf der es keine Diskriminierung wegen religiöser Praktiken oder des religiösen Glaubens gibt.


Sein ursprüngliches Konzept zeigte eine friedliche Szene in einem ländlichen Frisörladen, in dem ein jüdischer Mann von einem Frisör bedient wird, während ein katholischer Priester und ein Afroamerikaner warten, bis sie an der Reihe sind. Kurz vor der Fertigstellung des Bildes gewann Rockwell jedoch den Eindruck, dass es eine stereotype Sichtweise präsentierte, und so nahm er, unzufrieden mit seinem Ansatz, davon Abstand und begann noch einmal von vorn.


Das endgültige Bild, das wir heute sehen, konzentriert sich stärker auf das Konzept des Glaubens als auf das Konzept der Religion und zeigt die Profilansichten von acht Köpfen in einem Bildraum mit geringer Tiefe. Die verschiedenen Personen stellen Menschen unterschiedlichen Glaubens beim Gebet dar. Das Bild wurde in monochromen Farbschattierungen gemalt, um ein Gefühl der Eingliederung und Einheit zu vermitteln.


Rockwell war der Auffassung, dass in einer Komposition die Körperhaltungen und Gesten im Vergleich zur Ausdrucksqualität der Gesichter nur zweitrangig sind, wie am Beispiel von Freedom of Worship deutlich wird. Die Formulierung „Each according to the dictates of his own conscience“ („Jeder nach den Geboten, die sein eigenes Gewissen ihm auferlegt“) gab Rockwells eigene Gedanken zum Thema Religion wieder. Als er gefragt wurde, wo er diese Worte gehört habe, konnte Rockwell sich nicht daran erinnern. Tatsächlich kommt dieser Satz in vielen Verfassungen US-amerikanischer Bundesstaaten vor und wurde auch von George Washington in einem Brief verwendet, den er 1789 an die United Baptist Chamber of Virginia (Kammer der vereinigten Baptisten von Virginia) schrieb.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Der Zweite Weltkrieg war eine ergiebige Ära für politische Karikaturisten, da die Emotionen hochkochten und das Schicksal der Welt auf dem Spiel stand. Boris Artzybasheff immigrierte im Alter von 20 Jahren aus Russland in die Vereinigten Staaten. Er sprach zu dieser Zeit kein Wort Englisch und hatte, als er dort ankam, angeblich nur 17 Cent in der Tasche. Er war als Illustrator für seine Fähigkeit berühmt, Maschinen und unbeseelte Objekte in lebendige Wesen zu verwandeln – wie auch die Hakenkreuze, die man hier sieht.


Während des Zweiten Weltkriegs fungierte er als Berater der Abteilung Psychologische Kriegsführung der Streitkräfte, und als bildgewaltiger Illustrator arbeitete er selbst während dieser Zeit für bedeutende Druckwerke wie Life, Fortune und Time, für die er mehr als 200 Titelseiten gestaltete. Das Werk Witches' Sabbath, das 1942 in der Zeitschrift Life veröffentlicht wurde, stellt die Sichtweise des Künstlers in den Mittelpunkt, und das Bild zeigt eigentlich Heinrich Himmler, Hermann Göring und Joseph Goebbels, die führenden Mitglieder der Nazi-Partei und Lieferanten der Nazi-Propaganda, in Gestalt von Hakenkreuzen.


Artzybasheff und andere politische Künstler dieser Ära versuchten, einen Einblick in die sozialen Missstände zu gewähren – ein Ansatz, der sich von jenem Rockwells insofern unterschied, als dieser in seiner künstlerischen Aussage eher auf den sozialen Aufstieg bedacht war.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Ein enger Freund von Norman Rockwell in Arlington (US-Bundesstaat Vermont), der Illustrator Mead Schaeffer, adaptierte seinen Arbeitsansatz in den Jahren des Zweiten Weltkriegs, um auf die in der Kriegszeit herrschenden Bedürfnisse einzugehen. Er ließ die romantischen und literarischen Themen, auf die er sich bislang konzentriert hatte, hinter sich, und wandte seine Aufmerksamkeit realen Menschen und Orten zu, wobei er sich die damalige journalistische Ausrichtung der Saturday Evening Post zu eigen machte.


1942 reisten Rockwell und Schaeffer in der Absicht, mit ihrem Talent einen Beitrag zu den Kriegsanstrengungen zu leisten, nach Washington D. C. und wurden mit ein paar Skizzen für Projektvorschläge im Gepäck bei mehreren verschiedenen Behörden vorstellig. Unglücklicherweise fehlten jedoch damals für ihre Projekte die Mittel. Einigermaßen niedergeschlagen machten die beiden auf der Heimreise in Philadelphia Halt, um dem Herausgeber der Saturday Evening Post, Ben Hibbs, einen Besuch abzustatten. Hibbs war von ihren Ideen sofort begeistert und beauftragte sie mit der Ausarbeitung ihrer Gemälde, um sie zu veröffentlichen.


Schaeffer beschloss, eine Reihe von Titelbildern zum Gedenken an die Streitkräfte zu erschaffen, in der er die Arbeit jeder Teilstreitkraft hervorheben wollte. Er stellte sorgfältige Recherchen zu seinen Themen an und kreierte mit großem technischem Können heroische Werke, die die Professionalität und Einsatzfreude des amerikanischen Soldaten in allen Lebenslagen hervorhoben. In diesen unsicheren Zeiten hatte seine Bildsprache eine beruhigende Wirkung auf die Öffentlichkeit. In einer Ausgabe der Saturday Evening Post, der Publikation vom 20. Februar 1943, überschnitten sich die Gemälde von Schaeffer und Rockwell sogar. In dieser Ausgabe erschien Schaeffers lebhafte Darstellung eines Marinesoldaten in der Schlacht auf dem Titelblatt, während Rockwells erste Illustration aus der Four Freedoms-Reihe, Freedom of Speech (Freiheit der Rede), im Heftinneren zu finden war.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Freedom from Fear wurde gemalt, als Europa sich gerade im Belagerungszustand befand, wie aus der Schlagzeile der Zeitung hervorgeht, die der Vater in der Hand hält. Rockwells Intention war es, die Vorstellung zu vermitteln, dass alle Eltern in der Lage sein sollten, ihre Kinder jeden Abend im festen Vertrauen auf ihre Sicherheit zu Bett zu bringen.


Hier scheinen eine Mutter und ein Vater nach ihren schlafenden Kindern zu sehen, während liebevolle Berührungen die Geschichte eines behaglichen Mittelklasselebens erzählen. Obwohl die Kinder sich ein Bett teilen, befinden sich doch Bilder, Kleidungsstücke und Spielsachen in ihrem Schlafzimmer. Ein warmes Licht scheint aus dem Erdgeschoss ihres Zuhauses herauf, was darauf hindeutet, dass diese Familie ein gewisses Maß an finanzieller Sicherheit erreicht hat und der „amerikanische Traum“ für sie wahr geworden ist.


Obwohl Rockwell selbst Freedom from Fear nicht als besonders gewichtig ansah, ist das Gemälde relevant geblieben und hat vor dem Hintergrund eines denkwürdigen Weltgeschehens Anklang gefunden. Nach dem 11. September 2001 veröffentlichte die New York Times Freedom from Fear auf ihrer Titelseite und ersetzte Rockwells Titel durch Verweise auf die Angriffe in New York, Washington D. C. und Pennsylvania.


Als Reaktion auf die Unruhen, die aus der rassistisch motivierten Gewalt überall im Land hervorgingen, haben viele Künstler Freedom from Fear, ebenso wie Rockwells symbolträchtiges Gemälde Problem We All Live With (Das Problem, mit dem wir alle leben) neu interpretiert, um den Ereignissen und Anliegen der damaligen Zeit Rechnung zu tragen.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


J. C. Leyendecker war ein berühmter amerikanischer Illustrator, der rund 20 Jahre älter als Norman Rockwell war. Als Rockwell berühmt wurde, war Leyendecker der populärste Illustrator bei der Saturday Evening Post. Er lebte in New Rochelle und war ein Nachbar von Norman Rockwell, der immer wieder herumerzählte, er würde hinter J. C. Leyendecker herlaufen, um zu erfahren, was dieser sich in den Schaufenstern ansah und was er wohl auf seinem nächsten Post-Titelbild zu malen gedachte. Die beiden wurden enge Freunde.


Eine von J. C. Leyendeckers bedeutendsten Leistungen war sein Neujahrsbaby, das von der amerikanischen Öffentlichkeit weithin anerkannt wurde, da es von der Saturday Evening Poat tatsächlich von 1907 bis 1943 veröffentlicht worden war und diese das Jahr grundsätzlich mit einem Ausblick auf das, was kommen würde, begann. Leyendecker erschuf ein pausbäckiges Kind, das gleichzeitig unschuldig und weise aussah und sich viele nationale Fragen, vom Stimmrecht der Frauen bis hin zur Prohibition, und natürlich die Hochs und Tiefs auf dem Aktienmarkt der 1930er-Jahre, ansah.


1940 waren die Vereinigten Staaten vom Krieg nicht unmittelbar betroffen. Er wütete in Übersee, und auf diesem Bild trägt das Neujahrsbaby tatsächlich eine Gasmaske und hält einen Schirm in Anspielung auf den britischen Premierminister Neville Chamberlain, dessen Friedenszusagen sich in unserer Zeit nicht bewahrheiten sollten. Zum Zeitpunkt dieser Veröffentlichung hatte die Saturday Evening Post mehr als drei Millionen wöchentliche Abonnenten, und das Druckwerk behauptete, dass jede Ausgabe von durchschnittlich zehn Leuten gelesen werde, ob in privaten Haushalten, Arztpraxen oder in anderen öffentlichen Gebäuden. Das Magazin war so berühmt, dass die Illustratoren sogar den Titelkopf zum Teil verdecken konnten und trotzdem jeder sofort wusste, dass es sich hierbei um die Saturday Evening Post handelte.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Norman Rockwells Saturday Evening Post-Titelblatt vom 1. April 1961, Golden Rule (Goldene Regel), entstand ursprünglich als Zeichnung. 1952, am Höhepunkt des Kalten Krieges und zwei Jahre nach Beginn des Koreakrieges, entwarf Rockwell ein Bild von den Vereinten Nationen als Zukunftshoffnung für die Welt. Seine Wertschätzung für diese Organisation und ihre Mission dienten ihm als Inspiration für ein komplexes Werk, auf dem Mitglieder des Sicherheitsrates der Vereinten Nationen und 65 Personen, die die Nationen der Welt repräsentieren, dargestellt sind. Als Studie für ein Kunstwerk, welches der Künstler ursprünglich als Gemälde geplant und bis zur endgültigen Fassung ausrecherchiert und zeichnerisch fertig ausgeführt hatte, schaffte es United Nations allerdings niemals wirklich auf die Leinwand.


Über seine Arbeit an der Zeichnung The United Nations sagte Rockwell: „Wie jeder andere auch bin ich über die Lage der Welt besorgt, und wie jeder andere auch möchte ich etwas beitragen, um zu helfen. Die einzige Möglichkeit für mich, etwas beizutragen, sind meine Bilder.“ Als Perfektionist in seiner Kunst nahm Rockwell beträchtliche Mühen auf sich, um Fotografien zu erstellen, die seinen Vorstellungen genau entsprachen und um genau die richtigen Modelle für sein Werk zu finden. Er stellte Recherchen über die Kostüme und Requisiten an und inszenierte jedes einzelne Designelement, das fotografiert werden sollte, bevor er Farbe auf die Leinwand bringen wollte.


Mithilfe seiner Fotografien setzte Rockwell die Einzelheiten von Komposition und Wert gezielt ein, um diese detailreiche Schwarzweiß-Zeichnung mit einem Wolff-Zeichenstift und Kohle herzustellen. „Ich nehme die Anfertigung der Kohleentwürfe sehr ernst“, meinte er. „Zu viele Neulinge warten meiner Meinung nach, bis sie bei der Leinwand angelangt sind, bevor sie versuchen, viele ihrer Probleme zu lösen. Weit besser ist es, sich mithilfe von Studien bereits im Vorhinein darum zu kümmern.“


Obwohl er sich hingebungsvoll mit dem Konzept für sein Werk befasste, fand er es letztlich zu komplex, um daraus eine endgültige Illustration zu erschaffen. Etwa sieben Jahre später erforschte er die Möglichkeit eines neuen Ansatzes, dem er schließlich in seinem Werk Golden Rule (Goldene Regel) folgte.


Rockwell sagte: „Eines Tages wurde mir plötzlich klar, dass die goldene Regel „Was du nicht willst, das man dir tu', das füg' auch keinem andern zu“ das Thema war, nach dem ich gesucht hatte.“


In seinem Werk Golden Rule porträtiert Rockwell vier Mütter mit ihren Kindern. Die eine in der rechten oberen Ecke ist seine zweite Frau Mary Barstow Rockwell, die 1959, zwei Jahre vor der Veröffentlichung dieses Bildes, verstorben war. Hier ist sie mit ihrem ersten Enkelkind, Geoffrey Rockwell, vereint, das sie in Wirklichkeit nie kennenlernen konnte.


Norman Rockwells Werk Golden Rule, das vor nahezu sechs Jahrzehnten veröffentlicht wurde, ist eines seiner symbolträchtigsten Bilder, reflektiert es doch unsere gemeinsame Menschheit und Rockwells eigene Überzeugungen, die auch in der heutigen Zeit noch relevant sind.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Wie auch viele andere Amerikaner beschäftigte den Künstler Norman Rockwell Mitte der 1960er-Jahre der Vietnamkrieg. 1966 verbrachte er eine Woche in der Marinebasis Quantico in Virginia und schoss Fotos von einem erfahrenen Marinesoldaten, um ein Bild für ein Plakat zu entwerfen, mit dessen Gestaltung er beauftragt worden war. Im März 1967 aber schrieb er an das Marinekorps, dass er den Auftrag ablehne: „Ich kann einfach kein Bild malen, wenn ich nicht selbst mit dem Herzen dabei bin.“


Ungefähr ein Jahr später begann Rockwell mit der Arbeit an seinem Werk The Right To Know (Das Recht auf Information), einer redaktionellen Illustration für die Zeitschrift Look, die im August 1968 veröffentlicht wurde. Nur Monate, nachdem das Gemälde erschienen war, meldete die New York Times, dass General Westmoreland die Entsendung weiterer 206 000 Soldaten nach Vietnam gefordert hatte, eine Geschichte, die man im Weißen Haus gern für sich behalten hätte.


Nachdem von der Truppenausweitung berichtet worden war, verbreitete sich die Nachricht über das Massaker von My Lai, was den wachsenden Unmut gegen den Krieg noch weiter anheizte. Rockwells politische Stellungnahme brachte das Recht der amerikanischen Bürger zum Ausdruck, über die Vorgehensweise und die Absichten der Regierung informiert zu werden. Über seine Arbeit in dieser Zeit äußerte sich Rockwell folgendermaßen: „Ich glaube nicht, dass sich mein Stil verändert hat, aber Amerika hat es und so auch mein Thema. Wir haben weiß Gott Probleme genug, aber wir sollten auch Vertrauen in die heutige Generation junger Menschen haben, die, wie ich finde, das Beste ist, was wir hervorgebracht haben – lange Haare hin oder her. Wer kann sagen, ob sich unter diesen Hippies nicht ein zukünftiges Genie befindet?“


In seiner Illustration stellt Rockwell eine Gruppe von Menschen verschiedener Rassen, Altersklassen und politischer Überzeugungen dar. Dieses Format, bei dem er Menschen aus allen Gesellschaftsschichten versammelte, findet sich auch bei zwei anderen Werken dieser Ausstellung wieder – einer Zeichnung aus dem Jahr 1953 im Zusammenhang mit den Vereinten Nationen und den Völkern der Erde und bei seiner berühmten Titelblatt-Illustration für die Saturday Evening Post, Golden Rule (Goldene Regel), die 1961 veröffentlicht wurde und die Völker der Welt porträtierte, vereint unter dem Spruch „Do onto others as you would have them do onto you“ („Was du nicht willst, das man dir tu', das füg' auch keinem andern zu“).


Norman Rockwell, der 74 Jahre alt war, als er dieses Bild malte, bedeutete das Gemälde so viel, dass er sich selbst auf dem Werk darstellte – ganz rechts mit der für ihn typischen Pfeife im Mund.
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Esther Bubley (1921–1998)
Cincinnati, Ohio. “Red” Cochran, a Greyhound bus driver, and his family eating Sunday dinner, September 1942
Digital reproduction
Farm Security Administration—Office of War Information
Photograph Collection (Library of Congress), Washington, D. C.,


Esther Bubley was one of America’s leading photojournalists during the mid-twentieth century, when career options for women were limited. She worked at the Office of War Information in Washington, D.C., and at Standard Oil in New York City, documenting modern industry and the lives of ordinary people in a fast-changing world. From the early 1940s to the late 1960s, she also freelanced for national magazines, producing forty photo-essays for Life, and a dozen more for the Ladies’ Home Journal’s famous series, How America Lives.
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Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
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Frederic Stanley (1892–1967)
What Did You Do Today...For Freedom, 1943
Illustration for The American Home,
Magazine Publishers of America, March 1943
Tearsheet
Norman Rockwell Museum Collection








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George Stanley,
June 16, 1965
Letters to Look Editor Regarding Murder in Mississippi
Norman Rockwell Museum Collection


Letters from the public to editor Gardner Cowles of Look reflected a variety of reactions to Rockwell’s Murder in Mississippi. Bette L. Stern wrote: “I have hung both article and illustration on my living room wall as a constant reminder of man’s inhumanity to man.” George D. Stanley felt that Rockwell’s painting had done the south an injustice. “Is it impossible for anyone, except a Southerner, to realize the tremendous strides being made to correct our own bigoted society?” he asked.
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Gino Boccasile (1901–1952)
La Germania è Vermente Vostra Amica
(Germany is Truly Your Friend), 1944
Poster
Norman Rockwell Museum Collection


A supporter of Italian dictator Benito Mussolini, illustrator Gino Boccasile produced propaganda material for his government. As the tide of war turned against fascism, he became a supporter of the German puppet state, RSI (Repubblica Sociale Italiana), established by Mussolini in Northern and Central Italy. Boccasile enlisted in the Italian SS Division, created recruitment and propaganda posters, and was imprisoned for a time after the war for collaborating with fascists.



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Gordon Parks (1912–2006)
Portrait of Langston Hughes, 1943
Farm Security Administration—Office of War Information
Photograph Collection
Library of Congress, Washington, D. C.


In 1942, author, journalist, and activist Langston Hughes gave poetic voice to the African-American campaign for a “Double Victory” against fascism abroad and white supremacy and racism at home. In his poem How about it, Dixie, he wrote:


The President’s Four Freedoms
Appeal to me.
I would like to see those Freedoms
Come to be.
If you believe
In the Four Freedoms, too,
Then share ’em with me—
Don’t keep ’em all for you. . . .
Looks like by now
Folks ought to know
It’s hard to beat Hitler
Protecting Jim Crow.
Freedom’s not just
To be won Over There.
It means Freedom at home, too—
Now—right here!
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Hans Sönnke
German Invasion of Poland, 1939
Digital reproduction
Getty Images


On September 1, 1939, Germany initiated a massive invasion of its neighbor, Poland. Of particular interest to Adolph Hitler and his war planners was the Free City of Danzig, which had been separated from Germany after World War I—with Poland gaining the right to administer the city’s significant seaport. The forced separation produced great resentment within Germany, and as result the reviled border installations were among the first targets of the invaders. In this photo- graph, German troops are destroying the control barrier that had forced automobile traffic going from Germany into Danzig to halt for border customs. Professional local photographer Hans Sönnke documented the outbreak of the war in Danzig that day.



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Hector Rondon (1933–1984)
Aid from the Padre, June 2, 1962
Tear sheet of photograph
Norman Rockwell Museum Collection


As no one had yet reported the exact details of the murder when Rockwell began his painting, he borrowed from Hector Rondon’s 1963 Pulitzer Prize–winning news photo “Aid from the Padre” for the pose of Michael Schwerner holding James Chaney. Rockwell later wrote a note to himself to remember to tell Look art director Allen Hurlburt he had used Rondon’s photo.




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Henry Koerner (1915–1991)
United We Are Strong, United We Will Win, 1943
Poster
Norman Rockwell Museum Collection


Through the Lend-Lease program, the United States supplied the Allies with both food and munitions. However, in the face of rationing back home, critics often questioned the necessity of such exports—as well as the wartime alliance with the Soviet Union, widely regarded with hostility by Americans. The Office of War Information used posters like this one to dramatize the importance of cooperation and support among the Allies. Through proximity, artist Henry Koerner features the so-called Big Three (the United States, the United Kingdom, and the Soviet Union) firing their weaponry in a unison with a number of additional allied nations.



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Hugh M. Hutton (1897–1976)
The Funeral Oration for Poland, 1939
Editorial cartoon for The Philadelphia Inquirer, September 20, 1939
Lithographic crayon on paper
The Eisenstat Collection of American Illustration,
on loan from Alice A. Carter and Courtney Granner



American cartoonist Hugh M. Hutton worked at the Philadelphia Inquirer for more than thirty years, exercising freedom of expression in powerful visual commentary addressing social and political issues. Born in Lincoln, Nebraska, he served in the armed forces during World War I. In The Funeral Oration for Poland, Hutton employs recognizable symbols to comment upon the invasion of Poland, which began on September 1, 1939, marking the beginning of World War II. In the work, a motionless woman lying face down is closely observed by predatory buzzards representing Germany and the Soviet Union.
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Irvin Ungar
Fundador y CEO - Historicana / Curador - The Arthur Szyk Society
(Sociedad de Arthur Szyk)


Estoy encantado de presentarles a Arthur Szyk, un artista judío polaco nacido en Łódź, Polonia,


en 1894, que es el mismo año en que nació Norman Rockwell. Arthur Szyk llegó a Estados Unidos en 1940 como inmigrante y murió en 1951.


Cuando finalmente llegó a Estados Unidos se vio a sí mismo como un ejército de un solo hombre en esta lucha contra Hitler. También se consideró a sí mismo como el soldado de FDR en arte (y así firmó algunas de sus obras).


Arthur Szyk trabajó durante la Segunda Guerra Mundial, luchando contra el Eje y también trabajó en nombre del rescate de los judíos europeos.


Se hizo muy famoso en Estados Unidos a pesar de que muchas personas han olvidado quién era y lo que logró durante su vida, pero era tan famoso como podría serlo. Y para darle una idea de eso, como usted, el espectador, sabe, Norman Rockwell estaba ilustrando a principios de la década de 1940, las portadas del Saturday Evening Post. En ese momento, Arthur Szyk estaba ilustrando las portadas de la revista de Collier’s. ¿Cuál fue la circulación del Saturday Evening Post Alrededor de tres millones de personas obtuvieron cada copia. ¿Cuántas personas recibieron cada copia de Collier’s? Dos millones y medio.


Déjame hablar sobre Arthur Szyk y las Cuatro Libertades. Comienza con Arthur Szyk creando una serie titulada Washington and his Times (Washington y Sus Tiempos). Estas son 38 pinturas que tratan sobre George Washington y la Revolución Americana. Arthur Szyk completó esos trabajos en 1930, se publicó como una cartera en 1932. En 1935, Arthur Szyk exhibía estas obras y fueron compradas por el presidente de Polonia, Mościcki, y en 1935 se las regaló a Franklin Roosevelt para crear unas relaciones más estrechas entre Polonia y los Estados Unidos virtualmente en vísperas de la Segunda Guerra Mundial, con los nazis ya en el poder.


Roosevelt mantuvo a aquellas en la Casa Blanca y cuando Roosevelt pronunció su discurso de las Cuatro Libertades en enero de 1941, 38 pinturas de la libertad colgaban en la Casa Blanca. Y estas fueron obras de Arthur Szyk.


Luego Szyk partió, en realidad en 1942, para ilustrar las Cuatro Libertades. Ellos eran . . . realmente presentaba a un caballero medieval, casi luchando por la libertad, eso significaba que todas las libertades tenían que ser protegidas y el camino de Szyk era usar un caballero medieval que tuviera una lanza, una daga, una espada, que acompañara a casi todos ellos. Y estos fueron reproducidos en dos formatos. Uno como sellos de carteles que se distribuyeron ampliamente como si uno distribuiría Easter Seals. Y, en segundo lugar, se reprodujeron como tarjetas postales grandes y también se distribuyeron.


Así que esta fue la conexión de Arthur Szyk con las Cuatro Libertades, tanto en términos de su obra de arte en la Casa Blanca cuando se pronunció el discurso, y luego también, literalmente, para reproducirlos también.
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J. Harvey Delaney
Atlantic Charter and Four Freedoms Ashtray, 1943
Wood, glass, metal, and plastic
Collection of the Franklin D. Roosevelt Presidential Library and Museum,
Bequest of Franklin D. Roosevelt


This ashtray made with materials gathered from the White House, was presented to President Roosevelt by maker J. Harvey Delaney of Washington, D.C.


Its inscription reads: “Franklin D. Roosevelt/President/of the United Stated, Winston Churchill/Prime Minister/of Great Britain, May 11, 1943/The White House/Washington, D.C., and Mackenzie King/Prime Minister/of Canada.”
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J. Howard Miller (1918–2004)
We Can Do It! 1943
Poster illustration for Westinghouse for the War Production
Co-Ordinating Committee
Digital reproduction
National Archives and Records Administration,Washington, D. C.


Pittsburgh graphic artist J. Howard Miller created this poster for display in Westinghouse’s industrial facilities for a two- week period in February 1943. One in a series of in-house motivational images, it portrays a confident woman wearing blue overalls and a red bandanna. Her upraised fist would have been meaningful to the original Westinghouse viewers, since a similar gesture was used as a symbol of solidarity in the corporation’s labor force. Westinghouse did not employ riveters; the woman’s affirming statement likely referred to the broader wartime task of providing support for the nation’s fighting forces.
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J.C. Leyendecker (1874–1951)
1932 Baby New Year Charting
Cover illustration for The Saturday Evening Post,
December 13, 1932
Tearsheet
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


Illustrator J. C. Leyendecker’s most iconic images, created for The Saturday Evening Post from 1907 to 1943, were his New Year’s babies—chubby infants who looked ahead to the joys and challenges of the coming year. These symbolic figures were an annual tradition for Americans, who anticipated each new baby’s arrival.




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J.C. Leyendecker (1874–1951)
1935 Baby New Year Balances the Budget
Cover illustration for The Saturday Evening Post,
January 5, 1935
Tearsheet
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


Inspired by the events of the day, Leyendecker’s New Year’s babies took on an array of issues, from women’s suffrage and women in politics to balancing the budget during the Great Depression, seen here. Leyendecker was twenty years Rockwell’s senior, an early inspiration who also became a friend.





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J.C. Leyendecker (1874–1951)
1940 Baby New Year Ready for War
Cover illustration for The Saturday Evening Post,
December 30, 1939
Tearsheet
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves


Though the nation was at peace in 1940, Americans were concerned about involvement in the European conflict. No longer a picture of innocence, this New Year’s baby has his bags packed, and is ready to take action at a moment’s notice. Wearing a gas mask and clutching an umbrella, the child references British Prime Minister Neville Chamberlain, whose assurances of “peace in our time” proved illusory.



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J.C. Leyendecker (1874–1951)
1941 New Year’s Baby Warring Fist
Cover illustration for The Saturday Evening Post,
January 4, 1941
Tearsheet
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves






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J.C. Leyendecker (1874–1951)
1942 New Year’s Baby No Trespassing
Cover illustration for The Saturday Evening Post,
January 3, 1942
Tearsheet
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves








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J.C. Leyendecker (1874–1951)
1943 Baby New Year at War
Cover illustration for The Saturday Evening Post,
January 2, 1943
Tearsheet
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves










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Jerry Aloysius Doyle (1898–1986)
Roosevelt Favors Old Age Pensions, c. 1935
Editorial cartoon for The Philadelphia Record, c. 1935
Lithographic crayon and ink on paper
The Eisenstat Collection of American Illustration,
on loan from Alice A. Carter and Courtney Granner


After Franklin D. Roosevelt became president in 1933, millions of hopeful Americans wrote to him offering advice and requesting help. Appeals for old-age pensions were especially frequent and often quite poignant. As governor of New York, Roosevelt signed an Old Age Pension Bill, an action popular with voters as evidenced in this cartoon. On August 14, 1935, the Social Security Bill became law, promising a plan for social insurance as a safeguard “against the hazards and vicissitudes of life.”
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Jo Davidson (1883–1952)
Franklin D. Roosevelt, 1934
Baked clay with gold-bronze patina
Collection of New-York Historical Society,
purchase, Softer-Jarvis Fund


One of the most renowned American sculptors of the twentieth century, Jo Davidson spent his career creating likenesses of many world figures. In December 1933, he arrived in Washington D.C. at the invitation of Sara Roosevelt to create a bust of her son, President Franklin D. Roosevelt, who had been elected that year. Davidson completed the piece quickly and went on to create others, which were admired by the president and his family. “President Roosevelt won me completely with his charm, his beautiful voice and his freedom from constraint,” Davidson said. “He had an unshakable faith in man…. In Roosevelt’s tremendous relief program, the artist too was included . . .” In 1936, small busts of Roosevelt by the sculptor were presented as gifts to prominent supporters during his reelection campaign.


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John Collier (1913–1992)
Four Freedoms textile designed and sold by Jay Thorpe,
New York, 1943
Digital reproduction
Library of Congress: Farm Security Administration-Office of War Information Photograph Collection,
Washington, D.C., LC-USW3-023559-C




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John Collier, Jr. (1913–1992)
Provincetown, Massachusetts.
Family of a Portuguese Dory Fisherman, Spring 1942
Digital reproduction
Library of Congress, Prints and Photographs Division,
Washington, D. C., LC-USW3-002070-C



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John Falter (1910–1982)
By His Deeds . . . Measure Yours, c. 1942
Advertising illustration for Magazine Publishers of America
Published in Coronet, January 1943, p. 96
Magazine
Norman Rockwell Museum Collection





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John Falter (1910–1982)
By His Deeds . . . Measure Yours, c. 1942
Advertising illustration for Magazine Publishers of America
Published in Coronet, January 1943, p. 96
Oil on canvas
Nebraska State Historical Society


Public-service advertisements of World War II urged civilians to actively support the war effort by reminding them of the life and death struggles that faced the military. This painting compares the soldier’s sacrifice to that of Jesus. The fallen soldier’s head is wrapped in barbed wire that recalls the crown of thorns, and a broken fence on the upper right forms the shape of a cross. A popular Saturday Evening Post illustrator, Falter created numerous advertisements and art for more than three hundred recruiting posters. He enlisted in the US Navy in 1943, and was promoted from chief boatswain’s mate to lieutenant on special assignment as an artist. His final rank was chief petty officer.
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Julio Kilenyi (1885–1959)
Four Freedoms Victory, Franklin D. Roosevelt Medal
Robbins Metallic Guild, Attleboro, MA, c. 1944
Gold
Collection of the Franklin D. Roosevelt Presidential Library and Museum, Bequest of Franklin D. Roosevelt


This commemorative coin by Hungarian-born American sculptor and metallic artist, Julio Kilenyi, is inscribed on the reverse: “Victory. Freedom of Speech, Freedom of Worship, Freedom from Fear, Freedom from Want. Awarded for outstanding contribution to victory to Franklin D. Roosevelt.”
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La vida de Franklin D. Roosevelt, 32o presidente de los Estados Unidos, 1943
Libro de historietas publicado por la Oficina de Información de Guerra,
Escaneo digital
Los Archivos Nacionales en College Park, Maryland
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La vie de Franklin D. Roosevelt, 32e président des États-Unis, 1943
Bande dessinée publiée par l'Office of War Information,
Numérisation numérique
Les Archives nationales de College Park, Maryland
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Louie Lamone (1918–2007)
Preliminary drawing for Murder in Mississippi by Norman Rockwell,
March 28–April 5, 1965
Digital print from archival negative
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust
© 1965 Norman Rockwell Family Agency. All rights reserved


Rockwell prepared this drawing of Schwerner, Chaney, and Goodman for the final version of the painting. He inclined the figure of James Chaney to emphasize the seriousness of his condition. In the early stage of the drawing, Schwerner strongly resembles Jarvis Rockwell, who posed for the picture. Rockwell gradually made the drawing look more like Schwerner.






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Louie Lamone (1918–2007)
Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney, March 20, 1965
Reference photos
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Rockwell’s son Jarvis served as one of his models. The artist’s studio, ordinarily bathed in north light, was darkened with shades. Spotlights were brought in to create cast shadows.




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Louie Lamone (1918–2007)
Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney, March 20, 1965
Reference photos
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Rockwell’s son Jarvis served as one of his models. The artist’s studio, ordinarily bathed in north light, was darkened with shades. Spotlights were brought in to create cast shadows.




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Louie Lamone (1918–2007)
Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney, March 20, 1965
Reference photos
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Louie Lamone (1918–2007)
Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney, March 20, 1965
Reference photos
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Louie Lamone (1918–2007)
Kittridge (Kit) Hudson poses as Andrew Goodman, March 20, 1965
Reference photo
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Louie Lamone (1918–2007)
Jarvis Rockwell poses as Michael Schwerner; Oliver McCary poses as James Chaney, March 20, 1965
Reference photos
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Louie Lamone (1918–2007)
Kittridge (Kit) Hudson poses as Andrew Goodman, March 20, 1965
Reference photo
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved









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Louie Lamone (1918–2007)
Kittridge (Kit) Hudson poses as Andrew Goodman, March 20, 1965
Reference photo
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Louie Lamone (1918–2007)
Kittridge (Kit) Hudson poses as Andrew Goodman, March 20, 1965
Reference photo
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Louie Lamone (1918–2007)
Kittridge (Kit) Hudson poses as Andrew Goodman, March 20, 1965
Reference photo
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved






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Louie Lamone (1918–2007)
Kittridge (Kit) Hudson poses as Andrew Goodman, March 20, 1965
Reference photos
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


In addition to these photos of Kittridge Hudson, Rockwell also did lighting and shadow studies on a number of props that would be referenced in the final image.




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Louie Lamone (1918–2007)
Norman Rockwell poses his hand for Murder in Mississippi,
March 1965
Polaroid reference photo
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Louie Lamone (1918–2007)
Norman Rockwell poses his hand for Murder in Mississippi, March 1965
Polaroid reference photo
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Blood—human blood, at Rockwell’s insistence—was procured from a concealed source and applied to a shirt that represented the shirt Michael Schwerner was wearing when he was killed. Rockwell himself posed in the blood-stained short, probably not wanting to ask anyone else to wear it.






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Louie Lamone (1918–2007)
Norman Rockwell with Murder in Mississippi, 1965
Digital print from archival negative
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved
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Martha Sawyers (1902–1988)
United China Relief, c. 1944
United China Relief Foundations,
U.S. Government Printing Office Poster
The Eisenstat Collection of American Illustration,
on loan from Alice Carter and Courtney Granner





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Martha Sawyers (1902–1988)
United China Relief, c. 1944
Poster illustration for the United China Relief Foundations
Gouache on board
The Eisenstat Collection of American Illustration,
on loan from Alice Carter and Courtney Granner


Martha Sawyers was born and raised in Cuero, Texas. After moving to New York City to study at the Art Students League, she moved farther afield to a region that had long fascinated her: the Far East. She settled in Beijing but returned to the United States after Japan’s 1937 invasion of China and was commissioned by such magazines as Collier’s and Liberty to focus on the Asian subjects she cared so deeply about. Toward the end of World War II, Sawyers returned to China as a US Army war correspondent. This sensitive portrayal of a Chinese family suffering the impacts of war appeared on a United China Relief Foundations poster. Aid to the war-torn country was a popular cause in the United States.



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Mary Allison,
June 23, 1965
Letters to Look Editor Regarding Murder in Mississippi
Norman Rockwell Museum Collection


Letters from the public to editor Gardner Cowles of Look reflected a variety of reactions to Rockwell’s Murder in Mississippi. Bette L. Stern wrote: “I have hung both article and illustration on my living room wall as a constant reminder of man’s inhumanity to man.” George D. Stanley felt that Rockwell’s painting had done the south an injustice. “Is it impossible for anyone, except a Southerner, to realize the tremendous strides being made to correct our own bigoted society?” he asked.
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Mead Schaeffer (1898-1980)
Flight Controller on Aircraft Carrier, 1943.
Cover illustration for The Saturday Evening Post,
June 12, 1943
Oil on canvas
United Services Automobile Association (USAA), San Antonio, TX
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.



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Mead Schaeffer (1898-1980)
Medical Corps, 1944
Cover illustration for The Saturday Evening Post,
November 6, 1944
Oil on canvas
United Services Automobile Association (USAA), San Antonio, TX
© 1944 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Illustrator Mead Schaeffer’s careful research and technical proficiency, combined with his instinctive sense of design and ability to portray action, are reflected in his armed forces commemorative cover series for the Post, highlighting the work of every military branch. His emphasis on the heroism and professionalism of the American soldier reassured the public during unstable times.
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Mead Schaeffer (1898-1980)
Naval Lookout, 1942
Cover illustration for The Saturday Evening Post,
November 7, 1942 Oil on canvas
United Services Automobile Association (USAA), San Antonio, TX
© 1942 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.



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Mead Schaeffer (1898-1980)
Paratrooper, 1942
Cover illustration for The Saturday Evening Post,
September 12, 1942
Oil on canvas
United Services Automobile Association (USAA), San Antonio, TX
© 1942 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Norman Rockwell and Mead Schaeffer were neighbors and friends who shared models and scrutinized each other’s work. Both artists sought to contribute their talents to the war effort and traveled together to present their wartime sketches to government official in Washington, D.C. After being turned down, they stopped in Philadelphia to see Post editor Ben Hibbs, who commissioned their work. Schaeffer abandoned the romantic and literary themes that had been his focus before the war, and embraced instead the reportorial spirit of the Post.
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Narrado por:
Alice Carter
Autora, Ilustradora, y presidenta de la Junta del Museo de Norman Rockwell


Durante una carrera que abarcó casi sesenta años, las caricaturas editoriales de Jerry Aloysius Doyle aparecieron en los principales periódicos de Filadelfia y, a través de la sindicación, en cientos de otras publicaciones periódicas en todo el país. Como partidario ferviente de las políticas internas y externas de Franklin Roosevelt, Doyle nunca caricaturizó al presidente, y siempre lo mostró con una luz heroica.


En "Roosevelt Favors Old Age Pensions", Doyle describe al presidente como el potencial salvador de una pareja de ancianos, vestida formalmente con la ropa de una época pasada. Aunque obviamente están empobrecidos, están tratando de mantener las apariencias. Hay un fuego en la chimenea y una rosa en el manto, pero la ventana está rajada y el mantel está remendado. En el suelo, a sus pies, hay dos periódicos que muestran lo que puede traerles su futuro. Uno de los titulares dice: “Roosevelt to Delay Old Age Pensions" (Roosevelt retrasará las pensiones de vejez) y el otro, "Roosevelt Favors Old Age Pensions” (“Roosevelt favorece las pensiones de vejez). Engastado en el manto (junto a la rosa) hay un retrato de FDR con la leyenda "Nuestro presidente".


Roosevelt propuso por primera vez las pensiones de vejez cuando era gobernador de Nueva York, y la idea era una parte integral del New Deal (Nuevo Trato).El problema era cómo financiarlos. Cualquier plan de seguro nacional tendría que acumularse con las contribuciones de los salarios de los trabajadores, y no habría suficiente dinero hasta 1942. Mientras tanto, los ciudadanos de la tercera edad estaban sufriendo. La solución fue el Título Uno de la Ley de Seguridad Social, un programa conjunto entre los Estados y el Gobierno Federal para proporcionar asistencia inmediata a la vejez. El 14 de agosto de 1935, el presidente Roosevelt firmó el proyecto de ley, señalando mientras dejaba su pluma, "la esperanza de muchos años se cumple en gran parte".
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Narrado por:
Alice Carter
Autora, Ilustradora, y presidenta de la Junta del Museo de Norman Rockwell


El 29 de septiembre de 1939, Alemania y la Unión Soviética llegaron a un acuerdo para dividir Polonia ocupada. Las fuerzas de Hitler tomarían todo al oeste del río Bug y el ejército de Stalin controlaría todo hacia el este.


Al día siguiente, 30 de septiembre de 1939, apareció la caricatura editorial de Hugh Hutton, titulada "The Funeral Oration", en el Philadelphia Inquirer. Hutton completó más de 3,800 caricaturas editoriales para The Inquirer durante su larga carrera. Rara vez dibujaba caricaturas de celebridades y políticos, y prefería usar figuras alegóricas para transmitir sus ideas. Por lo general, dibujaba a una mujer vestida de blanco para representar valores como la paz, la justicia y la verdad. En este caso, estas virtudes han caído boca abajo, mientras que los buitres gemelos de Alemania y la Unión Soviética se regodean con su victoria.


Hutton nació en Lincoln, Nebraska, el 11 de diciembre de 1897. Después de asistir a la Universidad de Minnesota durante dos años, se alistó en el ejército y sirvió en la Primera Guerra Mundial. Cuando la guerra terminó, continuó su educación en el Minneapolis School of Art. Tras un cambio de carrera a Nueva York, estudió en la Liga de Estudiantes de Arte y encontró un mercado para sus ilustraciones editoriales con United Features Syndicate.


In 1934, Hutton aceptó su puesto en el Philadelphia Inquirer, donde trabajó hasta su jubilación en 1969.
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Narrado por:
Alice Carter
Autora, Ilustradora, y presidenta de la Junta del Museo de Norman Rockwell


Martha Sawyers nació en Corsicana, Texas, en 1902. Asistió a la Liga de Estudiantes de Arte de Nueva York durante cinco años, hasta que, según dijo ella, "me echaron y dijeron que tenía que hacer algo con lo que sabía".


"China Shall Have Our Help" es uno de los dos afiches que Sawyers diseñó entre 1942 y 1943 para United China Relief, una asociación de agencias de ayuda dedicada a ayudar a los refugiados chinos durante la Segunda Guerra Mundial. Aunque Sawyers prefirió trabajar en el petróleo, las fechas límites a menudo la obligaban a mezclar medios, y como puede ver en este afiche, a veces combina óleo, acuarela, nupastel y lápices de colores ordinarios para producir los efectos que necesitaba.


Esta pintura emocional de una familia refugiada reproduce una escena que Sawyers presenció de primera mano. En 1937, mientras viajaba con su marido, el ilustrador William Ruesswig*, escapó por poco del ataque japonés contra el puente Marco Polo de China. Cuando regresó a Nueva York, una exposición de pinturas de sus viajes atrajo una atención positiva, y la revista Collier's le encargó que registrara sus impresiones de Asia en una serie de artículos e ilustraciones. Durante la Segunda Guerra Mundial, la intrépida Sawyers regresó a Asia para cubrir el teatro del Pacífico como artista / corresponsal de las revistas Collier's y Life.
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Narrado por:
Allida M. Black
Profesor de Investigación de Historia y Asuntos Internacionales - The George Washington University (Universidad de George Washington)


Todo el mundo piensa que The Four Freedoms (Las Cuatro Libertades) de Norman Rockwell y las cuatro pinturas icónicas y luego, en la otra mitad de la escala es que piensan en el discursohistórica de FDR.


Y Eleanor entendió, al igual que Franklin Delano Roosevelt, pero de una manera muy diferente y a nivel intuitivo, que no se podría ser “libre a” a menos que fuera “libre de.” Y así, incluso antes de que pudieran articular el concepto de las Cuatro Libertades, ella hablaría sobre la libertad del hambre. Ella hablaría sobre la libertad del miedo. Ella hablaría sobre la libertad de soñar. Ahora, ese es un lenguaje diferente, pero son los mismos principios, y fue Eleanor quien realmente arriesgó su seguridad personal en los Estados Unidos para defender lo qué esto significa.


Cuando llega a la ONU, vio heridos en toda Asia, en toda Europa, en todos los Estados Unidos. Y las Naciones Unidas la envían a campamentos del Holocausto, la envían a campos de desplazados. Ella termina siendo la responsable de ayudar realmente al mundo a presentar una nueva visión para decir que no vamos a ser definidos para siempre por el odio y la superioridad racial y el fanatismo religioso y la discriminación de género. Tenemos que darnos una nueva visión.


Y tomó las Cuatro Libertades, y lo que ella interpretó como las Cuatro Libertades, a esa sala de negociaciones. Y solo quiero que todos piensen en esto. Es un tamaño de mesa de comedor. Ya sabes, hay 18 naciones. Ninguna de las personas cree en el mismo dios o si existe un dios. No creen que haya propiedad privada o, ya sabes, si el dinero es bueno. Ellos no tienen el mismo concepto de familia. Ellos no tienen el mismo concepto de ciudadanía. Lo único que comparten es: "Por Dios, vencimos a los alemanes". Y ella asume su compromiso innato con la libertad del miedo, la libertad de expresión, la libertad de culto, y ya sabes, la libertad de la penuria y los une de una manera tal que mantiene a las personas en la mesa.


Y lo que es tan notable acerca de su liderazgo no es solo obtener la Declaración Universal de Derechos Humanos, que creo firmemente que son 30 ejemplos de las Cuatro Libertades. Sabes, te desafío a mirar uno de esos artículos y luego mirar una de las cuatro pinturas de Rockwell, incluida la Regla de Oro, incluyendo Ruby Bridges, y no verlas a lo largo de todo el ADN de la pintura.
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Narrado por:
Brian Allen
Erudito de arte americano


En el caso de Freedom of Speech, es una de las pocas imágenes que Rockwell hizo que se basó en algo que realmente sucedió.


Arlington tenía una escuela secundaria que se construyó en la década de 1920, y en 1940 hubo un incendio, y la escuela secundaria se quemó. Así que inmediatamente hubo una necesidad en la ciudad de decidir si se debería construir una nueva escuela secundaria o enviar a los niños para las escuelas secundarias de las ciudades vecinas. Entonces hubo un movimiento en la ciudad para destinar dinero para construir una nueva escuela secundaria y eso requirió la aprobación en asamblea popular.


La mayoría de las ciudades de Vermont, la mayoría de las ciudades de Nueva Inglaterra, la forma de gobierno de asamblea popular invierte en cada votante, cada propietario tiene el papel de legislador. Cada votante tiene el derecho de asistir a la asamblea popular y votar sobre la destinación del dinero, en este caso para la escuela secundaria.


Jim Edgerton, que era agricultor en la ciudad, se levantó en la asamblea popular y habló en contra del esfuerzo por gastar dinero para construir una nueva escuela secundaria. Fue durante la Depresión, el precio de las materias primas se había desplomado y él pagaba sus cuentas todos los meses vendiendo leche. Él no era pobre, pero estaba sintiendo un pellizco como todos durante la Depresión en Vermont. Y eso lo llevó a ser muy consciente de impuestos más altos.


Rockwell eligió el momento cuando Edgerton decía lo que pensaba, y la gente lo escuchaba: otros votantes, otros legisladores que lo escuchaban con respeto.


A pesar de que Jim Edgerton fue quien realmente estaba hablando, él no era del tipo que Rockwell buscaba subrayar los temas de cada persona que tiene un voto independiente y voz en la asamblea popular. Estaba buscando a alguien que se pareciera a Abe Lincoln, y eso es lo que él buscaba. Él estaba buscando un hombre común. Y entonces usó a Carl Hess como modelo, y Carl Hess tenía una gasolinera en la ciudad; tenía el aspecto que Rockwell buscaba.
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Narrado por:
Daisy Rockwell
Artista and Autora


Creo que es inspirador en el sentido de que todos tenemos ese potencial dentro de nosotros para traer más al mundo que nos rodea si abrimos nuestros ojos más, y creo que sus ojos también se abrieron, obviamente. . . las pasiones del movimiento de Derechos Civiles también lo inspiraron. Quiero decir que no es como si alguna vez me hubiera sentado y le hubiera preguntado estas cosas, pero puedes leer eso como parte de la trayectoria cuando mires los cambios en sus pinturas. Parece que ese momento cambió a mucha gente, y él no era inmune, y creo que la narrativa todavía no es conocida por gran parte del público, así que me alegro de que sea parte del programa Four Freedoms (Las Cuatro Libertades). Porque esa es una evolución desde los años 40 hasta los 60 que atravesó, y no se puede ver solo uno y no el otro.


Definitivamente creo que el arte puede hacer que las personas participen porque cuando tenemos problemas serios en nuestra sociedad, parte del problema es que nos quedamos atrapados en nuestro pensamiento. Las ideas de la gente se osifican, y es, ya sabes, hoy incluso peor de lo que ha sido alguna vez, probablemente. La gente se atasca y no pueden separarse de estos espacios. Ya sabes, está bien y está mal y hay negro y blanco, y no pueden. . . así que un trabajo que el artista puede hacer es romperlo todo, ya sabes, pensar en él como un plato de porcelana y el artista lo rompe, y luego lo pega de nuevo en otra forma para que pueda verlo de manera diferente.
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Narrado por:
Douglas B. Dowd
Profesor de Arte y Estudios de Cultura Estadounidense-Universidad de Washington en St. Louis


En los años previos a la televisión, las personas en los Estados Unidos tenían dos fuentes principales para obtener información sobre cómo otras personas vivían sus vidas, qué vestían, cómo eran sus casas e incluso cómo productos básicos parecían ser. Tenían dos fuentes: las películas y las revistas. Las revistas y los ilustradores que trabajaban para ellos realmente pintaban una imagen de cómo se vivía la vida en la sociedad, o pintaban una imagen de la vida un poco mejor de lo que se vivía en la sociedad, de modo que seguía siendo un estándar aspiracional: Podría ser eso. Podría tener eso. Podría usar eso.


Su persuasión y su poder provienen en gran medida de la presentación visual, del tipo y las letras, hasta obviamente la ilustración y la fotografía. Cuando lo piensas, si sacas todas las ilustraciones de esas revistas, nadie las habría leído. La gente siempre ha pensado que publicar siempre trata sobre el contenido. En realidad, la forma en que se empaqueta, se presenta y se muestra tiene mucho que ver con la forma en que las personas responden.


En la historia del negocio de los periódicos, una buena presentación, como utilizar la tipografía en tamaños más grandes para crear jerarquías visuales, se llamaba auto publicidad, en una forma de burla. Entonces, las personas que estaban a cargo del contenido a menudo han despreciado la presentación visual, pero en realidad, es realmente importante y siempre lo ha sido. Y la persuasión de esas publicaciones es poderosamente visual. Y las imágenes de las personas y las cosas que están haciendo y las cosas que llevan puestas y el retrato de la vida que emerge son el centro de su atractivo.
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Narrado por:
George Church III
Docente y voluntario - Norman Rockwell Museum


Cuando comenzó la Segunda Guerra Mundial y los japoneses bombardearon Pearl Harbor, yo estaba en un cine con mi padre. Y luego vimos, durante el curso del comienzo en esta ocasión, deslizarse, en el proyector, un trozo de papel entre el lente y la luz de la cámara. Y se leía: “los japoneses habían bombardeado Pearl Harbor. Esto ha sido informado por el Ejército de los EE. UU.”


Pero, de todos modos, esa fue mi introducción a la Segunda Guerra Mundial. Fue después de eso que comencé a involucrarme en el trabajo de detección de aviones. El avistamiento de aviones fue algo en el que me metí a través de un par de otros amigos que estaban en mi clase en la escuela primaria. Y... Solo podía ir a detectar aviones los sábados porque iba a la escuela de lunes a viernes. Me levantaba alrededor de las 4:30 o 4:45, desayunaba y subía a mi bicicleta. Tuve que andar unas tres millas para llegar al Miami Biltmore Hotel, que estaba en Coral Gables. Y, tenía que poder estacionar mi bicicleta y luego ir al vestíbulo y luego subir las escaleras, y el ascensor me llevaría. Luego, llegué a la torre, y luego tuve que subir a la torre donde teníamos una cabina de observación que se construyó dentro de la torre. . . del hotel. Y el edificio era el más alto de Miami, y estábamos directamente al sur del Aeropuerto Internacional de Miami. Y desde ahí era donde hacíamos nuestros avistamientos.


Yo trabajaba el turno de 6:00 a 9:00 los sábados por la mañana, y tenía conmigo mi libro para observación de aviones. Yo tenía un teléfono y estaba con otra persona, y entre los dos, informamos todo lo que veíamos aterrizar y despegar en el aeropuerto de Miami, y también los aviones que sobrevolaban que entrabábamos en la bitácora y telefoneábamos sobre ellos.


El libro realmente ha sido un tesoro porque fue la forma en que pude conectarme, incluso a mí …temprana edad. Bueno, cuando la guerra comenzó en diciembre, yo tenía 12 años. Y creo que fue solo. . . el no poder involucrarme en el servicio per se, pero fue una conexión para mí y esa parte de la historia. Y simplemente sabía que ese libro era lo que validaba mi experiencia e hizo hincapié en que estaba involucrado en hacer todo lo que podía. . . durante el curso de la primera parte de la guerra.
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Narrado por:
Herman Eberhardt
Curador Supervisor del Museo - Biblioteca y Museo Presidencial Franklin D. Roosevelt


La guerra en Europa se avecinaba sobre todos a principios de 1941. Alemania había barrido la mayor parte de Europa occidental en 1939 y 1940, y Gran Bretaña se encontraba casi sola para resistir el ataque del Eje, y los británicos se aferraron a un hilo en ese momento. De hecho, a fines de 1940, Winston Churchill había escrito una larga carta a FDR en la que decía que Gran Bretaña estaba casi en bancarrota y que pronto no podría pagar las armas que importaba de los Estados Unidos.


Ese mensaje tan terrible le había llevado a Roosevelt a soñar con la idea de prestar y arrendar, lo que le permitiría a los Estados Unidos prestar o arrendar más materiales a Gran Bretaña sin recibir pago por ellos. FDR había discutido públicamente primero el concepto o idea de prestar y arrendar en una conferencia de prensa a mediados de diciembre de 1940. Más tarde ese mes el 29 de diciembre, pronunció una famosa charla informal en la radio en la que afirmó que Estados Unidos debería convertirse en lo que él llamó, “el arsenal de la democracia”. El presidente planeó usar su discurso del Estado de la Unión para argumentar a favor de la aprobación por parte del Congreso de un proyecto de ley de préstamo y arrendamiento.


En la noche del 1 de enero de 1941, Roosevelt convocó a tres de sus asesores, Harry Hopkins, Sam Rosenman y Robert Sherwood, a su estudio privado en la residencia de la Casa Blanca. Se reunieron en torno al escritorio de FDR para trabajar con él en su discurso anual del Estado de la Unión al Congreso, que debía entregarse el 6 de enero.


En un momento durante esta sesión de edición, FDR dijo que tenía una idea para la sección de cierre del discurso. Como Sam Rosenman recordó más tarde, el presidente se recostó en su silla giratoria, miró hacia el techo y luego se detuvo por un largo rato. A medida que pasaban los segundos, los demás en la habitación comenzaron a sentirse un poco incómodos. Entonces FDR de repente se inclinó hacia adelante y de manera lenta y deliberada dictó las Cuatro Libertades. El presidente habló a un ritmo tan deliberado que Rosenman pudo escribir todo lo que él dijo palabra por palabra en una hoja de papel de una libreta amarilla. Esa hoja amarilla con notas a mano de Rosenman ahora se encuentra en la Biblioteca Roosevelt. Y, curiosamente, si comparas las palabras en esa hoja amarilla con el discurso final dado por el presidente a una sesión conjunta del Congreso, es casi exactamente como lo dicta el FDR. Casi no hay cambios.
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Narrado por:
James J. Kimble, Ph.D.
Profesor de Comunicación - Facultad de Comunicación y Artes
Seton Hall University


En este afiche de tiempos de guerra, conocido comúnmente como “Rosie la remachadora”("Rosie the Riveter"), el artista J. Howard Miller nos muestra a una mujer decidida y segura que flexiona sus músculos y expresa con confianza su capacidad para completar la tarea que tiene entre manos. Aunque hoy tendemos a suponer que este afiche fue famoso durante la Segunda Guerra Mundial, en realidad era relativamente desconocido, ya que apareció durante solo dos semanas (en febrero de 1943) en las fábricas de municiones de Westinghouse. Después pasadas las dos semanas, los afiches se reciclaron debido a la escasez de papel en tiempos de guerra. Durante esas dos semanas, sin embargo, el afiche modeló a los trabajadores de Westinghouse, tanto a hombres como mujeres, un gesto de solidaridad común a la fuerza laboral de la corporación, afirmando que cada trabajador de Westinghouse estaba listo para completar su vital misión de guerra. Solo se sabe que existen dos copias originales de este afiche hoy. A pesar de la escasez de los originales, la imagen de Miller ha ganado fama mundial desde que reapareció en la década de 1980 como parte de las celebraciones de aniversario de la Segunda Guerra Mundial. También ha sido parodiada sin cesar, asegurando su estado como una de las imágenes más famosas de todos los tiempos.
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Narrado por:
James J. Kimble, Ph.D.
Profesor de Comunicación - Facultad de Comunicación y Artes
Seton Hall University


Se cree ampliamente que esta fotografía de prensa enviada por cable inspiró el afiche "We Can Do It!" (¡Juntos Podemos!) de J. Howard Miller, comúnmente conocido hoy como "Rosie the Riveter" (Rosie la remachadora). A partir de la década de 1980, la fotografía en blanco y negro se asoció con Geraldine Hoff Doyle, una mujer de Michigan que creía que mostraba una imagen de ella trabajando en una fábrica de 1942. Sin embargo, la fotografía es en realidad de una mujer de California llamada Naomi Parker, que fue una de las primeras mujeres en trabajar en el taller de máquinas en la Estación Aérea Naval de Alameda en la Bahía de San Francisco. Mientras trabajaba en Alameda, Parker sí sirvió como remachadora, pero también como soldadora, empalmadora y maquinista (entre otras muchas tareas relacionadas con la reparación de los aviones de guerra de la Armada). La fotografía apareció en decenas de periódicos estadounidenses en 1942, lo que le valió a Parker algunos correos de admiradores e incluso una propuesta de matrimonio. Sin embargo, se desvaneció en la memoria pública después de la guerra, y solo resurgió cuando Doyle, que lo vio en una revista de los 80, erróneamente llegó a creer que ella era su tema.Si bien la conexión de la fotografía con el cartel "We Can Do It!" sigue siendo incierta, ya que el artista Miller dejó muy pocas anotaciones, hay una serie de similitudes entre la apariencia de Parker y la mujer en el afiche. Además, la fotografía apareció en un periódico de Pittsburgh, cerca de la casa de Miller durante la década de 1940, por lo que es posible que la encontrara y la conservara para su colección de imágenes de referencia.
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Narrado por:
James J. Kimble, Ph.D.
Profesor de Comunicación - Facultad de Comunicación y Artes
Seton Hall University


Uno de los soldados más famosos de la Segunda Guerra Mundial no era un verdadero soldado. Se llamaba Willie Gillis y era el producto de la rica imaginación del ilustrador Norman Rockwell. Esta pintura marca la primera aparición pública de Gillis, en la portada del Saturday Evening Post el 4 de octubre de 1941. En ella, el artista nos muestra a un inocente y adolescente recluta en un momento liviano mientras participa en el campo de entrenamiento en Fort Dix, Nueva Jersey. El espectador rápidamente ve que Gillis acaba de recibir un paquete desde su casa, y que el paquete probablemente contenga algunos sabrosos obsequios de sus seres queridos para un soldado trabajador. Sin embargo, los colegas de Gillis también han notado el paquete, y sus expresiones faciales indican que están pensando en liberarlo de su nueva abundancia. La alegre portada de Rockwell fue un éxito instantáneo, lo que llevó al Post a solicitar más escenas de la vida del soldado Gillis. El artista estuvo de acuerdo, y el personaje finalmente apareció en casi una docena de portadas, la última fue en la posguerra de 1946, mostrando a un amigable Gillis yendo a la universidad pagada por el GI Bill (Subsidio Educativo para Exmilitar Veterano), como muchos de sus compañeros de la vida real también estaban haciendo en ese momento. Para entonces, la fama del personaje estaba asegurada. De hecho, muchas de sus jóvenes admiradoras llegaron a considerarlo como un pin-up. Una de ellas, Natalie Barden, finalmente conoció a Robert Otis Buck, el modelo de la vida real de Willie, y se casó con él.
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Narrado por:
Mark Shulman
Facultad de historia - Sarah Lawrence College


El paquete de las Cuatro Libertades de Franklin Roosevelt fue un esfuerzo para articular una visión de un orden liberal de posguerra para la seguridad, la paz y la prosperidad como elementos necesarios para la seguridad, así como los derechos civiles y políticos de la libertad de religión y la libertad de expresión.


Las Cuatro Libertades fueron aceptadas en la Carta del Atlántico que Roosevelt hizo con Churchill, y luego entraron en el ADN de la carta que las Naciones Unidas adoptaron en el verano de 1945. En el verano de 1945, por supuesto, el presidente Roosevelt había fallecido. Los Estados Unidos tenía un nuevo presidente, uno, quizás, menos mundano y, de alguna manera, más práctico. El inteligente presidente Truman nombró a Eleanor Roosevelt, la viuda de Franklin, como jefa del comité que redactaría la Declaración Universal de los Derechos Humanos de las Naciones Unidas.


Eleanor, la Sra. Roosevelt, trabajando con un comité de distinguidos académicos, diplomáticos, teóricos y estadistas de todo el mundo, redactaron este documento maravilloso, la Declaración Universal de los Derechos Humanos, y las Naciones Unidas lo aprobaron el 10 de diciembre de 1948. La Declaración Universal de los Derechos Humanos es las Cuatro Libertades escritas a lo grande. El Preámbulo reconoce explícitamente que las Cuatro Libertades han sido adoptadas, han sido reconocidas como la base para una orden justa de posguerra. Y luego, la propia Declaración procede a desarrollar, articular, cada uno de los elementos que serían realmente necesarios para un mundo en el que se realizan las Cuatro Libertades.
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Narrado por:
Paul M. Sparrow
Director - Biblioteca y Museo Presidencial Franklin D. Roosevelt, Hyde Park, Nueva York


La relación entre el presidente Roosevelt y el primer ministro Winston Churchill es verdaderamente extraordinaria, y de alguna manera una de las asociaciones más importantes en la historia del siglo XX, tal vez en toda la historia de los Estados Unidos. Winston Churchill había estado involucrado con el ejército en Gran Bretaña desde la Primera Guerra Mundial como FDR lo había sido. Tenía puntos de vista muy, muy específicos sobre la estructura del mundo, y en ese momento todavía creía que el imperio británico era la entidad política más importante del mundo, que era imparable y que no iba a permitir que el imperio británico se viniera abajo mientras él estaba a cargo.


Así que, cuando FDR y Churchill se encontraron en la cita secreta a bordo de los dos grandes buques de guerra, fue una reunión de gigantes. En ese momento, Churchill había estado involucrado en la defensa de las Islas Británicas contra la embestida nazi durante un año, por lo que estaba inmerso en la guerra y sabía que su supervivencia dependía de traer a Estados Unidos a la guerra. Roosevelt todavía estaba algo indeciso. No podía comprometerse públicamente, pero también sabía que eventualmente los Estados Unidos iban a entrar aquí y aquí es donde empezaron realmente a diseñar los cimientos de lo que se convirtieron en las Cuatro Libertades.


Churchill por supuesto, vino a los Estados Unidos varias veces durante la guerra. Después de Pearl Harbor, llega a la Casa Blanca y se queda allí varias semanas viviendo en uno de los dormitorios, caminando por la casa en bata de baño, bebiendo furiosamente, volviendo loco a todos, y, ya sabes, manteniendo a FDR despierto hasta todas las horas del día, y Eleanor frunciendo el ceño por todo el asunto. Pero esa era la forma en que Churchill trabajaba. De alguna forma abarcó a todos en su torbellino de locura, pero siempre terminó con estas ideas increíblemente brillantes y realmente tenía una visión global. Así que los dos fueron solo una asociación extraordinaria y tenemos mucha suerte de que fueran los dos líderes que terminaron enfrentando, ya sabes, la mayor crisis del siglo XX.
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Narrado por:
Ruby Bridges Hall
Activista de los Derechos Civiles y Autora


Ese día en particular, cuando estaba en el automóvil siendo escoltada a la escuela, cuando doblamos en la esquina, las calles estaban llenas de manifestantes, y estaban cerradas con barricadas, porque así es como la policía la había preparado. Había policías por todos lados. Algunos estaban en caballos y motocicletas. Todo eso es lo que ves durante la temporada del Mardi Gras para controlar a la multitud y durante un desfile, así que eso fue realmente lo que vi, y simplemente asumí que estaba en medio de un desfile, y hoy que lo pienso, era la inocencia de una niña. Creo que eso me protegió, el no saber.


Recuerdo haber sido escoltada directamente a la oficina del director. Creo que estaba allí, el primer día, para inscribirme. Y ya había sido inscrita, pero para ser escoltada a mi salón de clases, posiblemente conocer a mi maestra y comenzar mis estudios. Pero me senté en la oficina del director todo el día con mi madre ese día, y recuerdo a los Agentes Federales estar parados afuera. Podías verlos. Ya sabes, había ventanas de cristal.


Y lo siguiente que vi fue a todas esas personas que habían estado afuera apresurándose, empujándose y apuntándome a través de las ventanas. Sus rostros parecían muy enojados por algo. Me parecía muy apresurado y confuso. Y los vi pasar por la ventana, y cuando regresaron por la ventana, había niños con ellos. Y eso sucedió todo el día, de aquí para allá.


Finalmente sonó la campana, eran las 3:00, y recuerdo a alguien entrando a la habitación, diciendo, "La escuela se acabó. Puedes irte." Y recuerdo eso claramente, porque pensé para mí misma, "Wow, esta escuela es fácil", sin saber que lo que realmente estaba sucediendo es que los padres entraron deprisa a la escuela y entraron a cada salón de clases y sacaron a cada niño. Hubo más de 500 niños que en realidad abandonaron el edificio ese día, y fue porque yo estaba allí. Así que no tenía idea de que eso estaba sucediendo ante mis ojos.


Al día siguiente, fue lo mismo. Los Agentes Federales tocaron a la puerta y yo subí al auto con ellos. Me acompañaron a la escuela. Cuando llegamos ese día, la multitud casi había duplicado su tamaño, porque en ese momento, todos lo sabían.


Mi madre dijo que ese fue el día en que estaba más nerviosa, porque después que llegó a la casa y miró la televisión, vio cómo todo el mundo lo estaba viendo. Dijo que fue a la casa y rezó hasta las 3:00, con la esperanza de que su hija volviera a casa.
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Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


Después de su éxito fotografiando a los trabajadores de la Administración de Seguridad Agrícola, la gran fotógrafa documental Dorothea Lange fue contratada para registrar el proceso de deportación y encarcelamiento masivo de ciudadanos y no ciudadanos de origen étnico japonés para la Autoridad de Reubicación de Guerra en marzo de 1942. Desde el principio, durante los primeros días, su estilo de fotoperiodismo y su simpatía personal por la difícil situación de estos estadounidenses entraron en conflicto con las demandas de los oficiales del ejército. Estrictamente tabú eran imágenes de ametralladoras en torres. También se restringieron las fotos de alambre de púas, guardias armados y cualquier señal de resistencia. En sus propias palabras, ella dice: "un hombre me seguía todo el tiempo". Se encontró con demoras por parte de los funcionarios que pedían credenciales, y se le exigía explicación de cada negativo y cada centavo que gastaba, y se le prohibió hablar con personas en los campamentos. Todas las copias se enviaron para su revisión y las que se consideraron inapropiadas se marcaron como "incautadas" y los negativos se embargaron durante la duración de la guerra.


Lange tomó esta foto de la tienda de comestibles Wanto Co. en Oakland, California, el 13 de marzo de 1942, casi un mes después de que FDR firmara la Orden Ejecutiva 9066, exigiendo que el propietario y su familia desalojaran el lugar. Tatsuro Masuda, el propietario, nació en Oakland y se había casado recientemente. Le dijo a Lange, "pagué por esto el día después de Pearl Harbor". Él y su esposa fueron enviados al campo de concentración del río Gila en Arizona. Nunca regresaron a la tienda.


En los tres meses con la WRA, trabajando casi siete días a la semana, Lange logró tomar casi 850 imágenes. Si bien muchas de sus otras fotos para el gobierno se convirtieron en algunas de las imágenes más icónicas del siglo XX, la mayoría de ellas permanecieron prácticamente invisibles hasta que se publicó un libro sobre ellas y Lange en 2006.
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Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
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Narrado por:
Setsuko Winchester
Artista, Fotógrafo y Periodista


Esta imagen de Ansel Adams fue tomada en 1943, cerca de Death Valley, California, en un campamento llamado Manzanar. Fue uno de los diez campos de concentración estadounidenses construidos para encarcelar a ciudadanos estadounidenses de ascendencia japonesa y sus padres inmigrantes.


Se muestra a un hombre mirando un vasto paisaje abierto en las estribaciones de las Sierras, el típico tipo de vista por la que Adams era conocido como fotógrafo. Lo que extrañamente falta es cualquier valla de alambre de púas, torres de vigilancia, reflectores, soldados con ametralladoras o cualquier escena desagradable que pueda haber insinuado las duras condiciones en que se había colocado a estas personas.


Adams sintió personal y fuertemente que los ciudadanos estadounidenses no deberían ser tratados de esta manera por su propio país y su primer intento de fotografía documental nació de un deseo: mostrarles a sus conciudadanos que estas personas eran como cualquier otro ciudadano, Nacido Igual y Libre, ya que el libro que finalmente compilaría y publicaría en 1944 se titularía así.


Sin embargo, cuando salió el libro, sus objetivos no fueron apreciados por un público estadounidense que, todavía empantanado en la guerra, no perdonó su actitud compasiva hacia los encarcelados. Como resultado, se dice que copias de su libro fueron quemadas en protesta. También se dice que el propio gobierno había comprado miles de copias y las había destruido. Cualquiera que sea su destino, una copia original de 1944 de este libro se considera un hallazgo raro. Y más irónico aun: a medida que disminuía la antipatía hacia los estadounidenses de origen japonés, las fotografías de Adam volvieron a ser controvertidas, porque esta vez el gobierno y el público en vez de rechazarlos comenzaron a usarlos como prueba de que las condiciones en los campos no eran duras o inhumanas.No se consideran documentales verdaderos ni propaganda pura porque, estas imágenes se encuentran en algún tipo de inframundo fotográfico.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


Freedom from Want no fue un reto conceptual tan grande como las otras dos pinturas previas de Four Freedoms (Speech [Expresión] y Worship [Cultos]) de Rockwell. La pieza fue inspirada en ello, y desde entonces se ha convertido en un modelo para el Día de Acción de Gracias de todos los Estados Unidos.


Aunque se creó como un compuesto con los modelos de Rockwell posando para él en su estudio en sesiones individuales, esta escena familiar incluye algunos de los vecinos y miembros de la familia del artista. Se veian la Sra. Thaddeus Wheaton, la cocinera de la familia, que apoya a un gran pavo de día festivo, y Mary Barstow Rockwell, la esposa del artista, y su madre, Nancy Hill Rockwell, a quien se ve a la derecha.


Freedom from Want fue publicado con un ensayo del novelista y poeta relativamente desconocido Carlos Bulosan, un inmigrante filipino en los Estados Unidos, y un trabajador migrante que escribió en nombre de aquellos que sufren privaciones domésticas. Un contrapunto a las representaciones suaves en las pinturas de Rockwell, el ensayo de Bulosan esperaba un posible futuro en el que aquellos fuera de la corriente social, trabajadores agrícolas migrantes, organizadores sindicales, trabajadores, víctimas afroamericanas de la segregación, inmigrantes asiáticos y latinos, podrían ser permitido experimentar la verdadera libertad.


Artísticamente, el trabajo es considerado como un ejemplo del dominio de los desafíos de retratar la textura visual en el arte, incluido el brillo de la porcelana blanca sobre el mantel blanco y la transparencia del agua en los vasos.


A pesar del optimismo general de Rockwell, tenía dudas sobre haber representado a un pavo tan grande cuando gran parte de Europa estaba muriendo de hambre, invadida y desplazada a medida que se desencadenaba la Segunda Guerra Mundial. Muchos críticos reconocen la abundancia de comida representada en esta imagen, pero también notaron que la imagen muestra familia, cordialidad y seguridad, y opinaban que la abundancia más que la mera suficiencia era la respuesta más verdadera a la noción de necesidad.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


Al igual que con muchos estadounidenses a mediados de la década de 1960, la guerra de Vietnam estaba en la mente de Norman Rockwell. En 1966, pasó una semana en la base de marina de Quantico en Virginia tomando fotos de un infante de marina experimentado con la idea de diseñar una imagen para un póster que le habían encargado. Pero en marzo de 1967, escribió al Infantería de Marina declinando la tarea diciendo, "No puedo pintar una imagen a menos que tenga mi corazón en ella".


Alrededor de un año después, Rockwell comenzó a trabajar en The Right To Know, una ilustración editorial para la revista Look que se publicó en agosto de 1968. Pocos meses después de que apareciera la pintura, el New York Times informó que el general Westmoreland había solicitado 206,000 tropas adicionales para ser enviadas a Vietnam, una historia que la Casa Blanca había intentado reprimir.


Después de que se informó de la escalada de tropas, las noticias de la masacre de My Lai fueron dadas, alimentando el creciente disentimiento en contra de la guerra. La declaración política de Rockwell expresaba el derecho de los ciudadanos estadounidenses a comprender las acciones de su gobierno. De su trabajo durante ese período, Rockwell dijo: "No creo que mi estilo haya cambiado, pero Estados Unidos sí y, por lo tanto, también mi tema. Dios sabe que tenemos problemas, muchos de ellos, pero también debemos tener una gran confianza en la generación actual de jóvenes que, creo, son lo mejor que hemos producido, con pelo largo y todo. ¿Quién puede decir que uno de estos hippies no será un genio del futuro?


En su ilustración, Rockwell presenta un grupo de personas de muchas razas, edades y convicciones políticas. Su formato de juntar personas de todos los ámbitos de la vida también se utilizó en otras dos obras de esta exposición, un dibujo creado en 1953 sobre las Naciones Unidas y los pueblos del mundo, y en su famosa ilustración de la portada del Saturday Evening Post, Golden Rule (Regla de Oro), publicado en 1961, que retrata a los pueblos del mundo unidos bajo la frase, "Haz a los demás lo que quieras que te hagan".


Norman Rockwell, que tenía 74 años cuando pintó esta obra, tenía tanta confianza en esta pintura que se había incluido en el trabajo en el extremo derecho con su exclusiva pipa en la boca.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


Freedom from Fear se pintó mientras Europa estaba sitiada, como se revela en la cabecera del periódico sostenido en la mano del padre. La intención de Rockwell era transmitir la idea de que todos los padres deberían poder acostar a sus hijos cada noche con la garantía de su seguridad.


Aquí, una madre y un padre parecen checar a sus hijos mientras duermen, ya que hermosos toques cuentan la historia de una vida cómoda y de clase media. Las imagenes, la ropa y los juguetes están en el dormitorio de los niños, aunque los niños comparten una cama individual. Una luz cálida brilla desde el primer piso de su hogar, lo que implica que esta familia ha logrado cierta seguridad fiscal y el sueño americano.


Aunque Rockwell no vio Freedom from Fear como particularmente fuerte, la pintura ha seguido siendo relevante y ha tocado la fibra sensible en respuesta a eventos mundiales notables. Después del 11 de septiembre, The New York Times publicó Freedom from Fear en la primera página del periódico, sustituyendo el encabezado de Rockwell por un lenguaje que hace referencia a los ataques en Nueva York, Washington, DC, y Pensilvania.


En respuesta a los disturbios resultantes de la violencia racial en todo el país, muchos artistas han reinterpretado Freedom from Fear, así como el icónico The Problem We All Live With (El problema con el que todos vivimos) de Rockwell, para reflejar esos eventos y preocupaciones contemporáneos.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


J.C. Leyendecker era un famoso ilustrador estadounidense que era unos 20 años mayor que Norman Rockwell, y cuando Rockwell llegó a la fama, Leyendecker era el ilustrador más popular que trabajaba para el Saturday Evening Post. Vivía en New Rochelle, y era vecino de Norman Rockwell, y Rockwell solía hablar sobre el hecho de que realmente seguiría a J.C. Leyendecker para ver qué podría estar mirando en las vitrinas, qué podría estar pensando pintar para su próxima portada del Post, y los dos se hicieron muy amigos íntimos.


Uno de los logros más importantes de J.C. Leyendecker fue su New Year’s Baby, que fue ampliamente reconocido por el público estadounidense porque New Year's Baby había sido publicado por el Saturday Evening Post de 1907 a 1943, y básicamente comenzó el año con un vistazo a lo que estaba por venir. Leyendecker creó un niño gordito que era a la vez inocente, y también sabio, y que examinó muchos temas nacionales desde el sufragio de las mujeres hasta la prohibición y, sin duda, los altibajos de la bolsa durante la década de 1930.


Aquí en 1940 la guerra no había tocado a los Estados Unidos. Estaba furiosa en el extranjero, y en esta imagen, New Year’s Baby usa una máscara de gas y sostiene un paraguas que en realidad hace referencia al primer ministro británico, Neville Chamberlain, cuyas garantías de paz en nuestro tiempo en realidad no llegaron a existir. En el momento en que se publicó, Saturday Evening Post tenía más de tres millones de suscriptores semanales, y la publicación afirmaba que cada número era leído por aproximadamente 10 personas, independientemente de si la revista se recogía en el hogar de cada persona o en el consultorio de un médico u otro edificio público. La revista era tan famosa que los ilustradores incluso fueron capaces de interrumpir la cabecera sin ningún problema en términos de reconocimiento de que este era en realidad el Saturday Evening Post.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


La portada del Saturday Evening Post del 1 de abril de 1961 de Norman Rockwell, Golden Rule en realidad comenzó como un dibujo. En 1952, en el apogeo de la Guerra Fría y dos años después de la Guerra de Corea, Rockwell concibió una imagen de las Naciones Unidas como la esperanza mundial para el futuro. Su aprecio por la organización y su misión inspiró una obra compleja que retrata a los miembros del Consejo de Seguridad de las Naciones Unidas y a 65 personas que representan a las naciones del mundo. Un estudio para una obra de arte que originalmente tenía la intención de completar en forma pintada, investigó y desarrolló hasta la etapa de dibujo final, la pieza de United Nations del artista nunca llegó a la realidad.


Sobre su trabajo en el dibujo de The United Nations, Rockwell dijo, "Al igual que todos los demás, me preocupa la situación mundial y, como todos los demás, me gustaría aportar algo para ayudar. La única forma en que puedo contribuir es a través de mis imágenes." Un perfeccionista


Usando sus fotografías como referencia, Rockwell trabajó con los detalles de la composición y el valor en este dibujo en blanco y negro ricamente detallado, creado con lápiz y carbón Wolff. "Me tomo la elaboración de los diseños de carbón muy en serio," él dijo: "Demasiados novatos, creo, esperan hasta que estén sobre el lienzo antes de tratar de resolver muchos de sus problemas. Es mucho mejor luchar con ellos antes con los estudios ".


A pesar de que estaba dedicado al concepto de este trabajo, finalmente descubrió que era demasiado complejo para crearlo como una ilustración final y, finalmente, unos siete años más tarde, exploró la posibilidad de un nuevo enfoque que adoptó en Golden Rule.


Rockwell dijo: "Un día, de repente, llegué a la idea de que The Golden Rule -- hacer a los demás lo que quisieras que te hicieran -- era el tema que estaba buscando".


En The Golden Rule, Rockwell retrata cuatro grupos de madres y sus hijos. El que está en el rincón superior derecho en realidad representa a su segunda esposa, Mary Barstow Rockwell, que falleció en 1959, dos años antes de que se publicara esta imagen. Aquí está junto a su primer nieto, Geoffrey Rockwell, a quien nunca tuvo la oportunidad de conocer.


Publicado casi seis décadas atrás, The Golden Rule de Norman Rockwell es una de sus imágenes más emblemáticas, retratando nuestra humanidad común y reflejando las propias creencias de Rockwell, que siguen siendo relevantes para nuestros tiempos.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


Un amigo cercano de Norman Rockwell en Arlington, Vermont, el ilustrador Mead Schaeffer adaptó su enfoque a su trabajo durante los años de la Segunda Guerra Mundial para satisfacer las necesidades de tiempos de guerra. Abandonó los temas románticos y literarios que habían sido su foco y centró su atención en personas y lugares reales, abrazando la dirección repertorial del Saturday Evening Post en ese momento.


En 1942, buscando maneras de contribuir con sus talentos al esfuerzo bélico, Rockwell y Schaeffer viajaron a Washington, DC, con bocetos de algunos proyectos propuestos y visitaron varias agencias gubernamentales. Desafortunadamente, en ese momento no había fondos disponibles para sus proyectos. Un poco abatidos, en el camino a casa se detuvieron en Filadelfia para ver al editor de Saturday Evening Post, Ben Hibbs. Hibbs de inmediato abrazó sus ideas y les encargó a cada una de ellos desarrollar sus pinturas para su publicación.


Schaeffer decidió crear una serie de portadas conmemorativas de las fuerzas armadas destacando el trabajo de cada rama militar. Investigó cuidadosamente sus temas y, con gran habilidad técnica, creó obras heroicas que enfatizaban el profesionalismo y la dedicación del soldado estadounidense en todas las circunstancias. Sus imágenes fueron tranquilizadoras para el público durante tiempos inestables. En un número del Saturday Evening Post, la publicación del 20 de febrero de 1943, las pinturas de Schaeffer y Rockwell se superpusieron. En ese número apareció en la portada la representación dinámica de Schaeffer de un infante de marina en la batalla, y apareció adentro la primera ilustración de Four Freedoms (Cuatro Libertades), Freedom of Speech (Libertad de expresión), de Rockwell.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunto / Conservadora General – Museo Norman Rockwell


Freedom of Worship representaba un desafío para Rockwell, ya que entendía que la religión era un tema profundamente personal y, a veces, delicado. Quería pintar una imagen que transmitiera la unidad a pesar de las diferencias, presentando una visión de un mundo sin discriminación basada en la práctica o creencia religiosa.


Su concepto inicial representaba una escena amistosa en una barbería rural, en la que un judío es atendido por un barbero, mientras que un sacerdote católico y un afroamericano esperaban su turno. Pero Rockwell descubrió casi terminando la imagen, que esta presentaba una visión estereotípica, entonces insatisfecho con este enfoque, la dejó de lado y comenzó de nuevo.


La imagen final que vemos hoy se centra más en el concepto de culto que en el concepto de religión y está compuesta por los perfiles de ocho cabezas en un espacio visual poco profundo. Las diversas figuras representan personas de diferentes creencias en un momento de oración. La imagen fue pintada en tonos monocromáticos para proporcionar una sensación de inclusión y unidad.


Rockwell pensaba que, en una composición, las posiciones y los gestos de las manos son secundarios después de las cualidades expresivas de los rostros, como se ejemplifica en Freedom of Worship. La frase "Cada uno de acuerdo con los dictados de su propia conciencia" era una frase que reflejaba los propios pensamientos de Rockwell sobre la religión. Cuando se le preguntó dónde había escuchado estas palabras, Rockwell no pudo recordar. De hecho, la frase existe en muchas constituciones estatales de los Estados Unidos, y también fue utilizada por George Washington en una carta escrita a la United Baptist Chamber of Virginia, en 1789.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjuntoa/Curadora Jefe - Museo Norman Rockwell


En esta capa del The Saturday Evening Post del 29 de abril de 1944, un hombre está literalmente trazando maniobras de guerra mientras escucha la radio y tiene en sus manos varios mapas que representarían los lugares donde sus propios hijos estaban en misiones. La imagen es una representación detallada de lo que la propia experiencia de un padre podría ser durante la Segunda Guerra Mundial. Podemos ver en la pintura que el hombre tiene una bandera con tres estrellas azules, y señala que cada uno de sus hijos está involucrado en la guerra. Por sus fotografías, nos enteramos de que uno está en el Ejército, uno en la Marina de Guerra y uno en la Fuerza Aérea.


Si en realidad hubiera estado escuchando la radio en ese momento, podría toparse con la música de la Orquesta Glen Miller, o tal vez incluso un programa llamado "No se puede hacer negocios con Hitler", que era una serie de radio escrita y producida por Oficina de Información de Guerra de Estados Unidos. Una de las miles de obras de propaganda del gobierno que se transmitieron para apoyar el esfuerzo de guerra.


Rockwell usualmente usaba accesorios que tenía en su propio estudio en sus pinturas. Uno de los objetos que identificamos aquí fue la silla Windsor de Rockwell, en la que el hombre está sentado. La silla Windsor que ves aquí es el tipo de silla en que Rockwell normalmente pintaba, aunque a veces pintaba de pie. Era una silla que en realidad llevó consigo de estudio en estudio.


La imagen que ves aquí es en realidad la segunda que creó Rockwell, sobre el concepto de escuchar las noticias de la guerra. La primera fue en realidad una imagen inédita en la que Rockwell trabajó en el invierno de 1944, y que él y el Saturday Evening Post consideraron ilegible. En ella, vemos a un grupo de hombres reunidos en un restaurante, y aunque todos parecen estar muy atentos, no estamos exactamente seguros de lo que están escuchando. Si miramos de cerca, en el rincón superior derecho de la pintura, hay una luz brillante que proviene de una radio en reproducción. Como ilustrador de una revista de publicación masiva, Rockwell tuvo que contar su historia muy rápidamente, y sus imágenes tuvieron que atraer a un público muy vasto. En este caso, War News es una pintura hermosa, pero no se comunicó efectivamente de la forma en que Rockwell habría esperado, por lo que optó por abandonar esta manera particular de contar la historia.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjuntoa/Curadora Jefe - Museo Norman Rockwell


En esta capa del The Saturday Evening Post del 29 de abril de 1944, un hombre está literalmente trazando maniobras de guerra mientras escucha la radio y tiene en sus manos varios mapas que representarían los lugares donde sus propios hijos estaban en misiones. La imagen es una representación detallada de lo que la propia experiencia de un padre podría ser durante la Segunda Guerra Mundial. Podemos ver en la pintura que el hombre tiene una bandera con tres estrellas azules, y señala que cada uno de sus hijos está involucrado en la guerra. Por sus fotografías, nos enteramos de que uno está en el Ejército, uno en la Marina de Guerra y uno en la Fuerza Aérea.


Si en realidad hubiera estado escuchando la radio en ese momento, podría toparse con la música de la Orquesta Glen Miller, o tal vez incluso un programa llamado "No se puede hacer negocios con Hitler", que era una serie de radio escrita y producida por Oficina de Información de Guerra de Estados Unidos. Una de las miles de obras de propaganda del gobierno que se transmitieron para apoyar el esfuerzo de guerra.


Rockwell usualmente usaba accesorios que tenía en su propio estudio en sus pinturas. Uno de los objetos que identificamos aquí fue la silla Windsor de Rockwell, en la que el hombre está sentado. La silla Windsor que ves aquí es el tipo de silla en que Rockwell normalmente pintaba, aunque a veces pintaba de pie. Era una silla que en realidad llevó consigo de estudio en estudio.


La imagen que ves aquí es en realidad la segunda que creó Rockwell, sobre el concepto de escuchar las noticias de la guerra. La primera fue en realidad una imagen inédita en la que Rockwell trabajó en el invierno de 1944, y que él y el Saturday Evening Post consideraron ilegible. En ella, vemos a un grupo de hombres reunidos en un restaurante, y aunque todos parecen estar muy atentos, no estamos exactamente seguros de lo que están escuchando. Si miramos de cerca, en el rincón superior derecho de la pintura, hay una luz brillante que proviene de una radio en reproducción. Como ilustrador de una revista de publicación masiva, Rockwell tuvo que contar su historia muy rápidamente, y sus imágenes tuvieron que atraer a un público muy vasto. En este caso, War News es una pintura hermosa, pero no se comunicó efectivamente de la forma en que Rockwell habría esperado, por lo que optó por abandonar esta manera particular de contar la historia.
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Narrador: Durante las décadas de 1950 y 1960, en todos los Estados Unidos los niños se encontraban en el frente de la batalla por la desegregación escolar. En su primera ilustración para la revista Look, mi padre pudo plasmar visualmente un tema de gran importancia para él: los derechos civiles. Esta pequeña estudiante marcha al paso de los alguaciles federales que la protegen, pasando por un tomate arrojado sobre la pared, dejando una violenta mancha de apariencia sangrienta.


Pasando por el epíteto racial garabateado en la pared, pasando por las provocaciones de una multitud invisible que hacen que sea preciso que la niña sea protegida, ella sigue adelante, todas las mañanas, tal vez durante semanas, con estoica dignidad. La inspiración de esta obra pudo haber sido una niña real de Nueva Orleans, Ruby Bridges. Ruby fue la primera, y en esa época, la única menor afronorteamericana que asistía la escuela primaria William Frantz, que hasta entonces había acogido únicamente niños de raza blanca.


Tenía que ser protegida en su camino a la escuela todas las mañanas. En señal de protesta, los padres mantuvieron a sus hijos en casa, por lo que Ruby fue la única estudiante en su clase, durante el resto del año escolar.


Mujer: [inglés] The texture in this painting is very raw–


La textura de esta obra es muy cruda. Podemos sentir casi físicamente la acera de cemento, la pared de cemento. La paleta de colores es muy neutral, lo que permite que los detalles de color resalten bajo nuestra vista — el rojo del tomate, las bandas amarillas en los brazos de los alguaciles. Pero en la pintura lo que resalta con gran fuerza es la blancura del vestido de la niña, el contraste, la pureza y su increíble valor e inocencia, en esta imagen.


Narrador: En una entrevista realizada en 1970, mi padre explica que los tiempos habían cambiado para el hombre que había pintado la vida como el deseaba que fuera.


Norman Rockwell: [inglés] The Post covers I did were–


Narrador: Las portadas que realice para el Post, era para un estilo de Estados Unidos maravilloso, en donde todos amaban al prójimo y lo indeseable era ocultado disimuladamente, y no se hablaba de ello y ahora todo ha salido a relucir, a la luz del día.
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Narrated By: Brian Allen
American Art Scholar


ブライアンアレンによるナレーション付き
アメリカ美術学者


In the case of Freedom of Speech, it’s one of the few pictures that Rockwell did that was based on something that really happened.


「言論の自由」の場合、それはロックウェルが実際に起こった出来事に基づいて描いた数少ない絵の一つです。


Arlington had a high school that was built in the 1920s, and in 1940 there was a fire, and the high school burned down.


アーリントンには、1920年代に建設された高校がありましたが、1940年に火事があり、同高校は焼失してしまいました。


So there was immediately a need in town to decide whether to build a new high school, whether to send kids to neighboring towns for high school.


ですから、新しい高校を作るか、生徒たちを近くの町に通わせるかどうかをすぐに決める必要がありました。


So there was a movement in town to appropriate money to build a new high school and that required the approval of the town meeting.


そのため、新しい高校を建設するためのお金を調達するための運動があり、それはタウンミーティングの承認を必要としました。


Most towns in Vermont, most towns in New England, the town meeting form of government invests in every voter, every property owner the role of legislator.


バーモント州のほとんどの町、ニューイングランドのほとんどの町、すべての有権者に政府のタウンミーティング用紙が配られ、すべての財産所有者が議員の役割を果たします。


Every voter has the right to come to the town meeting and vote on the appropriation of money, in this case for the high school.


すべての有権者は、タウンミーティングに出席しーこのケースでは高校のためにー、お金の使途について投票する権利を持っています。


Jim Edgerton who was a farmer in town, he got up at the town meeting, and he spoke against the effort to spend money to build a new high school.


町の農夫であったジムエッゲートンはタウンミーティングに出席し、新しい高校を建設するためにお金を使うことに反対しました。


It was during the depression, the price of commodities had plummeted and he paid his bills every month by selling milk.


それは不況の間、商品の価格が急落したため、彼は毎月牛乳を売って請求書の支払いをしていたからです。


He wasn’t poor, but he was feeling a pinch as everybody was during the depression in Vermont.


彼は貧乏人ではありませんでしたが、バーモント州の不況の間に誰もが実感したように、彼はピンチを感じていました。


And that lead him to be very conscious of higher taxes.


ですから彼は税金が上がることを非常に意識するようになりました。


The instant that Rockwell picked was that moment where Edgerton was saying what he thought, and people were listening to him—other voters, other legislators listening to him respectfully.


ロックウェルが選んだ瞬間は、エッゲートンが彼が思ったことを言っている間、人々が彼の話を聞いている- 他の有権者や他の議員が彼を尊重して聞いている-瞬間でした。


Even though Jim Edgerton was the one who was actually speaking, he wasn’t the type that Rockwell was looking to underscore the themes of each person having an independent vote and voice at the town meeting.


実際に話していたのはジムエッゲートンでしたが、タウンミーティングで独立した投票と意見を持つ各人のテーマを強調するためにロックウェルが探していたタイプではありませんでした。


He was looking for someone who looked like Abe Lincoln, and that’s what he was after.


彼は、リンカーンのように見える人を探していて、後で実際にそうしました。


He was looking for an everyman.


彼は普通の人を探していました。


And so he used Carl Hess as the model, and Carl Hess ran a gas station in town; he just had the look that Rockwell was after.


そして彼はモデルとしてカールヘスを使い、カールヘスは町のガソリンスタンドを開業しました。彼はちょうどロックウェルが後になって使っているルックスを持っていました。
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Narrated By:
Alice Carter
Author, Illustrator, and Norman Rockwell Museum Board President


During a career that spanned nearly sixty years, Jerry Aloysius Doyle’s editorial cartoons appeared in leading Philadelphia newspapers and, through syndication, in hundreds of other periodicals across the nation. As an avid supporter of Franklin Roosevelt’s domestic and foreign policies, Doyle never caricatured the president, and always showed him in a heroic light.


In “Roosevelt Favors Old Age Pensions,” Doyle pictures the President as the potential savior of an elderly couple, dressed formally in the clothes of a bygone era. Although obviously impoverished, they are trying to keep up appearances. There is a fire in the grate and a rose on the mantle, but the window is cracked and the tablecloth patched. On the floor at their feet are two newspapers showing what their future might bring. One headline reads, “Roosevelt to Delay Old Age Pensions,” and the other, “Roosevelt Favors Old Age Pensions.” Enshrined on the mantle (next to the rose) is a portrait of FDR labeled “Our President.”


Roosevelt first proposed old age pensions when he was governor of New York, and the idea was an integral part of the New Deal. The sticking point was how to fund them. Any national insurance plan would have to be built up by contributions from workers’ wages—and there would not be enough money until 1942. Meanwhile, elderly citizens were suffering. The solution was Title One of the Social Security Act—a joint program between the States and the Federal Government to provide immediate old-age assistance. On August 14, 1935, President Roosevelt signed the bill, remarking as he laid down his pen, “a hope of many years standing is in large part fulfilled.”
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Narrated By:
Alice Carter
Author, Illustrator, and Norman Rockwell Museum Board President


Martha Sawyers was born in Corsicana, Texas, in 1902. She attended New York’s Art Students League for five years—until, as she put it, “They kicked me out and said I had to do something with what I knew.”


“China Shall Have Our Help” is one of two posters Sawyers designed between 1942 and 1943 for United China Relief—an association of aid agencies dedicated to helping Chinese refugees during World War II. Although Sawyers preferred to work in oil, deadlines often forced her to mix mediums—and as you can see in this poster, she sometimes combined oil, watercolor, nu-pastel and ordinary colored crayons to produce the effects she needed.


This emotional painting of a refugee family replicates a scene Sawyers witnessed first hand. In 1937, while traveling with her husband, illustrator William Ruesswig she narrowly escaped the Japanese attack on China’s Marco Polo Bridge. When she returned to New York, an exhibition of paintings from her travels attracted positive attention, and Collier’s magazine commissioned her to record her impressions of Asia in a series of articles and illustrations. During World War II, the intrepid Sawyers returned to Asia to cover the Pacific theater as an artist/correspondent for both Collier’s and Life magazines.
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Narrated By:
Alice Carter
Author, Illustrator, and Norman Rockwell Museum Board President


On September 29th, 1939, Germany and the Soviet Union reached an agreement to divide occupied Poland. Hitler’s forces would take everything to the West of the Bug river and Stalin’s army would control everything to the East.


The following day, September 30th, 1939, Hugh Hutton’s editorial cartoon, titled “The Funeral Oration,” appeared in The Philadelphia Inquirer. Hutton completed more than 3,800 editorial cartoons for the Inquirer during his long career. He rarely drew caricatures of celebrities and politicians, preferring to use allegorical figures to convey his ideas. He typically drew a white-robed female to depict values like peace, justice, and truth. In this case, these virtues have fallen face down, while the twin vultures of Germany and the Soviet Union gloat over their victory.


Hutton was born in Lincoln, Nebraska, on December 11, 1897. After attending the University of Minnesota for two years, he enlisted in the Army and served in World War I. When the war ended, he continued his education at the Minneapolis School of Art. Following a career move to New York, he studied at the Art Students’ league and found a market for his editorial illustrations with United Features Syndicate.


In 1934, Hutton accepted his position at The Philadelphia Inquirer where he worked until his retirement in 1969.
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Narrated By:
Allida M. Black
Research Professor of History and International Affairs - The George Washington University


Everybody thinks the Four Freedoms with Norman Rockwell and the four iconic paintings and then the other half of the scale is they think of FDR’s landmark address.


And Eleanor understood, as did FDR, but in a very different, gut level way, that you couldn’t be free to unless you were free from. And so even before they could articulate the concept of the Four Freedoms, she would talk about freedom from hunger. She would talk about freedom from fear. She would talk about freedom to dream. Now, that’s different language, but it’s the same principles, and it was Eleanor who really risked her personal safety in the United States to champion what this means.


When she gets to the UN, she saw wounded all through Asia, all through Europe, all through the United States. And the United Nations sends her to Holocaust camps, sends her to displacement camps. She ends up being responsible for really helping the world come up with a new vision to say that we are not going be defined forever by hate and racial superiority and religious bigotry and gender discrimination. We’ve got to give ourselves a new vision.


And she took the Four Freedoms, and what she interpreted the Four Freedoms to mean, into that negotiating room. And I just want you all to think about this. It’s a dining room table size. You know, there are 18 nations. None of the people believe in the same god or if a god exists. They don’t believe that there’s private property or, you know, if money is good. They don’t have the same concept of family. They don’t have the same concept of citizenship. The only thing they share is, “By god, we beat the Germans.” And so she takes her innate commitment to freedom from fear, freedom of speech, freedom of worship, you know, freedom from want and puts them together in a way that keeps people at the table.


And the thing that’s so remarkable about her leadership is not only do we get the Universal Declaration of Human Rights, which I firmly believe are 30 examples of the Four Freedoms. You know, I dare you to look at one of those articles and then look at one of Rockwell’s four paintings including the golden rule, including Ruby Bridges, and not see them throughout all the DNA of the paint.
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Narrated By:
Brian Allen
American Art Scholar


In the case of Freedom of Speech, it’s one of the few pictures that Rockwell did that was based on something that really happened.


Arlington had a high school that was built in the 1920s, and in 1940 there was a fire, and the high school burned down. So there was immediately a need in town to decide whether to build a new high school, whether to send kids to neighboring towns for high school. So there was a movement in town to appropriate money to build a new high school and that required the approval of the town meeting.


Most towns in Vermont, most towns in New England, the town meeting form of government invests in every voter, every property owner the role of legislator. Every voter has the right to come to the town meeting and vote on the appropriation of money, in this case for the high school.


Jim Edgerton who was a farmer in town, he got up at the town meeting, and he spoke against the effort to spend money to build a new high school. It was during the depression, the price of commodities had plummeted and he paid his bills every month by selling milk. He wasn’t poor, but he was feeling a pinch as everybody was during the depression in Vermont. And that lead him to be very conscious of higher taxes.


The instant that Rockwell picked was that moment where Edgerton was saying what he thought, and people were listening to him—other voters, other legislators listening to him respectfully.


Even though Jim Edgerton was the one who was actually speaking, he wasn’t the type that Rockwell was looking to underscore the themes of each person having an independent vote and voice at the town meeting. He was looking for someone who looked like Abe Lincoln, and that’s what he was after. He was looking for an everyman. And so he used Carl Hess as the model, and Carl Hess ran a gas station in town; he just had the look that Rockwell was after.


I definitely think that art can make people engage because when we have sort of severe problems in our society, part of the problem is we get stuck in our thinking. People’s ideas get ossified, and it’s, you know, today even worse than it’s ever been, probably. People get stuck, and they can’t get each other out of these spaces. You know, there’s right and there’s wrong and there’s black and there’s white, and they can’t . . . so a job that the artist can do is break everything, you know, think of it as a china plate and the artist smashes it, and then glues it back together in another shape so that you can see it differently.
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Narrated By:
Daisy Rockwell
Artist and Author


I think it’s inspiring in the sense that we all have that potential within us to bring more to the world around us if we open our eyes more, and I think his eyes were opened also by, obviously . . . the passions of the Civil Rights movement inspired him as well. I mean it’s not like I ever sat down and asked him these things, but you can read that as part of the trajectory when you look at the changes in his paintings. It seems like that time changed a lot of people, and he was not immune, and I feel that narrative is still not known to a lot of the public, so I’m glad it will be part of the Four Freedoms show. Because that is an evolution from the 40s to the 60s that he went through, and you can’t look at just one and not the other.


I definitely think that art can make people engage because when we have sort of severe problems in our society, part of the problem is we get stuck in our thinking. People’s ideas get ossified, and it’s, you know, today even worse than it’s ever been, probably. People get stuck, and they can’t get each other out of these spaces. You know, there’s right and there’s wrong and there’s black and there’s white, and they can’t . . . so a job that the artist can do is break everything, you know, think of it as a china plate and the artist smashes it, and then glues it back together in another shape so that you can see it differently.
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Narrated By:
Douglas B. Dowd
Professor of Art and American Culture Studies -Washington University in St. Louis


In the years before television, people in the United States had two primary sources for getting information about how other people were living their lives, what they were wearing, what their houses looked like, even what basic products might look like. They had two sources: the movies, and the magazines. The magazines and the illustrators who worked for them really did paint a picture of how life was being lived in the society, or paint a picture of life a little better than it was being lived in the society so that it remained an aspirational standard: I could be that. I could have that. I could wear that.


Their persuasiveness and their power comes a lot from the visual presentation, from the type and the lettering, to obviously the illustration, and photography, too. When you think about it, if you took all the illustrations out of those magazines, no one would have read them. People have always thought that publishing is always about the content. Actually, the way it’s packaged and presented and shown has a great deal to do with how people respond to it.


In the history of the newspaper business, good presentation, like using typography at bigger sizes to create visual hierarchies, that was called self-advertising, in kind of a sneering way. So, the people who were in charge of the content have often pooh-poohed the visual presentation, but actually, it’s really important and it always has been. And the persuasiveness of those publications is powerfully visual. And the pictures of the people and the stuff they’re doing and the stuff they’re wearing and the portrait of life that emerges are at the heart of their appeal.
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Narrated By:
George Church III
Docent and Volunteer - Norman Rockwell Museum


When World War II started and the Japanese bombed Pearl Harbor, I was in a movie with my dad. And then we saw, during the course of the beginning on this one occasion, we saw this piece of paper slide in between the lens and the light in the camera, in the projector. And it said the Japanese had bombed Pearl Harbor. This has been reported by the US Army.


But anyway, that was my introduction to World War II. It was after that that I started getting involved in the aircraft spotting work. The plane spotting was something I got into through a couple of other friends who were in my class in grammar school. And . . . I could only go plane spotting on Saturdays because I was going to school Monday through Friday. And I’d get up around 4:30 or quarter to 5, and have breakfast and get on my bicycle. And I had to ride about three miles to get to the Miami Biltmore Hotel, which was in Coral Gables. And I had to be able to park my bike and then go into the lobby and then climb the stairs, and the elevator would take me up. And then, I got to the tower, and then I had to climb up into the tower where we had a spotting booth that was built inside the tower . . . of the hotel. And, but the building was the tallest building in Miami, and we were directly south of Miami International Airport. And that is where we did our plane spotting from there.


And I worked the shift from 6:00 to 9:00 on Saturday mornings, and I had my plane spotter book with me. And I had a telephone. I was with one other person, and between the two of us, we reported everything that we saw land and take off at Miami airport, and also planes that flew over that we would always log in and telephone about those as well.


The book has really been a treasure because it was the way I was able to connect, even at my . . . young age. Well, when the war started in December, I was 12 years old. And I think it was just being . . . not being able to get involved in the service per se, but it was a connection for me, and that part of history. And I just knew that that book was what validated my experience and made the point that I was involved in doing as much as I possibly could . . . during the course of the early part of the war.
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Narrated By:
Irvin Ungar
Founder and CEO - Historicana / Curator - The Arthur Szyc Society


I’m delighted to introduce you to Arthur Szyk, who was a Polish Jewish artist born in Łódź, Poland, in 1894, in the same year as Norman Rockwell was born. And Arthur Szyk came to America in 1940 as an immigrant and died 1951.


When he ultimately arrived in America he saw himself as a one man army in this fight against Hitler. He also considered himself to be FDR’s soldier in art (as he signed a few of his works).


Arthur Szyk worked during World War II, fighting against the Axis and he worked also on behalf of the rescue of European Jewry.


He became very famous in America even though many people have forgotten who he was, what he accomplished during his lifetime, but he was as famous as famous could be. And to give you an idea of that, as you, the viewer, know, Norman Rockwell was illustrating the early 1940s, the covers of The Saturday Evening Post. At that time Arthur Szyk was illustrating the covers of Collier’s magazine. What was the circulation of The Saturday Evening Post? About three million people got each copy. How many people received each copy of Collier's? Two and a half million.


Let me talk about Arthur Szyk and the Four Freedoms. It begins with Arthur Szyk creating a series entitled Washington and his Times. These are 38 paintings dealing George Washington and the American Revolution. Arthur Szyk completed those works in 1930, it was published as a portfolio in 1932. In 1935, Arthur Szyk was exhibiting these works and they were purchased by the president of Poland, Mościcki, and in 1935 he presented these to Franklin Roosevelt as a gift, in a way to create closer relations between Poland and the United States virtually on the eve of World War II—the Nazis had been in power already.


Roosevelt kept those in the White House and when Roosevelt gave his Four Freedoms speech in January of 1941, 38 paintings of freedom were hanging in the White House. And these were works by Arthur Szyk.


Then Szyk set out, actually in 1942, to illustrate the Four Freedoms. They were . . . really featured a medieval knight, almost fighting for freedom, that meaning all the freedoms had to be fought for and Szyk’s way was to use a medieval knight who would have a lance, a dagger, a sword, accompanying almost each one of them. And these were reproduced in two formats. One as poster stamps that were widely distributed as if one would distribute Easter Seals. And secondly, they were reproduced as in large postcards and also distributed.


So this was Arthur Szyk’s connection to the Four Freedoms, both in terms of his artwork being in the White House when the speech was given, and then also, literally, to reproduce them as well.
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Narrated By:
James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


After The Saturday Evening Post introduced Norman Rockwell’s Four Freedoms paintings in four successive issues in February and March 1943, the American government took notice. The Office of War Information approached Curtis Publishing, owners of the magazine, for permission to reproduce the paintings in four million oversized posters. Those posters soon appeared in post offices, libraries, service clubs, canteens, and private homes across the United States. At the same time, the US Treasury approached the publishers with a proposal to sponsor the Four Freedoms War Bond Show, a sixteen-city traveling exhibition that would feature Rockwell’s paintings, scores of other art works, and (of course) war bond sales booths. Curtis Publishing agreed, and the first show, in Washington DC, opened in mid-1943 to great fanfare, with Rockwell himself present to sign autographs and meet well wishers. Each stop on the tour tried to offer the most visible and even outlandish promotional events, including celebrity appearances, parades, displays of military equipment, street performances, immersive advertising, and much more. By the end of the tour, in Denver during the summer of 1944, the traveling exhibition had become a huge success, not only publicizing President Roosevelt’s Four Freedoms nationwide, but also leading directly to the sale of almost $133 million in war bonds. billboards in 1942. However, it was the only time in his career that Rockwell ever depicted an active combatant in a war front setting. His character Private Willie Gillis—by this time already famous—was much more characteristic of his light-hearted touch, even in war time.
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Narrated By:
James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


After the attack at Pearl Harbor, with the nation now at war, the artist Norman Rockwell reached out to the government to offer his illustration skills to the war effort. The US Army Ordnance Corps asked him to contribute to its so-called “Keep ‘Em Shooting” campaign, an effort to keep civilians motivated on the home front. Rockwell decided to depict a machine gun operator in a battle scene. Army officials were so eager for the Rockwell poster that when the artist asked for a machine gun to serve as a model, they sent him a fully-functioning weapon, live ammunition, a Jeep, and an enlisted soldier. The poster—with the caption “Let’s Give Him Enough and On Time” —was distributed nationally, and also appeared on numerous highway billboards in 1942. However, it was the only time in his career that Rockwell ever depicted an active combatant in a war front setting. His character Private Willie Gillis—by this time already famous—was much more characteristic of his light-hearted touch, even in war time.
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Narrated By:
James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


In this wartime poster, commonly referred to today as “Rosie the Riveter,” the artist J. Howard Miller shows us a determined, confident woman flexing her muscles and confidently expressing her ability to complete the task at hand. Although today we tend to assume that this poster was famous during WWII, it actually was relatively unknown since it appeared for only two weeks (in February 1943) within Westinghouse munitions factories. Once its two weeks were up, the posters were recycled due to wartime paper shortages. During those two weeks, however, the poster modeled for Westinghouse laborers—both men and women—a gesture of solidarity common to the corporation’s workforce, affirming that every worker within Westinghouse was ready to complete their vital wartime mission. Only two original copies of this poster are known to exist today. Despite the scarcity of the originals, Miller’s image has gained worldwide fame since reemerging in the 1980s as part of anniversary observances of WWII. It has also been endlessly parodied, ensuring its status as one of the most famous images of all time.
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Narrated By:
James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


One of the most famous soldiers of World War II was not a real soldier. His name was Willie Gillis, and he was the product of illustrator Norman Rockwell’s rich imagination. This painting marks Gillis’s first public appearance, on the cover of the Saturday Evening Post on October 4th, 1941. In it, the artist shows us a boyish, innocent private in a lighter moment while engaged in boot camp at Fort Dix, New Jersey. The viewer quickly sees that Gillis has just received a care package from home, and that the package probably contains a few tasty gifts for a hard-working soldier from his loved ones. However, Gillis’s colleagues have also noticed the package, and their facial expressions indicate that they are thinking of relieving him of his new bounty. Rockwell’s light-hearted cover was an instant hit, leading the Post to request more scenes from Private Gillis’s life. The artist agreed, and the character ultimately appeared in nearly a dozen Post covers, the last one in postwar 1946, showing the amiable Gillis going to college on the GI Bill, as so many of his real-life peers were also doing at the time. By then, the character’s fame was assured. In fact, many of his young female fans came to regard him as a pin-up. One of them, Natalie Barden, eventually met Robert Otis Buck, Willie’s real-life model, and married him.
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Narrated By:
James J. Kimble, Ph.D.
Professor of Communication - College of Communication and the Arts
Seton Hall University


This press wire photograph is widely believed to have inspired J. Howard Miller’s “We Can Do It!” poster, commonly known today as “Rosie the Riveter.” Starting in the 1980s, the black and white photograph came to be associated with Geraldine Hoff Doyle, a Michigan woman who believed that it featured an image of her working in a 1942 factory. However, the photograph is actually of a California woman named Naomi Parker, who was one of the first women to work in the machine shop at the Alameda Naval Air Station on San Francisco Bay. While working at Alameda, Parker did indeed serve as a riveter, but also as a welder, a bucker, and a machinist (among dozens of other tasks related to the repair of the Navy’s war planes). The photograph appeared in scores of American newspapers during 1942, earning Parker some fan mail and even a marriage proposal. However, it faded in public memory after the war, only resurging when Doyle, who saw it in a 1980s magazine, mistakenly came to believe that she was its subject. While the photograph’s connection to the “We Can Do It!” poster remains uncertain, as the artist Miller left very few records, there are a number of telling similarities between Parker’s appearance and the woman in the poster. Moreover, the photograph did appear in a Pittsburgh newspaper, near Miller’s home during the 1940s, and so it is possible that he came across it and kept it for his collection of reference images.
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Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


Following her success photographing laborers for the Farm Security Administration, the great documentary photographer Dorothea Lange was hired to record the process of removal and mass incarceration of citizens and non-citizens of Japanese ethnicity for the War Relocation Authority in March of 1942. From the very first days, her photojournalism style and personal sympathies for the plight of these Americans conflicted with the demands of army officials. Strictly taboo were pictures of machine guns in towers. Also restricted were photos of barbed wire, armed guards, and any signs of resistance. In her own words, she says: “I had a man following me all the time.” She was met with delays by officials asking for credentials, was made to account for every negative and every cent she spent, and was prohibited from talking to people in the camps. All prints were submitted for review and those considered inappropriate were marked ‘impounded” and the negatives embargoed for the duration of the war.


Lange took this photo of the Wanto Co. grocery store in Oakland, California, on March 13, 1942, nearly a month after FDR had signed Executive Order 9066, requiring the owner and his family to leave. Tatsuro Masuda, the owner, was born in Oakland and newly married. He told Lange, “I paid for it the day after Pearl Harbor.” He and his wife were sent to the Gila River concentration camp in Arizona. They never returned to the store.


In the three months with the WRA, working nearly seven days a week, Lange managed to take nearly 850 images. While many of her other photos for the government had gone on to become some of the most iconic images of the 20th Century, most of these remained virtually unseen until a book about them and Lange was published in 2006.
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Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
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Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


This Ansel Adams image was taken in 1943, near Death Valley, California, in a camp called Manzanar. It was one of ten American concentration camps built to imprison US citizens of Japanese ancestry and their immigrant parents.


It shows a man looking out at a vast open landscape in the foothills of the Sierras, the typical kind of vista Adams was known for as a photographer. What it oddly misses is any barbed wire fences, guard towers, searchlights, soldiers with machine guns or any discomfiting scenes that may have hinted at the harsh conditions in which these people had been placed.


Adams personally felt strongly that US citizens should not be treated this way by their own country and his first attempt at documentary photography was born of a desire: to show to his fellow Americans that these people were just like any other citizen, Born Free and Equal, as the book he would eventually compile and publish in 1944 would be titled.


When the book came out, however, his aims were not appreciated by an American public which, still bogged down in war, did not forgive his sympathetic take on those imprisoned. As a result, it is said that copies of his book were burned in protest. It’s also said that the government itself had bought thousands of copies and had them destroyed. Whatever their fate, an original 1944 copy of this book is considered a rare find. And there’s further irony: as antipathy towards Japanese Americans eased, so Adam’s photographs became controversial yet again, because this time, the government and the public rather than rejecting them, began using them as proof that conditions at the camps were anything but harsh or inhumane. Considered neither true documentary nor pure propaganda, these images lie somewhere in a kind of photographic nether world.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


Freedom from Want was not as great a conceptual challenge as Rockwell's other two previous Four Freedoms paintings (Speech and Worship). The piece was inspired by, and has since become a model for the All-American Thanksgiving.


Though created as a composite with Rockwell's models posing for him in his studio at individual sessions, this family scene includes some of the artist's own neighbors and family members. Featured is Mrs. Thaddeus Wheaton, the family's cook, who supports a large holiday turkey, as well as Mary Barstow Rockwell, the artist's wife, and his mother Nancy Hill Rockwell who is seen on the right.


Freedom from Want was published with an essay by the relatively unknown novelist and poet Carlos Bulosan, a Filipino immigrant to America, and a migrant worker who wrote on behalf of those enduring domestic hardship. A counterpoint to the gentle representations in Rockwell's paintings, Bulosan's essay looked forward to a possible future in which those outside the social mainstream, migrant farm workers, union organizers, laborers, African-American victims of segregation, Asian, and Latino immigrants, might be allowed to experience true freedom.


Artistically, the work is highly regarded as an example of the mastery of the challenges of portraying visual texture in art, including the gleam of white china on white tablecloth, and the transparency of water in glasses.


Despite Rockwell's general optimism, he had misgivings of having depicted such a large turkey when much of Europe was starving, overrun, and displaced as World War II raged. Many critics acknowledge the over abundance of food depicted in this image, but also noted that the image displays family, conviviality, and security, and were of the opinion that abundance rather than mere sufficiency was the truest answer to the notion of want.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


Freedom of Worship posed a challenge for Rockwell, for he understood that religion was a deeply personal and sometimes delicate subject. He wanted to paint an image conveying unity despite differences, presenting a vision for a world without discrimination based upon is religious practice or belief.


His initial concept depicted an amicable scene in a country barbershop, in which a Jewish man is attended to by a barber, while a Catholic priest and an African American man wait their turn. But Rockwell found upon almost completing the image, that it presented a stereotypical view, so dissatisfied with this approach, he set it aside and started over again.


The final image that we see today focuses more on the concept of worship rather than the concept of religion and is composed of the profiles of eight heads in a shallow visual space. The various figures represent people of different faiths in a moment of prayer. The image was painted as in monochromatic hues to provide a sense of inclusion and unity.


Rockwell felt that in a composition, the positions and gestures of hands are second only to the expressive qualities of faces, as is exemplified in Freedom of Worship. The wording "Each according to the dictates of his own conscience." was a phrase that reflected Rockwell’s own thoughts on religion. When asked where he had heard these words, Rockwell could not recall. In fact, the phrase exists in many state constitutions of the United State, and was also used by George Washington in a letter penned to the United Baptist Chamber of Virginia, in 1789.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


A close friend of Norman Rockwell's in Arlington, Vermont, illustrator Mead Schaeffer, adapted his approach to his work during the World War II years to satisfy wartime needs. He abandoned the romantic and literary themes that had been his focus and turned his attention to real people and places, embracing the repertorial direction of The Saturday Evening Post at the time.


In 1942, seeking ways to contribute their talents to the war effort, Rockwell and Schaeffer traveled to Washington, D.C., with sketches for some proposed projects and visited several government agencies. Unfortunately, at the time no funds were available for their projects. A bit dejected, on the way home they stopped in Philadelphia to see The Saturday Evening Post editor, Ben Hibbs. Hibbs immediately embraced their ideas and commissioned them each to develop their paintings for publication.


Schaeffer determined to create a series of armed forces commemorative covers highlighting the work of every military branch. He carefully researched his subjects and, with great technical proficiency, created heroic works that emphasized the professionalism and dedication of the American soldier in all circumstances. His imagery was reassuring to the public during unstable times. In one issue of The Saturday Evening Post, the February 20, 1943, publication, Schaeffer's and Rockwell's paintings actually overlapped. In that issue Schaeffer's dynamic portrayal of a marine in battle appeared on the cover, and Rockwell's first Four Freedoms illustration, Freedom of Speech, appeared inside.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


As with many Americans in the mid 1960s, the Vietnam War was on Norman Rockwell's mind. In 1966, he spent a week at Quantico Marine Base in Virginia taking photos of an experienced marine with a thought of designing an image for a poster that he had been commissioned to do. But in March 1967, he wrote to the Marine Corps declining the assignment saying, "I just can't paint a picture unless I have my heart in it."


About a year later, Rockwell began work on The Right To Know, an editorial illustration for Look Magazine that was published in August of 1968. Just months after the painting appeared, the New York Times reported that General Westmoreland had requested 206,000 additional troops to be sent to Vietnam, a story that the White House had tried to suppress.


After troop escalation was reported, news of the My Lai Massacre broke, fueling growing descent against the war. Rockwell's political statement expressed the right of American citizens to understand their government's actions. Of his work during that period, Rockwell said, "I don't think my style has changed, but America has and hence, so has my subject matter. Lord knows we have problems, plenty of them, but we should also have great confidence in the present generation of young people who are, I think, the very best we have produced, long hair and all. Who is to say that one of these hippies won't be a genius of the future?"


In his illustration, Rockwell presents a group of people of many races, ages, and political persuasions. His format of massing people from all walks of life was also used in two other works in this exhibition, a drawing created in 1953 relating to the United Nations and the peoples of the world, and in his famous Saturday Evening Post cover illustration, Golden Rule, published in 1961, which portrayed the peoples of the world united under the phrase, "Do onto others as you would have them do onto you."


Norman Rockwell who was 74 years old when he painted this work, felt so strongly about this painting that he had included himself in the work on the far right side with his signature pipe in his mouth.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


In this April 29, 1944 cover for The Saturday Evening Post, a man is literally charting war maneuvers as he listens to the radio and holds in his hands several maps that would represent the places where his own sons were stationed. The image is a detailed portrayal of what a parent's own experience might actually be during World War II. We can see in the painting that the man has a flag with three blue stars, noting that each of his sons is engaged in the war. By their photographs, we learn that one is in the Army, one in the Navy, and one in the Air Corps.


If he had actually been listening to the radio at that time, he might come upon the music of the Glen Miller Orchestra, or perhaps even a show called You Can't Do Business With Hitler, which was a radio series written and produced by the Office of War Information. One of thousands of government propaganda plays that were broadcast to support the war effort.


Rockwell would typically use props that he had in his own studio in his paintings. One of the objects that we identify here was Rockwell's own Windsor chair, which the man is seated on. The Windsor chair that you see here is the actual type of chair that Rockwell typically painted on, though he did sometimes paint standing up. It was a chair that he actually took with him from studio to studio.


The image that you see here is actually the second that Rockwell created, on the concept of listening to news of the war. The first was actually an unpublished image that Rockwell worked on in the winter of 1944, and that he and The Saturday Evening Post deemed unreadable. In it, we see a group of men gathered in a diner, and though they all appear to be very attentive, we are not exactly sure what they're listening to. If we look closely, in the upper right hand corner of the painting, there's a glowing light that comes from a playing radio. As an illustrator for a mass published magazine, Rockwell had to tell his story very quickly, and his imagery had to appeal to a very vast audience. In this case, The War News is a beautiful painting, it did not communicate effectively in the way that Rockwell would have hoped, and so he chose to abandon this particular way of telling the story.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


J.C. Leyendecker was a famous American illustrator who was about 20 years older than Norman Rockwell, and when Rockwell was coming to fame, Leyendecker was the most popular illustrator working for the Saturday Evening Post. He lived in New Rochelle, and was a neighbor of Norman Rockwell's, and Rockwell used to talk about the fact that he would actually follow J.C. Leyendecker around to see what he might be looking at in store windows, what he might be thinking about painting for his next Post cover, and the two became very close friends.


One of J.C. Leyendecker's most important accomplishments was his New Year's Baby, which was widely recognized by the American public because the New Year's Baby had actually been published by the Saturday Evening Post from 1907 to 1943, and it basically started the year with a look at what was to come. Leyendecker created a chubby child who was at once innocent, and also wise, and who looked at many national issues from women's suffrage, to prohibition, and certainly the ups and downs of the stock market during the 1930’s.


Here in 1940 the war had not touched the United States. It was raging overseas, and in this picture the New Year's Baby actually wears a gas mask, and holds an umbrella that actually referenced the British prime minister, Neville Chamberlain, whose assurances of peace in our time did not actually come to be. At the time that this was published the Saturday Evening Post had more than three million weekly subscribers, and the publication claimed that every issue was read by approximately 10 people whether the magazine was picked up in each person's household, or in a doctor's office, or another public building. The magazine was so famous that illustrators were even able to interrupt the masthead without any problem in terms of recognition that this was actually the Saturday Evening Post.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


Norman Rockwell's April 1st 1961, Saturday Evening Post cover, Golden Rule actually started out as a drawing. In 1952 at the height of The Cold War and two years into the Korean War, Rockwell conceived an image of The United Nations as the world's hope for the future. His appreciation for the organization and its mission inspired a complex work portraying members of The United Nations' Security Council and 65 people representing the nations of the world. A study for an artwork that he originally intended to complete in painted form, researched and developed to the final drawing stage, the artist's United Nations piece never actually made it to canvas.


Of his work on The United Nations drawing, Rockwell said, "Like everyone else, I'm concerned with the world's situation and like everyone else, I'd like to contribute something to help. The only way I can contribute is through my pictures." A perfectionist in his art, Rockwell went to elaborate lengths to create photographs that portrayed his concepts exactly and to find just the right models for his work. He researched costumes and props and carefully orchestrated each element of the design to be photographed before putting paint to canvas.


Using his photographs as a reference, Rockwell worked with the details of composition and value in this richly detailed black and white drawing, created with Wolff pencil and charcoal. "I take the making of the charcoal layouts very seriously." he said, "Too many novices, I believe, wait until they are on the canvas before trying to solve many of their problems. It is much better to wrestle with them ahead though studies."


Though he was dedicated to the concept of this work, he ultimately found it too complex to create as a final illustration and eventually, about seven years later, explored the possibility of a new approach which he took in Golden Rule.


Rockwell said, "One day I suddenly go the idea that The Golden Rule, do unto others as you would have them do unto you, was the subject I was looking for."


In Golden Rule, Rockwell portrays four sets of mothers and their children. The one in the upper right hand corner actually represents his second wife Mary Barstow Rockwell who had passed away in 1959, two years before this image was published. Here she is united with her first grandchild, Geoffrey Rockwell, who she never actually had the opportunity to meet.


Published almost six decades ago, Norman Rockwell's Golden Rule is one of his most iconic images, portraying our common humanity and reflecting Rockwell's own beliefs, which remain relevant for our times.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


World War II was a fertile era for political cartoonists because passions ran high and the fate of the world was uncertain and at stake. Boris Artzybasheff immigrated to the United States at the age of 20 from Russia, and, at the time, he spoke no English at all and reportedly arrived with just 17 cents in his pocket. He was renowned for his ability as an illustrator to turn machines and inanimate objects into living beings, including the swastikas as seen here.


During World War II, he was an advisor to the Psychological Warfare branch of the Armed Forces, and as a profuse illustrator, even during that time, he did work for major publications, like Life, Fortune, and Time, for which he produced more than 200 covers. Witches' Sabbath, published in Life magazine in 1942, provided a focus on the artist viewpoint, and the image actually portrays Heinrich Himmler, Hermann Goring, and Joseph Goebbels leading members of the Nazi party and purveyors of Nazi propaganda as swastikas.


Artzybasheff and other political artists of the era sought to pull back the curtain on society's ills, an approach that differed from Rockwell's, who tended to provide more aspirational statements.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


Freedom from Fear was painted while Europe was under siege, as revealed in the headline of the newspaper held in the father's hand. Rockwell's intention was to convey the notion that all parents should be able to put their children to bed each night with the assurance of their safety.


Here, a mother and father appear to check on their sleeping children as beautiful touches tell the story of a comfortable, middle-class life. Pictures, clothing, and toys are in the children's bedroom, though the children do share a single bed. A warm light shines from the first floor of their home, implying that this family has attained some fiscal security and the American dream.


Although Rockwell did not view Freedom from Fear as particularly strong, the painting has remained relevant and has struck a chord in response to notable world events. After 9/11, The New York Times published Freedom from Fear on the front page of the paper, substituting Rockwell's heading with language referencing the attacks in New York, Washington, D.C., and Pennsylvania.


In response to riots resulting from racial violence around the country, many artists have reinterpreted Freedom from Fear, as well as Rockwell's iconic Problem We All Live With, to reflect those contemporary events and concerns.
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Narrated by:
Herman Eberhardt
Supervisory Museum Curator - Franklin D. Roosevelt Presidential Library and Museum


The war in Europe was really looming over everyone in early 1941. Germany had swept through most of Western Europe in 1939 and 1940, and Great Britain was standing nearly alone in resisting the Axis onslaught, and the British were hanging on by a thread at this point. In fact, in late 1940, Winston Churchill had written a long letter to FDR in which he said that Britain was nearly bankrupt, and would soon be unable to pay for weapons that it was importing from the United States.


That very dire message had led Roosevelt to dream up the idea of lend-lease, which would allow the US to lend or lease more materials to Great Britain without receiving payment for them. FDR had first publicly discussed the concept or idea of lend-lease at a press conference in mid- December in 1940. Later that month on December 29th, he had delivered a famous fireside chat on the radio in which he asserted that the United States should become, what he called, the arsenal of democracy. The president planned to use his State of the Union address to argue for congressional passage of a lend-lease bill.


On the night of January 1, 1941, Roosevelt summoned three of his advisors—Harry Hopkins, Sam Rosenman, and Robert Sherwood—to his private study in the White House residence. They gathered there around FDR’s desk to work with him on the president’s annual State of the Union address to Congress, which was scheduled to be delivered on January 6th.


At one point during this editing session, FDR said that he had an idea for the closing section of the speech. As Sam Rosenman later recalled, the president leaned far back in his swivel chair, looked up at the ceiling, and then paused for a long while. As the seconds ticked by, the others in the room began to get a bit uncomfortable. Then FDR suddenly leaned forward and slowly and deliberately dictated the Four Freedoms. The president spoke at such a deliberate pace that Rosenman was able to take down everything he said word for word on a sheet in a yellow notepad. That yellow sheet with Rosenman’s longhand notes is now housed at the Roosevelt Library. And interestingly, if you compare the words on that yellow sheet to the final speech as it was delivered by the President to a joint session of Congress, it’s almost exactly as FDR dictated it. There are almost no changes.
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Narrated by:
Mark Shulman
History Faculty - Sarah Lawrence College


Franklin Roosevelt’s package of Four Freedoms was an effort to articulate a vision for a post-war liberal order for security, for peace and prosperity as elements necessary for security just as much as the civil and political rights of freedom of religion and the freedom of expression.


The Four Freedoms were embraced in the Atlantic Charter that Roosevelt worked out with Churchill, and then they went into the DNA of the charter that the United Nations adopted in the summer of 1945. By the summer of 1945, of course, President Roosevelt had passed away. The United States had a new president, one, perhaps, less worldly and in some ways more practical. A savvy politician, President Truman appointed Eleanor Roosevelt, the widow of Franklin, to serve as the chief of the committee that would draft a United Nations Universal Declaration of Human Rights.


Eleanor, Mrs. Roosevelt, working with a committee of distinguished scholars, diplomats, theorists, and statesmen from around the world, drafted this wonderful document, the Universal Declaration of Human Rights, and the United Nations adopted it on December 10th, 1948. The Universal Declaration of Human Rights is the Four Freedoms writ large. The Preamble explicitly recognizes that the Four Freedoms have been adopted, have been recognized as the basis for a just postwar order. And then the Declaration itself proceeds to flesh out, to articulate, each of the elements that would really be necessary for a world in which the Four Freedoms are realized.
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Narrated by:
Paul M. Sparrow
Director - Franklin D. Roosevelt Presidential Library and Museum, Hyde Park, New York


The relationship between President Roosevelt and Prime Minister Winston Churchill is truly extraordinary, and in some ways one of the most important partnerships in 20th century history, maybe in all of American history. Winston Churchill had been involved with the military in Great Britain from World War I as FDR had been. He had very, very specific views on the structure of the world, and at that point he still believed the British empire was the most important political entity in the world, that it was unstoppable and he was not going to allow the British empire to come apart while he was in charge.


So when FDR and Churchill met in the secret rendezvous aboard the two great battleships, it was a coming of giants. At that point, Churchill had been involved in defending the British Isles against the Nazi onslaught for a year, so he was immersed in the war and he knew that his survival depended on bringing America into the war. Roosevelt was still somewhat hesitant. He couldn’t commit publicly, but he also knew that eventually the United States was going to get in here and this is where they first really start drafting the foundation of what became the Four Freedoms.


Churchill of course, came to the United States several times during the war. After Pearl Harbor he comes to the White House and stays there for several weeks living in one of the bedrooms, walking around the house in his bathrobe, drinking furiously, driving everyone crazy, and, you know, keeping FDR up til all hours of the night drinking and smoking, and Eleanor sort of frowning on the whole thing. But that was the way Churchill worked. He sort of encompassed everyone in his whirlwind of insanity, but always ended up with these incredibly brilliant ideas and really had a global vision. So the two of them were just an extraordinary partnership and we’re very lucky that they were the two leaders who ended up facing, you know, the greatest crisis of the 20th century.
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Narrated by:
Ruby Bridges Hall
Civil Rights Activist and Author


That particular day, when I was in the car being escorted to school, when we turned the corner, the streets were lined with protesters, and they were barricaded, because that's how the police had set it up. There were policemen everywhere. Some were on horseback and motorcycles. All of that is what you see during Mardi Gras season to control the crowd and during a parade, so that is actually what I saw and I just assumed that I was in the middle of a parade, which I think about it today, and it was the innocence of a child. I think that protected me, not knowing.


I remember being escorted straight to the principal’s office. I guess I was there, first day, to enroll. And I had already been enrolled, but to be escorted to my classroom, possibly meet my teacher, and to get started with my studies. But I sat in the principal’s office actually all day with my mom that day, and I remember the Federal Marshals standing right outside the doors. You could see them. You know, there were glass windows.


And the next thing that I saw was all of those people that had been standing outside rushing in, shoving and pushing and pointing at me through the windows. Their faces seemed very angry about something. It just seemed really busy and confusing to me. And I saw them pass the window, and when they would come back by the window, there were kids with them. And that happened all day long, back and forth.


Finally the bell rang, it was 3:00, and I remember someone entering the room and saying, “School is dismissed. You can leave.” And I distinctly remember that, because I thought to myself, “Wow, this school is easy,” not knowing that what was really happening is that parents rushed in to the school and went into every classroom and pulled out every child. There were over 500 kids that actually left the building that day, and it was because I was there. So I had no idea that that was taking place right before my eyes.


The very next day, it was the same thing. Federal Marshals knocked on the door, and I got into the car with them. They escorted me back to the school. When we drove up that day, the crowds had almost doubled in size, because at that point, everybody knew.


My mother said that that is the day she was the most nervous, because after she got home and watched television, she saw how the whole world was watching it. She said she would go home and pray until 3:00, hoping that her child would come home.
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Narrated by:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


Al Parker was the inventor of the modern glamour aesthetic during the war period and post-war period, and as an illustrator he was greatly admired by Norman Rockwell and many others for his innovative approach to his work. One of his most well known series was a group of images created for Ladies' Home Journal from 1939 to 1952, called the Mother and Daughter images. Magazines of the early 1940s concentrated on new formats for entertaining their most important reader, the young housewife and mother.


The need was met in editorial art by depicting an idealized world and people, with handsome men and beautiful women. Of the Mother and Daughter covers Ladies' Home Journal published this quote. “These cover girls really started something. Since their introduction in February 1939 American women have been adopting them, copying their clothes, flooding us with letters, making them part of a family.” As seen in this image mother and daughter covers had a clean poster design that emphasized strong, simple forms and recognizable stories.


With so many men away at war mothers and daughters were featured as resilient and self-sufficient, whether they enjoyed the love of sport, as seen here, or whether they modeled best behavior by rationing, sending letters abroad, or taking on dad's chores at home. In 1945 Parker's mother and daughter welcomed their returning soldier, presenting another narrative at the time, at the outset of the Baby Boomer generation. By that December two knitted bootees, one pink and one blue, were already under way, and in 1946, according to Parker's covers, a son was born.





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Narrateur :
Brian Allen
Chercheur en histoire de l’Art Américain


Cette illustration sur la liberté d'expression, est l'une des rares images que Norman Rockwell a faite en s’inspirant d’un fait réel.


En 1940, un lycée d’Arlington a été détruit par un incendie. Suite à ce drame, la ville devait prendre la décision de construire un nouvel établissement, ou d’envoyer les enfants étudier dans les villes voisines. La construction d’un nouveau lycée nécessitait de trouver des financements et de recevoir l’accord de la municipalité.


Dans la plupart des villes du Vermont et de la Nouvelle-Angleterre, chaque électeur a le droit d’assister aux réunions du conseil municipal et de se prononcer par vote sur les choix budgétaires. C’est ce qu’a fait Jim Edgerton, un fermier, qui s’est exprimé contre la construction d’un nouveau lycée. Ce fermier menait une vie laborieuse par en ces temps de crise économique et de chute des prix.


L'instant que Norman Rockwell a choisi d’illustrer est ce moment précis où Edgerton s’est levé pour prendre la parole. Norman Rockwell n’a pas choisi cette scène en soutien aux idées défendues par les fermiers, pas plus que pour illustrer l’intervention d’un citoyen américain exprimant un vote indépendant. En réalité, il cherchait un homme qui ressemblait à Abraham Lincoln et c’est pour cette raison qu’il a pris Carl Hess comme modèle, le gérant d’une station-service de la ville.
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Narrateur :
Brian Allen
Chercheur en histoire de l’Art Américain


Cette illustration sur la liberté d'expression, est l'une des rares images que Norman Rockwell a faite en s’inspirant d’un fait réel.


En 1940, un lycée d’Arlington a été détruit par un incendie. Suite à ce drame, la ville devait prendre la décision de construire un nouvel établissement, ou d’envoyer les enfants étudier dans les villes voisines. La construction d’un nouveau lycée nécessitait de trouver des financements et de recevoir l’accord de la municipalité.


Dans la plupart des villes du Vermont et de la Nouvelle-Angleterre, chaque électeur a le droit d’assister aux réunions du conseil municipal et de se prononcer par vote sur les choix budgétaires. C’est ce qu’a fait Jim Edgerton, un fermier, qui s’est exprimé contre la construction d’un nouveau lycée. Ce fermier menait une vie laborieuse par en ces temps de crise économique et de chute des prix.


L'instant que Norman Rockwell a choisi d’illustrer est ce moment précis où Edgerton s’est levé pour prendre la parole. Norman Rockwell n’a pas choisi cette scène en soutien aux idées défendues par les fermiers, pas plus que pour illustrer l’intervention d’un citoyen américain exprimant un vote indépendant. En réalité, il cherchait un homme qui ressemblait à Abraham Lincoln et c’est pour cette raison qu’il a pris Carl Hess comme modèle, le gérant d’une station-service de la ville.
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Narrateur :
Brian Allen
Chercheur en histoire de l’Art Américain


Cette illustration sur la liberté d'expression, est l'une des rares images que Norman Rockwell a faite en s’inspirant d’un fait réel.


En 1940, un lycée d’Arlington a été détruit par un incendie. Suite à ce drame, la ville devait prendre la décision de construire un nouvel établissement, ou d’envoyer les enfants étudier dans les villes voisines. La construction d’un nouveau lycée nécessitait de trouver des financements et de recevoir l’accord de la municipalité.


Dans la plupart des villes du Vermont et de la Nouvelle-Angleterre, chaque électeur a le droit d’assister aux réunions du conseil municipal et de se prononcer par vote sur les choix budgétaires. C’est ce qu’a fait Jim Edgerton, un fermier, qui s’est exprimé contre la construction d’un nouveau lycée. Ce fermier menait une vie laborieuse par en ces temps de crise économique et de chute des prix.


L'instant que Norman Rockwell a choisi d’illustrer est ce moment précis où Edgerton s’est levé pour prendre la parole. Norman Rockwell n’a pas choisi cette scène en soutien aux idées défendues par les fermiers, pas plus que pour illustrer l’intervention d’un citoyen américain exprimant un vote indépendant. En réalité, il cherchait un homme qui ressemblait à Abraham Lincoln et c’est pour cette raison qu’il a pris Carl Hess comme modèle, le gérant d’une station-service de la ville.
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Narrateur :
Herman Eberhardt
Conservateur en chef du musée - Bibliothèque du Président Franklin D. Roosevelt


Début 1941, la guerre en Europe inquiète le monde entier. L'Allemagne a envahi la majeure partie de l’Europe de l’Ouest en 1939 et 1940, la Grande-Bretagne résiste pratiquement seule aux attaques de l'Axe, et la situation des Britanniques ne tient plus qu’à un fil. Fin 1940, Winston Churchill écrit une longue lettre à Roosevelt lui expliquant que la Grande-Bretagne est au bord de la faillite et se trouvera bientôt dans l’incapacité de payer les armes qu'elle importe des États-Unis.


C’est ce message de détresse qui amène Roosevelt à envisager l’idée du prêt-bail qui permettra aux États-Unis de prêter ou de louer plus de matériels à la Grande-Bretagne sans recevoir de paiement. Roosevelt évoque pour la première fois publiquement le concept ou l'idée du prêt-bail lors d'une conférence de presse à la mi-décembre 1940. Quelques jours plus tard, le 29 décembre, au cours de la célèbre émission de radio (« fireside chat »), il annonce que les États-Unis seront l'arsenal de la démocratie. Le président s’appuiera sur son discours sur l'état de l'Union pour demander au Congrès l'adoption du projet de loi du prêt-bail.


Dans la nuit du 1er janvier 1941, Roosevelt convoque trois de ses conseillers, Harry Hopkins, Sam Rosenman et Robert Sherwood, dans son bureau privé de la Maison blanche. Ils sont tous réunis autour de son bureau pour travailler sur le discours annuel du président sur l'état de l'Union au Congrès, prévu le 6 janvier.


Lors de la séance de travail, Roosevelt dit avoir une idée pour conclure le discours. Comme le racontera plus tard Sam Rosenman, le président s’adosse à son fauteuil, lève les yeux au plafond et marque une longue pause. Après quelques secondes, les autres protagonistes commencent à se sentir mal à l'aise. Puis Roosevelt se redresse et commence calmement à énoncer les Quatre Libertés. Le président parlant posément et distinctement, Rosenman parvient à noter mot pour mot ses paroles. La feuille jaune sur laquelle Rosenman a pris ces notes est aujourd’hui conservée à la bibliothèque Roosevelt. En comparant les mots inscrits sur cette feuille jaune au discours final prononcé par le président lors d’une séance conjointe du Congrès, il est intéressant d’observer que le discours est quasiment identique au texte dicté par Roosevelt. Il n'y a pratiquement pas de changement.


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Narrateur :
Irvin Ungar
Fondateur et PDG d’Historicana / Commissaire de La société Arthur Szyc


Arthur Szyk est un artiste juif polonais né à Łódź en 1894, la même année que Norman Rockwell. Arthur Szyk a immigré aux Etats-Unis en 1940 où il est décédé en 1951.


Arrivé sur le sol américain, il a décidé de devenir un artiste engagé.


Arthur Szyk est alors très célèbre, même si beaucoup l’ont oublié aujourd’hui. A titre de comparaison, au début des années quarante, Norman Rockwell illustrait les couvertures du Saturday Evening Post qui tirait à environ 3 millions d’exemplaires et Arthur Szyk illustrait celles de la revue Collier qui tirait à 2 millions et demi d’exemplaires.


Parlons d'Arthur Szyk et des Quatre Libertés. Arthur Szyk a créé une série intitulée Washington and his Times. Ce sont 38 tableaux ayant pour sujet George Washington et la révolution américaine. L’artiste a réalisé ces œuvres en 1930 et les a publiées en portfolio en 1932. En 1935, elles ont été acquises par le président de la République de Pologne, Ignacy Mościcki qui les a offertes à Franklin Roosevelt afin de favoriser le rapprochement de la Pologne et des États-Unis au moment où grandissait la menace de guerre.


Franklin Roosevelt a conservé ces œuvres, et lorsqu'il a prononcé son discours des Quatre Libertés en janvier 1941, ces 38 tableaux étaient accrochés à la Maison blanche.


En 1942, Arthur Szyk a commencé à illustrer les Quatre Libertés et a choisi comme symbole un chevalier médiéval. Ce personnage emblématique du combat à mener pour la défense de toutes les libertés, est équipé d’une lance, d’une dague et d’une épée. Reproduites en deux formats, ces œuvres ont été distribuées sous forme de timbres-réclames largement distribués comme les timbres de Pâques, et sous forme de grandes cartes postales.
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Narrateur :
James J. Kimble, Ph.D.
Maître de conférences en Communication - Faculté de communication et des arts Université Seton Hall


Beaucoup de gens pensent que cette photo de presse a inspiré l'affiche « We Can do it » (Nous pouvons le faire) de J. Howard Miller, connue aussi sous le titre « Rosie la riveteuse ».


L’histoire de cette photo commence dans les années 1980 quand Geraldine Hoff Doyle, une habitante du Michigan, a cru qu'une image d'elle travaillant dans une usine en 1942 avait été publiée. En réalité, cette photo était celle d'une Californienne, Naomi Parker, une des premières femmes à travailler à la base aéronavale d'Alameda dans la baie de San Francisco. Naomi Parker était riveteuse, soudeuse et machiniste, et travaillait à la réparation des avions de guerre de la Navy.


En 1942, la photo est parue dans de nombreux journaux américains, suscitant de nombreux courriers d’admirateurs et même une demande en mariage. Après la guerre, cette histoire qui a bien failli tomber dans l’oubli a refait surface lorsque Geraldine Doyle, en la voyant dans une revue des années 1980, a cru qu’il s’agissait d’elle. Bien qu’il ne soit pas prouvé qu’il y ait un lien entre la photo et l’affiche - J. Howard Miller n’en ayant pas laissé de traces - il y a de fortes chances pour que le visage de Naomi Parker ait inspiré celui de la femme de l'affiche. La photo est aussi parue dans un journal de Pittsburgh, là où vivait J. Miller dans les années 1940.
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Narrateur :
James J. Kimble, Ph.D.
Maître de conférences en Communication - Faculté de communication et des arts
Université Seton Hall


Sur cette affiche de la période de guerre, communément appelée aujourd'hui « Rosie la riveteuse », l'artiste J. Howard Miller a représenté une femme déterminée montrant ses muscles et exprimant avec beaucoup d’assurance sa capacité à accomplir des tâches manuelles. Contrairement à ce que l’on pourrait penser aujourd'hui, cette affiche était relativement peu connue pendant la Seconde Guerre mondiale. En effet, elle n’avait été présentée que pendant deux semaines (en février 1943) dans les usines de munitions de Westinghouse. À l’issue de ces deux semaines, les affiches furent recyclées en raison de la pénurie de papier. L'affiche, conçue pour les travailleurs – hommes et femmes – de Westinghouse, symbolisait un geste de solidarité de la main-d'œuvre de la corporation, affirmant que chaque travailleur de Westinghouse était prêt à accomplir sa mission vitale de guerre. Même s’il ne reste plus aujourd’hui que deux originaux de l’affiche, cette illustration de Miller est mondialement connue depuis qu’elle est réapparue dans les années 1980 à l’occasion des commémorations de la Seconde Guerre mondiale. Elle a aussi été constamment parodiée, confirmant son statut d’image parmi les plus connues de tous les temps.
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Narrateur :
Mark Shulman
Faculté d’Histoire – Université Sarah Lawrence


À travers son programme des Quatre Libertés, Franklin Roosevelt s’efforce d’apporter une vision d’un ordre libéral d’après-guerre, avec comme éléments fondateurs la sécurité, la paix et la prospérité, ainsi que les droits civiques et politiques de la liberté de religion et la liberté d’expression.


Les Quatre Libertés sont intégrées dans la Charte de l’Atlantique élaborée par Roosevelt et Churchill. Elles sont ensuite inscrites dans les principes fondateurs de la charte adoptée par les Nations Unies à l’été 1945, soit après le décès du Président Roosevelt. Les États-Unis ont un nouveau président, peut-être moins expérimenté, mais d’une certaine manière plus pragmatique. En homme politique avisé, le Président Truman nomme Eleanor Roosevelt, la veuve de son prédécesseur, à la tête du comité chargé de la rédaction d’un projet de Déclaration universelle des Droits de l’Homme des Nations Unies.


Eleanor Roosevelt, entourée d’un comité d’éminents spécialistes, diplomates, théoriciens et hommes d’État du monde entier, propose ce magnifique texte de la Déclaration universelle des Droits de l’Homme, adoptée par les Nations Unies le 10 décembre 1948. La Déclaration universelle des Droits de l’Homme est une version enrichie des Quatre Libertés. Le préambule stipule explicitement que les Quatre Libertés sont adoptées et reconnues comme le fondement d’un ordre mondial juste, en cette période d’après-guerre. De même, la Déclaration s’attache à énoncer précisément et à développer chacune des valeurs fondatrices d’un monde reconnaissant les Quatre Libertés.
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Narrateur :
Paul M. Sparrow
Directeur de la bibliothèque et du musée du président Franklin D. Roosevelt, Hyde Park, New York


Les relations entre le président Roosevelt et le premier ministre Winston Churchill étaient confiantes. Sans doute, les meilleures qui aient existé entre deux hommes d’Etat au 20ème siècle, et peut-être même dans toute l'histoire américaine. Winston Churchill avait participé à la Première Guerre mondiale avec l’armée britannique, comme Franklin Roosevelt l’avait fait avec les forces américaines. Churchill avait des idées très précises sur l’organisation du monde, et pour lui, l'empire britannique demeurerait invincible tant qu’il serait au pouvoir.


Aussi, lorsque Franklin Roosevelt et Winston Churchill se rencontrèrent secrètement à bord d’un navire, les médias ont parlé de la rencontre de deux géants. À cette époque, le Premier ministre britannique venait de défendre avec détermination l’Angleterre contre le projet d’invasion d’Hitler et il attendait avec impatience l’entrée en guerre des Etats-Unis. Le président Roosevelt, qui ne pouvait s'engager publiquement, savait cependant que la participation effective des Etats-Unis au conflit se ferait tôt ou tard. C’est lors de cette rencontre que les deux hommes d’Etat ont commencé à rédiger le projet de texte de ce qui allait devenir les Quatre Libertés.


Winston Churchill est venu plusieurs fois aux États-Unis pendant la guerre. Après Pearl Harbor, il a séjourné plusieurs semaines à la Maison Blanche où il discutait des nuits entières avec Franklin Roosevelt, imaginant le monde de l’après-guerre.
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Narrateur :
Setsuko Winchester
Artiste, photographe et journaliste


Forte du succès remporté par ses photographies d’ouvriers agricoles pour la Farm Security Administration, la grande photographe Dorothea Lange est engagée pour documenter le processus de déplacement (délocalisation?) et d'incarcération de citoyens et de non-citoyens d'origine japonaise pour la War Relocation Authority (autorité de déplacement de la population en temps de guerre?) au mois de mars 1942. Dès le début, son style de photojournalisme et sa sympathie pour la situation de ces Américains s'opposent aux exigences des responsables de l'armée. Les photos de mitrailleuses dans les tours sont taboues. Les photos de barbelés, de gardiens armés et de tout signe de résistance sont également interdites. Selon ses propres mots, elle dit : « Il y avait un homme qui me suivait tout le temps ». Son travail est retardé par des responsables qui lui réclament ses papiers d’identité, elle doit justifier de tout négatif utilisé, de tout argent dépensé. On lui interdit de parler aux personnes dans les camps. Tous les tirages sont soumis à une vérification ; ceux considérés comme non appropriés sont marqués de la mention « saisi » et les négatifs resteront interdits pendant toute la durée de la guerre.


Dorothea Lange prend cette photo de Wanto Co, une épicerie à Oakland, Californie, le 13 mars 1942, presque un mois après la signature par Roosevelt du décret exécutif 9066 obligeant le propriétaire et sa famille à quitter les lieux. Le propriétaire, Tatsuro Masuda, né à Oakland, vient de se marier. Il dit à Dorothea Lange « J'ai payé pour ça après Pearl Harbor ». Lui et sa femme seront envoyés au camp de concentration de Gila River en Arizona. Ils ne reviendront jamais au magasin.


Pendant les trois mois passés avec la War Relocation Authority, travaillant pratiquement sept jours sur sept, Dorothea Lange parvient à prendre environ 850 clichés. Bien que plusieurs de ses autres photos réalisées pour le gouvernement figurent parmi les plus emblématiques du 20e siècle, la plupart de ses photos resteront inconnues jusqu'à la publication d’un livre sur son travail en 2006.
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Narratrice :
Allida M. Black
Professeur de recherche en histoire et en affaires internationales - Université George Washington


Lorsqu’on évoque Norman Rockwell, tout le monde pense aux Quatre Libertés et aux quatre célèbres tableaux. On pense également au discours historique de Franklin D. Roosevelt.


Eleanor comprend, comme Roosevelt, mais d'une manière différente, qu’il ne peut y avoir de liberté sans émancipation. Avant même que le concept des quatre libertés soit exprimé, elle parle de vivre sans souffrir de la faim. Elle parle de vivre sans avoir peur. Elle parle de la liberté de rêver. De nos jours, les termes ont changé, mais ce sont les mêmes principes, et c'est Eleanor qui, au risque de sa sécurité personnelle aux États-Unis, défendra ces valeurs.


Avant d’intervenir à l'ONU, elle a l’occasion de voir de nombreux blessés partout en Asie, en Europe et aux États-Unis. Les Nations unies l’envoient dans les camps d’extermination, dans les camps de déplacement? Grâce à son engagement, elle contribue à apporter une nouvelle vision du monde en déclarant que le sort de l’humanité ne devra plus être déterminé par la haine, la supériorité raciale, le fanatisme religieux et la discrimination sexuelle. Il nous appartiendra d’avoir une nouvelle vision.


Eleanor présente donc en salle de négociation les Quatre Libertés et le sens qu’elle en donne. Imaginez-vous, autour d'une sorte de table de salle à manger, 18 nations sont représentées. Ces personnes prient des dieux différents, certaines ne croient même pas en Dieu. Certaines ne croient pas à la propriété privée ou à l’utilité de l'argent. Ces personnes n'ont pas le même concept de la famille. Elles n'ont pas le même concept de la citoyenneté. La seule chose que ces personnes ont en commun est d’affirmer « Nous battrons les Allemands ». Eleanor prend l’engagement de défendre la liberté de vivre sans crainte, la liberté d'expression, la liberté de culte, la liberté de subvenir à ses besoins, des principes propres à rassembler tout le monde.


Le plus remarquable dans son engagement, c’est qu’à la fois il aboutira à la déclaration universelle des Droits de l'Homme, et que cette déclaration soit, je crois, constituée de 30 déclinaisons des Quatre Libertés. Je vous invite à examiner les articles de la déclaration. Vous retrouverez ces mêmes principes dans l’esprit des peintures de Rockwell, aussi bien dans « Les Quatre Libertés » que dans d’autres tableaux tels que « The Golden Rule » (la règle d'or) ou « Ruby Bridges ».
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Narratrice :
Daisy Rockwell
Artiste et auteur


Je pense que cette œuvre est intéressante au sens où nous avons tous en nous la capacité d’apporter notre contribution au monde qui nous entoure, si nous voulons bien ouvrir les yeux, et je pense que c’est ce qu’a fait Norman Rockwell. Les passions autour du mouvement pour les droits civiques l'ont inspiré. En fait, je ne l’ai jamais vraiment interrogé sur ces sujets, mais on peut se rendre compte de cette nouvelle orientation à travers l’évolution de sa peinture. J’ai l’impression que cette période a changé beaucoup de monde, et Norman Rockwell n'était pas insensible. Je crois que cette histoire n'est pas très connue, je suis donc très heureuse que ce tableau soit présenté dans l’exposition des Quatre Libertés. Parce qu’il reflète l’évolution des années quarante aux années soixante, que Norman Rockwell a vécue, et on ne peut pas voir une période et sans voir l'autre.


Je pense vraiment que l'art peut permettre aux gens de s’engager, parce que quand nous sommes confrontés à de graves problèmes dans notre société, bien souvent, nous ne savons pas quoi penser. La plupart des gens ont des idées bien arrêtées, et je pense que c’est encore pire aujourd'hui. Les gens sont enfermés dans des cases et n'arrivent pas à en sortir. Par exemple, il y a le vrai et le faux, le noir et le blanc… Par son travail, l'artiste peut jouer un rôle d’agitateur. C'est comme si l’artiste cassait une assiette en porcelaine en mille morceaux, puis la recollait sous une autre forme pour la montrer différemment.
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Narratrice :
Stephanie Haboush Plunkett
Directrice adjointe / Conservatrice en Chef - Musée Norman Rockwell


La couverture du Saturday Evening Post du 1er avril 1961, La Règle d’Or, était au départ un dessin. En 1952, à l’apogée de la Guerre froide et deux ans après le début de la Guerre de Corée, Rockwell représenta Les Nations Unies comme un espoir pour le futur. Son respect pour cette institution et sa mission lui inspira un travail complexe mettant en scène les membres du Conseil de sécurité des Nations unies, ainsi que 65 personnes représentant les différentes nations du monde. Cette étude prévue à l’origine pour devenir un tableau nommé Les Nations Unies n’aboutira finalement jamais à une peinture sur toile.


À propos de son travail sur Les Nations Unies, Rockwell disait “comme tout le monde, je me soucie de l’état du monde, et comme tout le monde j’aimerais apporter ma contribution. Et ma seule façon de le faire, c’est à travers ma peinture.”


Très perfectionniste, Rockwell consacra beaucoup de temps à rechercher les modèles adéquats et à les photographier afin de représenter avec précision ce qu’il avait en tête. Il chercha les costumes et les accessoires adaptés et disposa avec précision chaque élément de sa composition pour les photographier avant de commencer à peindre sa toile.


En prenant ces photos comme modèles, Rockwell composa un dessin noir et blanc extrêmement détaillé, réalisé au fusain et au crayon. “J’attache beaucoup d’importance à l’élaboration des esquisses au fusain.” disait-il, “Je pense que beaucoup trop de débutants attendent d’être devant leur toile pour se demander comment aborder certaines difficultés. À mon sens il est préférable de s’y attaquer en faisant d’abord des esquisses.”.


Bien que très investi dans ce travail, il finit par le trouver trop complexe à réaliser. Environ sept ans plus tard, il prit donc la décision de tenter une nouvelle approche avec La Règle d’Or.


Rockwell disait “Un jour, l’idée m’est soudain venue que La Règle d’Or, consistant à dire “Fais aux autres ce que tu aimerais qu’ils te fassent”, était le sujet que je cherchais.”


Dans le tableau La Règle d’Or, Rockwell représente sept mères accompagnées de leurs enfants. Celle qui se trouve sur la droite est d’ailleurs sa seconde épouse, Mary Barstow Rockwell, décédée en 1959, deux ans avant que l’œuvre soit publiée. Elle est ici représentée avec son premier petit-fils, Geoffrey Rockwell, qu’elle n’a en réalité jamais connu.


Publié il y a environ 60 ans, La Règle d’Or est l’un des tableaux les plus emblématiques de Norman Rockwell, représentant notre humanité et reflétant les propres opinions de Rockwell, des opinions toujours pertinentes à notre époque.
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Narratrice :
Stephanie Haboush Plunkett
Directrice adjointe / Conservatrice en chef – Musée Norman Rockwell


Comme de nombreux Américains au milieu des années 60, Norman Rockwell est préoccupé par la Guerre du Vietnam. En 1966, il passe une semaine sur la base des Marines située à Quantico, dans l’État de Virginie, afin de prendre des photos pour un projet d’affiche commandé par l’armée américaine. Mais en mars 1967, il écrit une lettre à la US Marine Corps pour décliner la commande, disant qu’il ne peut pas peindre un tableau si le cœur n’y est pas.


Environ un an plus tard, Rockwell commence à travailler sur Le Droit de savoir, une illustration commandée par Look Magazine, qui sera publiée en août 1968. Quelques mois après la publication du dessin, le New York Times révèle que le général Westmoreland, commandant des opérations militaires américaines au Vietnam, réclame l’envoi de 206 000 hommes supplémentaires sur le front, une affaire que la Maison Blanche tente d’étouffer.


Après cette annonce, c’est le massacre de My Laï qui fait la une des journaux, alimentant une hostilité déjà grandissante envers la guerre du Vietnam. Le positionnement de Rockwell exprime donc le droit des citoyens américains de comprendre l’action de leur gouvernement. Lorsqu’il évoque son travail de l’époque, Rockwell déclare “je ne pense pas que mon style ait changé, mais les Américains oui, et par conséquent mes sujets aussi. Dieu sait que nous avons de nombreux problèmes, mais nous devons aussi faire confiance à cette génération de jeunes gens qui sont, à mon sens, la meilleure génération que nous ayons engendrée, avec ses cheveux longs et le reste. Qui peut dire qu’un de ces hippies ne sera pas l’un des génies de demain ?”


Dans cette illustration, Rockwell représente un groupe de personnes de multiples origines ethniques, âges et tendances politiques. Cette idée de rassembler des gens de tous horizons a déjà été exprimée dans deux autres œuvres présentées dans cette exposition : un dessin de 1953 représentant les Nations unies, et sa célèbre couverture du Saturday Evening Post de 1961 intitulée La Règle d’or, qui représente différents peuples du monde unis sous la devise “Fais aux autres ce que tu voudrais qu’ils te fassent”.


Norman Rockwell a 74 ans lorsqu’il réalise Le Droit de savoir. Il attache tant d’importance à son sujet qu’il se représente à la droite du tableau, fumant sa célèbre pipe.
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Narratrice:
Alice Carter
Auteur, illustratrice, et présidente du Conseil du musée Norman Rockwell


En presque 60 ans de carrière, les caricatures de Jerry Aloysius Doyle sont parues dans les journaux les plus importants de Philadelphie et dans une centaine de magazines. Fervent défenseur de la politique intérieure et extérieure du président Roosevelt, Jerry Aloysius Doyle n'a jamais publié de caricature du président préférant donner de lui une image héroïque.


Sur l'image intitulée « Roosevelt et les pensions des personnes âgées », Jerry Aloysius Doyle décrit le président comme le sauveur d'un couple âgé qui, apparemment peu fortuné, tente de sauver les apparences. Un feu brûle dans la cheminée et on aperçoit une rose dans un vase, mais on constate aussi que la fenêtre est fissurée et la nappe rapiécée. Sur le sol, deux journaux décrivent à quoi ressemblera leur avenir. Le premier titre « Roosevelt retardera les pensions des personnes âgées » et l'autre « Roosevelt favorise les pensions des personnes âgées ». Sur la cheminée, un portrait de Franklin Roosevelt porte la mention « Notre président ».
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Norman Rockwell (1894 - 1978)
My Studio Burns, 1943
Illustration for The Saturday Evening Post, July 17, 1943
Digital reproduction
Norman Rockwell Museum Collection
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


In the middle of the night on May 15, 1943, Rockwell’s son Tom awoke to see his father’s Arlington, Vermont workspace in flames. Because the phone was wired through the studio, the line was already dead and Rockwell couldn’t call for help. He and his family could only stand and watch while flames consumed the building and most of the adjacent barn.


Lost were a dozen of the artist’s paintings, a collection of costumes, props, artist materials, reference files, prints, books, published work, and favorite pipes—but fortunately, his Four Freedoms paintings had been delivered to The Saturday Evening Post months prior to this disastrous event.








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Norman Rockwell (1894 - 1978)
Norman Rockwell Visits a Ration Board, 1944
Illustration for The Saturday Evening Post, July 15, 1944,
pp. 22-23
Tearsheet
Norman Rockwell Museum Collection
© 1944 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.





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Norman Rockwell (1894 - 1978)
Norman Rockwell Visits a Ration Board, 1944
Study illustration for The Saturday Evening Post, July 15, 1944
Oil on board
Private Collection
© 1944 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


In the spring of 1942, volunteer ration boards were formed throughout the country to evaluate the claims of citizens who felt that their rations were insufficient. Rockwell used the board members and citizens of Manchester, Vermont, as models to document this wartime situation. This study reveals the artist’s attention to the details of expression, gesture, color, and setting in his composition, though areas of the painting are finished to varying degrees.




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Norman Rockwell (1894 - 1978)
So You Want to See the President, 1943
Illustration for The Saturday Evening Post,
November 13, 1943, pp. 10-11
Tearsheet
Norman Rockwell Museum Collection


Norman Rockwell long had ties to our nation’s presidents, painting portraits of many American leaders (Presidents Dwight D. Eisenhower, John F. Kennedy, Lyndon B. Johnson, Richard Nixon, and Ronald Reagan), and those before his time (President Abraham Lincoln, whom he greatly admired). Though he never painted Franklin D. Roosevelt, this series of images capture Rockwell’s impression of the array of people hoping for an audience with him on a single day.






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Norman Rockwell (1894 - 1978)
Waiting for Their Turn to be Heard, 1943
Illustration for Norman Rockwell Visits a Ration Board,
The Saturday Evening Post, July 15, 1944, p. 22
Pencil on paper
Norman Rockwell Museum Collection,
Gift of Harry F. Forrest, NRM.2017.11
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.






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Norman Rockwell (1894 - 1978)
Willie Gillis in Convoy, c. 1941
Unpublished cover illustration for The Saturday Evening Post
Oil on canvas
Collection of the Lucas Museum of Narrative Art
© 1941 Norman Rockwell Family Agency
All rights reserved.


In this unpublished work featuring Willie Gillis being transported by convoy truck, Rockwell brought the war more explicitly into view. Realistically rather than heroically portrayed, soldiers nap, smoke, and eat during transport, while wide-eyed Gillis, wearing a rabbit’s foot around his neck, stares dreamily into the distance. This youthful character’s innocence may have contrasted too greatly with the older, more experienced troops, who understood what lay ahead.




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Norman Rockwell (1894 - 1978)
Willie Gillis: Food Package, 1941
Cover illustration for The Saturday Evening Post, October 4, 1941
Oil on canvas
Collection of Lawrence Matteson
© 1941 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Distant from the activities of the battles raging in Europe and Asia, Rockwell’s unassuming fictional private, Willie Gillis, told the story of one man’s army in a series of popular Saturday Evening Post covers. Engaged in mundane but reassuring tasks like receiving a care package from home, peeling potatoes, or reading his hometown news, Rockwell’s character was modeled by Robert Otis “Bob” Buck, who he met at an Arlington, Vermont, square dance. The first cover appeared on October 4, 1941, and the last after the war, when Willie Gillis enrolled in college on the GI Bill.


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Norman Rockwell (1894 - 1978)
Sketches for Norman Rockwell Visits a Ration Board, 1943
Pencil on paper
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
Gift of Robert & Magdalene Livesey/ Famous Artist School Collection
© 1944 Norman Rockwell Family Agency. All Rights Reserved.



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Norman Rockwell (1894-1978)
After the Prom, 1957.
Illustration for The Saturday Evening Post, 1957.
© 1957 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
Freedom From Want, 1943.
Illustration for The Saturday Evening Post, March, 6, 1943.
Norman Rockwell Museum Collection.
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
Freedom of Speech, 1943.
Illustration for The Saturday Evening Post, February 20, 1943.
Norman Rockwell Museum Collection.
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
Freedom of Worship, 1943.
Illustration for The Saturday Evening Post, February 27, 1943.
Norman Rockwell Museum Collection.
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
Girl at Mirror, 1954 .
Illustration for The Saturday Evening Post, March 6, 1954.
Norman Rockwell Museum Collection
Norman Rockwell Art Collection Trust
© 1954 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
Home on Leave, 1945.
Illustration for The Saturday Evening Post, September 15, 1945.
© 1945 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
New Kids in the Neighborhood, 1967.
Story illustration for Look, May 16, 1967
Norman Rockwell Museum Collection,
Norman Rockwell Museum Art Collection Trust,
© 1967 Norman Rockwell Family Agency. All rights reserved.
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Norman Rockwell (1894-1978)
Saying Grace, 1951.
Cover illustration for The Saturday Evening Post, published
November 24, 1951.
© 1951 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
The Problem We All Live With, 1963.
Story illustration for Look, January 14, 1964
From the permanent collection of Norman Rockwell Museum
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Norman Rockwell (1894-1978)
The Runaway, 1958 .
Illustration for The Saturday Evening Post, September 20, 1958.
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust
© 1958 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
When I Am an Astronaut (Little Boy Astronaut Watching TV Presentation of a Blastoff), 1969.
Charcoal on paper
© 1969 Norman Rockwell Family Agency. All rights reserved.
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Norman Rockwell (1894-1978)
Willie Gillis in College, 1956.
Illustration for The Saturday Evening Post, 1946.
© 1946 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894–1978)
Process Photos for JFK’s Legacy: The Peace Corps, 1966
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust
© 1966 Norman Rockwell Family Agency. All rights reserved.


Study for JFK’s Legacy: The Peace Corps, 1966
Pencil and Crayon on Board


Study for JFK’s Legacy: The Peace Corps, 1966
Oil on celluloid


Study for JFK’s Legacy: The Peace Corps, 1966
Watercolor on pastel


Study for JFK’s Legacy: The Peace Corps, 1966
Oil on board


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Norman Rockwell (1894–1978)
Armchair General, c. 1944
Cover illustration for The Saturday Evening Post, April 29, 1944
Norman Rockwell Museum Collection
© 1944 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.


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Norman Rockwell (1894–1978)
Back to Civvies, 1945
Cover illustration for The Saturday Evening Post,
December 15, 1945
Tear Sheet
Norman Rockwell Museum Collection
© 1945 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.


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Norman Rockwell (1894–1978)
Back to Civvies, 1945
Cover illustration for The Saturday Evening Post,
December 15, 1945
Oil on canvas Anonymous
© 1945 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


By the end of World War II, many lives had been changed, but Rockwell’s artworks did not betray the emotional struggles of servicemen and women or their families. This portrayal of Lieutenant A. H. Beckloft, a Flying Fortress pilot, focuses on his joyous return to the childhood bedroom that remains unchanged and the clothing that he has now outgrown. Youthful dreams of flying are reflected in the poster of a Boeing B-17 on the wall and the model Martin B-26 Marauder that sits on top of the cluttered dresser.



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Norman Rockwell (1894–1978)
Blood Brothers, 1968
Unpublished study illustration for Look
Oil on board
Norman Rockwell Museum Collection, NRACT.1976.16
© 1968 Norman Rockwell Family Agency. All rights reserved


Blood Brothers was conceived in the wake of the assassination of Martin Luther King Jr., and the urban unrest it provoked. It began as a picture of two men, one black and one white, lying dead in the ghetto after a race riot. At the request of Look editors, Rockwell transformed the figures to soldiers in Vietnam, and the meaning of the painting to the equalizing effects of war.
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Norman Rockwell (1894–1978)
Blood Brothers, 1968
Unpublished study illustration for Look
Oil on board
Norman Rockwell Museum Collection, NRACT.1976.17
© 1968 Norman Rockwell Family Agency. All rights reserved


The composition for Blood Brothers borrows from The Dead Matador by the 19th-century French artist Edouard Manet. Rockwell referenced an image of archetypal status to underscore both the drama of his subject and the timelessness of his statement. The African-American soldier lies in the same position as the dead matador. His outstretched arm leads us to his helmet, which contains mementos of human experience—a playing card (the ace of hearts) and a photo of a loved one. Look magazine chose not to publish Blood Brothers. A year later, Rockwell divulged to the painting’s new owner, “They got scared.”



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Norman Rockwell (1894–1978)
Brass Merchant, 1934
Cover illustration for The Saturday Evening Post, May 19, 1934
Oil on canvas
Norman Rockwell Museum Collection, NRM.1978.2
© 1934 SEPS - Curtis Licensing


In Brass Merchant, Rockwell’s shopper, though elegantly dressed, is driving a hard bargain for a coffee pot—perhaps an appropriate theme during the Depression. Surrounding the merchant’s feet are objects typical of Rockwell’s studio inventory—antiques collected to decorate his studio according to the fashion of the day or for use as needed in a painting. As he sat at his drawing table sketching ideas, perhaps Rockwell’s eye fell upon his own samovar, suggesting the idea for this cover. The painting’s composition leaves us to guess what the outcome of the bargaining session will be.
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Norman Rockwell (1894–1978)
Brass Merchant, 1934
Tear Sheet
The Saturday Evening Post, May 19, 1934
Norman Rockwell Museum Collection
© 1934 SEPS - Curtis Licensing


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Norman Rockwell (1894–1978)
Christmas Eve in Bethlehem, 1970
Illustration for “Uneasy Christmas in the Birthplace of Christ,” Look, December 29, 1970
Oil on canvas
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, NRACT.1973.75
© 1970 SEPS - Norman Rockwell Family Agency, All rights reserved.


On December 9, 1969, Rockwell decided to go to Bethlehem to paint a Christmas scene, and two weeks later, he flew to Jerusalem with photographer Brad Herzog. On Christmas Eve, from the roof of a Bethlehem hotel, he gathered impressions of the procession at the Basilica of the Nativity, which inspired him, and directed photography for his painting. In this work, he presents a person of Moslem faith alongside Israeli soldiers and a family of tourists, all observing the spectacle.





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Norman Rockwell (1894–1978)
Deadline (Artist Facing Blank Canvas), 1938
Cover illustration for The Saturday Evening Post, October 8, 1938
Oil on canvas
Norman Rockwell Museum Collection, NRACT.1973.4


“Meeting deadlines and thinking up ideas are the scourges of an illustrator’s life,” Rockwell said of this painting. “This is not a caricature of myself; I really look like this.” He had never used an artist facing a deadline as a cover concept before, but in 1938, after returning from an extended family vacation in England, it was a theme that made sense. Though he often posed for his own paintings when “extras” were needed, Rockwell did few paintings in which he was the sole character. Artist Facing Blank Canvas is one.



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Norman Rockwell (1894–1978)
Deadline (Artist Facing Blank Canvas), 1938
Tear Sheet
The Saturday Evening Post, October 8, 1938
Norman Rockwell Museum Collection
© 1938 SEPS - Curtis Licensing


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Norman Rockwell (1894–1978)
Events, 1965
Handwritten pencil notes on paper
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Victims (Page 2), 1965
Handwritten pencil notes on paper
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, Studio Collection
© 1965 Norman Rockwell Family Agency. All rights reserved


Before he began work on his painting, Rockwell compiled notes on the physical traits and clothing of the three young men, the circumstances of their abduction, and the brutal details of their murders. Additional details about the day and the place the three men were murdered were recorded.



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Norman Rockwell (1894–1978)
Family Home from Vacation, 1930
Tear Sheet
The Saturday Evening Post, September 13, 1930
Norman Rockwell Museum Collection
© 1930 SEPS - Curtis Licensing


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Norman Rockwell (1894–1978)
Freedom from Fear, 1942
Illustration for The Saturday Evening Post, March 13, 1943
Oil on canvas
Norman Rockwell Musaeum Collection, NRACT.1973.020
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Freedom from Fear was painted while Europe was under siege, and were it not for the headline on the father’s newspaper, this work might be read as a peaceful bedroom scene. The father of three sons, Rockwell intended to convey the notion that all parents should be able to put their children to bed each night with the assurance of their safety. Here, a mother, father, and sleeping siblings tell the story of a comfortable life. Though the children share a bed, pictures, clothing, and toys are present, and a warm light shines from the first floor of their home, implying that this family has attained fiscal security and the American dream.
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Norman Rockwell (1894–1978)
Freedom from Want, 1942
Illustration for The Saturday Evening Post, March 6, 1943
Oil on canvas
Norman Rockwell Musaeum Collection, NRACT.1973.022
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Freedom from Want was inspired by, and has since become a model for, the all-American Thanksgiving. The most appropriated of Rockwell’s artworks, its composition is familiar to many, and has made its way into the public consciousness. A constructed reality, this convincing scenario features the artist’s neighbors and family members, who posed in his studio at individual sessions. Featured is Mrs. Thadeus Wheaton, the family’s cook, who holds the large turkey, as well as the artist’s wife Mary Barstow Rockwell (second from bottom left) and Nancy Hill Rockwell, his mother (second from bottom right). The work reflects Rockwell’s mastery of visual texture in art, from the gleam of white china to the transparency of water in glasses. Despite Rockwell’s artistic optimism, he had misgivings about depicting the bounty of the holiday when much of Europe was “starving, overrun [and] displaced” during World War II. In letters to Rockwell, the public commented upon the abundance of food, but also the importance of community and conviviality as a point of emphasis.
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Norman Rockwell (1894–1978)
Freedom from Want, 1943
The Saturday Evening Post, March 13, 1943,
pp. 12-13
Magazine
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Poet and novelist Stephen Vincent Benét was best-known for his 1941 short story, The Devil and Daniel Webster. Unlike the other essayists, he refers directly to Rockwell’s art in his final paragraph. He reminds readers that the fight against fear is ultimately a fight against ignorance, and that humankind must advance understanding to be at peace. Ironically, Benét died the day this issue of the Post appeared.
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Norman Rockwell (1894–1978)
Freedom from Want, 1943
The Saturday Evening Post, March 6, 1943,
pp. 12-13
Magazine
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Given the Post’s historically conservative outlook, it was surprising that editor Ben Hibbs, commissioned the liberal poet and playwright Stephen Vincent Benét to write about “Freedom from Fear” and the progressive Filipino immigrant writer Carlos Sampayan Bulosan to compose the essay on “Freedom from Want.” Warning against “forces which have been trying to falsify American history,” Bulosan recalled American workers’ perennial struggles for democratic rights, cited the continuing oppression of workers and minorities, and answered “What do we want?” with: “We want complete security and peace. We want to share the promises and fruits of American life. We want to be free from fear and hunger. If you want to know what we are — We are Marching!”


Bulosan immigrated to the United States from the Philippines in 1930 and became active in the labor movement along the Pacific coast. His best-known work is the semi-autobiographical America is in the Heart, but he first captured public attention with his “Freedom from Want” essay.




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Norman Rockwell (1894–1978)
Freedom of Speech, 1942
Illustration for The Saturday Evening Post, February 20, 1943
Oil on canvas
Norman Rockwell Museum Collection, NRACT.1973.021
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Norman Rockwell’s Freedom of Speech is arguably among the most famous works of American art. Popular from its first publication in The Saturday Evening Post, it expresses a timeless message that continues to be relevant today, and is the only painting in Rockwell’s series that is based upon a specific event.


On November 9, 1940, the Memorial School in Rockwell’s town of Arlington, Vermont, burned down. A replacement school was offered for approval and townspeople voted to borrow funds at a Town Meeting that Rockwell attended.


Commissioned to produce illustrations based on Roosevelt’s Four Freedoms, the artist struggled to come up with ideas. “Then one night as I was tossing in bed, mulling over the proclamation and the war, rejecting one idea after another and getting more and more discouraged…I suddenly remembered how Jim Edgerton had stood up in town meeting and said something that everyone else disagreed with.” Rockwell wrote. “But they had let him have his say. "No one had shouted him down. My gosh, I thought, that’s it. . . . Freedom of Speech . . . . I’ll express the ideas in simple, everyday scenes."


A farmer and a neighbor of Rockwell’s, Edgerton was hit hard by the collapse of milk prices during the Depression and an outbreak of disease among his herd. The impact of additional taxes would have been a challenge for Edgerton, who, in the words of his son Buddy, “held everyone’s full attention as he passionately outlined his minority position. Finishing with thanks and a nod of his head, he sat down; and then the townspeople voted to build the new school.” Rockwell is a witness to the scene here; he appears on the left glancing up at the speaker, who is modeled not by Edgerton but by the more Lincolnesque Carl Hess, also a neighbor.
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Norman Rockwell (1894–1978)
Freedom of Speech, 1943
The Saturday Evening Post, February 21, 1943,
pp. 12-13
Magazine
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


In the winter of 1943, The Saturday Evening Post reproduced Rockwell’s Four Freedoms paintings in four successive issues that followed the sequence of President Roosevelt’s 1941 address. Each image appeared opposite an essay on the topic by an accomplished American writer. In creative kinship with Rockwell, Pulitzer Prize-winning novelist and dramatist Booth Tarkington often wrote of life in small Midwestern towns. Tarkington’s literary parable describes an imaginary conversation between Hitler and Mussolini about purging freedom of speech from their countries.
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Norman Rockwell (1894–1978)
Freedom of Speech, 1943
Study for The Saturday Evening Post, February 21, 1943
Oil on canvas
Lent by Metropolitan Museum of Art,
George A. Hearn Fund, 1952 (52.164)
© 1943 Norman Rockwell Family Agency. All rights reserved


Rockwell’s initial approach to Freedom of Speech was to surround the speaker with his fellow citizens. In the final painting, he shifted to a more heroic pose in which meeting attendees look up at the standing orator. In his 1948 Famous Artists School instructional course, Rockwell recommended the use of this vantage point to emphasize a subject’s importance.
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Norman Rockwell (1894–1978)
Freedom of Worship, 1942
Illustration for The Saturday Evening Post, February 27, 1943
Oil on canvas
Norman Rockwell Museum Collection, NRACT.1973.023
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Emphasizing unity despite differences, Rockwell’s Freedom of Worship presents a vision for a world without discrimination based upon religious practice or belief. The artist considered this to be one of the strongest paintings in his Four Freedoms series, but this solemn group of prayerful subjects was preceded by another idea—an amicable gathering of people of different faiths in a country barbershop—which was ultimately set aside. For Rockwell, the positions and gestures of hands are second only to the expressive qualities of faces, as is evident in this work.


The words “Each according to the dictates of his own conscience,” inscribed above, reflect Rockwell’s own views. Though he knew the phrase, he was unaware that its likely source was the Thirteen Articles of Faith (1842) by Mormon leader Joseph Smith. The words also appear in many United States state constitutions and were penned by President George Washington to the United Baptist Chamber of Virginia, in 1789: “Every man, conducting himself as a good citizen, and being accountable to God alone for his religious opinions, ought to be protected in worshiping the Deity according to the dictates of his own conscience.
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Norman Rockwell (1894–1978)
Freedom of Worship, 1943
The Saturday Evening Post, February 27, 1943,
pp. 12-13
Magazine
Norman Rockwell Museum Collection,
Gift of William W. Hargreaves
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Will Durant, a writer and lecturer on history and philosophy, authored this poetic essay on the subject of religion and worship. As a youth, he had considered entering the priesthood. He became best known for his eleven-volume series, The Story of Civilization, written over the course of forty years with his wife, Ariel Durant.
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Norman Rockwell (1894–1978)
Golden Rule, 1961
Cover illustration for The Saturday Evening Post, April 1, 1961
Oil on canvas
Norman Rockwell Museum Collection, NRACT.1973.010
© 1961 SEPS Curtis Licensing. All rights reserved


Golden Rule features a gathering of men, women, and children of different races, religions, and ethnicities. The inscription “Do Unto Others as You Would Have Them Do Unto You” was simple but universal and reflected the artist’s personal philosophy. Rockwell considered himself a citizen of the world and traveled throughout his life. Of the painting, Rockwell said, “I had tried to depict all the peoples of the world gathered together. That is just what I wanted to express about the Golden Rule.”






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Norman Rockwell (1894–1978)
JFK’s Legacy: The Peace Corps, 1966
Cover illustration for Look, June 14, 1966
Oil on canvas
Norman Rockwell Museum Collection,
Norman Rockwell Museum Art Collection Trust, NRACT.1973.083
© 1966 Norman Rockwell Family Agency. All rights reserved


On March 1, 1961, President John F. Kennedy signed an executive order establishing the Peace Corps to “promote world peace and friendship” among nations. Rockwell expressed his admiration for the program: “In this sordid world of power struggles, politics and national rivalries the Peace Corps seems to stand almost alone.” This cover illustration commemorates the Peace Corps’ fifth anniversary. Rockwell used former Peace Corps volunteers as models and based his portrait of Kennedy on a photograph by Jacques Lowe, the official photographer of the president’s pivotal 1960 campaign.
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Norman Rockwell (1894–1978)
Let’s Give Him Enough and on Time, 1942
United States Army, U S. Government Printing Office Poster
Norman Rockwell Museum Collection


Created prior to his Four Freedoms paintings, Rockwell’s only image of a soldier in battle was designed to stimulate ammunition production at munitions factories. Rockwell later wrote that he “didn’t like to do pictures that glorified killing, even in a good cause.” Wanting to do more for the war effort, he decided to illustrate President Roosevelt’s concept of the four basic human freedoms, a job he later said “should have been tackled by Michelangelo.”
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Norman Rockwell (1894–1978)
Liberty Girl, 1943
Cover study for The Saturday Evening Post, September 4, 1943
Charcoal on paper
Norman Rockwell Museum Collection, NRM.1978.09
© 1943 SEPS - Curtis Licensing


The embodiment of the new roles that belonged to the American woman during World War II, Liberty Girl symbolizes the ability of Americans to mobilize and transform themselves in the interest of society. Rockwell hired a professional model to play the part in this work, but portrayed her as a motivated girl-next-door, underscoring her authenticity. Large scale charcoal drawings, such as the one seen here, were important to Rockwell’s artistic process. They allowed him to visualize compositional structure, narrative details, and tonal areas before beginning work on the final canvas.



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Norman Rockwell (1894–1978)
Liberty Girl, 1943
Tear Sheet
The Saturday Evening Post, September 4, 1943
Norman Rockwell Museum Collection
© 1943 SEPS - Curtis Licensing


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Norman Rockwell (1894–1978)
Man Charting War Maneuvers (Armchair General), c. 1944
Cover illustration for The Saturday Evening Post, April 29, 1944
Oil on canvas
Private Collection
© 1944 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


In this work, a man listens intently on his radio to news of the war. A map of Europe hangs on the wall, as do photographs of Generals Dwight D. Eisenhower and Douglas MacArthur. A white flag with three blue stars positioned above three small photographs of men in the uniforms of the US Army, Navy, and Army Air Corps indicate that this is a concerned parent following the battles and movements of his children. The Windsor chair that the man sits in is identical to the one Rockwell used at his easel—his studio furnishings frequently served as props in his art.
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Norman Rockwell (1894–1978)
Marbles Champion, 1939
Cover illustration for The Saturday Evening Post, September 2, 1939
Oil on canvas Private Collection
© 1939 SEPS - Curtis Licensing


Strong women and girls are a mainstay of Rockwell’s art, and in this Post cover illustration, his female protagonist dominates a game of marbles to the chagrin of two male friends. Her stuffed marble bag contrasts with those of the boys, and her determined expression indicates that she has only just begun. Kneeling on the ground in scuffed shoes, she is decidedly un-ladylike. Assertive females also made regular appearances in the movies of the era, which featured stars like Jean Arthur, Jean Harlow, and Joan Crawford.
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Norman Rockwell (1894–1978)
Marbles Champion, 1939
Tear Sheet
The Saturday Evening Post, September 2, 1939
Norman Rockwell Museum Collection
© 1939 SEPS - Curtis Licensing


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Norman Rockwell (1894–1978)
Murder in Mississippi, April 6-13, 1965
Intended as the final illustration for Southern Justice by Charles Morgan, Jr. Look, June 29, 1965, unpublished
Digital reproduction
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, NRM.1978.07
© 1965 Norman Rockwell Family Agency. All rights reserved


Known as the Freedom Summer or Mississippi Burning murders, the incident portrayed in Rockwell’s image features James Chaney of Meridian, Mississippi, and Andrew Goodman and Michael Schwerner of New York City. These civil rights activists were abducted and murdered in Neshoba County, Mississippi, in June 1964, where they had been working with a campaign to register African-Americans to vote. Their efforts, and those of many others, pushed back against unfair laws and practices intended to disenfranchise black voters.


Hearing of a Klan attack and of arson at Mount Zion Church, the three men drove to the site to talk with congregation members. On their return to the Meridian office of Congress of Racial Equality (CORE), they were taken into custody by Deputy Sheriff Price, by some accounts for speeding and by others for supposedly setting the fire. After releasing them later that night, Price followed them. Once outside of town, Klansmen intercepted the men and hustled them into Price’s car, when they were driven to a remote location and shot point blank. Dumped into an earthen dam on the farm of one of the Klansmen, their bodies were not discovered by the FBI until two months later.


On April 14, Rockwell sent his final painting to Look. On the 29th, he received word that Look had decided to use his color study rather than the final painting. In a letter to Look art director Allen Hurlburt, Rockwell wrote: “I tried in a big way…to make an angry picture. If I just had a bit of Ben Shahn in me it would have helped.”
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Norman Rockwell (1894–1978)
Murder in Mississippi, 1965
Illustration for Southern Justice by Charles Morgan, Jr.,
Look, June 29, 1965
Oil on board
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, NRACT.1973.079
© 1965 Norman Rockwell Family Agency. All rights reserved


Rockwell was told to proceed with his Murder in Mississippi painting based upon his presentation of this sketch. After receiving the final painting, however, Look art director, Allen Hurlburt, chose to publish the study instead.



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Norman Rockwell (1894–1978)
Murder in Mississippi, 1965
Section of pencil tracing, unpublished
Pencil on paper
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust, Studio Collection, NRACT.1976.365
© 1965 Norman Rockwell Family Agency. All rights reserved


Rockwell said he invoked the style of Michelangelo to impart a more heroic stature to the figures. In this step, paper is placed over the final drawing. Then, transfer paper is placed between the drawing and the canvas, and an outline of the image is traced with pencil and transferred onto canvas in advance of the painting process.



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Norman Rockwell (1894–1978)
Murder in Mississippi, 1965
Unpublished illustration for Look, June 29, 1965
Oil on canvas
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, NRM.1978.07
© 1965 Norman Rockwell Family Agency. All rights reserved


On June 21, 1964, civil rights activists Michael Schwerner, James Chaney, and Andrew Goodman were brutally murdered by the KKK in Philadelphia, Mississippi. Look commissioned Rockwell to create this illustration for an investigative article about the crime. The work is unusual for Rockwell. It is stark, monochromatic, and sparsely painted. Rockwell focuses on the plight of the activists. The klansmen are visible only as ominous shadows encroaching upon their victims from the right. Look decided to publish Rockwell’s more impressionistic study for the painting rather than this finished work.



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Norman Rockwell (1894–1978)
New Kids in the Neighborhood (Negro in the Suburb), 1967
Story illustration for “Negro in the Suburbs” by Jack Star,
Look Magazine, May 16, 1967
Oil on canvas
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, NRACT.1973.081
© 1967 Norman Rockwell Family Agency. All rights reserved


In his 1967 illustration of suburban integration in Chicago’s Park Forest community, Rockwell was secure in expressing his philosophy of equality and inclusion. He emphasizes the commonalities of the children, who may soon be playing with each other, but the face peering from behind a window curtain in the upper left of the painting points to his concern about how the adults will fare.


Additional Commentary by Louis Henry Mitchell:


New Kids in the Neighborhood is a unique, and at the time, controversial painting by Norman Rockwell. However, it is virtually a mirror of my own experience as a six-year-old African-American child when my family moved into an all white neighborhood in East Flatbush in Brooklyn, New York. We were the only black family in almost the entire neighborhood. While we were welcomed by many there were some who were curious about our arrival.


The distance between the children in Rockwell’s painting is a reminder of how I would feel on occasion whenever I went outside at first. I was observed from a distance but never felt uncomfortable. My mother taught us to be aware but not to focus on any form of possible discrimination. The black children in Rockwell’s painting look very well cared for, which I also immediately related to. The white children don’t look at all disturbed by their new neighbors, just curious. This reminds me of something I learned later in life— that children aren’t born with racism, it has to be taught to them.


In the painting, there is another neighbor in the upper left corner peeking out of the window, and this also occurred as I walked about. But that didn’t bother me thanks to my mother’s teachings. So, as I reflect and reminisce, I can say that Norman Rockwell did it once again with a
beautifully executed piece of art that I enjoy, as well as holding up a
virtual mirror of a special moment in my childhood.


Louis Henry Mitchell is Creative Director of Character Design at Sesame Workshop, and a member of the Norman Rockwell Museum Board of Trustees.
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Norman Rockwell (1894–1978)
OURS . . . to fight for, Freedom from Fear, 1943
Poster illustration from The Saturday Evening Post, March 13, 1943,
Office of War Information, Washington, D. C.
War Bonds Poster
Norman Rockwell Museum Collection
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Over four million posters and prints featuring Rockwell’s Four Freedoms were issued by the Office of War Information and The Saturday Evening Post. Produced in several sizes and styles as single images or composites with boldly lettered messages, these reproductions were displayed in government buildings, factories, offices, stores, schools, railroad stations, hotels, social clubs, and private homes. Posters on this scale were ideally suited for display in public buildings such as post offices, where many people purchased war bonds and stamps.
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Norman Rockwell (1894–1978)
OURS . . . to fight for, Freedom from Want, 1943
Poster illustration from The Saturday Evening Post, March 6, 1943,
Office of War Information, Washington, D. C.
War Bonds Poster
Norman Rockwell Museum Collection
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Over four million posters and prints featuring Rockwell’s Four Freedoms were issued by the Office of War Information and The Saturday Evening Post. Produced in several sizes and styles as single images or composites with boldly lettered messages, these reproductions were displayed in government buildings, factories, offices, stores, schools, railroad stations, hotels, social clubs, and private homes. Posters on this scale were ideally suited for display in public buildings such as post offices, where many people purchased war bonds and stamps.
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Norman Rockwell (1894–1978)
Save Freedom of Speech, Buy War Bonds, 1943
Poster illustration from The Saturday Evening Post,February 21, 1943,
Office of War Information, Washington, D.C.
War Bonds Poster
Norman Rockwell Museum Collection
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Over four million posters and prints featuring Rockwell’s Four Freedoms were issued by the Office of War Information and The Saturday Evening Post. Produced in several sizes and styles as single images or composites with boldly lettered messages, these reproductions were displayed in government buildings, factories, offices, stores, schools, railroad stations, hotels, social clubs, and private homes. Posters on this scale were ideally suited for display in public buildings such as post offices, where many people purchased war bonds and stamps.
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Norman Rockwell (1894–1978)
Save Freedom of Worship, Buy War Bonds, 1943
Poster illustration from The Saturday Evening Post, February 21, 1943, Office of War Information, Washington, D.C. War Bonds Poster
Norman Rockwell Museum Collection
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Over four million posters and prints featuring Rockwell’s Four Freedoms were issued by the Office of War Information and The Saturday Evening Post. Produced in several sizes and styles as single images or composites with boldly lettered messages, these reproductions were displayed in government buildings, factories, offices, stores, schools, railroad stations, hotels, social clubs, and private homes. Posters on this scale were ideally suited for display in public buildings such as post offices, where many people purchased war bonds and stamps.
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Norman Rockwell (1894–1978)
Shuffleton's Barbershop, 1950
Cover study for The Saturday Evening Post, April 29, 1950
Oil on canvas
Collection of The Lucas Museum of Narrative Art
© 1950 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


Norman Rockwell painted this scene of his hometown barbershop while living in rural Arlington, Vermont, where the artist pained his Four Freedoms. He posed Shuffleton’s proprietor as the fiddler in the back room. Rob Shuffleton was an avid fisherman, and Rockwell alludes to this fact with the inclusion of his fishing gear. Though the painting’s abundant detail establishes a heightened sense of reality, Rockwell’s greatest challenge was creating the window through which this scene is viewed. Through its addition, Rockwell places us outside on the street, where we can immerse ourselves in the painting’s narrative and imagine the sound from within.


When the painting arrived at the Saturday Evening Post in February 1950, two months before its publication, managing editor Ben Hibbs and art editor Ken Stuart each wrote to Rockwell with their congratulations. Hibbs thought it one of Rockwell’s finest paintings and predicted it would be a reader favorite. Rockwell’s rendering of the stove, he praised, was “worth the price of admission.” The darkened foreground contrasts with the warmth and activity in the back room, which helps to focus attention on the narrative—a scenario in which three men play music for sheer enjoyment.
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Norman Rockwell (1894–1978)
Shuffleton’s Barbershop, 1950
Tear Sheet
The Saturday Evening Post, April 29, 1950
Norman Rockwell Museum Collection
© 1950 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.


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Norman Rockwell (1894–1978)
Thanksgiving: Mother and Son Peeling Potatoes, 1945
Cover illustration for The Saturday Evening Post
November 24, 1945
Tear Sheet
Norman Rockwell Museum Collection
© 1945 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.


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Norman Rockwell (1894–1978)
Thanksgiving: Mother and Son Peeling Potatoes, 1945
Cover illustration for The Saturday Evening Post,
November 24, 1945
Oil on canvas
Courtesy of American Legion Post 193, Winchendon, MA
© 1945 SEPS: Licensed by Curtis Licensing, Indianapolis, IN.
All rights reserved.


For The Saturday Evening Post’s Thanksgiving cover of 1945, Rockwell had planned to portray a group of people giving thanks. With the end of the war in sight, however, he decided instead to paint a soldier’s homecoming. His subject seems happy to peel potatoes in the warmth of his admiring mother’s kitchen, a task that would have been less pleasant in the army. Though still in uniform, he has slipped back into civilian shoes, and is seated on a chair that appears almost child-size—perhaps a remnant of years past.
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Norman Rockwell (1894–1978)
The Problem We All Live With, 1963
Illustration for Look, January 14, 1964, pp. 22-23
Oil on canvas
Norman Rockwell Museum Collection, NRM.1975.01


After resigning his forty-seven year tenure with The Saturday Evening Post in 1963, Rockwell embraced the challenge of addressing the nation’s pressing concerns in a pared down, reportorial style. The Problem We All Live With for Look magazine is based upon an actual event, when six-year-old Ruby Bridges was escorted by US Marshals to her first day at an all-white New Orleans school. Rockwell’s depiction of the vulnerable but dignified girl clearly condemns the actions of those who protest her presence and object to desegregation.
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Norman Rockwell (1894–1978)
The Right to Know, 1968
Illustration for Look, August 20, 1968, pp. 48-49
Oil on canvas
Private Collection
© 1968 Norman Rockwell Family Agency. All rights reserved


In 1966, Rockwell was commissioned to create a military recruitment poster, but he felt conflicted about the war in Vietnam. In March 1967, he wrote to the Marines Corps to decline the assignment: “I just can’t paint a picture unless I have my heart in it.” One year later, Rockwell began work on The Right to Know—a political statement expressing the right of citizens to be informed of the rationale behind their government’s actions. Just months before the painting was to be published, The New York Times reported on the Pentagon Papers, as scandal involving the White House’s suppression of information regarding troop escalation in Vietnam.








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Norman Rockwell (1894–1978)
The Right to Know, 1968
Study illustration for Look, August 20, 1968, pp. 48-49
Oil on photographic paper
Private Collection
© 1968 Norman Rockwell Family Agency. All rights reserved


When establishing a palette for his paintings, Rockwell typically photographed his large-scale preparatory drawings and painted over the photographs to consider color choices.






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Norman Rockwell (1894–1978)
Ticket Seller, 1937
Cover illustration for The Saturday Evening Post, April 24, 1937
Oil on canvas
Private Collection
© 1937 SEPS - Curtis Licensing


As the Depression wore on, Rockwell’s perspective on the vacation theme took a turn. In this cover painting, a bored ticket seller seems unable to entice anyone to purchase fares to any destination, near or far. Travel was Rockwell’s only passion other than art, and it is the subject of many of his paintings. By 1930, he had been to South America, made three trips to Europe, and taken an extended trip to California where he met and married his second wife, Mary Barstow. In 1932, the Rockwell’s, then including infant son Jarvis and pet German shepherd Raleigh, boarded the Mauretania for Paris. There, Rockwell hoped to find inspiration for his art, but five months into their eight-month stay the family returned to New Rochelle, New York—their second child, Thomas, was on the way.
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Norman Rockwell (1894–1978)
Ticket Seller, 1937
Tear Sheet
The Saturday Evening Post, April 24, 1937
Norman Rockwell Museum Collection
© 1937 SEPS - Curtis Licensing


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Norman Rockwell (1894–1978)
U. S. War Savings Bond Four Freedoms Commemorative Cover, 1943
Offset print on paper
Norman Rockwell Museum Collection




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Norman Rockwell (1894–1978)
United Nations, 1953
Unpublished study
Graphite and charcoal on paper
Norman Rockwell Museum Collection,
Norman Rockwell Art Collection Trust, NRACT.1973.11
© 1953 Norman Rockwell Family Agency. All rights reserved


At the height of the Cold War and two years into the Korean War, Rockwell considered the United Nations the world’s hope for the future. His appreciation for the organization and its mission inspired a complex work portraying sixty- five people representing the nations of the world along with members of the Security Council. Pictured here are Soviet Ambassador Valerian Alexandrovich Zorin, British Ambassador Sir Gladwyn Jebb, and United States Ambassador Henry Cabot Lodge. United Nations never made it to canvas, but Rockwell’s desire to picture a global community was realized on the cover of The Saturday Evening Post in Golden Rule nine years later.






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Norman Rockwell (1894–1978)
War News, c. 1944
Intended illustration for The Saturday Evening Post, March 4, 1944
Oil on canvas
Norman Rockwell Museum Collection, NRM.1976.02
© 1944 Norman Rockwell Family Agency
All rights reserved.


Intended as a cover for The Saturday Evening Post but never completed, War News pictures a restaurant counterman and his customers listening to a radio news report. Though newspaper text is not evident in this work, the headline of the January 17, 1944 Times Record of Troy, New York, appeared in the artist’s preliminary drawing. Calling attention to the proposed invasion of Normandy, it read, “Invasion Plans at France Possible.” Rockwell decided not to submit War News to the Post, perhaps because it was hard to convey what the men were hearing. He instead went on to create a second painting, the more clearly articulated Armchair General, which was published on April 29, 1944.
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Norman Rockwell (1894–1978)
Willie Gillis in Convoy, c. 1941
Unpublished cover illustration for The Saturday Evening Post
Charcoal on paper
Inscription: "To Mr Bogut, sincerely Norman Rockwell"
Private Collection
© 1941 SEPS - Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894–1978)
Bound volume containing five Saturday Evening Post magazines,
February 13–March 13, 1943,
in presentation box
Norman Rockwell Museum Collection,
Gift of Carmen O. Smith, RC.2015.4


In the middle of the night on May 15, 1943, Rockwell’s son Tom awoke to see his father’s studio in flames. Rockwell and his family stood by helplessly and watched as the building and its contents, and most of the adjacent barn, were consumed by the fire. Rockwell lost costumes, props, artist materials, reference files, prints, books, antique guns, favorite pipes, a
dozen paintings, and a collection of his published illustrations.
Thankfully, the Four Freedoms paintings had been delivered to the Post in Philadelphia shortly before the fire. This personalized binder containing each of the Four Freedoms issues was created for him by the Post in the fire’s aftermath.



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Norman Rockwell (1894–1978)
Girl Reading the Post 1941
Oil on board
Cover illustration for The Saturday Evening Post cover, March 1, 1941
Norman Rockwell Museum Collection
Gift of the Walt Disney Family, 1999
© 1941 SEPS: Curtis Licensing, Indianapolis, IN. All rights reserved.


Always aiming for the widest possible audience for his Saturday Evening Post covers, Rockwell pictures often have several layers of interest. To assure a successful cover, Rockwell grabs the viewer's attention with a trick-he matches the cover girl's face perfectly to the schoolgirl's body. By picturing a reader so engrossed in the Post, Rockwell emphasizes the interest and allure of the magazine, thus promoting its sale on newsstands. Beyond the gimmick, a story of growing up emerges in the simple scene of commuting to school. A young girl will soon leave behind her scuffed saddle shoes for polished heels and her cozy mittens for kidskin gloves.


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Norman Rockwell (1894–1978)
Study for Thanksgiving: Mother and Son Peeling Potatoes, 1945
Oil and pencil on laminated board
Private Collection
© 1945 Norman Rockwell Family Agency. All rights reserved.
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Norman Rockwell: Este es el tipo de historia que me gustaría no tener que contar. ¿Puedes darte cuenta de lo que está sucediendo en este cuadro? Lo primero que ves es a la pequeña niña. ¿Sabes por qué? Una de las razones es debido a la forma en que pinté su vestido blanco para que destacar en contraste con su piel oscura. Atrae nuestra atención. Otra razón es que ella es la única persona que se muestra completa.


Decidí pintar a los hombres del cuadro sin enseñar sus cabezas — lo hice a propósito. Imagínate que también pudieras ver sus cabezas, tal vez te dedicarías a verlas en lugar de ver a la niña. ¿Puedes leer lo que dicen las bandas amarillas que llevan en los brazos? Son alguaciles de los Estados Unidos, es decir, policías. Mira cómo la niña y los hombres marchan en la misma dirección, incluso sostiene las manos de la misma manera.


Deseaba comunicar la sensación de cómo sería caminar al estar haciendo algo importante, como cuando eres parte de una ceremonia o un desfile. ¿Pero ya viste lo que leva la niña bajo el brazo? Simplemente se dirige a la escuela, pero al hacerlo también está haciendo algo importante. Necesita la protección de estos hombres, y la razón es que probablemente ella fuera la primera niña afronorteamericana que asistiera a una escuela a la que anteriormente solo iban niños blancos.


Lo que no ves en la pintura, son las multitudes de personas que abarrotaban la calle para gritarle cosas a la niña, pero sí puedes ver lo que dejaron atrás, las palabras escritas en la pared, y el tomate que le acababan de arrojar, parece que casi le atina. ¿Cómo crees que se siente la niña? ¿Crees que tiene miedo?


Muchos niños en los 50s y 60s tenían que caminar de esta manera todos los días para ir a la escuela, a veces semana tras semana. Tenían que ser muy valientes. Era como ser soldado durante la guerra y, sin embargo, lo único que querían era ir a la escuela.
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Norman Rockwell: Estos cuadros se llaman Las cuatro libertades. Los pinte después de escuchar un discurso que diera el presidente Franklin Roosevelt, antes de que los Estados Unidos participara en la Segunda Guerra Mundial, cuando habló acerca de las cuatro libertades que deberían disfrutar todos los pueblos del mundo.


Hombre: [inglés] The first is freedom of speed and expression …
La primera, es la libertad de expresión en todo el mundo.


Norman Rockwell: Empieza con el cartel que dice [inglés] "Save freedom of speech", es decir, "Salvaguardemos la libertad de expresión". En él puedes ver a un hombre de pie vistiendo una camisa y chaqueta azules. Decidí que como la idea de la libertad de expresión es difícil de explicar, debía usar la imagen de la vida de la gente común y corriente para comunicar lo que quería decir.


El hombre se encuentra en una reunión municipal. Lo pinté de tal forma, que el espectador tenga la sensación de estar sentado en las bancas junto a las demás personas mirando al individuo. Observa cómo su cabeza está rodeada de espacio negro vacío. Quería que pareciera que estaba solo allí. Está de pie a fin de decir algo con lo que las otras personas no están de acuerdo, pero nadie puede detenerlo.


Como ciudadano de este país, tiene el derecho, la libertad de decir lo que quiera, y los demás lo escuchan porque lo respetan. Ahora, mira el lado izquierdo, cerca del centro del cuadro. Encuentra la esquina del espacio negro y observa que está apuntando hacia la mitad del rostro de un hombre sentado en la parte de atrás. Solo se puede ver un ojo y una oreja. Ese hombre soy yo.


Ahora pasemos al siguiente cuadro. Se trata de un grupo de personas orando.


Hombre: "Libertad de que cada uno de nosotros pueda rendirle culto al Dios que desee".


Norman Rockwell: Cada una de estas personas es muy diferente. Hay hombres y mujeres, ancianos y jóvenes, de diferentes orígenes y razas, también de diversas religiones. El peinado de cada uno de ellos es diferente. Y fíjate en sus manos — algunas se ven suaves y juveniles, mientras que otras están arrugadas y avejentadas; pero todos están juntos en un solo lugar, y están haciendo lo mismo, rezando. Todas las personas, tienen derecho a rezarle al Dios que deseen.


Ahora, encuentra la pintura de una familia que está a punto de empezar su cena del Día de Acción de Gracias.


Hombre: "Libertad de no sufrir privaciones". Lo que hará posible que todos los habitantes de todos los países del mundo disfruten de una paz saludable.


Norman Rockwell: Libertad de no sufrir privaciones. Es otra forma de decir, "No necesitar nada". Decidí que algo que todo mundo necesita es la comida. Si te paras justo al frente del cuadro, podrás ver que parece que también tú estás sentado a la mesa. Ocupas el mejor lugar en la cabecera. Ahora mira el lado derecho. El hombre te da la bienvenida a su mesa, y nota como el resto de la familia se inclina hacia adelante alejándose del borde de la imagen.


Los abuelos en la parte de arriba, ven hacia abajo. Incluso las hileras de vasos nos obligan a dirigir la mirada al personaje más importante del cuadro, el pavo.


Por último, veamos la última pintura: los dos niños en cama.


Hombre: "Libertad contra el miedo".


Norman Rockwell: Libertad contra el miedo. Es otra forma de decir, "No tener temor". Los padres de estos niños los están cobijando, y todo parece ser muy agradable. Te podrías preguntar de qué tienen miedo, pero si lees el periódico que lleva el padre, el encabezado habla de la guerra.


"Libertad contra el miedo", quiere decir, "Sentirse seguro y alejado del peligro", algo que todos los padres desean para sus hijos.
[música]
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PETER ROCKWELL: In this painting from 1944, a counterman and three customers have gathered in a corner of a diner. Look up in the top right corner. They’re listening to the radio. Obviously, something very important is being announced.


Linda Pero.


LINDA PERO: There’s a newspaper on the counter, but … there’s nothing on the newspaper because, at this point, Rockwell stopped the painting.


PETER ROCKWELL: His detailed sketches show that the paper’s headline was supposed to read: “Invasion Plan at France Possible.”


LINDA PERO: He never says why he didn’t finish the painting. … We can assume, though, that … he or the art editors at the Post felt that … the message wasn’t clear, that people wouldn’t know what was going on. They wouldn’t know what the men were listening to or hearing. … He went on to do another painting in its place of a man charting war maneuvers.
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PETER ROCKWELL: The inscription reads “To Mr. Comar of the Quality Restaurant, Sincerely Norman Rockwell.” Mr. Comar is in the painting–he’s the man behind the counter. My father used to eat at his diner in Manchester, Vermont. He gave Comar this painting, and it hung in the diner until 1975.


Laurie Norton Moffatt.


LAURIE NORTON MOFFATT: For an illustrator, the finished image is actually the published magazine cover. And once the canvas has been photographed and the image produced on the magazine, the artist’s work is done. And the canvas becomes incidental in many ways.


In Rockwell’s case, … he either had the canvases returned to him or sometimes they would be enjoyed by the art editors and the employees at the magazines or the corporations for whom he did advertising work. … But sometimes he gave them to people. … And it was not uncommon at all for people who came through his studio and admired a work, for him to say, “Here, would you like it?” — and inscribe it to them and give it to them.
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PETER ROCKWELL: These four classic images were created as a wartime series called “The Four Freedoms.” Many people first saw them in the Saturday Evening Post. Others saw them as they appear here, as posters asking the public to buy war bonds.


My father was inspired by Franklin Roosevelt’s speech outlining four main reasons why the U.S. should support the war in Europe.


[ROOSEVELT VOICE] Freedom of speech and expression, everywhere in the world…


PETER ROCKWELL: Start with the poster that reads, “Save Freedom of Speech.”


Historian and presidential biographer Doris Kearns Goodwin:


[GOODWIN] When he tried to illustrate freedom of speech, instead of doing it on an abstract level, he chose a neighbor standing up in a town meeting, in a certain sense the quintessential building block of democracy. … Even though the others in his idea are disagreeing with what the neighbor is saying, … nonetheless the other neighbors are looking up at him, and they’re listening respectfully, and it just gets that whole point of freedom of speech so much more emotionally grounded than any abstract words could possibly have done.
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PETER ROCKWELL: This image from 1944 is called “Mine America’s Coal.”


Curator, Linda Pero:


LINDA PERO: This is a World War II poster illustration. … The poster itself read, “Mine America’s Coal. We’ll Make It Hot For the Enemy.” … It’s a propaganda poster, in a sense, …. to inspire people to work in … the mining industry, which is, of course, a dangerous … profession. …. A message coming from somebody like Norman Rockwell, … would have certainly inspired people … to do that.


PETER ROCKWELL: Anyone with a family member in the service will immediately recognize the bright pin on the man’s overalls.


LINDA PERO: The pin … with stars was … given to parents …who had … children in the service. And a single star meant that you had one child in the service, and two stars meant that you had two. … And if the star was gold, it meant that, … your child had died.


PETER ROCKWELL: Some war propaganda posters featured violent, racist caricatures of the enemy. Here, instead, we’re met by the direct, kindly gaze of a father.


LINDA PERO: There was such anger and hatred … in the war posters. And, um… it’s certainly missing … from Rockwell. … He really is … a humanitarian and … somebody who sees himself, I think, as a citizen of the world.
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PETER ROCKWELL: First came the sketch.


LAURIE NORTON MOFFATT: they fit right in the palm of your hand– … a little snapshot of the idea. And he would typically take these ideas to the art editor of the Saturday Evening Post.


PETER ROCKWELL: Each picture was like a little play, and my father was the director. One he got his characters, it was time to cast the parts and find his models.


LAURIE NORTON MOFFATT: He painted from his family and friends. People in the community … students in the school, people he met at the Grange suppers and that he knew from around town. … So his next step would be to start drawing a very large-scale charcoal, pencil drawing.


PETER ROCKWELL: If he wasn’t happy with a portion of the drawing, he would cut it out, patch in a new piece of paper and start again!


LAURIE NORTON MOFFATT: He went through two more stages. He would do a rough color sketch, usually about the size of the magazine cover. … Then the final stage took place.


PETER ROCKWELL: He’d transfer the charcoal drawing onto the canvas.


LAURIE NORTON MOFFATT: Since his art training was really in the style of the old masters, his paintings are beautifully painted. … Rockwell’s paintings are very large, as you can see. … And he worked in such large scale because he could fit all …the detail that he loved to include in his paintings.
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PETER ROCKWELL: In 1938, my father solved the problem of being stumped for a cover idea by painting an illustrator stumped for a cover idea.


LAURIE NORTON MOFFATT: Everything in the painting suggests that this is Norman Rockwell himself, and the struggle that he had to constantly come up with ideas. …. sketch after sketch tossed aside on the floor, … we see the palette …. tossed aside with brushes, many colors put out, all the artist’s tools.


PETER ROCKWELL: Look at the top of the artist’s canvas, above his head. His good luck charms have had no effect. The canvas is still blank.


LAURIE NORTON MOFFATT: And of course the great pun in this is the artist facing the blank canvas …. actually becomes the image of this painting.


PETER ROCKWELL: The irony here is that my father never would have sat down at a blank canvas and just attempted to paint a picture. He had a painstaking preparation process, going through a whole series of sketches, sessions with models, plus charcoal and color studies before he would actually sit down to create the final painting.
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Photographer Unknown
Charges these nine men—and Deputy Price—were named as members of the lynch mob, n.d.
Digital print from archival negative
Norman Rockwell Museum Collection


Found among his references, this news clip reveals that Rockwell originally considered showing the Klansmen as individuals. Just as he had compiled notes about the victims, these photos provided him with information about the Klansmen’s physical traits.







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Photographer Unknown
Norman Rockwell Painting Let’s Give Him Enough and On Time U.S. Army Poster, 1942
Photographic Reproduction
Norman Rockwell Museum Collection
© 1942 Norman Rockwell Family Agency. All rights reserved




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Pops Peterson
Saying Grace at the Main Street Café, 2018
Digital print on canvas
Collection of the artist


As a child growing up in New York, freedom “was a world where we all could get a milkshake, sit with whomever we wanted at the lunch counter, and have fun. All these years later, I feel the same. Freedom is when we can just do what we want with whomever we want,” the artist said. As in Rockwell’s 1951 Saying Grace, Peterson brings diners of different ages and experiences together, somewhat uncomfortably, at the Main Street Café in Stockbridge. Rockwell’s first studio in town was situated in the building’s second floor, from 1953 to 1957, when the café was a meat market. This piece on the theme of intolerance is a companion to Welcome to the Neighborhood,
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Pops Peterson
The Problem Persists, 1964-2014, 2014
Digital print on canvas
Collection of the artist


Rockwell’s 1964 painting, The Problem We All Live With, is the basis for a more contemporary statement inspired by civil unrest in Ferguson, Missouri, following the fatal 2014 shooting of Michal Brown by police. The unrest sparked vigorous debate about policing, the use of force, and the relationship of law enforcement with African Americans. Creating the image allowed Peterson to express his grief over this painful incident. “Everyone was talking about the riots and shootings, throwing blame, and I thought, what about the kids?” he said. “Their lives have been ruined and they’re totally innocent.”
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Raconté Par :
Douglas B. Dowd
Professeur d'Art et de Culture Américaine - Université de Washington à St. Louis


Avant la télévision, les Américains qui s’intéressaient aux modes de vie de leurs concitoyens et aux questions de société, disposaient essentiellement de deux sources d’informations : les films et les magazines. Les magazines et les illustrateurs qui travaillaient pour eux ont dépeint une société parfois idéalisée vers laquelle chaque lecteur pouvait se projeter.


L’illustrateur Alfred Parker a été l'inventeur de l'esthétique glamour moderne à l’époque de la guerre et après. Il a fait l’admiration de Norman Rockwell et de beaucoup d'autres pour l’approche novatrice de son travail. Une de ses séries les plus connues est un ensemble d'images créées pour Ladies 'Home Journal entre 1939 et 1952, appelées les images de Mère et Fille. Les magazines du début des années 1940 ont su proposer de nouveaux formats pour la grande majorité de leur lectorat : la jeune femme au foyer et la mère.


Un monde et une société idéalisés d’hommes beaux et de femmes élégantes sont proposés aux lecteurs. The Ladies Home Journal a publié cette citation au sujet de la couverture Mère et fille : "Ces filles de couverture ont vraiment initié un phénomène nouveau. Depuis leur introduction en février 1939, les femmes américaines les adoptent, copient leurs vêtements, nous inondent de lettres et en font la partie d'une famille ". Comme on peut le voir sur cette image, les couvertures Mères et filles proposaient une conception d'affiches simples et efficaces qui mettaient l'accent sur des scènes du quotidien reconnaissables par toutes les lectrices.


Avec tant de soldats partis au front, les mères et les filles devaient montrer le meilleur d’elles-mêmes et assumer les nouvelles tâches qui leur incombaient. Elles pratiquent le sport, comme on le voit ici, ou sont attentives au rationnement, et se charge des tâches autrefois dévolues aux hommes. En 1945, la mère et fille de Parker accueillent les soldats qui rentrent de la guerre et reprennent leur rôle d’épouses. En décembre, on peut voir deux chaussons en tricot, un rose et un bleu, et en 1946, sur certaines couvertures d’Alfred Parker, un fils était né.
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Raconté Par :
Stephanie Haboush Plunkett
Directrice adjointe / Conservatrice en Chef - Musée Norman Rockwell


J.C. Leyendecker était un célèbre illustrateur américain qui avait 20 ans de plus que Norman Rockwell. Au moment où Norman Rockwell accédait à la célébrité, J. C. Leyendecker – qui travaillait pour le Saturday Evening Post - devenait l'illustrateur le plus populaire des Etats-Unis. Il vivait à New Rochelle, non loin de chez Norman Rockwell, qui avait l'habitude de dire qu'il suivait JC Leyendecker dans la rue pour voir quelles vitrines il regardait afin de deviner ce qu’il allait représenter sur sa prochaine couverture du Post. Les hommes ont fini par devenir amis.


Le Bébé du Nouvel An était une des réalisations les plus célèbres de Leyendecker, régulièrement publié par le Saturday Evening Post entre 1907 et 1943. Chaque dessin était pour son auteur l’occasion de un regard différent sur l’année qui commençait. Cet enfant joufflu qui symbolisait à la fois l’innocence et la sagesse, a permis à son créateur d’aborder toutes les questions touchant la société américaine : la souffrance des femmes, la prohibition et même les fluctuations du marché boursier dans les années 1930.


Sur cette couverture datée de décembre 1940, la guerre n'a pas encore touché les États-Unis. Elle faisait rage outre-atlantique, et sur cette image, le Bébé du Nouvel An porte un masque à gaz, et tient un parapluie, petit clin d’œil au premier ministre Britannique, Neville Chamberlain, dont les promesses de paix se sont avérées hasardeuses. En 1940, le Saturday Evening Post comptait plus de trois millions d'abonnés.
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Raconté par :
Alice Carter
Auteur, illustratrice, et présidente du Conseil du musée Norman Rockwell


Le 29 septembre 1939, était signé le pacte germano-soviétique. Ce texte diplomatique prévoyait entre autre le partage de la Pologne. Les forces d'Hitler s’empareraient des terres à l'ouest de la rivière Boug et l'armée de Staline contrôlerait celles de l'est.


Le lendemain, 30 septembre 1939, ce dessin de Hugh Hutton intitulé « Oraison funèbre » parait dans le Philadelphia Inquirer. Hugh Hutton a publié plus de 3 800 dessins de presse dans l’Inquirer. Caricaturant rarement les célébrités et les hommes politiques, Hutton préférait utiliser des figures allégoriques. Sur ce dessin, la femme en robe blanche symbolise la paix, la justice et la vérité qui viennent d’être assassinées par les vautours représentant l'Allemagne nazie et l'Union soviétique.


Hugh Hutton est né à Lincoln au Nebraska, en 1897. Après avoir passé deux ans à l'université du Minnesota, il s'est engagé dans l'armée et a servi pendant la Première Guerre mondiale. À son retour, il a repris ses études à l'école d'art de Minneapolis. Il déménage ensuite à New York où il étudie à la New York’s Art students league et commence à travailler pour le United Features Syndicate.


En 1934, Hugh Hutton accepte un poste au Philadelphia Inquirer où il travaille jusqu'à sa retraite en 1969.
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Raconté par :
Alice Carter
Auteur, illustratrice, et présidente du Conseil du musée Norman Rockwell


Martha Sawyers est née à Corsicana, au Texas, en 1902. Elle a étudié à la New York’s Art students league pendant cinq ans jusqu'à son éviction. « Ils m'ont mise dehors et j’ai dû me débrouiller seule avec ce que j’avais appris. ».


« La Chine doit recevoir notre aide » est une des deux affiches que Martha Sawyers a créées entre 1942 et 1943 pour la United China Relief, une association d'aide aux réfugiés chinois. Bien que Martha Sawyers utilise de préférence l'huile, elle a parfois été obligée de recourir à différentes techniques de peinture comme vous pouvez le voir sur cette affiche, sur laquelle elle a combiné l'huile, l'aquarelle, le pastel et les crayons de couleur.


Ce tableau d'une famille de réfugiés reproduit une scène que Martha Sawyers a vécue personnellement. En 1937, alors qu'elle voyageait enChine avec son époux, l'illustrateur William Ruesswig, elle a échappé de justesse à une attaque japonaise sur le pont Marco Polo. A son retour à New York, une exposition de peintures de ses voyages a attiré l’attention de la revue Collier qui lui a proposé de publier ses impressions d'Asie dans une série d'articles et d'illustrations. Pendant la guerre, Martha Sawyers est retournée en Asie pour couvrir le théâtre d’opérations du Pacifique en tant qu'artiste et correspondante pour les revues Collier et Life.
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Raconté par :
George Church III
Guide et bénévole au Musée Norman Rockwell


Lorsque la Seconde Guerre mondiale a commencé et que les Japonais ont bombardé Pearl Harbor, j'étais au cinéma avec mon père. Et soudain, l’information est apparue à l’écran. Elle provenait des forces armées des États-Unis.


Ca a été mon premier contact avec la Seconde Guerre mondiale. Après, j'ai commencé m’intéresser aux avions avec des camarades d’école. Je m’initiais au repérage d'avions le samedi, quand je n’avais pas classe. Je me levais vers 4h30 et après mon petit-déjeuner, je sautais sur mon vélo et je pédalais jusqu’à l'hôtel Biltmore de Miami qui se trouvait à Coral Gables, au sud de l'aéroport international. Je montais en haut de la tour de l’hôtel où il y avait une cabine de repérage. C’était le bâtiment le plus haut de Miami.


Entre 6h00 et 9h00, chaque samedi, je repérais les avions à l’aide de mon manuel. J’étais accompagné d’un ami et nous disposions d’un téléphone pour signaler les avions que nous voyions atterrir et décoller ainsi que ceux qui survolaient l'aéroport.


Le manuel nous a été très utile et grâce à lui, j’ai pu jouer un vrai rôle alors que j’étais encore très jeune.
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Raconté par :
James J. Kimble, Ph.D.
Professeur de Communication - Collège de communication et des arts Université Seton Hall


Tout droit sorti de l’imagination de Norman Rockwell, Willie Gillis était un des soldats les plus célèbres de la Seconde Guerre mondiale. Il est apparu pour la première fois sur la couverture du Saturday Evening Post du 4 octobre 1941. L’artiste lui a donné un visage innocent, presque celui d’un enfant alors qu’il se trouve dans un camp d’entraînement à Fort Dix, dans le New Jersey. Sur cette couverture, on voit qu’il vient de recevoir un colis, probablement envoyé par sa famille. Derrière lui, on devine que ses camarades aimeraient bien, eux-aussi, profiter du contenu du paquet.


Les couvertures pleines de vie de Norman Rockwell rencontraient un succès immédiat auprès des lecteurs ce qui poussait le Post à commander de nouvelles scènes de la vie du soldat Gillis. Ce personnage est apparu ensuite sur une douzaine de couvertures du Post, la dernière datant de 1946 montrait le sympathique Willie Gillis poursuivant ses études grâce au GI bill, la loi finançant la formation des soldats démobilisés.


Willie Gillis faisait le bonheur de ses admiratrices qui le considéraient comme une pin-up. Parmi elles, Natalie Barden, qui a rencontré Robert Otis Buck, l’homme qui a servi de modèle au soldat Gillis et qui l'a épousé.
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Raconté par :
Ruby Bridges Hall
Activiste des droits civiques et auteur


Ce jour-là, alors que j’étais dans la voiture qui m’emmenait à l’école et que nous arrivions au coin de la rue, nous vîmes que les trottoirs étaient remplis de manifestants. Ils ne pouvaient pas passer car la police les en empêchait. Il y avait des policiers partout, certains étaient à cheval ou à moto. C’est normalement ce que l’on voit à l’époque de Mardi Gras, pour contrôler la foule pendant les défilés. C’est donc ça que j’ai vu, et j’ai juste pensé que j’étais au milieu d’un défilé. Je pense que c’est cette innocence d’enfant qui m’a protégée à l’époque, le fait de ne pas savoir.


Je me souviens avoir été escortée jusqu’au bureau du directeur de l’école. Je pensais que ce premier jour j’étais venue pour m’inscrire, pour être escortée jusqu’à ma classe, peut-être aussi pour rencontrer ma maîtresse et pour commencer à étudier. Mais je restais en fait assise toute la journée dans le bureau du directeur avec ma mère, et je me souviens des agents fédéraux se tenant à l’extérieur du bureau, juste devant la porte. On pouvait les voir car les portes étaient vitrées.


Je vis ensuite tous ces gens qui étaient dehors, se bousculant, me pointant du doigt à travers la fenêtre. Leurs visages exprimaient une grande colère, et tout ça me paraissait très confus et déstabilisant. Ils passaient devant les fenêtres et repassaient ensuite en tenant des enfants par la main, et ces allers-retours durèrent toute la journée.


Finalement la cloche sonna, il était 15h. Je me souviens de quelqu’un entrant dans la pièce et disant « l’école ferme, vous pouvez y aller. ». Et je me souviens de m’être dit « waouh, cette école est vraiment facile ! », sans me rendre compte de ce qu’il se passait vraiment. Les parents étaient tous venus à l’école pour s’introduire dans les classes et faire sortir leurs enfants du bâtiment. Plus de 500 enfants ont quitté le bâtiment ce jour-là, seulement parce que je m’y trouvais. Et je n’avais aucune conscience de ce qui était en train de se dérouler sous mes yeux.


Le jour d’après, ce fut la même chose. Les agents fédéraux frappèrent à notre porte, et je montais en voiture avec eux pour qu’ils m’escortent jusqu’à l’école. Ce jour-là, la foule avait doublé de volume puisqu’entre temps tout le monde avait été mis au courant.


Ma mère dit que c’est ce jour-là qu’elle eut le plus peur, car une fois rentrée à la maison, elle regarda la télévision et vit que le monde entier assistait à ça. Elle dit que ce jour-là elle pria jusqu’à 15h, espérant que son enfant reviendrait à la maison.
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Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Cette photographie d'Ansel Adams a été prise en 1943 près de Death Valley, en Californie, dans le camp de Manzanar, un des dix camps construits aux Etats-Unis pour interner les citoyens américains d'origine japonaise et leurs parents immigrés.


Cette image montre un homme regardant au loin les contreforts de la Sierra, un des sujets favoris d'Adams. Ce qui manque sur cette photo ce sont les clôtures de barbelés, les tours de guet, les projecteurs, les gardiens avec des mitrailleuses de même que toute scène montrant les conditions difficiles dans lesquelles ces gens vivaient.


Ansel Adams défend l’idée qu’aucun citoyen américain ne doit être traité de la sorte dans son propre pays. Il a voulu montrer à ses compatriotes que ces citoyens-là étaient comme les autres : libres et égaux. Son livre Born free and equal a été publié en 1944.


Lors de sa parution, le livre n’a pas été bien accueilli par le public américain. La guerre n’était pas finie et on a reproché à son auteur sa sympathie pour ceux qui étaient considérés comme des ennemis des Etats-Unis. Des exemplaires du livre ont même été brulés en signe de protestation. Il paraîtrait aussi que le gouvernement américain en aurait acheté des milliers d’exemplaires dans le seul but de les détruire. Aujourd’hui, les exemplaires originaux de ce livre sont rares.


Aussi étonnant que cela puisse paraître, après que la haine envers les Américains d'origine japonaise se soit apaisée, les photos d'Ansel Adams ont suscité de nouveau la controverse. Mais cette fois, parce que, pour le gouvernement et la société américaine, elles étaient devenues les preuves des conditions de détention inhumaines de ces populations pendant la guerre. Trouvant difficilement leur place entre le cliché documentaire et l’image de propagande, ces photographies restent inclassables dans le monde des photographes.
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Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
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Raconté par :
Stephanie Haboush Plunkett
Directrice Adjointe / Conservatrice en Chef au Musée Norman Rockwell


L’œuvre La Liberté de Vivre Sans Crainte a été peinte alors que l'Europe subissait l’occupation nazie, comme le révèle le titre du journal tenu par le père. Norman Rockwell voulait transmettre l'idée que les parents devaient pouvoir coucher leurs enfants chaque soir sans craindre pour leur sécurité.


Ici, un père et une mère se penchent sur leurs enfants endormis, dans une ambiance traduisant une vie confortable et bourgeoise symbole du rêve américain. Une lumière rassurante brille dans l’escalier de la maison.


Ce tableau, qui n’était pas considéré par Norman Rockwell comme une œuvre d’une force exceptionnelle, a retrouvé une actualité après les attentats du World Trade Center. A cette occasion, le New York Times a publié Liberté de Vivre Sans Crainte en Une, en substituant au titre de Norman Rockwell un titre faisant référence aux attentats de New York, de Washington et de Pennsylvanie.


En réponse aux émeutes résultant de la violence raciale dans le pays, de nombreux artistes ont réinterprété Liberté de Vivre Sans Crainte, ainsi que l’emblématique Problème que Nous Vivons Tous de Norman Rockwell, l’adaptant à des événements plus contemporains.
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Raconté par :
Stephanie Haboush Plunkett
Directrice Adjointe / Conservatrice en chef - Musée Norman Rockwell


Pendant la Seconde Guerre mondiale, l’illustrateur Mead Schaeffer, un ami de Norman Rockwell à Arlington (Vermont), a décidé d’apporter sa contribution à l’effort de guerre. Il a abandonné les thèmes romantiques et littéraires pour concentrer son travail sur des sujets ancrés dans la réalité, s’adaptant ainsi à la ligne éditoriale du Saturday Evening Post.


En 1942, Rockwell et Schaeffer se sont rendus à Washington afin de proposer leur aide à plusieurs agences gouvernementales. Malheureusement, aucun financement n'était disponible pour la réalisation de leurs projets d’illustration. Sur la route du retour, ils se sont arrêtés à Philadelphie pour rencontrer le rédacteur en chef du Saturday Evening Post, Ben Hibbs. Immédiatement séduit par leurs propositions, Hibbs les a engagés à achever leurs travail pour une prochaine publication.


Mead Schaeffer voulait créer une série de couvertures mettent en valeur les forces armées américaines. Après une étude approfondie du sujet, il a réalisé des œuvres héroïques rendant hommage au professionnalisme et au dévouement du soldat américain. Ses images avaient aussi pour qualité de rassurer la population américaine. Dans le Saturday Evening Post, du 20 février 1943, on retrouve les peintures de Mead Schaeffer et de Norman Rockwell. La représentation d'un parachutiste en action réalisée par Mead Schaeffer apparait sur la couverture, tandis que la première illustration de Norman Rockwell intitulée « Quatre Libertés, Freedom of Speech », est reproduite à l'intérieur.
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Raconté par :
Stephanie Haboush Plunkett
Directrice Adjointe et Conservatrice en Chef au Musée Norman Rockwell


La Seconde Guerre mondiale a beaucoup inspiré les caricaturistes politiques. Parmi eux, Boris Artzybasheff qui a immigré aux États-Unis à l'âge de 20 ans. Il arrivait de Russie, avec seulement 17 cents en poche. Cet illustrateur était connu pour le don qu’il avait d’animer des objets, comme on peut le voir ici avec des croix gammées.


Pendant la guerre, il travailla auprès des services en charge de la guerre psychologique. Il apporta aussi sa contribution aux magazines Life, Fortune et Time, pour lesquels il a produit plus de 200 couvertures. Le Sabbat de la Sorcière, publié dans le magazine Life en 1942, caricaturait Heinrich Himmler, Hermann Goring et Joseph Goebbels, leaders du parti nazi, en leur donnant l’apparence de croix gammées.


Boris Artzybasheff comme d'autres artistes politiques de l'époque ont proposé une approche différente de celle de Norman Rockwell.
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Raconté par :
Stephanie Haboush Plunkett
Directrice adjointe / conservatrice en chef au Norman Rockwell Museum


Liberté de culte représenta un vrai défi pour Rockwell car la religion était pour lui un sujet profondément personnel, voire délicat. Il voulait peindre une image transmettant des valeurs d’unité malgré les différences, diffusant la vision d’un monde sans discriminations religieuses.


Son projet initial représentait une scène chaleureuse dans un salon de coiffure de campagne, un barbier s’occupant d’un homme juif pendant qu’un prêtre catholique et un afro-américain attendaient leur tour. Mais alors qu’il apportait la touche finale à son tableau, Rockwell trouva son approche trop stéréotypée et peu satisfaisante. Il abandonna donc ce travail et en recommença un autre.


La peinture que nous connaissons aujourd’hui se concentre plus sur l’acte de prière que sur la religion, et présente huit visages de profil dans un champ visuel réduit. Les visages représentent des personnes de différentes croyances, dans un moment de recueillement. L’image est peinte dans des tons monochromatiques afin de donner à l’ensemble une impression d’inclusion et d’unité.


Rockwell pensait que dans une peinture, la position et la gestuelle des mains sont secondaires par rapport à l’expression des visages. Liberté de culte est une illustration de ce principe. Les mots « Chacun selon les principes de sa propre conscience » reflètent ce que Rockwell pensait de la religion. Lorsqu’on lui demandait où il avait entendu cette phrase, il ne réussissait pas à s’en souvenir. Cette phrase existe en fait dans les constitutions de plusieurs états américains, et fut aussi utilisée par George Washington dans une lettre adressée à l’Église Baptiste Unifiée de l’état de Virginie, en 1789.
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Raconté par:
Stephanie Haboush Plunkett
Directrice Adjointe / Conservatrice en Chef au Musée Norman Rockwell


Le tableau « Liberté (de vivre) à l’Abri du Besoin » n'a pas été aussi difficile à concevoir que les peintures précédentes de Norman Rockwell sur la Liberté d’expression et la liberté de culte. Inspirée par la cérémonie de Thanksgiving, cette peinture en est devenue un des symboles.


Dans cette scène familiale on reconnaît divers personnages qui servaient de modèles à l’artiste, mais aussi des voisins et des membres de sa famille. Au second plan, madame Thaddeus Wheaton, la cuisinière de la famille, apporte une dinde de fête et sur la droite, sont peintes Mary Barstow Rockwell, la femme de l'artiste, et Nancy Hill Rockwell, sa mère.


Liberté (de vivre) à l’Abri du Besoin a été publié en même temps qu’un essai du romancier et poète Carlos Bulosan, un philippin peu connu, qui a émigré aux Etats-Unis et a témoigné de son mal-être persistant. Contrepoint aux représentations douces des peintures de Norman Rockwell, l'essai de Carlos Bulosan envisageait une société nouvelle dans laquelle les exclus, les travailleurs agricoles migrants, les syndicalistes, les ouvriers, les victimes afro-américaines de la ségrégation, les immigrants asiatiques et latinos, auraient droit à la liberté.


Sur le plan artistique, ce tableau est un exemple de la maîtrise de la représentation de la texture dans l'art, y compris la lueur de la porcelaine blanche sur la nappe blanche et la transparence de l'eau dans les verres.


Norman Rockwell, optimiste par nature, avait ici des doutes. Avait-il eu raison de peindre une dinde aussi grosse quand une grande partie de l'Europe était affamée, envahie et déportée. Si des critiques s’expriment sur la surabondance de nourriture sur cette image, elles notent aussi que cette peinture met en valeur la famille, la convivialité et la sécurité, et elles étaient d’accord pour dire que l'abondance était la meilleure réponse à la notion de besoin.
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Ralph Fabri (1894–1975)
Four Freedoms, 1943
Digital reproduction
Library of Congress: Prints and Photographs Division,
Washington, D.C., LC-USZ62-87998


In an effort to support the U.S. involvement in the war, artists who were not employed by the federally funded WPA joined together in 1942 to form Artists for Victory, Inc. This non-profit group, comprised of over 10,000 artists, adopted the philosophy of President Roosevelt’s address asserting the necessity of American involvement in the war. Artists for Victory worked to connect government, industry, and businesses with artists to create visual material on behalf of the war effort. The designation of four days, in September 1943, as Four Freedoms Days, spurred Artists for Victory to form their own Four Freedoms Campaign. This included America in the War, a national printmaking competition that resulted in an exhibition seen at museums nationwide. Included was Ralph Fabri’s Four Freedoms, an etching illustrating Roosevelt’s ideals for world peace. A renowned etcher, Fabri was an active member of Artists for Victory and served as head of its Graphic Arts Committee in 1945.
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Richard Floethe (1901–1988)
The Liberator, 1943
Serigraph published on the cover of Art News
Digital reproduction
Library of Congress: Prints and Photographs Division, Washington, D.C., LC-USZ62-87998


Born in Germany, Richard Floethe was educated at the Bauhaus and immigrated to the United States in the late 1920s. One of America’s most prominent graphic artists and book illustrators, his artworks, like The Liberator, employ a poster aesthetic to deliver powerful messages. In this work, a flag inscribed with the Four Freedoms pierces a Nazi helmet, and a soldier greets a prisoner amid the ruins of war.



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Richard Morrison
Correspondence to Norman Rockwell regarding
Freedom of Speech,
February 20, 1943
Handwritten letter on US Army Air Corps, Maxfield, Alabama letterhead
Norman Rockwell Museum Collection


This New England serviceman’s letter takes issue with Rockwell’s composition but ultimately expresses appreciation for his choice of a town meeting as emblematic of American democracy and freedom of speech.



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Roderick Stephens
Correspondence to Norman Rockwell regarding interracial relations
and the power of The Four Freedoms, July 12, 1943
Typewritten two-page letter on
Bronx Inter-Racial Conference letterhead
Norman Rockwell Museum Collection


Roderick Stephens, chairman of the Bronx Inter-Racial Conference in New York City, wrote Rockwell a number of letters entreating him to address the subject of interracial relations in a series of paintings as powerful as the Four Freedoms.





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Roy Wilkins (1901-1981)
Letter to Norman Rockwell relating to his member ship in the NAACP,
October 9, 1963
Norman Rockwell Museum Collection


Roy Wilkins was a prominent civil rights activist from the 1930s to the 1970s. Most notable was his leadership of the National Association for the Advancement of Colored People (NAACP). He served as Executive Secretary from 1955 to 1963, and as Executive Director from 1964-1977. In this letter, Wilkins thanks Rockwell for his contribution as a life member of the organization.





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Samuel Rosenman
Rosenman’s Draft of Peroration -
Annual Message to Congress (Four Freedoms Speech), 1941
Digital reproduction
Franklin D. Roosevelt Library and Museum, Hyde Park, NY


On New Year’s Day 1941, Franklin D. Roosevelt and his speech writing team were at work on the fourth draft of the upcoming Message to Congress, which was just five days away. The president’s aide, Samuel Rosenman, later recalled that the president suddenly exclaimed that he had come up with a powerful conclusion (or peroration) for the speech. As the speech writers waited respectfully, Roosevelt leaned back in his chair, gathering his words. He then slowly recited the passage that would forever be known as the Four Freedoms. Rosenman had his yellow legal pad ready, capturing the famous phrasing in his carefully written notes.





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Scott Faron
Correspondence to Norman Rockwell, re: Four Freedoms Symphony,
September 10, 1943
Typewritten letter on The Saturday Evening Post letterhead
Norman Rockwell Museum Collection, RC.2007.18.1.67d


Inspired by Rockwell’s Four Freedoms paintings, Robert Russell Bennett’s symphony premiered on September 26, 1943, on the General Motors Symphony Hour. Performed on a radio broadcast by the NBC Symphony Orchestra, Bennett’s music brought national attention to President Roosevelt’s ideals.





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T. C. Upham
Correspondence to Norman Rockwell regarding
The Four Freedoms,
February 25, 1943
Typewritten letter on The Cape Theater letterhead
Norman Rockwell Museum Collection


Not all of Rockwell’s correspondents admired the Four Freedoms. T.C. Upham, a Cape May, New Jersey theater director, succinctly enumerated his disdain for nearly every aspect of Freedom of Worship.
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The Life of Franklin D. Roosevelt, 32nd President of the United States, 1943
Comic book published by the Office of War Information,
Digital Scan
The National Archives at College Park, Maryland
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The Life of Franklin D. Roosevelt, 32nd President of the United States,
1943
Comic book published by the Office of War Information,
U.S. Government Printing Office Ink on paper
Norman Rockwell Museum Collection


This sixteen page comic about the life and career of Franklin D. Roosevelt portrayed him as rugged and determined, and was designed to support the president’s vision and ideals. In order to garner support with the nation's allies abroad, this comic book was translated into a number of languages for broader distribution worldwide.



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Theo Matejeko (1893–1946)
Achtung Spione—Vorsicht bei Gesprächen!
(Attention Spies Beware of Conversations!), 1939
Poster
Norman Rockwell Museum Collection


For both Allied and Axis powers, posters were one of the most prevalent means of communicating propaganda messages to citizens during World War II. Because they were inexpensive to design and print, posters could reach a wide audience, conveying emotions of fear and suspicion. Austrian illustrator Theo Matejko gives a warning to soldiers to think before they speak out to loud: spies are everywhere.
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Thomas Lea (1907–2001)
That 2,000 Yard Stare, 1945
Illustration for Peleliu, Tom Lea Paints Island Invasion, Life,
June 11, 1945
Oil on canvas
Life Collection of Art WWII,
US Army Center of Military History, Fort Belvoir, Virginia


This painting was inspired by Tom Lea’s experiences as an artist and war correspondent with the First Marine Division in the battle of Peleliu, Palau, in September 1944. It portrays a war-weary soldier whom Lea met after the fight on Bloody Nose Ridge, one of Japan’s most staunchly defended redoubts on the western Pacific island. The “two-thousand-yard stare” describes the appearance of soldiers who have been forced to detach themselves from the trauma of their experiences with violent combat. After Lea’s painting was published in Life, the image became synonymous with the phrase and the residual effects of war on the human psyche.
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Toni Frissell (1907-1988)
Tuskegee Airmen at Ramitelli, Italy, March 1945
Digital reproduction
Library of Congress Prints and Photographs Division,
Washington, D.C. 20540 USA,
LC-DIG-ppmsca-13259


For many Americans, the freedoms that President Roosevelt outlined in his January 1941 Address to Congress were aspirational rather than a reality. When the United States entered World War II in December of that year, racial segregation permeated every aspect of American society. African Americans who volunteered or were drafted for duty were assigned to segregated divisions and often given combat support roles. Civil rights organizations pressed the government to provide equal training and placements for black soldiers, but segregation in the armed forces remained official policy until 1948.


These efforts gained limited traction, but beginning in March 1941, African American pilots were trained as a part of the Army Air Force at a segregated air base in Tuskegee, Alabama, and many saw action. This photograph is one of hundreds taken by Toni Frissell, a female fashion photographer who volunteered her services during the war. Her moving portrayals of military women and Tuskegee Airmen in the elite 332nd Fighter Group encouraged public support for women and African Americans in the military.


The Tuskegee Airmen were commanded by Col. Benjamin O. Davis Jr., who became the first three-star general in the Air Corps. The group earned more than 744 Air Medals and Clusters, and more than one hundred Flying Crosses, fourteen Bronze Stars, eight Purple Hearts, a Silver Star, and a Legion of Merit. Seen here in the front row, left to right: unidentified airman; Jimmie D. Wheeler (with goggles); Emile G. Clifton (cloth cap). Standing left to right: Ronald W. Reeves (cloth cap); Hiram Mann (leather cap); Joseph L. "Joe" Chineworth (wheel cap); Elwood T. Driver; and Edward "Ed" Thomas (partial view); Woodrow W. Crockett (wheel cap).
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U.S. Treasury Department and Saturday Evening Post Four Freedoms War Bonds Show Booklet, 1944
Sponsored by WM. Filene’s Sons Company
Booklet
Norman Rockwell Museum Collection,
Gift of John F. Butler



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Unidentified photographer
Eleanor Roosevelt and the United Nations Declaration of Human Rights, Lake Success, New York, November 1949
Digital reproduction
National Archives and Records Service.
Office of Presidential Libraries, Franklin D. Roosevelt Library
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United States. Army. Signals Corps
Transfer of the evacuees from the Assembly Centers to War Relocation Centers was conducted by the Army / Signal Corps U.S. Army, 1942
Digital reproduction.
Library of Congress Prints and Photographs Division
Washington, D.C. 20540 USA


This photograph documents the transfer of internees from the Assembly Center at Santa Clara to concentration camps called War Relocation Centers. Though families were not generally separated, Roosevelt’s Executive Order 9066 allowed regional military commanders “to designate military areas from which any or all persons may be excluded,” forcibly removing people from their homes and the lives that they had known. Here, families identify their hand baggage prior to departure. More than 120,000 would be incarcerated in ten concentration camps; two thirds were American citizens and one third were children.
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Universal Declaration of Human Rights


Preamble


Whereas recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world,


Whereas disregard and contempt for human rights have resulted in barbarous acts which have outraged the conscience of mankind, and the advent of a world in which human beings shall enjoy freedom of speech and belief and freedom from fear and want has been proclaimed as the highest aspiration of the common people,


Whereas it is essential, if man is not to be compelled to have recourse, as a last resort, to rebellion against tyranny and oppression, that human rights should be protected by the rule of law,


Whereas it is essential to promote the development of friendly relations between nations,


Whereas the peoples of the United Nations have in the Charter reaffirmed their faith in fundamental human rights, in the dignity and worth of the human person and in the equal rights of men and women and have determined to promote social progress and better standards of life in larger freedom,


Whereas Member States have pledged themselves to achieve, in cooperation with the United Nations, the promotion of universal respect for and observance of human rights and fundamental freedoms,
Whereas a common understanding of these rights and freedoms is of the greatest importance for the full realization of this pledge,


Now, therefore,


The General Assembly,
Proclaims this Universal Declaration of Human Rights as a common standard of achievement for all peoples and all nations, to the end that every individual and every organ of society, keeping this Declaration constantly in mind, shall strive by
teaching and education to promote respect for these rights and freedoms and by progressive measures, national and international, to secure their universal and effective recognition and observance, both among the peoples of Member States themselves and among the peoples of territories under their jurisdiction.


Article I


All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.


Article 2


Everyone is entitled to all the rights and freedoms set forth in this Declaration, without distinction of any kind, such as race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status. Furthermore, no distinction shall be made on the basis of the political, jurisdictional or international status of the country or territory to which a person belongs, whether it be independent, trust, non-self-governing or under any other limitation of sovereignty.


Article 3


Everyone has the right to life, liberty and the security of person.


Article 4


No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms.


Article 5


No one shall be subjected to torture or to cruel, inhuman or degrading treatment or punishment.
Article 6


Everyone has the right to recognition everywhere as a person before the law.


Article 7


All are equal before the law and are entitled without any discrimination to equal protection of the law. All are entitled to equal protection against any discrimination in violation of this Declaration and against any incitement to such discrimination.


Article 8


Everyone has the right to an effective remedy by the competent national tribunals for acts violating the fundamental rights granted him by the constitution or by law.


Article 9


No one shall be subjected to arbitrary arrest, detention or exile. Article 10
Everyone is entitled in full equality to a fair and public hearing by an independent and impartial tribunal, in the determination of his rights and obligations and of any criminal charge against him.


Article 11


1. Everyone charged with a penal offence has the right to be presumed innocent until proved guilty according to law in a public trial at which he has had all the guarantees necessary for his defence.
2. No one shall be held guilty of any penal offence on account of any act or omission which did not constitute a penal offence, under national or international law, at the time when it was committed. Nor shall a heavier
penalty be imposed than the one that was applicable at the time the penal offence was committed.


Article 12


No one shall be subjected to arbitrary interference with his privacy, family, home or correspondence, nor to attacks upon his honour and reputation. Everyone has the right to the protection of the law against such interference or attacks.


Article 13


1. Everyone has the right to freedom of movement and residence within the borders of each State.
2. Everyone has the right to leave any country, including his own, and to return to his country.


Article 14


1. Everyone has the right to seek and to enjoy in other countries asylum from persecution.
2. This right may not be invoked in the case of prosecutions genuinely arising from non-political crimes or from acts contrary to the purposes and principles of the United Nations.


Article 15


1. Everyone has the right to a nationality.
2. No one shall be arbitrarily deprived of his nationality nor denied the right to change his nationality.


Article 16
1. Men and women of full age, without any limitation due to race, nationality or religion, have the right to marry and to found a family. They are entitled to equal rights as to marriage, during marriage and at its dissolution.
2. Marriage shall be entered into only with the free and full consent of the intending spouses.
3. The family is the natural and fundamental group unit of society and is entitled to protection by society and the State.


Article 17


1. Everyone has the right to own property alone as well as in association with others.
2. No one shall be arbitrarily deprived of his property.


Article 18


Everyone has the right to freedom of thought, conscience and religion; this right includes freedom to change his religion or belief, and freedom, either alone or in community with others and in public or private, to manifest his religion or belief in teaching, practice, worship and observance.


Article 19


Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.


Article 20


1. Everyone has the right to freedom of peaceful assembly and association.
2. No one may be compelled to belong to an association.


Article 21
1. Everyone has the right to take part in the government of his country, directly or through freely chosen representatives.
2. Everyone has the right to equal access to public service in his country.
3. The will of the people shall be the basis of the authority of government; this will shall be expressed in periodic and genuine elections which shall be by universal and equal suffrage and shall be held by secret vote or by equivalent free voting procedures.


Article 22


Everyone, as a member of society, has the right to social security and is entitled to realization, through national effort and international co-operation and in accordance with the organization and resources of each State, of the economic, social and cultural rights indispensable for his dignity and the free development of his personality.


Article 23


1. Everyone has the right to work, to free choice of employment, to just and favourable conditions of work and to protection against unemployment.
2. Everyone, without any discrimination, has the right to equal pay for equal work.
3. Everyone who works has the right to just and favourable remuneration ensuring for himself and his family an existence worthy of human dignity, and supplemented, if necessary, by other means of social protection.
4. Everyone has the right to form and to join trade unions for the protection of his interests.


Article 24


Everyone has the right to rest and leisure, including reasonable limitation of working hours and periodic holidays with pay.
Article 25


1. Everyone has the right to a standard of living adequate for the health and well-being of himself and of his family, including food, clothing, housing and medical care and necessary social services, and the right to security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond his control.
2. Motherhood and childhood are entitled to special care and assistance. All children, whether born in or out of wedlock, shall enjoy the same social protection.


Article 26


1. Everyone has the right to education. Education shall be free, at least in the elementary and fundamental stages. Elementary education shall be compulsory. Technical and professional education shall be made generally available and higher education shall be equally accessible to all on the basis of merit.
2. Education shall be directed to the full development of the human personality and to the strengthening of respect for human rights and fundamental freedoms. It shall promote understanding, tolerance and friendship among all nations, racial or religious groups, and shall further the activities of the United Nations for the maintenance of peace.
3. Parents have a prior right to choose the kind of education that shall be given to their children.


Article 27


1. Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.
2. Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.


Article 28


Everyone is entitled to a social and international order in which the rights and freedoms set forth in this Declaration can be fully realized.


Article 29


1. Everyone has duties to the community in which alone the free and full development of his personality is possible.
2. In the exercise of his rights and freedoms, everyone shall be subject only to such limitations as are determined by law solely for the purpose of securing due recognition and respect for the rights and freedoms of others and of meeting the just requirements of morality, public order and the general welfare in a democratic society.
3. These rights and freedoms may in no case be exercised contrary to the purposes and principles of the United Nations.


Article 30


Nothing in this Declaration may be interpreted as implying for any State, group or person any right to engage in any activity or to perform any act aimed at the destruction of any of the rights and freedoms set forth herein.



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Unknown Artist
Freedom of Choice, 1944
Advertising illustration for General Electric, Schenectady, NY
The Saturday Evening Post, March 18, 1944
Tearsheet
Norman Rockwell Museum Collection


During World War II, many corporations created patriotic advertisements in support of the war effort. In Freedom of Choice, General Electric promotes the sale of war bonds and reminds the public that “when victory is won, the kind of America we have fought and worked to preserve must be a country in which every man and woman, and every boy and girl, will have freedom of choice in even greater measure.”






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Unknown Artist
Wings Over the World: Mankind Must Resolve to Make This the Last War
Advertisement for Pan American Airlines, Life,
September 21, 1942
May 13, 1944


This Pan American Clippers advertisement pairs the words of the Chinese philosopher, essayist, and diplomat Dr. Hu Shih with an illustration of a mother and child to ask: “What kind of future are we fighting for?”






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Unknown Cinematographer
Child survivors of Auschwitz, wearing adult-size prisoner jackets, stand behind a barbed wire fence, 1945
Digital reproduction from film still
United States Holocaust Memorial Museum,
courtesy of Belarusian State Archive of Documentary Film and Photography


The Soviet film about the liberation of Auschwitz was shot over a period of several months beginning on January 27, 1945, the day of liberation. It consists of both staged and unrehearsed footage of Auschwitz survivors taken in the first hours and days of their liberation, as well as scenes of their evacuation, which took place weeks or months later. The film includes the first inspection of the camp by Soviet war crimes investigators, as well as the initial medical examination of the survivors by Soviet physicians. It also records the public burial ceremony that took place on February 28, 1945 for Auschwitz victims who died just before and after the liberation. Eighteen minutes of the film was introduced as evidence at the International Military Tribunal in Nuremberg. Another segment of the film disappeared for forty years before resurfacing in Moscow in 1986.
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Unknown Photographer
Burning & Wrecked Autos. Rioters Running from Tear Gas.
Burning Car on Woodward near Stimpson.
A car turned on its side, burns in front of the Mayfair Theatre in Detroit,
Michigan during race riots, June 21, 1943.
Digital reproduction
The Detroit News Collection; Riots: Detroit: Race Riots, 1943.
June 21, 1943


Before its premier in the landmark Hudson’s department store in Detroit on September 27, 1943, the Four Freedoms War Bonds Show had already been to Washington, Philadelphia, New York, Boston, Buffalo, Rochester, and Pittsburgh. The huge parade that opened the Hudson’s show also presented a platform for Detroit to explore what the postwar world should look like just three months after the deadly race riots of June. Among the military service groups, marching bands, political dignitaries, and women’s auxiliaries was an organization called the Inter-racial Group.


Formed in the days following the riots, the group was one part of a seven-point set of actions called for by R. J. Thomas, the president of the UAW–CIO. Responding to Thomas’s call, Circuit Judge Ira W. Jayne addressed a mixed group of prominent African-American and white citizens, calling on them to form a committee that would work for racial harmony to prevent a repeat of the riots. In calling for the group to be officially recognized by the city, Jayne specifically referenced “freedom from fear” as motivation for a broad-based movement against the forces of hatred that plagued the city, nation and world. The presence of this group in the Four Freedoms parade was an important statement in this highly segregated, racially tense city.


As seen here, tensions came to a head on June 20, 1943, when fights between gangs of white and African-American youth erupted on the bridge to Belle Isle, a popular Detroit park. Thirty-four people were killed and 433 injured, with African-Americans making up over 75% of the casualties.
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Unknown Photographer
Norman Rockwell interacting with fans
at Hecht’s Department Store, Washington, DC,
inaugural stop of the Four Freedoms War Bond Tour, 1943
Photograph
Norman Rockwell Museum Collection


At the inaugural stop of the Four Freedoms War Bond Tour at Hecht’s Department Store in Washington, DC, Rockwell spoke with fans and autographed war bond covers. He was accompanied by other guest celebrities such as Dale Carnegie, author of How to Win Friends and Influence People, and Bob Ripley, creator of Ripley’s Believe It or Not! More than half of the war bonds purchased at Hecht’s were in $25 denominations, inspiring one columnist to comment that
it was the “man of ordinary means who responded to the appeal of the display that attracted thousands daily.”
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Unknown Photographer
Norman Rockwell signing Four Freedoms prints
at Hecht’s Department Store,
Four Freedoms War Bonds Show,
Washington, D.C., 1943
Photograph
Norman Rockwell Museum Collection










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Unknown Photographer
Norman Rockwell speaking at Hecht’s Department Store,
Four Freedoms War Bonds Show,
Washington, D.C., 1943
Photograph
Norman Rockwell Museum Collection






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Unknown Photographer
Woman posing in front of Freedom of Speech,
Hecht’s Department Store,
Four Freedoms War Bonds Show,
Washington, D.C., 1943
Photograph
Norman Rockwell Museum Collection








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Unknown Photographer
1939 World’s Fair Four Freedoms Sculptures by Leo Friedlander, 1939
Digital reproduction
New York World’s Fair 1939-1940 Records;
Manuscripts and Archives Division,
New York Public Library;
Astor, Lenos, and Tilden Foundations


President Roosevelt had a growing preoccupation with notions of freedom in the late 1930s, as articulated in the First Amendment of the Bill of Rights—Speech, Press, Religion, and Assembly. These were portrayed in artist Leo Friedlander’s sculptures for the 1939 World’s Fair at Flushing Meadows, New York. Roosevelt presided over the opening of that World’s Fair, and is known to have had off-the-record conversations about various types of freedom in the summer of 1940.



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Unknown Photographer
President Roosevelt and Prime Minister Winston Churchill aboard the “HMS Prince of Wales” during the Atlantic Conference in Placentia Bay, Newfoundland, August 10, 1941
Digital reproduction
Franklin D. Roosevelt Library and Museum, Hyde Park, NY.


The secret meeting near the coast of Newfoundland between President Franklin D. Roosevelt and Prime Minister Winston Churchill was risky for both men. For Churchill, it was a safety risk, forcing him to cross Atlantic waters that were under constant patrol by German U-boats. For Roosevelt, the risk was political. The United States was not at war in August 1941, and vocal isolationists were insistent on maintaining American neutrality. By signing a document of mutual aims with the United Kingdom’s leadership, the president was arguably bringing his country several steps closer to direct involvement in the war. In addition to Roosevelt and Churchill, Harry Hopkins, W. Averell Harriman, Ernest King, George Marshall, General Dill, Admiral Starck and Admiral Pound are seen here.
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Unknown Photographer
Soviet Forces in Helsinki, Finland,
November 30, 1939
Digital reproduction


Soviet Union military forces attacked Finland in November 1939, commencing with air raids on Helsinki, after Finland rejected the Soviet demand for military bases on its territory.
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Unknown Photographer
Norman Rockwell standing in front of his painting Freedom of Speech at Hecht’s Department Store, Washington, DC, inaugural stop of the Four Freedoms War Bond Tour, 1943
Photograph
Norman Rockwell Museum Collection
© 1943 Norman Rockwell Family Agency. All rights reserved


When The Saturday Evening Post’s publication of Rockwell’s Four Freedoms images proved to strike a chord with millions of Americans, the US Treasury Department recognized a golden opportunity. Partnering with the Post, the Treasury’s War Finance Division organized a traveling exhibition.


Starting in Washington, DC, the four original paintings and numerous other artifacts and works of art made their way across the country, appearing in sixteen major cities in order to publicize the importance of purchasing war bonds and stamps. Although Rockwell himself only appeared at Hecht’s Department Store in Washington, DC, the first stop, the tour raised over $133 million in war bond sales.



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Unknown artist
Yudan Taiteki
(Overconfidence can be a Great Enemy), c. 1942
Poster
Norman Rockwell Museum Collection





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Unknown photographer
Women Factory Workers Naomi Parker and Frances Johnson,
Alameda Naval Air Station, March 26, 1942
Digital reproduction
Bettmann/Getty Images


The juxtaposition of women and industrial settings proved irresistible for many media outlets in the early years of the war effort. Naomi Parker (foreground) and Frances Johnson were among the first women to work in the machine shop at the Alameda Naval Air Station near San Francisco, and appear in this press photo emphasizing safety gear. The pair seem competent and comfortable amid the machinery— qualities that the government campaign was eager to publicize as male laborers departed for military service. Women were required to wear “slack suits, heavy shoes, no jewelry and turbans during work hours.”



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Victor Kraft (1915-1976)
Aaron Copland by candlelight, studio in the Berkshires, September 1946
Digital reproduction
Aaron Copland Collection,
Music Division, Library of Congress


Since its premier in by the Cincinnati Symphony Orchestra on March 12, 1943, American composer Aaron Copland’s Fanfare for the Common Man has been one of the most frequently performed works for orchestra in the world. Copeland contemplated and rejected several possible titles, including Fanfare for the Four Freedoms, Fanfare of the Day of Victory, and Fanfare for a Solemn Ceremony. He finally settled on Fanfare for the Common Man because he wished to honor every person who worked toward victory during World War II, including those who were not on the battlefield. Copland is seen here at the Berkshire Music Center at Tanglewood where he taught and held administrative positions from 1940 to 1965. Woody Herman, the Rolling Stones, Styx, and Emerson, Lake & Palmer have brought Copland’s fanfare forward by integrating it into their own concerts and compositions.


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Wallace Morgan (1873–1948)
The suitcase was full. There were four pairs of dungarees, an overcoat, shoes, socks, and three caps marked with a swastika, 1942
Illustration for The Service Flag by Ben Ames Williams,
Collier’s, December 26, 1942, p. 30
Watercolor on board
The Eisenstat Collection of American Illustration,
Courtesy of Alice Carter and Courtney Granner


During World War II, many fiction and non-fiction stories were featured in American magazines, and espionage was a frequent theme. This illustration accompanied a story about a German-American mother who lost four sons in World War I, as well as her grandson, a World War II spy. Here, the woman finds clothing and explosives hidden on her property, evidently hidden there by German spies.
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Walt Disney (1901–1966)
Correspondence to Norman Rockwell
regarding The Four Freedoms,
May 21, 1943
Typewritten letter on Walt Disney letterhead
Norman Rockwell Museum Collection


Norman Rockwell and Walt Disney were both creative forces in American visual culture, attempting to satisfy the needs and wants of a broad popular audience. Their warm acquaintance led Rockwell to gift Disney a 1941 cover painting, Girl Reading the Post. In his thank you letter, Disney commented on Rockwell’s Four Freedoms: “I thought your Four Freedoms were great. I especially loved Freedom of Worship and the composition and symbolism expressed in it. It appealed to me very much.”



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Wesley Heyman (1918–2002)
. . . because somebody talked! 1944
Poster illustration for the Office of War Information,
U.S. Government Printing Office Poster
Norman Rockwell Museum Collection


Military secrecy was a constant theme on the American home front during World War II. Many civilians had access to sensitive information, such as troop movement destinations or factory production runs, which would have been valuable to enemy spies. Both government and corporate propagandists used posters throughout the war to dramatize the importance of information security, at times suggesting that careless
talk could even result in the death of a loved one on the battlefronts.



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Zudor
More Production. USA., 1942
War Production Board,
U. S. Government Printing Office Poster
Norman Rockwell Museum Collection


American production was essential during World War II. Without it, the war would have been lost. United States factories produced over 300,000 planes, 88,000 tanks, and 1,400 war ships over the course of the war—a miraculous feat that gave the Allies a decisive advantage. Wartime posters targeting munitions workers were designed to emphasize the importance of supporting the war effort through industry.





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[NARRATOR] Rockwell created “New Kids in the Neighborhood” for Look in 1967. It illustrated an article on housing desegregation. Two groups of children face each other across a driveway on moving day.


[HENNESSEY] For many kids moving is very traumatic. You come into a new neighborhood, you’ve left all your friends, you’re going to be going to a new school, you’re worried. Will there be kids my age in the neighborhood, will they like me, will I be able to play with them? …. So on many levels, this is a very universal situation. …


This is obviously the first African-American family moving into the neighborhood. … Rockwell is looking at … a very serious contemporary issue. But by focusing on children, I think he helps to defuse some of the tension. …


[NARRATOR] Rockwell added one detail that might have been missed in the reproduction. Notice the row of houses on the top of the painting. Look carefully at the middle house. Peeking out from behind a curtain there’s a curious neighbor who may not be so pleased about this new development.


[HENNESSEY] So obviously there’s a lot more going on here than just two new groups of kids kind of checking each other out.
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[NARRATOR] The day is over and this barbershop is closed. Maybe we’re just passing by on the street and glance in. Our eyes are drawn to the warm light in the back room, and the men who’ve gathered there.


The light spills out into the darkened shop, glinting off the stovepipe, the coal bucket, and picking out the dozens of meticulously rendered details that fill the room.


Anne Knutson.


[KNUTSON] It makes them just beautiful sparkling things. I think he is making a comparison between those ordinary everyday objects and the … men in the background. Although they are old they are making something beautiful in their music.


[NARRATOR] Look at the bottom of the painting, in the right corner. Here the light points out a crack in the window, a reminder that we’re outside looking in. Originally, Rockwell simply painted the barbershop, and the musicians in the back. Only then did he decide to add the window frame and the partial lettering of the shop’s sign.


Maureen Hart Hennessey:


[HENNESSEY] And that addition really changes the painting completely and makes it, in a sense, a much more intimate scene, even though you’re more clearly on the outside, but really focuses you through the window and into the party going on in the back room.


[NARRATOR] Rockwell photographed the real Shuffleton’s Barbershop in Arlington, Vermont, where he lived at the time. He said that if he tried to imagine what a barbershop looked like, he would always omit the one detail that people would be looking for.
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[NARRATOR] Just about everybody has to move to a new town once in a while, and it’s not much fun. You have to worry about making new friends, and how you’re going to fit in. The kids on the left side of the driveway are the new kids in the neighborhood. The kids on the right have come over to see who’s moved in.


Do you think these kids are going to become friends? I put in some clues that they might be able to be friends. See if you can find some things they might have in common.


When I painted this, there were still lots of neighborhoods where African-American families didn’t live. But that was changing. The new kids here are probably the first African-Americans to move in on this street. Not everyone was happy about that. Look up at the houses at the top of the painting, on the left side. Look carefully at the one in the middle. In the window, there’s somebody peeking out from behind the curtain. What do you think they’ll do next?
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[NORMAN ROCKWELL CHARACTER] These four pictures are called “The Four Freedoms.” I made them after I heard a speech President Franklin Roosevelt made, back before America began fighting in World War Two. He talked about the four freedoms that all people in the world ought to be able to enjoy.


[ROOSEVELT VOICE]: The first is freedom of speech and expression– everywhere in the world


[NORMAN ROCKWELL CHARACTER] Start at the poster that says “Save Freedom of Speech.” In it, you’ll see a man standing up, in a blue shirt and jacket.


I decided to take an idea like “Freedom of Speech” — that’s hard to explain– and find a picture from regular people’s lives that would tell the story. This man is at a town meeting. I made it so we’re sitting in the benches with the other people, looking up at the man. See how his head is surrounded with a black, empty space? I wanted him to look all alone up there. He’s standing up to say something that the other people don’t agree with. But nobody’s stopping him. As an American, he has the right– the freedom–to say what he likes. And the others respect him enough to listen.


Now, look on the left side, near the middle of the painting. Find the spot where the black space comes to a point. It’s pointing right at a guy in the back row that’s just one eye and an ear. (sounding proud) That’s me.


Now, let’s move on to the next picture. It’s a group of people praying.


[ROOSEVELT VOICE] … Freedom of every person to worship God in his own way. …


[NORMAN ROCKWELL CHARACTER] These people are all very different. There are men and women, older people and younger people, they’re different backgrounds and races, and different religions. Every hairstyle is different, and look at their hands. Some are smooth, some are really wrinkled. But–they’re all here together. And they’re all doing the same thing–praying. Each person has the right to worship in his or her own way.


Next, find the picture of a family just about to eat Thanksgiving dinner.


[ROOSEVELT VOICE] Freedom from want… which will secure to every nation a healthy peace-time life for it’s inhabitants…


[NORMAN ROCKWELL CHARACTER] “Freedom from Want” is another way of saying “not needing anything.” I decided one thing everyone can’t do without is food. See how when you stand in front of the picture, it’s like you’re at the table, too? You get the best seat at the end. Look in the right corner. That man is welcoming you to the table. See how everyone in the rest of the family is leaning in from the edges of the picture. The grandma and grandpa at the top are looking down. Even the rows of glasses are leading you to look at the star of the picture—The turkey!


Now look at the last picture, of two children in bed.


[ROOSEVELT VOICE] Freedom from fear….


[NORMAN ROCKWELL CHARACTER] “Freedom from fear” is another way to say “not being frightened.” These parents are tucking their children into bed, and it all looks pretty cozy. You might wonder what is there to be frightened about. But tilt your head a little to read what’s on the father’s newspaper. The headline is about war. “Freedom from fear” means feeling safe from harm, something every parent wants for their children.
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[NORMAN ROCKWELL CHARACTER] This is the kind of story I wish I didn’t have to tell. Can you figure out what’s going on here? The first thing you notice is the little girl. Can you tell why? One reason is the way I painted her white dress and sneakers to stand out against her dark skin. It gets our attention.


Another reason is that she’s the only person shown in full. I decided to paint the men in the painting with no heads. I did this on purpose. Imagine you could see their faces, too. You might spend time looking at them, instead. Can you read their yellow armbands? They are Deputy U. S. Marshals.


Notice how the girl and the men are all marching in the same way. They even hold their hands the same. I wanted you to get the feeling of what it would be like to walk when you’re doing something important—like being part of a ceremony or a parade.


But, see what the girl is carrying? She’s just walking to school. By doing that she’s also doing something important. She needs these men to protect her. The reason is that she’s probably the first African-American child to go to a previously all-white school.


What you don’t see in the picture are the crowds of people that lined the street to shout things at her. But you do see what they left behind—the words on the wall, and the tomato that was thrown. It looks like it just missed her.


How do you think this girl feels? Does she look afraid? Lots of kids in the 1950s and 60s had to walk to school this way every morning, sometimes for weeks and weeks. They had to be very brave. It was like being a soldier in a war. And yet, all they wanted was to go to school.
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[PETER ROCKWELL] Across America in the nineteen-fifties and sixties, children were at the front lines of school desegregation battles. In his first illustration for Look magazine, my father was able to visualize a subject about which he felt deeply—Civil Rights.


This schoolgirl marches in step with the Federal marshals who protect her; past a tomato splattered against the wall in a violent, blood-like splotch; past the scrawled racial slur; past the taunts of the unseen crowd that require her to be guarded. She marches on, perhaps every morning for weeks, with a stoic grace.


The inspiration may have been a real girl in New Orleans, Ruby Bridges. Ruby was the first, and at the time, only African-American child to attend the formerly all-white William Frantz elementary school. She had to be protected on her walk to school every day. Protesting parents kept their children home and Ruby was the only child in her class for the rest of the school year.
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[PETER ROCKWELL]: This image tells the story of three civil rights workers murdered by members of the Ku Klux Klan in 1964. Michael Schwerner, Andrew Goodman, and James Chaney were in Philadelphia, Mississippi, when they were kidnapped and shot.


Here, we see the moment of the attack. Harsh light rakes in from the right, as if from car headlights. It illuminates an anonymous, barren landscape that might as well be the surface of the moon. Sprawled on the ground is Goodman, who is either wounded, or already dead. In the center, the bleeding Chaney collapses in the arms of Schwerner, who turns to confront the attackers. All we see of the Klansmen are their menacing shadows.


For much of his career, my father worked on several projects at a time. But this assignment was different. For five weeks he worked on this image alone.
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[Peter Rockwell:] Esta imagen narra la historia de tres trabajadores a favor de los derechos civiles que fueron asesinados por miembros del Ku Klux Klan en 1964. Michael Schwerner, Andrew Goodman y James Chaney se encontraban en Philadelphia, Mississippi, cuando fueron secuestrados y asesinados a tiros.


En esta obra presenciamos el momento del ataque. Una luz intensa se filtra desde el lado derecho, como si se tratara de los faros de un automóvil. Ilumina un estéril paisaje anónimo que muy bien podría ser la superficie de la luna. Tirado sobre la tierra se encuentra Goodman, quien esta herido, o ya muerto. Al centro Chaney se desploma sangrando en los brazos de Schwerner, quien se voltea para enfrentarse a los agresores. Lo único que podemos ver de los victimarios son sus amenazadoras sombras.


Durante una gran parte de su trayectoria artística, mi padre trabajó en varios proyectos a la vez, pero este fue diferente; durante cinco semanas consecutivas trabajó exclusivamente en esta imagen. Puede obtener mayor información sobre el proceso de creación en la pared cercana.
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الراوي:
برايان آلان
باحث في الفنّ الأمريكي


بالنسبة لـ "حريّة التعبير"، تُعتبر إحدى الصور القليلة التي أنجزها روكويل وكانت مبنيّة على شيء حدث فعلا.


كانت توجد في مقاطعة أرلينغتون مدرسة ثانوية بُنيت في عشرينات القرن الماضي، وفي سنة 1940 نشب حريق أتى على المدرسة الثانوية. لهذا كانت هنالك حاجة ملحّة في المدينة لاتخاذ قرار ببناء مدرسة ثانوية جديدة أو ارسال الأطفال إلى المدن المجاورة للالتحاق بمدارسها الثانوية. لهذا كان هنالك نشاط في المدينة من أجل تخصيص المال لبناء مدرسة ثانوية جديدة، ولقد تطلّب ذلك موافقة جمعية المدينة.


بمشاركة أغلب المدن في فيرمونت وأغلب المدن في نيو إنجلند، يستثمر شكل الحكم المتمثل في جمعية المدينة في كلّ صاحب صوت، ويلعب كل ذي ملكية دور المشرِّع. يملك كلّ مصوّت الحق في القدوم إلى جمعية المدينة والتصويت على تخصيص المال، وفي هذه الحالة، تخصيصه لبناء مدرسة ثانوية.


شارك "جيم إدجرتون"، الذي كان مزارعا في المدينة، في الجمعية وكان كلامه معارضا للجهود الرامية لبناء مدرسة ثانوية جديدة. كان ذلك خلال فترة الكساد التي شهدت انخفاضا في سعر السلع، وكان يدفع فواتيره كلّ شهر من خلال بيع الحليب. لم يكن فقيرا، لكنه كان يشعر بضيق الحال كغيره أثناء فترة الكساد في فيرمونت. قاده ذلك إلى أن يكون قلقا بشأن الزيادة في الضرائب.


اللقطة التي اختارها روكويل كانت لحظة تعبير إدجرتون عمّا يجول في خاطره، وكان الناس يصغون إليه – غيره من المصوّتين والمشرّعين كانوا يصغون إليه بكلّ احترام.


على الرغم من أنّ "جيم إدجرتون" كان هو المتحدث فعلا، إلّا أنه لم يكن الشخص الذي يبحث عنه روكويل لتجسيد فكرة أنّ لكلّ شخص صوتا مستقلّا في جمعية المدينة. لقد كان يبحث عن شخص يشبه أبراهام لينكولن، ذلك ما كان يسعى وراءه. كان يبحث عن رجل جدّ اعتيادي. لهذا استخدم "كارل هيس" كنموذج، وكان هذا الأخير يدير محطة بنزين في المدينة، وقد تمتّع بالشكل الذي كان يبحث روكويل عنه.
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الراوي:
دوغلاس ب. داود
أستاذ الفنون ودراسات الثقافة الأمريكية - جامعة واشنطن في ساينت لويس


في السنوات التي سبقت ظهور التلفزيون، كان للأمريكيين مصدران رئيسيان لاستقاء المعلومات حول الكيفية التي يعيش بها الأشخاص الآخرون حياتهم، ماذا كانوا يرتدون، كيف كانت تبدو منازلهم، وحتى الشكل الذي كانت تبدو عليه المنتجات الأساسية. كان في حوزتهم مصدران: الأفلام والمجلات. رسمت المجلات والرسامون الذين كانوا يشتغلون لفائدتها صورة عن الكيفية التي عيشت بها الحياة في المجتمع، كما أنها رسمت حياة أفضل بقليل من تلك المعيشة في المجتمع لكي تُبقي على معيار طموح عالٍ: يمكنني أن أكون كذا. يمكنني أن أحصل على ذاك. يمكنني ارتداء ذلك.


تأتي قوتهم وقدرتهم على الإقناع من العرض المرئي، من الصنف والحروف، مرورا بالرسم، ووصولا إلى التصوير أيضا. عندما تفكّر بالأمر، فإنك إذا أزلت جميع تلك الرسومات عن المجلات، ما كان ليقرأها أحد. لطالما اعتقد الناس أنّ النشر يتعلّق دائما بالمحتوى. في الحقيقة، طريقة تعبئتها وعرضها تلعب دورا كبيرا في كيفية استجابة الناس لها.


في تاريخ صناعة الصحف، كان يُسمّى العرض الجيّد الذي ينطوي على استخدام الطباعة بأحجام أكبر لإنشاء تسلسلات هرمية مرئية مثلا بالدعاية الذاتية، وذلك بطريقة ساخرة نوعا ما. لهذا فإنّ الأشخاص الذين كانوا مكلّفين بالمحتوى لطالما ازدروا العرض المرئي، لكن هذا الأخير لطالما كان ذا أهمية بالغة في الواقع. وقدرة تلك المطبوعات على الإقناع هي قدرة مرئيّة بالخصوص. كما أنّ صور الناس والأمور التي ينجزونها والأشياء التي يرتدونها وصورة الحياة البارزة هي من صميم جاذبيتها.
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


عدّل الرسام "ميد شيفر"، الصديق المقرّب من نورمان روكويل في آرلينجتون بفيرمونت من مقاربته تجاه عمله أثناء سنوات الحرب العالمية الثانية لتلبية حاجيات زمن الحرب. فقد تخلّى عن المواضيع الرومنسية والأدبية التي كان مركزا عليها ووجّه انتباهه نحو الأشخاص والأماكن الحقيقية، محتضنا التوجّه الاخباري لجريدة "ساترداي إيفنينغ بوست" في ذلك الوقت.


في سنة 1942 وسعيا لإشراك موهبتهما في الجهود المتعلقة بالحرب، سافر كلّ من روكويل وشيفر إلى العاصمة واشنطن مع رسومات لبعض المشاريع المقترحة وزارا العديد من الوكالات الحكومية. للأسف، حينها لم تكن هنالك أموال كافية لمشاريعهما. بعد شعورهما بشيء من الحزن، وفي طريقهما نحو العودة إلى منازلهما توقفا في فيلاديلفيا لرؤية "بين هيبس"، محرّر جريدة "ساترداي إيفنينغ بوست". تبنّى هيبس أفكارهما مباشرة وكلّف كلّيهما بتطوير رسوماتهما من أجل النشر.


كان شيفر مصمما على تشكيل سلسلة من الأغلفة التذكارية للقوات المسلحة توضّح أعمال كلّ فرع عسكري. لقد بحث بتعمّق في مواضيعه، وصمّم أعمالا بطولية ذات مهارة فنية عالية ركّزت على مهنية وتفاني الجندي الأمريكي تحت كل الظروف. كانت صوره مطمئنة للجمهور أثناء الأوقات التي شهدت اضطرابا. في أحد إصدارات "ساترداي إيفنينغ بوست"، بتاريخ 20 فبراير 1943، تداخل رسما شيفر وروكويل فعلا. في ذلك الإصدار، ظهر تصوير شيفر القويّ لجندي من مشاة البحرية وسط المعركة على الغلاف، وظهر رسم روكويل الأول المتعلّق بالحريات الأربع، وهو حرية التعبير، داخل المجلة.
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


في هذا الغلاف بتاريخ 29 أبريل 1944 لجريدة "ساترداي إيفنينغ بوست"، يقوم رجل بالتخطيط حرفيا لمناورات حربية فيما ينصت للمذياع ويحمل في يديه العديد من الخرائط التي قد تشير إلى الأماكن التي يوجد فيها أبناؤه. تعتبر الصورة تصويرا مفصّلا عمّا قد يختبره الآباء أثناء الحرب العالمية الثانية. يمكننا أن نرى من خلال الصورة أنّ الرجل يمتلك علما به ثلاث نجمات زرقاء تشير إلى أنّ كل واحد من أبنائه مشارك في الحرب. من خلال صورهم نعرف أنّ واحدا منهم في الجيش، والثاني في البحرية، فيما يوجد الثالث في سلاح الجوية.


إذا كان يصغي فعلا للمذياع حينها، فلعله صادف موسيقى جوقة "جلين ميلر"، أو ربما حتى برنامجا عنوانه "لا يمكنك التعامل مع هتلر"، والذي كان عبارة عن سلسلة إذاعية كتبها وأنتجها "مكتب المعلومات الحربية". واحدة من بين آلاف المسرحيات الدعائية الحكومية التي تم بثها لدعم الجهود الحربية.


عادة ما كان روكويل يستخدم دعائم موجودة في الاستديو الخاص به في رسوماته. أحد الأشياء التي يمكننا تحديدها هنا هو كرسي وندسور الخاص بروكويل، والذي يجلس عليه الرجل. كرسي وندسور الذي ترونه هنا هو الصنف الحقيقي للكرسي الذي كان روكويل يرسم وهو جالس عليه عادة، على الرغم من إنجازه لبعض الرسومات وهو واقف. لقد كان كرسيا أخذه معه من استديو إلى آخر.


الصورة التي ترونها هنا هي ثاني صورة صممها روكويل على أساس فكرة الاستماع إلى أخبار الحرب. الأولى كانت في الحقيقة صورة غير منشورة عمل عليها روكويل في شتاء سنة 1944، وقد اعتبرها وجريدة "ساترداي إيفنينغ بوست" غير قابلة للقراءة. نرى فيها مجموعة من الرجال مجتمعين من أجل العشاء، وعلى الرغم من أن ملامحهم تظهر أنهم منتبهون، إلّا أنه لا يمكننا التأكّد ممّا يصغون إليه تحديدا. إذا ما نظرنا عن قرب، في الجزء العلوي الأيمن للصورة، هنالك ضوء متوهج صادر عن المذياع المشتغل. بصفته رساما لجريدة كثيرة الإصدار، كان على روكويل أن يحكي قصته بسرعة، ووجب على صورته أن تجذب جمهورا واسعا جدّا. في هذه الحالة، تعتبر "أخبار الحرب" صورة جميلة، لكنها تعجز عن التواصل بفعالية بالطريقة التي كان روكويل يأمل أن تفعل، لهذا اختار التخلّي عن هذه الطريقة في الإخبار بالقصّة.
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


تمّ رسم "التحرر من الخوف" في الوقت الذي كانت فيه أوروبا تحت الحصار، وهو ما كشف عنه عنوان الجريدة التي يمسك بها الأب في يده. كانت نيّة روكويل هي نقل فكرة أنّه يجدر بجميع الآباء أن يكونوا قادرين على وضع أبنائهم في السرير كلّ ليلة مع ضمان سلامتهم.


هنا يظهر الأب والأمّ وهما يتفحصان طفليهما النائمين، فيما تكشف اللمسات الجميلة عن قصّة حياة مريحة لعائلة من طبقة متوسّطة. توجد صور وملابس وألعاب في غرفة نوم الطفلين بينما يتشاركان سريرا واحدا. يصدر ضوء دافئ من الطابق الأوّل لمنزلهم، وهو ما يشير إلى أنّ هذه العائلة قد حققت بعض الاكتفاء المالي والحلم الأمريكي.


على الرغم من أنّ روكويل لم يكن يعتبر "التحرر من الخوف" صورة قوية بالخصوص، إلّا أنها بقيت ذات صلة واستُشهد بها جوابا على العديد من الأحداث العالمية البارزة. بعد أحداث الحادي عشر من سبتمبر، نشرت صحيفة "نيويورك تايمز" صورة "التحرر من الخوف" على صفحتها الرئيسة مع استبدال ترويسة روكويل بعبارة تحيل إلى الهجمات في نيويورك والعاصمة واشنطن وبنسلفانيا.


كجواب على أعمال الشغب الناجمة عن العنف العرقي في أرجاء البلاد، أعاد الكثير من الفنانين تأويل "التحرر من الخوف"، إلى جانب الرسم الشهير "المشاكل التي نعيش معها جميعا" تعبيرا عن تلك الأحداث والانشغالات المعاصرة.
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


غلاف جريدة "ساترداي إيفنينغ بوست" لنورمان روكويل بتاريخ 1 أبريل 1961 المُعنون بـ "القاعدة الذهبية" بدأ كرسمٍ في الواقع. سنة 1952 وفي عزّ الحرب الباردة وبعد سنتين من الحرب الكورية، صمّم روكويل صورة لـ "الأمم المتحدة" على أنها أمل العالم للمستقبل. إعجابه بالمنظمة ومهمتها ألهمه لإنجاز عمل معقّد يصوّر أعضاءً من مجلس أمن الأمم المتحدة و 65 شخصا يمثلون بلدان العالم. كانت "الأمم المتحدة" دراسة لعمل فنّي كان يُزمع في الأصل اتمامه في شكل رسم، تمّ البحث فيه وتطويره إلى مرحلة الرسم النهائي، إلّا أنه لم يتم إتمامه على القماش.


قال روكويل بشأن رسمه "الأمم المتحدة": "كغيري من الناس، أنا قلق بشأن حالة العالم، وكغيري من الناس أودّ أن أساهم بشيء للمساعدة. الطريقة الوحيدة التي يمكنني عبرها المساعدة هي من خلال صوري." ولأنّه يسعى للمثالية في فنّه، لم يدخر روكويل جهدا في انشاء الصور التي تعبّر عن مفاهيمه تماما والبحث عن النماذج المثالية لعمله. بحث عن البدلات والدعائم كما نسّق كل عنصر من التصميم حتي يتمّ تصويره قبل الشروع في وضع الألوان على قماش الرسم.


مستخدما صوره كمرجع، عمل روكويل مع تفاصيل البنية والقيمة في هذا الرسم الأبيض والأسود ذو التفاصيل الغنية، والذي أنجِز باستخدام قلم وولف والفحم. يقول: "آخذ مخططات الفحم على محمل الجدّ"، مضيفا: "الكثير من المبتدئين، في اعتقادي، ينتظرون إلى غاية الوصول إلى القماش قبل محاولة حلّ الكثير من المشاكل التي تعترضهم. من الأفضل بكثير مجابهة هذه المشاكل مسبقا عبر الدراسات."


على الرغم من أنه كان متفانيا تجاه فكرة عمله، إلا أنه وجد في النهاية أنه من المعقّد جدّا تشكيلها كرسم نهائي، وفي الأخير وبعد سبع سنوات، بحث في إمكانية مقاربة جديدة، وهي التي تبناها عندما أخذ "القاعدة الذهبية".


قال روكويل: "في أحد الأيام جاءتني فجأة فكرة أنّ القاعدة الذهبية، عامل غيرك كما تريد منهم أنت أن يعاملوك، كانت هي الفكرة التي كنت أبحث عنها."
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


كان ج. ك. ليينديكر رساما أمريكيا مشهورا يكبر نورمان روكويل بحوالي 20 سنة، وبينما كان روكويل يسير نحو الشهرة، ليينديكر كان فعلا أشهر رسامي جريدة "ساترداي إيفنينغ بوست". عاش في نيو روشيل وكان جارا لنورمان روكويل، هذا الأخير كان يتحدّث عن حقيقة أنه كان يتتبّع ج. ك. ليينديكر في تجواله ليرى ما كان ينظر إليه عبر نوافذ المتاجر، وما قد يفكّر في رسمه لغلاف جريدة "بوست" في العدد التالي، ولقد أصبح الاثنان صديقين مقرّبين جدّا.


كان "طفل السنة الجديدة" أحد أهمّ إنجازات ج. ك. ليينديكر التي قدّرها الجمهور الأمريكي بشكل كبير، ذلك أنّ "طفل السنة الجديدة" كان يُنشر علىجريدة "ساترداي إيفنينغ بوست" من سنة 1907 وإلى غاية 1943، ولقد كان بالأساس يفتتح السنة الجديدة بنظرة على ما هو قادم. رسم ليينديكر طفلا سمينا جمع بين البراءة والحكمة في آن واحد، وكان يتناول العديد من المسائل الوطنية بدءا من منح المرأة حق التصويت، مرورا إلى المنع، ووصولا من دون شكّ إلى تقلبات سوق الأسهم خلال سنوات الثلاثينات.


هنا في سنة 1940، لم تكن الحرب قد بلغت الولايات المتحدة، بل كانت تدور حماها ما وراء البحار، وفي هذه الصورة يرتدي "طفل السنة الجديدة" قناعا واقٍ من الغازات ويمسك في يده مظلة يرمز من خلالها لرئيس الوزراء البريطاني، نيفيل تشامبرلين، الذي لم تتحقق ضماناته بالسلم وقتها. تزامنا مع نشر هذا الرسم، كان لدى جريدة "ساترداي إيفنينغ بوست" أكثر من ثلاثة ملايين مشترك أسبوعيا، ولقد ادعت الجهة الناشرة أنّ كلّ اصدار كان يُقرأ من قبل حوالي 10 أشخاص، سواء كانت المجلة موجودة في منزل كلّ شخص، أو في مكتب الطبيب، أو في أيّ بناء عموميّ آخر. كانت المجلة ذائعة الصيت إلى درجة أنّ الرسامين كان في وسعهم الاعتراض على العنوان الرئيس من دون أيّ مشكل يُذكر، من حيث الاعتراف بحقيقة أن الأمر يتعلّق بجريدة "ساترداي إيفنينغ بوست".
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


كانت حقبة الحرب العالمية الثانية خصبة بالنسبة لرسامي الكاريكاتور السياسي، ذلك أنّ الشغف زاد في تلك الفترة ومصير العالم كان مهددا وغير واضح المعالم. هاجر "بوريس آرتزيباشيف" إلى الولايات المتحدة في سنّ العشرين قادما من روسيا، حينها لم يكن يتحدث الإنجليزية أبدا ويُحكى أنه قدِم وفي حوزته 17 سنتا فقط. كان معروفا بقدرته كرسّام على تحويل الآلات والجمادات إلى كائنات حية، بما في ذلك الصلبان المعقوفة كما نراها هنا.


أثناء الحرب العالمية الثانية كان مستشارا لفرع الحرب النفسية التابع للقوات المسلحة، وكونه رساما غزير الانتاج، فقد أنجز أعمالا للعديد من المطبوعات الهامة مثل "لايف"، "فورتشن"، و "تايم" التي صمم لها أكثر من 200 غلاف. نُشر "سبت الساحرات" في مجلة "لايف" سنة 1942 وعكَس وجهة نظر الفنان، حيث يصوّر الرسم "هنريتش هيملر"، "هرمان غورينج"، و "جوزيف غوبلز" زعماء الحزب النازي ومروّجي الدعاية النازية كصلبان معقوفة.


سعى "آرتزيباشيف" وفنانون سياسيون آخرون في تلك الحقبة إلى الكشف عن أمراض المجتمع، وهي مقاربة تختلف عن منهجية روكويل الذي كان يميل إلى تقديم رسائل أكثر طموحا.
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


كما هو الحال مع العديد من الأمريكيين منتصف الستينات، كانت حرب فيتنام تشغل بال نورمان روكويل. في سنة 1966 قضى أسبوعا في قاعدة "كوانتيكو" البحرية بفرجينيا وأخذ صورا لجندي بحرية محنّك بنيّة تصميم صورة لملصق كُلِّف بإنجازه. لكن في شهر آذار مارس 1967 كتب لسلاح مشاة البحرية ليعبّر عن رفضه للمهمة قائلا: "لا يمكنني رسم صورة مادام قلبي ليس معها."


بعدها بحوالي سنة، بدأ روكويل في العمل على "الحق في المعرفة"، وهو رسم افتتاحي لمجلة "لوك" نُشر في أغسطس سنة 1968. بعد مرور أشهر من ظهور الصورة، كشفت جريدة "نيويورك تايمز" أنّ الجنرال "وستمورلاند" أمر بإرسال 206.000 جنديّ إضافي إلى فيتنام، وهي القصة التي أراد البيت الأبيض كتمانها.


بعد الكشف عن زيادة عدد الجنود، جاءت أخبار "مجزرة ماي لاي" التي أججت من الاستنكار المتزايد للحرب. عبّر بيان روكويل السياسي عن حقّ المواطنين الأمريكيين في فهم أفعال حكومتهم. قال روكويل بخصوص عمله في تلك الفترة: "لا أعتقد أنّ أسلوبي قد تغيّر، لكن أمريكا تغيّرت وتغيّر معها موضوعي. الرب يعلم أن لدينا مشاكل، الكثير منها، لكن يجب أن تكون لدينا أيضا ثقة كبيرة في الجيل الحالي من الشباب الذين هم، في اعتقادي، خير من أنجبنا، الشعر الطويل وما إلى ذلك. من يتجرأ على إنكار أنّ واحدا من هؤلاء 'الهِبي' سيكون عبقريا في المستقبل؟".


يعرض روكويل في صورته مجموعة من الأشخاص من أعراق، وأعمار، وقناعات سياسية مختلفة. تصميمه المتمثّل في جمع أعراق متنوعة تنوّع التجارب الحياتية استُخدِم في عملين آخرين في هذا المعرض: رسم أنجزه سنة 1953 يتعلّق بـ الأمم المتحدة وسكان العالم، إلى جانب رسم الغلاف الشهير لجريدة "ساترداي إيفنينغ بوست" تحت عنوان "القاعدة الذهبية"، والمنشور سنة 1961، والذي صوّر سكان العالم متحدين تحت العبارة: "عامل غيرك كما تريد منهم أن يعاملوك."


كان لدى نورمان روكويل الذين بلغ من العمر 74 سنة عندما أنجز هذا العمل شعور قويّ تجاه هذه الصورة إلى درجة أنه أدرج نفسه في العمل، حيث يظهر في أقصى الجانب الأيمن واضعا غليونه المعروف في فمه.
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


لم يكن رسم "التحرر من العوز" بمثابة التحدي المفاهيمي الكبير بخلاف الرسمين السابقين لروكويل المتعلقين بالحريات الأربعة (التعبيروالعبادة). ولقد استُلهِم الرسم من عيد الشكر الأمريكي وأصبح نموذجا له بعد ذلك.


على الرغم من أنّ الصورة شُكّلت كمركّب من عارضي روكويل الذين جرى تصويرهم في جلسات انفرادية داخل الاستديو الخاص به، إلّا أنّ هذا المشهد يشتمل على البعض من جيران الفنان وأفراد من عائلته. وتظهر في الصورة السيدة "ثاديوس ويتون"، طباخة العائلة التي تحمل ديكا روميا كبيرا خاصا بالعيد، إلى جانب "ماري بارستو روكويل"، زوجة الفنان، ووالدته "نانسي هيل روكويل" الظاهرة على اليمين.


نُشرت صورة "التحرر من العوز" مع مقال للروائي والشاعر "كارلوس بولوسان" غير المعروف إلى حدّ ما، وهو مهاجر فلبيني في أمريكا، وعامل مهاجر كان يكتب نيابة عن أولئك الذين يعانون من صعوبات منزلية. كفكرة معاكسة للعرض اللطيف الذي تقدّمه صورة روكويل، كان مقال بولوسان يتطلّع إلى مستقبل مُحتَمل يمكن فيه للمتواجدين خارج التيار الاجتماعي الغالب –من مزارعين مهاجرين، ومنظمي نقابات العمال، والعمال اليدويين، والأمريكيين من أصول إفريقية الذين يعانون التمييز، والآسيويين، والمهاجرين القادمين من أمريكا اللاتينية –اختبار الحرية الحقيقية.


من الناحية الفنية، يحظى العمل بتقدير كبير، حيث يُعدّ مثالا للتغلّب على التحديات التي تقف في وجه نقل النسيج البصري في الفنّ، بما في ذلك بريق الخزف الأبيض على مفرش المائدة الأبيض، وشفافية المياه في الكؤوس.


على الرغم من تفاؤل روكويل العام، إلّا أنّ بعض الشكوك اعترته لتصويره لمثل هذا الديك الرومي الكبير في الوقت الذي كانت فيه أجزاء كبيرة من أوروبا تتضوّر جوعا وتتهاوى وتشهد نزوحا بسبب اشتداد الحرب العالمية الثانية. يقرّ الكثير من النقاد بالوفرة الزائدة للطعام في هذه الصورة، لكنهم يؤكدون أيضا أن الصورة تعرض روح العائلة، والبهجة، والأمان، وكانوا يرون أنّ الوفرة بخلاف الاكتفاء فقط، هي الجواب الحقيقي لمفهوم العوز.
HTMLText_464D4DC9_697E_8C8C_41C4_D49DCB9DCF28.html =
الراوي:
مارك شولمان
كلية التاريخ – معهد سارا لورنس


كانت مجموعة الحريات الأربعة التي أعلنها فرانكلين روزفلت بمثابة محاولة لتوضيح رؤيةٍ لنظام أمني ليبيرالي لما بعد الحرب، حتى يكون السلم والازدهار عنصرين أساسيين للأمن بنفس قدر الحقوق المدنية والسياسية في حرية الدين والتعبير.


تمّ اعتماد الحريات الأربعة في الميثاق الأطلسي الذي وضعه كلّ من روزفلت وتشرشل، وبعدها فصّلوا الصيغة الأساسية للميثاق الذي تبنته الأمم المتحدة في صيف 1945. توفي الرئيس روزفلت كما هو معروف بحلول صيف سنة 1945. ترأّس الولايات المتحدة الأمريكية بعدها رئيس جديد، لعلّه أقلّ تجربة لكنه كان عمليّا أكثر في نواح كثيرة. عيّن الرئيس ترومان، السياسي المحنّك، إليانور روزفلت، أرملة فرانكلين لكي تشغل منصب رئيسة اللجنة التي من شأنها صياغة إعلان الأمم المتحدة العالمي لحقوق الإنسان.


صاغت السيّدة إليانور روزفلت، التي اشتغلت مع لجنة مكوّنة من أبرز العلماء والدبلوماسيين والمنظرين ورجال الدولة من جميع أرجاء العالم، هذه الوثيقة الرائعة، الإعلان العالمي لحقوق الإنسان، ولقد تبنته الأمم المتحدة في العاشر من كانون الأول ديسمبر من سنة 1948. الإعلان العالمي لحقوق الإنسان هو الصورة الأوضح للحريات الأربعة. تعترف الديباجة صراحة بتبنّي الحريات الأربعة واعتبارها أساسا لنظام عادل لما بعد الحرب. ويواصل الإعلان بعدها بلورة وتوضيح كلّ عنصر من العناصر التي ستكون بالغة الأهمية لبناء عالم تتحقّق فيه الحريات الأربعة.
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رواه:
إرفين أنجر
المؤسس والرئيس التنفيذي - هيستوريانا / أمين المعرض - جمعية آرثر سزيك


يسعدني أن أقدم لكم آرثر سزيك الذي كان فنانًا يهوديًا بولنديًا ولد في لودز ببولندا في عام 1894، في نفس العام الذي ولد فيه نورمان روكويل. جاء آرثر سزيك إلى أمريكا في عام 1940 كمهاجر وتوفي 1951.
عندما وصل في نهاية المطاف إلى أمريكا رأى نفسه كجيش من رجل واحد في معركته ضد هتلر. كما اعتبر نفسه جندي فني لفرانكلين ديلانو روزفلت (كما وقع عدد من أعماله).


عمل آرثر سزيك خلال الحرب العالمية الثانية وحارب ضد الهجوم الغاشم وكان يعمل أيضا من أجل إنقاذ يهود أوروبا.


أصبح مشهورا جدا في أمريكا على الرغم من أن الكثير من الناس قد نسوا من هو وما أنجزه خلال حياته، لكنه كان مشهورا بكل ما تعنيه الكلمة من معني. ولإعطائكم فكرة عن ذلك، فأنت المشاهد تعرف أن نورمان روكويل كان يرسم في أوائل الأربعينيات أغلفة صحيفة ساترداي إيفنينغ بوست. في ذلك الوقت كان آرثر سزيك يرسم أغلفة مجلة كولير. كيف كانت دورة صحيفة ساترداي إيفنينغ بوست؟ حوالي ثلاثة ملايين شخص حصل كل منهم على نسخة. كم من الناس حصل على نسخة من كولير؟ اثنان ونصف مليون شخص.


اسمحوا لي أن أتحدث عن آرثر سزيك والحريات الأربع. بدأ الأمر عندما خلق آرثر سزيك سلسلة بعنوان واشنطن وعصره. هناك 38 لوحة تحكي قصة جورج واشنطن والثورة الأمريكية. أنهي آرثر سزيك هذه الأعمال في عام 1930، وتم نشره كمجموعة في عام 1932. في عام 1935، كان آرثر سزيك يعرض هذه الأعمال وقام رئيس بولندا (موشتشيتسكي) بشرائها، وفي عام 1935 قدم هذه اللوحات إلى فرانكلين روزفلت كهدية وبطريقة جيدة لخلق علاقات أقوي بين بولندا والولايات المتحدة عشية الحرب العالمية الثانية ــ كان النازيون يتولون مقاليد السلطة بالفعل.


حافظ روزفلت على هذه الرسومات في البيت الأبيض وعندما ألقي روزفلت خطابه عن الحريات الأربع في يناير 1941، كان هناك 38 لوحة عن الحرية معلقة في البيت الأبيض. وكانت هذه أعمال آرثر سزيك.


ثم انطلق سزيك في عام 1942 لرسم الحريات الأربع. كانت ... تظهر حقا بصورة فارس من العصور الوسطى يكاد يناضل من أجل الحرية، وهذا يعني أنه يجب النضال من أجل الحصول على كل الحريات وكانت طريقة سزيك هي استخدام فارس من العصور الوسطى لديه رمح وخنجر وسيف في كل رسمة تقريبا. وقد تم استنساخ هذه الرسومات بصيغتين. أحدهما كطوابع ملصقات والتي تم توزيعها على نطاق واسع كما لو كان أحد ما يوزع اختام عيد الفصح. والأخرى، كبطاقات بريدية كبيرة وتم توزيعها أيضا.


كان ذلك هو الاتصال بين آرثر سزيك والحريّات الأربع، سواء من حيث عمله الفني في البيت الأبيض عندما تم إلقاء الخطاب ومن ثم إعادة إنتاج الرسومات حرفيا أيضًا.
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رواه:
بول إم. سبارو
مدير مكتبة ومتحف فرانكلين ديلانو روزفلت الرئاسية، هايد بارك، نيويورك


إن العلاقة بين الرئيس روزفلت ورئيس الوزراء وينستون تشرشل هي علاقة استثنائية جدا، وبشكل ما كانت واحدة من أهم الشراكات في تاريخ القرن العشرين وربما في التاريخ الأمريكي كله. كان ونستون تشرشل مشاركا بجيش بريطانيا العظمى في الحرب العالمية الأولى تماما كفرانكلين روزفلت. كان لديه وجهات نظر دقيقة جدًا حول هيكل العالم، وفي تلك المرحلة لا زال يعتقد أن الإمبراطورية البريطانية كانت الكيان السياسي الأكثر أهمية في العالم وأنه لا يمكن إيقافها ولن يسمح بانهيار الإمبراطورية البريطانية عندما كان رئيسا.


لذلك عندما التقى فرانكلين ديلانو روزفلت وتشرشل في الموعد السري على متن السفينتين الحربيتين الكبيرتين، كان ذلك لقاء عملاقة. في تلك المرحلة، شارك تشرشل في الدفاع عن الجزر البريطانية ضد الهجوم النازي لمدة عام، لذلك كان منغمسا في الحرب وكان يعرف أن انتصاره يعتمد على إدخال أمريكا في الحرب. كان روزفلت لا يزال مترددًا بعض الشيء. لم يكن بإمكانه أن يتعهد بذلك علنا ولكنه كان يعلم أيضًا أنه في نهاية المطاف ستدخل الولايات المتحدة الحرب، وهذا هو حيث بدأوا لأول مرة بالفعل في وضع الأساس لما أصبح الآن الحريات الأربع.


بالطبع، جاء تشرشل إلى الولايات المتحدة عدة مرات خلال الحرب. بعد موقعة ميناء بيرل جاء إلى البيت الأبيض وأقام هناك لعدة أسابيع وكان يسكن في إحدى غرف النوم ويتجول في البيت مرتديا رداء الاستحمام ويشرب بشراهة ويدفع الجميع إلى الجنون وأبقي روزفلت مستيقظا طوال ساعات الشرب والتدخين في الليل، وإليانور كانت منزعجة من الأمر نوعا ما. لكن هذه كانت طريقة عمل تشرشل. لقد كان نوعًا ما يقحم الجميع في زوبعة الجنونية ولكنها كانت تنتهي دوما بهذه الأفكار الرائعة بشكل مذهل وكان حقا لديه رؤية عالمية. لذا، كان الاثنان يشكلان علاقة شراكة استثنائية ونحن محظوظون للغاية أنهما هما الزعيمان اللذان واجها أكبر أزمة في القرن العشرين.
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رواه:
جيمس ج. كيمبل الحاص على الدكتوراه.
أستاذ مساعد في الاتصالات - كلية الاتصالات والفنون
جامعة سيتون هول


أحد الجنود المشهورين في الحرب العالمية الثانية لم يكن جنديا حقيقيا. كان اسمه ويلي جيليس وكان نتاج خيال الرسام نورمان روكويل الواسع. تمثل هذه اللوحة أول ظهور علني لجيليس على غلاف مجلة ساترداي ايفيننج بوست في 4 أكتوبر 1941. في هذه اللوحة يظهر لنا الفنان جنديًا بريئًا صبيانيًا في لحظة طريفة أثناء مشاركته في المخيم التدريبي في فورت ديكس في نيو جيرسي. يرى المشاهد بسرعة أن جيليس قد تلقى للتو رزمة رعاية من المنزل، والطرد ربما يحتوي على عدد من الهدايا اللذيذة من أحبائه لجندي مجد في عمله. ومع ذلك، لاحظ زملاء جيليس الطرد، وتشير تعابير وجوههم إلى أنهم يفكرون في إعفائه من مكافأته الجديدة. حقق غلاف روكويل المرح نجحا فوريا، مما دفع صحيفة البوستإلى طلب المزيد من اللوحات عن مشاهد من حياة الجندي جيليس. وافق الفنان، وظهرت الشخصية في النهاية على ما يقرب من اثني عشر غلافا للصحيفة وآخر واحد كان في 1946 بعد الحرب، والذي يظهر جيليس المحبوب وهو في طريقه إلى الكلية التي دخلها بموجب مشروع قانون جي أي، كما كان يفعل الكثير من أقرانه في ذلك الوقت. بحلول ذلك الوقت، كانت قد اشتهرت الشخصية حقا. في الواقع، جاءت العديد من معجباته الشابات للنظر إلى ملصقه وإظهار الاحترام له. وفي النهاية، التقت إحداهن وهي ناتالي باردن بروبرت أوتيس باك، وهو النموذج الواقعي لويلي وتزوجته.
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رواه:
جيمس ج. كيمبل الحاص على الدكتوراه.
أستاذ مساعد في الاتصالات - كلية الاتصالات والفنون
جامعة سيتون هول


في هذا الملصق في وقت الحرب والذي يشار إليه اليوم باسم "روزي المبرشمة"، يظهر لنا الفنان جي هوارد ميلر امرأة عازمة واثقة تستعرض عضلاتها وتعبّر بكل ثقة عن قدرتها على إكمال المهمة التي كلفت بها. على الرغم من أننا نميل اليوم إلى افتراض أن هذا الملصق كان مشهوراً خلال الحرب العالمية الثانية، إلا أنه كان غير معروف نسبياً لأنه ظهر لمدة أسبوعين فقط داخل مصانع ذخائر وستنجهويس (في فبراير 1943). بعد مضي الأسبوعين، تم إعادة تدوير الملصقات بسبب نقص الورق في وقت الحرب. لكن خلال هذين الأسبوعين، وضع الملصق الذي تم تصميمه لعمال وستنجهويس – كل من الرجال والنساء - بادرة تضامن مشتركة مع القوى العاملة في الشركة، مؤكدين أن كل عامل في وستنجهويس كان على استعداد لإكمال مهمتهم الأساسية في وقت الحرب. هناك نسختين أصليتين فقط من هذا الملصق معروف بوجودها اليوم. على الرغم من ندرة النسخ الأصلية، اكتسبت صورة ميلر شهرة عالمية منذ ظهورها في الثمانينيات كجزء من الاحتفالات بالذكرى السنوية للحرب العالمية الثانية. وقد تم أيضا محاكاتها بشكل لا نهائي، مما يؤكد على أنها واحدة من الصور الأكثر شهرة في كل العصور.
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رواه:
جيمس ج. كيمبل الحاص على الدكتوراه.
أستاذ مساعد في الاتصالات - كلية الاتصالات والفنون
جامعة سيتون هول


يُعتقد بشكل كبير أن هذه الصورة الصحفية قد ألهمت جي هوارد ميلر بملصق “We Can Do It” المعروف اليوم باسم "روزي المبرشمة ". بدءًا من ثمانينيات القرن العشرين، أصبحت الصورة الملونة بالأبيض والأسود مرتبطة بجيرالدين هوف دويل وهي سيدة من ميتشيغان اعتقدت أنها ظهرت لها وهي تعمل في مصنع عام 1942. ومع ذلك، فإن الصورة هي في الواقع لامرأة في كاليفورنيا تدعى نعومي باركر وكانت واحدة من أوائل النساء اللواتي يعملن في الورش الميكانيكية في المحطة الجوية البحرية بألاميدا على خليج سان فرانسيسكو. أثناء العمل في ألاميدا، عمل باركر بالفعل كمبرشم ولكن كان يعمل أيضًا كلحام وحامل وميكانيكي (من بين عشرات المهام الأخرى المتعلقة بإصلاح طائرات الحرب التابعة للبحرية). ظهرت الصورة في عشرات الصحف الأمريكية خلال عام 1942، وحصلت باركر على بعض الرسائل البريدية من المعجبين وحتى حصلت على عروض زواج. ومع ذلك، تلاشت من ذاكرة العامة بعد الحرب ولم تشتهر مرة أخرى إلا عندما ظنت دويل التي رأت الصورة في مجلة في الثمانينيات، بالخطأً أن هذا الموضوع عنها. بينما لا يزال اتصال الصورة بملصق "We Can Do It" غير مؤكد، حيث ترك الفنان ميلر عددًا قليلاً جدًا من السجلات، هناك عدد من أوجه التشابه بين مظهر باركر والمرأة في الملصق. علاوة على ذلك، ظهرت الصورة في جريدة في بيتسبيرج بالقرب من منزل ميلر خلال الأربعينيات، ولذلك فمن المحتمل أنه صادفها واحتفظ بها لمجموعة صوره المرجعية.
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رواه:
هيرمان إبرهارت
أمين المتحف الإشرافي - مكتبة ومتحف فرانكلين ديلانو روزفلت الرئاسية


كانت الحرب في أوروبا تلوح في الأفق على الجميع في أوائل عام 1941. كانت ألمانيا قد اكتسحت معظم أوروبا الغربية في 1939 و1940، وكانت بريطانيا العظمى تقف وحدها في مقاومة هذا الهجوم الغاشم، وكان البريطانيون مهددين في هذه النقطة. في الواقع، في أواخر عام 1940، كتب وينستون تشرشل رسالة طويلة إلى فرانكلين ديلانو روزفلت قال فيها إن بريطانيا كانت على وشك الإفلاس وقريبا لن تكون قادرة على دفع ثمن الأسلحة التي كانت تستوردها من الولايات المتحدة.


وقد دفعت هذه الرسالة الرهيبة روزفلت إلى الحلم بفكرة التأجير والإعارة التي من شأنها أن تسمح للولايات المتحدة بإقراض أو تأجير المزيد من الموارد لبريطانيا العظمى دون الحصول على مقابل لها. كان قد ناقش فرانكلين روزفلت أولاً مفهوم أو فكرة الإقراض في مؤتمر صحفي عُقد في منتصف ديسمبر عام 1940. وفي وقت لاحق من ذلك الشهر في 29 ديسمبر، ألقى حديث مشهور من منزله على الراديو أكد فيه أنه ينبغي على الولايات المتحدة أن تصبح ما سماه، ترسانة الديمقراطية. خطط الرئيس لاستخدام خطابه عن حالة الاتحاد للحصول عن موافقة الكونغرس على مشروع قانون الإيجار.


في ليلة 1 يناير 1941، استدعى روزفلت ثلاثة من مستشاريه - هاري هوبكنز ووسام روزنمان وروبرت شيروود- لمكتبه الخاص في مقر البيت الأبيض. وقد اجتمعوا هناك حول مكتب روزفلت للعمل معه على خطاب الرئيس السنوي عن حالة الاتحاد إلى الكونغرس والذي كان من المقرر أن يتم تسليمه يوم 6 يناير.


في مرحلة ما خلال جلسة التحرير هذه، قال روزفلت أنه كان لديه فكرة عن القسم الختامي من الخطاب. وكما ذكر سام روزنمان لاحقاً، فإن الرئيس انحني للخلف في كرسيه الدوار ونظر إلى السقف ثم توقف لفترة طويلة. مع مرور الوقت، بدأ الآخرون في الغرفة بالشعور بعدم الارتياح بعض الشيء. ثم انحنى روزفلت فجأة إلى الأمام وأملى الحريات الأربع ببطء وتأن. تحدث الرئيس بتأن شديد حيث تمكن روزنمان من كتابة كل شيء قاله كلمة بكلمة على ورقة في مفكرة صفراء. هذه الورقة الصفراء المكتوبة بخط روزنمان موجودة الآن في مكتبة روزفلت. ومن المثير للاهتمام، إذا قارنت بين الكلمات الموجودة في تلك الورقة الصفراء والخطاب النهائي الذي تم تسليمه من قبل الرئيس إلى جلسة مشتركة للكونغرس، ستجد أنها تشبه تمامًا ما حدده روزفلت. لا يوجد أي تغييرات تقريبا.
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رواية:
روبي بريدغز هول
ناشطة حقوق مدنية ومؤلفة


في ذلك اليوم بالذات، عندما كنت في السيارة في طريقي إلى المدرسة انعطفنا حول زاوية الشارع فكانت الشوارع يصطف عليها متظاهرون يحيط بهم متراس أقامته الشرطة بهذه الطريقة. كان هناك رجال شرطة في كل مكان. كان بعضهم على ظهور الخيل والدراجات النارية. كل ما تراه خلال موسم ماردي غراس للسيطرة على الحشد وأثناء الاستعراض، وهذا في الواقع ما رأيته وافترضت أنني كنت في منتصف الاستعراض الذي أفكر فيه اليوم، وكانت هذه براءة طفل. أعتقد أن هذا قدم لي الحماية بدون أن أعرف.


أتذكر أن أحدهم اصطحبني مباشرة إلى مكتب المدير. أعتقد أنني كنت هناك، في اليوم الأول، للتسجيل. كنت قد التحقت بالفعل، ولكن لاصطحابي إلى فصلي وربما للقاء معلمي ولبدء دراستي. لكنني جلست في مكتب المدير في الواقع طوال اليوم مع أمي في ذلك اليوم، وأتذكر أن الموظفين الفيدراليين كانوا يقفون خارج الأبواب مباشرة. كان يمكنك رؤيتهم. كما تعلم، كانت هناك نوافذ زجاجية.


والشيء التالي الذي رأيته كان جميع أولئك الأشخاص الذين كانوا يقفون خارجًا وهم يتدافعون ويحشرون أنفسهم ويندفعون ويشيرون عليَّ من خلال النوافذ. بدت وجوههم غاضبة جدًا بسب شيء ما. بدا الأمر لي مشغولًا حقًا ومربكًا. ورأيتهم يمرّون عبر النافذة، وعندما عادوا عبر النافذة، كان هناك أطفال معهم. وحدث ذلك طوال اليوم، ذهابًا وإيابًا.


وأخيرًا رن الجرس، كانت الساعة 3:00، وأتذكر شخصًا دخل الغرفة قائلًا: "اليوم الدراسي انتهى. يمكنك المغادرة." وأنا أتذكر ذلك بشكل واضح، لأنني فكرت مع نفسي، "يا للروعة، هذه المدرسة سهلة"، دون أن أعلم أن ما كان يحدث بالفعل هو أن الأباء والأمهات كانوا يهرعوا إلى المدرسة ويدخلوا كل فصل دراسي ويسحبوا كل طفل خارجًا. كان هناك أكثر من 500 طفل غادروا المبنى بالفعل في ذلك اليوم، وكان ذلك لأنني كنت هناك. لذلك لم تكن لديَّ أدنى فكرة أن ذلك كان يحدث أمام عيني.


في اليوم التالي، كان الأمر نفسه. طرق الموظفون الفيدراليون على الباب، ودخلت السيارة معهم. اصطحبوني إلى المدرسة. عندما تحركنا في ذلك اليوم، تضاعف حجم الحشود تقريبًا، لأنه في تلك المرحلة كان الجميع قد عرفوا الخبر.


قالت أمي إنها في ذلك اليوم كانت أكثر عصبية، لأنه بعد أن عادت إلى البيت وشاهدت التلفاز شاهدت كيف كان العالم كله يراقب المشهد. قالت إنها ستعود إلى المنزل وتصلّي حتى الساعة الساعة 3:00، على أمل أن يعود طفلها إلى المنزل.
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رواية:
ستيفاني هابوش بلونكيت
نائب المدير/كبير الأمناء - متحف نورمان روكويل


شكلت لوحةحرية العبادةتحديًا أمام روكويل، لأنه فهم أن الدين موضوع شخصي عميق وأحيانًا دقيق. أراد أن يرسم صورة تعبر عن الوحدة على الرغم من الاختلافات وأن يقدم رؤية لعالم خال من التمييز على أساس الممارسة أو المعتقد الديني.


صور مفهومه الأولي مشهدًا وديًا في صالون حلاقة ريفي يظهر فيه حلاق يقدم خدماته لرجل يهودي، بينما ينتظر قسيس كاثوليكي ورجل أمريكي من أصل أفريقي دورهما. لكن روكويل وجد عند اكتمال الصورة تقريبًا أنها قدمت وجهة نظر نمطية. وبسبب عدم رضاه التام عن هذا النهج وضعها جانبًا وبدأ من جديد.


الصورة النهائية التي نراها اليوم تركز على مفهوم العبادة أكثر من مفهوم الدين وتتكون من ملامح ثمانية رؤوس في مساحة بصرية ضحلة. تمثل الأشكال المختلفة أشخاصًا من أديان مختلفة في لحظة صلاة. رُسمت الصورة بأشكال أحادية اللون لتقديم الشعور بالاندماج والوحدة.


شعر روكويل أن أوضاع وإيماءات اليدين في الشكل تأتي في المرتبة الثانية بعد الصفات التعبيرية للوجوه، كما هو واضح في لوحة حرية العبادة. تعبير "كل واحد حسب ما يمليه عليه ضميره" كان يعبر عن أفكار روكويل الخاصة حول الدين. عند سؤال روكويل عن المكان الذي سمع فيه هذه الكلمات، لم يستطع أن يتذكر. في الواقع، ترد العبارة في العديد من دساتير الولايات الأميركية، كما استخدمها جورج واشنطن في خطاب مكتوب إلى الكنائس المعمدانية المتحدة في فرجينيا في العام 1789.
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روته:
أليدا م. بلاك
أستاذة باحثة في التاريخ والشؤون الدولية - جامعة جورج واشنطن


يعتقد الجميع أن الحريات الأربع مع نورمان روكويل والرسومات الإبداعية الأربعة والنصف الآخر من المقياس هو تفكيرهم عن العنوان التاريخي لفرانكلين ديلانو روزفلت.


فهمت إليانور، كما فهم روزفلت، ولكن بطريقة مختلفة للغاية أنه لا يمكنك أن تكون حرة إلا إذا كنت حرة من أمر ما. وحتى قبل أن يتمكنوا من التعبير عن مفهوم الحريات الأربع، كانت تتحدث عن التحرر من الجوع. كانت تتحدث عن التحرر من الخوف. كانت تتحدث عن حرية الحلم. الآن، هذه لغة مختلفة ولكنها نفس المبادئ. وكانت إليانور تخاطر جدًا بسلامتها الشخصية في الولايات المتحدة لنصرة هذه المعاني.


عندما وصلت إلى الأمم المتحدة، رأت الجرحى في جميع أنحاء آسيا وأوروبا والولايات المتحدة. وأرسلتها الأمم المتحدة إلى معسكرات محرقة الهولوكوست وإلى مخيمات النازحين. وفى النهاية أصبحت مسؤولة عن مساعدة العالم في التوصل إلى رؤية جديدة للتعبير عن أنه لن يتم تحديد الناس للأبد من قبل الكراهية والتفوق العنصري والتعصب الديني والتمييز بين الجنسين. علينا منح أنفسنا رؤية جديدة.


وأخذت الحريات الأربع والمعنى الذي فسرته للحريات الأربع إلى غرفة التفاوض. وأريد فقط أن تفكروا في هذا. إنها في حجم طاولة غرفة الطعام. فكما تعلمون، هناك 18 دولة. لا يؤمن أحد منهم بنفس الإله أو بوجوده حتى. إنهم لا يعتقدون أن هناك ممتلكات خاصة أو كما تعلمون مقولة المال جيد. ليس لديهم نفس مفهوم العائلة. ليس لديهم نفس مفهوم المواطنة. الشيء الوحيد الذي يتشاركون فيه هو "بواسطة الإله، هزمنا الألمان." ولذا فهي تأخذ التزامها الفطري بالتحرر من الخوف وحرية التعبير وحرية العبادة وكما تعلمون أيضا، التحرر من العوز، وتضعهم بطريقة ما تجعل الناس تلتزم بالجلوس على الطاولة والتفاوض من أجلها.


والشيء المثير للإعجاب حلو قيادتها ليس فقط هو حصولنا على الإعلان العالمي لحقوق الإنسان الذي أعتقد اعتقادا راسخًا بأنه يمثل 30 مثالًا على الحريات الأربع. أتعرف! أتحداك أن تنظر إلى إحدى تلك المقالات ثم النظر إلى إحدى لوحات روكويل الأربعة بما في ذلك لوحة القاعدة الذهبية وروبي بريدجز ولا تراها في تفاصيل هذه اللوحات.
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روته:
أليس كارتر
مؤلفة ورسامة ورئيسة مجلس متحف نورمان روكويل


خلال مهنة امتدت لما يقرب من ستين عاما، ظهرت رسوم جيري الويسيوس دويل التحريرية في صحف فيلادلفيا الرائدة ومن خلال الترويج في مئات من المجلات الأخرى في جميع أنحاء البلاد. كمساند قوي للسياسات الداخلية والخارجية لفرانكلين روزفلت، لم يكن دويل يرسم الرئيس أبدا بصورة كاريكاتيرية وأظهره دوما في صورة بطل.


في "روزفلت يؤيد المعاشات التقاعدية" صور دويل الرئيس كمنقذ محتمل لزوجين مسنين يرتدون ملابس رسمية في حقبة ماضية. على الرغم من فقرهم الواضح، فإنهم يحاولون الحفاظ على المظاهر اللائقة. هناك نار في الموقد ووردة على رفه ولكن النافذة متصدعة ومفارش المائدة مرقعة. على الأرض عند أقدامهم هناك صحيفتين تبين ما قد يجلبه مستقبلهم. أحد العناوين تقول "روزفلت يؤجل المعاشات التقاعدية" والآخر يقول " روزفلت يؤيد المعاشات التقاعدية". وعلى رف الموقد (بجوار الوردة) توجد صورة لفرانكلين ديلانو روزفيلت تحمل عنوان "رئيسنا".


اقترح روزفلت أولاً المعاشات التقاعدية عندما كان حاكماً لنيويورك وكانت الفكرة جزءًا لا يتجزأ من الصفقة الجديدة. كانت النقطة الشائكة هي كيفية تمويلها. أي خطة تأمين وطنية يجب أن تُبنى بمساهمات من أجور العمال - ولن يكون هناك ما يكفي من المال حتى عام 1942. في هذه الأثناء، كان المواطنون المسنون يعانون. وكان الحل هو العنوان الأول من قانون التأمين الاجتماعي - وهو برنامج مشترك بين الولايات والحكومة الاتحادية لتقديم مساعدة فورية للمسنين. في 14 أغسطس عام 1935، وقع الرئيس روزفلت على مشروع القانون موضحا عندما وضع قلمه جانبا "تم تحقيق جزء كبير من أمل سنوات عديدة".
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روته:
أليس كارتر
مؤلفة ورسامة ورئيسة مجلس متحف نورمان روكويل


في 29 سبتمبر 1939، توصلت ألمانيا والاتحاد السوفييتي إلى اتفاق لتقسيم بولندا المحتلة. ستأخذ قوات هتلر كل شيء حتى غرب نهر بوج وسيسيطر جيش ستالين على كل شيء في الشرق.


في اليوم التالي 30 سبتمبر 1939، ظهر رسم تحريري لهيو هاتون بعنوان "خطبة الجنازة" في جريدة فيلادلفيا انكوايرر. نفذ هوتون أكثر من 3800 رسمًا تحريريًا لجريدة "انكواير" خلال حياته المهنية الطويلة. ونادراً ما رسم رسوماً كاريكاتيرية للمشاهير والسياسيين مفضلاً استخدام شخصيات مجازية لنقل أفكاره. كان عادة ما يرسم أنثى بيضاء ذات معطف ليصور قيم مثل السلام والعدالة والحقيقة. في هذه الحالة، تراجعت هذه الفضائل، بينما كانت النسور التوأم الممثلة في ألمانيا والاتحاد السوفييتي تتباهي بانتصارها.


ولد هوتون في لينكولن-نبراسكا في 11 ديسمبر 1897. بعد أن التحق بجامعة مينيسوتا لمدة عامين، التحق بالجيش وخدم في الحرب العالمية الأولى. عندما انتهت الحرب، واصل تعليمه في مدرسة مينيابوليس للفنون. بعد انتقاله إلى نيويورك، درس في رابطة طلاب الفنون وعثر على سوق لرسوماته التحريرية مع نقابة المميزين المتحدة.


في عام 1934، وافق هوتون على منصبه في جريدة فيلادلفيا انكوايرر حيث عمل حتى تقاعده في عام 1969.
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روته:
أليس كارتر
مؤلفة ورسامة ورئيسة مجلس متحف نورمان روكويل


ولدت مارثا ساويرس في كورسيكانا بولاية تكساس في عام 1902. انضمت لرابطة طلاب جامعة نيويورك لمدة خمس سنوات – حتى.. وكما قالت "لقد طردوني وقالوا إنه عليّ فعل شيء بما أعرفه".


"يجب أن نساعد الصين" هو واحد من اثنين من الملصقات التي صممتها ساويرس بين عامي 1942 و1943 لمنظمة الإغاثة في الصين المتحدة -وهي جمعية من وكالات الإغاثة المخصصة لمساعدة اللاجئين الصينيين خلال الحرب العالمية الثانية. على الرغم من أن ساويرس فضلت العمل بالزيت، إلا أن المواعيد النهائية أجبرتها في كثير من الأحيان على مزج الخامات - وكما ترون في هذا الغلاف، فإنها في بعض الأحيان تجمع بين الزيت والألوان المائية والباستيل والأقلام الملونة العادية لخلق التأثيرات التي تحتاج إليها.


هذه اللوحة العاطفية لعائلة لاجئة تعكس مشهد شهدته ساويرس بالتجربة المباشرة. في عام 1937، أثناء سفرها مع زوجها الرسام ويليام رويسويج، نجت من الهجوم الياباني على جسر ماركو بولو في الصين. عندما عادت إلى نيويورك، جذب معرض لوحات من أسفارها اهتمامًا إيجابيًا وتكفلت مجلة كولير بتسجيل انطباعاتها عن آسيا في سلسلة من المقالات والرسوم التوضيحية. خلال الحرب العالمية الثانية، عادت ساويرس الشجاعة إلى آسيا لتغطية مسرح المحيط الهادئ كفنانة / مراسلة لكل من مجلتي كولير ولايف.
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روته:
ديزي روكويل
فنانة ومؤلفة


أعتقد أنها ملهمة بمعنى أننا جميعًا لدينا تلك الإمكانيات في داخلنا لتحقيق المزيد للعالم من حولنا إذا فتحنا أعيننا أكثر، وأعتقد أن عينيه بالطبع كانت مفتوحة أيضًا... ألهمته اهتمامات حركة الحقوق المدنية أيضًا. أعني أنه ليس كما لو أنني جلست وسألته عن هذه الأشياء ولكن يمكنك أن تقرأ ذلك كجزء من مسيرته عندما تنظر إلى التغييرات في لوحاته. يبدو أن هذا الوقت غير الكثير من الناس وهو لم يكن محصناً وأشعر أن هذا السرد ما زال غير معروف لدى الكثير من الجمهور لذلك أنا مسرور أنه سيكون جزءًا من برنامج الحريات الأربعة. لأن هذا تطور من الأربعينيات إلى الستينيات التي مر بها ولا يمكنك النظر إلى أحدهم وليس الآخر.


أعتقد بالتأكيد أن الفن يمكن أن يجعل الناس تشارك لأنه عندما يكون لدينا نوع من المشاكل الشديدة في مجتمعنا فإن جزءًا من المشكلة هو أننا نعلق في تفكيرنا. تتحجر أفكار الناس وكما تعلمون لقد أصبح ذلك الأمر في يومنا هذا على الأرجح أسوأ من أي وقت مضى. يعلق الأشخاص ولا يمكنهم إخراج بعضهم البعض من هذه المساحات. أتعرف! هناك صواب وهناك خطأ، وهناك أسود وهناك أبيض ولا يمكنهم... لذا فإن الوظيفة التي يمكن للفنان القيام بها هي كسر كل شيء، فكر في الأمر على أنه طبق من الخزف الصيني وقوم الفنان بتحطيمه ثم يصلحه مرة أخرى بشكل آخر بحيث يمكنك رؤيته بشكل مختلف.
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روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


بعد نجاحها في تصوير العمال في إدارة أمن المزرعة، تم تعيين المصورة الوثائقية الكبيرة دوروثيا لانج لتسجيل عملية الترحيل والحبس الجماعي للمواطنين وغير المواطنين من الأصل الياباني لهيئة ترحيل الحرب في شهر مارس عام 1942. منذ الأيام الأولي، تضارب أسلوبها الصحفي وتعاطفها الشخصي تجاه محنة هؤلاء الأمريكيين مع مطالب مسؤولي الجيش. كان من المحظور بشكل صارم تصوير المدافع الرشاشة الموجودة في الأبراج. كما تم حضر تصوير الأسلاك الشائكة والحراس المسلحين وأي مظاهر مقاومة. وهي تقول بكلماتها الخاصة: "كان هناك رجلا يراقبني طوال الوقت". وقد قوبلت بتأخير من قبل المسؤولين الذين طلبوا أوراق اعتماد وتم اعتبارها مسؤولة عن كل أمر سلبي وكل قرش تم إنفاقه، وتم منعها من التحدث إلى الناس في المعسكرات. تم تقديم جميع المطبوعات للمراجعة، والمطبوعات التي تم اعتبرت غير لائقة تم ختمها بأنها "مصادرة" وتم حظر السلبيات طوال مدة الحرب.


التقطت لانج هذه الصورة لمحل بقالة وانتو كو في أوكلاند بكاليفورنيا في 13 مارس 1942، بعد شهر تقريبا من توقيع روزفلت على الأمر التنفيذي رقم 9066 الذي يطالب المالك وعائلته بالرحيل. ولد المالك تاتسورو ماسودا في أوكلاند وتزوج حديثا. أخبر لانج أنه "قد دفع ثمن المكان بعد يوم من موقعة ميناء بيرل". تم إرساله هو وزوجته إلى معسكر اعتقال نهر جيلا في أريزونا. ولم يعودوا أبدا إلى المتجر.


في الأشهر الثلاثة مع هيئة ترحيل الحرب حيث كانت تعمل تقريبا سبعة أيام في الأسبوع، تمكنت لانج من التقاط ما يقرب من 850 صورة. في حين أن العديد من صورها الأخرى للحكومة قد أصبحت بعض الصور الأكثر شهرة في القرن العشرين، بقي معظمها غير مرئي إلى أن تم نشر كتاب عنها وعن لانج في عام 2006.
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روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


تم التقاط صورة أنسل آدامز هذه في عام 1943، بالقرب من وادي الموت بكاليفورنيا في معسكر يسمى مانزانار. كان واحدا من عشرة معسكرات اعتقال أمريكية تم بناؤها لسجن مواطنين أمريكيين من أصول يابانية وآبائهم المهاجرين.


تُظهر الصورة رجلا ينظر إلى المناظر الطبيعية الشاسعة في سفوح جبال سييرا، اشتهر آدامز كمصور بهذا النوع النمطي من المشاهد. ما تفتقده الصورة بشكل غريب هو وجود أي سياج من الأسلاك الشائكة أو أبراج الحراسة أو الأضواء الكشافات أو الجنود التي تحمل بنادق آلية أو أي مشاهد غير مريحة قد تلمح إلى الظروف القاسية التي وضع فيها هؤلاء الأشخاص.


آدمز شخصيا شعر بقوة أن المواطنين الأمريكيين لا ينبغي أن يعاملوا بهذه الطريقة من قبل بلدهم وأول محاولة له في التصوير الوثائقي ولدت من هذه الرغبة: لإظهار لزملائه الأمريكيين أن هؤلاء الناس كانوا مثل أي مواطن آخر، ولدوا أحرارا ومتساوين، وهذا كان عنوان الكتاب الذي جمعه ونشره في نهاية المطاف في عام 1944.


ولكن عندما صدر الكتاب، لم تكن أهدافه موضع تقدير من قبل الجمهور الأميركي والذي ما زال مشغولا في الحرب، ولم يغفر له تعاطفه مع أولئك المسجونين. ونتيجة لذلك، يقال إن نسخًا من كتابه تم حرقها احتجاجًا على ذلك. كما يقال إن الحكومة نفسها اشترت آلاف النسخ وقامت بتدميرها. بغض النظر عن مصيرهم، تعتبر النسخة الأصلية من هذا الكتاب التي صدرت عام 1944 اكتشافًا نادرًا. ومن دواعي السخرية: عندما خفت حدة الكراهية تجاه الأمريكيين اليابانيين، أصبحت صور آدم مثيرة للجدل مرة أخرى، لأن هذه المرة الحكومة والجمهور بدلاً من رفضهم، بدأوا في استخدامها كدليل على أن الظروف في المعسكرات لم تكن إلا قاسية أو غير إنسانية. لا يعتبر هذا الوثائقي الحقيقي أو أنه مجرد دعاية، ولكن هذه الصور تكمن في مكان ما في عالم الصور الفوتوغرافية العميق.
عادة ما كان روكويل يستخدم دعائم موجودة في الاستديو الخاص به في رسوماته. أحد الأشياء التي يمكننا تحديدها هنا هو كرسي وندسور الخاص بروكويل، والذي يجلس عليه الرجل. كرسي وندسور الذي ترونه هنا هو الصنف الحقيقي للكرسي الذي كان روكويل يرسم وهو جالس عليه عادة، على الرغم من إنجازه لبعض الرسومات وهو واقف. لقد كان كرسيا أخذه معه من استديو إلى آخر.


الصورة التي ترونها هنا هي ثاني صورة صممها روكويل على أساس فكرة الاستماع إلى أخبار الحرب. الأولى كانت في الحقيقة صورة غير منشورة عمل عليها روكويل في شتاء سنة 1944، وقد اعتبرها وجريدة "ساترداي إيفنينغ بوست" غير قابلة للقراءة. نرى فيها مجموعة من الرجال مجتمعين من أجل العشاء، وعلى الرغم من أن ملامحهم تظهر أنهم منتبهون، إلّا أنه لا يمكننا التأكّد ممّا يصغون إليه تحديدا. إذا ما نظرنا عن قرب، في الجزء العلوي الأيمن للصورة، هنالك ضوء متوهج صادر عن المذياع المشتغل. بصفته رساما لجريدة كثيرة الإصدار، كان على روكويل أن يحكي قصته بسرعة، ووجب على صورته أن تجذب جمهورا واسعا جدّا. في هذه الحالة، تعتبر "أخبار الحرب" صورة جميلة، لكنها تعجز عن التواصل بفعالية بالطريقة التي كان روكويل يأمل أن تفعل، لهذا اختار التخلّي عن هذه الطريقة في الإخبار بالقصّة.
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روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
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Freedom of Speech Jacket
Jacket worn by model Carl Hess in Freedom of Speech, 1942
Suede and cotton
Norman Rockwell Museum Collection,
Gift of Ms. Anne Pelham, RC.2002.15


Rockwell was a perfectionist. He scouted models and locations, researched costumes and props, and carefully orchestrated each element of his designs. This jacket was worn by Rockwell’s neighbor, Carl Hess, when he posed for Freedom of Speech. After the modeling session, Rockwell gave it to his studio assistant and photographer Gene Pelham, who wore it for years.





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Know Your War Planes, 1943
Published by The Coca-Cola Company
Lithograph booklet
Collection of Drs. Lois and Daniel Fermaglich


During World War II, plane spotting—watching the skies for enemy aircraft—was a popular hobby for people of all ages in the United States and abroad. Children quickly learned how to identify planes, and in many places, Civil Defense relied on civilian reports of enemy aircraft. Manuals like this popular booklet issued by The Coca-Cola Company were available for ten cents and often kept close at hand.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


La Segunda Guerra Mundial fue una época fértil para los dibujantes políticos porque las pasiones se intensificaban y el destino del mundo era incierto y estaba en juego. Boris Artzybasheff emigró a los Estados Unidos a la edad de 20 años de Rusia, y, en ese momento, no hablaba nada de inglés y, según los informes, llegó con solo 17 centavos en el bolsillo. Era famoso por su habilidad como ilustrador para convertir máquinas y objetos inanimados en seres vivos, incluidas las esvásticas que se ven aquí.


Durante la Segunda Guerra Mundial, fue asesor de la división de Guerra Psicológica de las Fuerzas Armadas, y como ilustrador profuso, incluso durante ese tiempo, trabajó para publicaciones importantes, como Life, Fortune y Time, para las cuales produjo más de 200 portadas. Witches' Sabbath, publicado en la revista Life en 1942, proporcionó un enfoque en el punto de vista del artista, y la imagen retrata a Heinrich Himmler, Hermann Goring y Joseph Goebbels, miembros del partido nazi y proveedores de propaganda nazi, como esvásticas.


Artzybasheff y otros artistas políticos de la época intentaron presentar los males de la sociedad, un enfoque que difería del de Rockwell, que tendía a proporcionar declaraciones más ambiciosas.
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Southern Justice, 1965
Look, June 29, 1965
Double-page tearsheet
Norman Rockwell Museum Collection


On June 25, Rockwell received his copy of the June 29 issue of Look.


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Those Who Were Killed in U.S. During Civil Rights Movement
The New York Times National, November 4, 1989
Tearsheet
Norman Rockwell Museum Collection


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When utilizing an image like a painting for an illustration in mass-produced collateral, such as a poster, there is always a chance that the transfer process may not exactly maintain the look of the original image. In the case of Freedom of Worship, Rockwell was disappointed by the conspicous change in color tone of the image that appeared in the poster. For his painting, he diliberately utilized a monotone palette so that not one denomination or perpson would appear to hold dominace over another.
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رواه:
جورج تشرش الثالث
محاضر ومتطوع - متحف نورمان روكويل


عندما بدأت الحرب العالمية الثانية وقصفت اليابانية ميناء بيرل، كنت أشاهد فيلما مع والدي ثم رأينا عند بداية هذه المناسبة، رأينا هذه القطعة الورقية بين العدسة والضوء في الكاميرا في جهاز العرض. وقالت الورقة إن اليابانيين قصفوا ميناء بيرل. وقد قام الجيش الأمريكي بالإبلاغ عن ذلك.


لكن على أي حال، كانت تلك بداية معرفتي بالحرب العالمية الثانية. بعد ذلك بدأت في المشاركة في أعمال اكتشاف الطائرات. لقد شاركت في اكتشاف الطائرات من خلال بعض من الأصدقاء الآخرين الذين كانوا في نفس صفي في المدرسة النحوية. و... كان بإمكاني فقط أن أذهب للمشاركة في اكتشاف الطائرات في أيام السبت لأنني كنت أذهب إلى المدرسة من الاثنين إلى الجمعة. وكنت أستيقظ في حوالي الساعة 4:30 أو في الخامسة إلا ربعاَ وأتناول وجبة الإفطار وأركب على دراجتي. واضطررت إلى السير بالدراجة مسافة حوالي ثلاثة أميال للوصول إلى فندق ميامي بيلتمور الذي كان في كورال جابلز. وكان علي أن أكون قادراً على ركن دراجتي ثم اذهب إلى الردهة ثم اصعد الدرج وكنت أركب المصعد أيضا. ثم وصلت إلى البرج وعند البرج اضطررت إلى الصعود لأعلى البرج حيث كان لدينا كشكًا لاستكشاف الطائرات تم بناؤه داخل برج... الفندق. ولكن المبنى كان أطول مبنى في ميامي وكنا نقع على جنوب مطار ميامي الدولي مباشرة. وهذا هو المكان الذي كنا نقوم فيه باكتشاف الطائرة.


وعملت في المناوبة من الساعة 6:00 إلى الساعة 9:00 صباح يوم السبت وكان بحوزتي كتيب اكتشاف الطائرات. وكان لدي هاتف. لقد كنت مع شخص آخر وبيننا كنا نقوم بالإبلاغ عن كل شيء رأيناه يهبط أو يقلع من مطار ميامي، وأيضاً الطائرات التي حلقت فوقنا وكنا نقوم دائمًا بتسجيل الدخول والإبلاغ عن تلك الطائرات أيضًا.


لقد كان هذا الكتاب كنزا حقا لأنه كان الطريقة التي تمكنت بها من الاتصال على الرغم من... صغر سني. عندما بدأت الحرب في ديسمبر كان عمري 12 عامًا. وأعتقد أنه لم يكن سنا يسمح ليّ ... بالمشاركة في الخدمة العسكرية ذاتها، ولكن كان ذلك بمثابة اتصال بالحرب بالنسبة ليّ وهذا جزء من التاريخ. وعرفت أن هذا الكتاب هو ما أثبت صحة تجربتي وأدركت أني شاركت في القيام بأقصى ما أستطيع... خلال الجزء المبكر من الحرب.
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美国第32任总统富兰克林·罗斯福生平,1943年
战争情报办公室出版的漫画书,
数码扫描
马里兰大学公园的国家档案馆



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Don’t Let It Happen Over Here
1938
Promotional illustrations for International Chewing Co., Cambridge, MA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


Collectible trading cards of the World War II era engaged a public eager for news about the events of the day. No less influential because of their diminutive size, they featured dramatic scenes and propagandistic messages, and were acquired as premiums with the purchase of tobacco products, chewing gum, and candy. Notable international figures, military heroes, weapons and insignia, accounts of world events at home and abroad, and motivational slogans were among the most popular series themes. This series displeased some parents who were concerned about their children’s exposure to such graphic material.





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Don’t Let It Happen Over Here
1938
Promotional illustrations for International Chewing Co., Cambridge, MA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


Collectible trading cards of the World War II era engaged a public eager for news about the events of the day. No less influential because of their diminutive size, they featured dramatic scenes and propagandistic messages, and were acquired as premiums with the purchase of tobacco products, chewing gum, and candy. Notable international figures, military heroes, weapons and insignia, accounts of world events at home and abroad, and motivational slogans were among the most popular series themes. This series displeased some parents who were concerned about their children’s exposure to such graphic material.





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Don’t Let It Happen Over Here
1938
Promotional illustrations for International Chewing Co., Cambridge, MA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


Collectible trading cards of the World War II era engaged a public eager for news about the events of the day. No less influential because of their diminutive size, they featured dramatic scenes and propagandistic messages, and were acquired as premiums with the purchase of tobacco products, chewing gum, and candy. Notable international figures, military heroes, weapons and insignia, accounts of world events at home and abroad, and motivational slogans were among the most popular series themes. This series displeased some parents who were concerned about their children’s exposure to such graphic material.





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Don’t Let It Happen Over Here
1938
Promotional illustrations for International Chewing Co., Cambridge, MA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


Collectible trading cards of the World War II era engaged a public eager for news about the events of the day. No less influential because of their diminutive size, they featured dramatic scenes and propagandistic messages, and were acquired as premiums with the purchase of tobacco products, chewing gum, and candy. Notable international figures, military heroes, weapons and insignia, accounts of world events at home and abroad, and motivational slogans were among the most popular series themes. This series displeased some parents who were concerned about their children’s exposure to such graphic material.





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First Column Defenders
1940
Promotional illustration for The Goudy Gum Co., Boston, MA. Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich



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First Column Defenders
1940
Promotional illustration for The Goudy Gum Co., Boston, MA. Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich



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Heroes of Pearl Harbor, 1942
Candy box,
Candyland Company, Brooklyn, New York
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich









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Remember Pearl Harbor, 1942
Candy box,
Candyland Company, Brooklyn, New York
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich











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To know the Horrors of War is to want Peace
1938
Promotional illustrations for Gum, Inc., Phila., PA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


The first bubble gum cards ever issued, The Horrors of War series was first produced in 1938, a 240 image set featuring colorful but gruesome illustrations detailing battles in The Ethiopian War (1935–1941), The Spanish Civil War (1936– 1939), and The Second Sino-Japanese War (1937–1945). The series was so popular that forty-eight additional cards highlighting the events of World War II were later added.







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To know the Horrors of War is to want Peace
1938
Promotional illustrations for Gum, Inc., Phila., PA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


The first bubble gum cards ever issued, The Horrors of War series was first produced in 1938, a 240 image set featuring colorful but gruesome illustrations detailing battles in The Ethiopian War (1935–1941), The Spanish Civil War (1936– 1939), and The Second Sino-Japanese War (1937–1945). The series was so popular that forty-eight additional cards highlighting the events of World War II were later added.







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To know the Horrors of War is to want Peace
1938
Promotional illustrations for Gum, Inc., Phila., PA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


The first bubble gum cards ever issued, The Horrors of War series was first produced in 1938, a 240 image set featuring colorful but gruesome illustrations detailing battles in The Ethiopian War (1935–1941), The Spanish Civil War (1936– 1939), and The Second Sino-Japanese War (1937–1945). The series was so popular that forty-eight additional cards highlighting the events of World War II were later added.







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To know the Horrors of War is to want Peace
1938
Promotional illustrations for Gum, Inc., Phila., PA.
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


The first bubble gum cards ever issued, The Horrors of War series was first produced in 1938, a 240 image set featuring colorful but gruesome illustrations detailing battles in The Ethiopian War (1935–1941), The Spanish Civil War (1936– 1939), and The Second Sino-Japanese War (1937–1945). The series was so popular that forty-eight additional cards highlighting the events of World War II were later added.







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Uncle Sam’s HOME DEFENSE
1941
Promotional illustrations for Gum, Inc., Phila., PA
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


As anticipation of American involvement in World War II mounted, some gum card sets took on a patriotic tone and emphasized the need for national preparedness. Beginning in 1941, Gum, Inc. issued a series of 96 Uncle Sam—Soldier cards and 148 Uncle Sam—Home Defense cards. Army, Navy, Marine Corps, and Air Corps troops were depicted in training during mock warfare; homefront activities like rationing gas and dispersing school children in the event of an attack were clearly illustrated.





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Uncle Sam’s HOME DEFENSE
1941
Promotional illustrations for Gum, Inc., Phila., PA
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


As anticipation of American involvement in World War II mounted, some gum card sets took on a patriotic tone and emphasized the need for national preparedness. Beginning in 1941, Gum, Inc. issued a series of 96 Uncle Sam—Soldier cards and 148 Uncle Sam—Home Defense cards. Army, Navy, Marine Corps, and Air Corps troops were depicted in training during mock warfare; homefront activities like rationing gas and dispersing school children in the event of an attack were clearly illustrated.





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Uncle Sam’s HOME DEFENSE
1941
Promotional illustrations for Gum, Inc., Phila., PA
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


As anticipation of American involvement in World War II mounted, some gum card sets took on a patriotic tone and emphasized the need for national preparedness. Beginning in 1941, Gum, Inc. issued a series of 96 Uncle Sam—Soldier cards and 148 Uncle Sam—Home Defense cards. Army, Navy, Marine Corps, and Air Corps troops were depicted in training during mock warfare; homefront activities like rationing gas and dispersing school children in the event of an attack were clearly illustrated.





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Uncle Sam’s HOME DEFENSE
1941
Promotional illustrations for Gum, Inc., Phila., PA
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


As anticipation of American involvement in World War II mounted, some gum card sets took on a patriotic tone and emphasized the need for national preparedness. Beginning in 1941, Gum, Inc. issued a series of 96 Uncle Sam—Soldier cards and 148 Uncle Sam—Home Defense cards. Army, Navy, Marine Corps, and Air Corps troops were depicted in training during mock warfare; homefront activities like rationing gas and dispersing school children in the event of an attack were clearly illustrated.





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Alfred Charles Parker (1906-1985)
Even a little can help a lot—NOW, 1942
Poster illustration for Office of War Information Poster
Norman Rockwell Museum Collection


A mother and daughter help the war effort by purchasing and collecting U.S. War Stamp Bonds in this poster by Al Parker, creator of popular mother and daughter cover illustrations for Ladies’ Home Journal, which ran from 1939 to 1952. The scene depicts a mother and daughter in matching outfits, adding stamps to their Bond booklets. A father’s military cap rests beside them as a nod to unified acts of service. In 1942, the United States Treasury Department issued a series of war savings stamps that were collected in booklets, as depicted in here. This image specifically depicts red Civilian Public Service stamps and blue War Sufferers’ Relief stamps, worth ten cents each.



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Arthur Rothstein (1915–1985)
Evicted sharecroppers along Highway 60, New Madrid Country, Missouri, January 1939
Digital reproduction
Farm Security Administration—Office of War Information Photograph Collection (Library of Congress), Washington, D.C.,
LC-DIG-fsa-8a10394


In January 1939, travelers on the highways of southern Missouri encountered an alarming sight—thousands of sharecroppers and their families were camped out on the sides of the road with piles of their possessions beside them. Almost all were African Americans who had been evicted by farm owners. Sharecroppers were entitled to a portion of the harvest of the land they worked, and they had recently been made eligible for federal farm subsidies. Preferring to keep these for themselves, many farm owners evicted sharecroppers, hiring day laborers to work the fields. Leaders of the Southern Tenant Farmers’ Union used this dramatic moment to capture public attention and encourage the government to step in. Reporters, including Farm Security Administration (FSA) photographer Arthur Rothstein, were there to cover the story. Rothstein’s portraits humanized his subjects, presenting them as individuals who deserved to be heard.
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Denys Wortman (1887 - 1958)
Buddy, could you spare a dime for a Defense Stamp?
March 30, 1942
Graphite on paper
Denys Wortman and The Center for Cartoon Studies, White River Junction, Vermont


During World War II, the U.S. Treasury sold bonds to help support the war effort and tie the interests of the public to that of the national government. The average American rarely had $25 for a government bond, however—in 1942, production workers averaged only 86 cents per hour. As referenced in this drawing, Defense Stamps could be purchased in denominations as low as 10-cents, enabling ordinary citizens to purchase them. In many cases, collections of war savings stamps could be redeemed for Treasury Certificates or War Bonds.









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Denys Wortman (1887 - 1958)
I’m worried about post-war conditions. I’ll probably be back home mopping, dusting, and cleaning again.
October 18, 1943
Graphite on paper
Denys Wortman and The Center for Cartoon Studies, White River Junction, Vermont


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Denys Wortman (1887 - 1958)
There was a time, Mopey, when bein’ in the bread line was sort of exclusive . . .
November 13, 1930
Graphite on paper
Collection of Denys Wortman and The Center for Cartoon Studies, White River Junction, Vermont


An insightful and masterful draftsman, Denys Wortman studied with Robert Henri at the New York School of Fine and Applied Art and exhibited in the 1913 New York Armory Show before turning his attention to comic art. In 1924, he began working for the New York World, and during the Depression his humorous drawings lightened the times in the Unemployed, a magazine established in 1930 by the League for Industrial Democracy. Mopey Dick and the Duke, seen here, were recurring characters in Wortman’s long-running syndicated feature, Metropolitan Movies, which appeared in several New York papers.















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Denys Wortman (1887 - 1958)
When mother says “More?” Say no, ’cause there’s just a little left for her,
February 6, 1943
Graphite on paper
Collection of Denys Wortman and The Center for Cartoon Studies, White River Junction, Vermont







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Denys Wortman (1887 - 1958)
You sorta took the place of his mother, but now you too are gone.
November 2, 1932
Editorial cartoon for Metropolitan Newspaper Feature Service, Inc.
Graphite on paper
Denys Wortman and The Center for Cartoon Studies, White River Junction, Vermon




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Denys Wortman (1887 - 1958)
“If you’re going home, I’ll give you a lift.” “Thanks, Bill, I’d rather walk. It’ll kill more time that way,”
November 15, 1938
Graphite, ink, and charcoal on paper
Collection of Denys Wortman and The Center for Cartoon Studies, White River Junction, Vermont


Captions for many of Denys Wortman’s images came from chatter that was overheard and later refined by the artist’s wife, Hilda Renbold Wortman. His popular single-panel comics offered running commentary about the joys, and mostly trials, of city life.





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Dorothea Lange (1895–1965)
Destitute pea pickers in California. Mother of seven children.
Age thirty-two. Nipomo, California, 1936
Digital reproduction
Farm Security Administration—Office of War Information Photograph Collection (Library of Congress), Washington, D.C.,
LC-USF34-009058-C


In 1936, Dorothea Lange met Florence Owens Thompson in a California camp of field workers whose livelihoods had been devastated by crop failure. Lange’s timeless photograph of the forlorn migrant mother and her children came to represent a generation and a nation that seemed to have lost its way. Published widely in magazines and newspapers, Lange’s documentary photography for the Farm Security Administration (FSA) humanized the Depression’s consequences. She had been operating a successful San Francisco portrait studio, but moved by the homeless and unemployed, began capturing images of the urban scene that reflected her social concerns.
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Dorothea Lange (1895–1965)
Mississippi Delta Negro Children, July 1936
Digital reproduction
Farm Security Administration—Office of War Information Photograph Collection (Library of Congress), Washington, D.C.,
LC-DIG-fsa-8b29649


In the early twentieth century, many southern African Americans had to resort to sharecropping and tenant farming to survive, a difficult and rarely profitable endeavor that replaced the slave-dependent plantation system.
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Dorothea Tomlinson (1898–1985)
Family Quilting, 1934
Oil on canvas
Franklin D. Roosevelt Presidential Library and Museum, Hyde Park, NY


During the Depression and World War II, from 1933 to 1943, the United States government supported the arts in unprecedented ways. Federal tax dollars were utilized to employ jobless people working in the visual, performing, and literary arts. But President Franklin D. Roosevelt’s New Deal arts projects had a larger goal—to promote American art and culture and provide access to what he described as “an abundant life.”


Born in Fairfield, Iowa, Dorothea Tomlinson was a painter, illustrator, and lithographer, who created murals and paintings for the Works Progress Administration, including this colorful scene. Popular in the 1930s, quilting parties, or bees, brought women together, providing them with the opportunity to socialize with while creating striking utilitarian works of art.
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Fred Eng (1917–1995)
Casablanca Portfolio: A Street in Meliah, Marrakech, French Morocco, July 16, 1944
Graphite, ink, and charcoal on paper
Norman Rockwell Museum Collection,
Gift of Michael and Monica Eng, NRM.2012.4.21


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Fred Eng (1917–1995)
Casablanca Portfolio: Entrance to Native Section, French Morocco,
September 24, 1944
Graphite, ink, and charcoal on paper
Norman Rockwell Museum Collection,
Gift of Michael and Monica Eng, NRM.2012.4.19




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Fred Eng (1917–1995)
Casablanca Portfolio: Loading the Wounded on Plane, c. 1944
Graphite, ink, and charcoal on paper
Norman Rockwell Museum Collection,
Gift of Michael and Monica Eng, NRM.2012.4.16


During the 1940s, Morocco was under the control of France, and from 1940 to 1944, the Vichy government aligned
with Nazi Germany. At the time, Morocco had more Jewish citizens than any other Muslim majority country, totaling over 300,000. When the Vichy government demanded a list of all Jews in the country, King Mohammed V replied, “We have no Jews in Morocco, only Moroccan citizens.”
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Fred Eng (1917–1995)
Casablanca Portfolio: Soldier Entering Building Ruins, c. 1944
Charcoal, ink, and gouache on paper
Norman Rockwell Museum Collection,
Gift of Michael and Monica Eng, NRM.2012.4.42




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Fred Eng (1917–1995)
Casablanca Portfolio: Soldiers Looking at German Tank, c. 1944
Graphite, ink, and charcoal on paper
Norman Rockwell Museum Collection,
Gift of Michael and Monica Eng, NRM.2012.4.36


By 1942, American and British forces were preparing to launch a North African campaign, and their first foray into the region was Operation Torch. The plan was to land forces in Morocco via Casablanca and Algeria to cut off German troops that had been pushed across Libya towards Tunisia by the British 8th Army. Allied forces defeated the Vichy government and delivered Germany its first setback.




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Fred Eng (1917–1995)
Street Scene in French Morocco, c. 1944
Gouache and ink on paper
Norman Rockwell Museum Collection,
Gift of Michael and Monica Eng, NRM.2012.4.4


Illustrator Fred Eng was born in China and immigrated to San Francisco with his parents at the age of three. He began his career as an inker and letterer for Classic Comics, and enlisted in the U.S. Army Air Force in August 1942. After completing officers training, Eng was stationed in Morocco and served as a Statistical Officer preparing maps and illustrations for official Army reports. After the war, he worked as a freelance artist for many of the leading periodicals and corporations of the time.




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George L. Rapp (1878–1942)
I’ve found the job where I fit best! 1943
Poster illustration for Office of War Information Poster
Norman Rockwell Museum Collection


This poster was a prominent appeal in the United States government’s Womanpower campaign, which aimed to increase the domestic labor supply by convincing women that war work was both necessary and desirable. Its model resembles starlet Veronica Lake, whose flowing, peekaboo hairstyle was a popular fashion early in the war. When the style proved to be unsafe around moving machinery, the government asked Lake to shorten her locks to popularize a look more appropriate for factory work. The head scarf seen here was one of many means used by factories to avoid hair- related accidents while maintaining a sense of style.
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J. Howard Miller (1918–2004)
It’s a Tradition with Us, Mister! 1943
Poster illustration for Westinghouse for the War Production
Co-Ordinating Committee
Poster
Collection of James J. Kimble and Tina Potuto Kimble


J. Howard Miller’s series of motivational posters for the Westinghouse Corporation included this image, which appeared for two weeks in April 1943. Through the visual analogy of a revolutionary-era musket and a 1940s rivet gun, it highlights the supporting role of women on the home front throughout the history of American conflicts. Although the model’s features and attire are similar in appearance to those in Miller’s “We Can Do It!” poster, this image has not been similarly viewed through the lens of feminist empowerment.
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Louie Lamone (1918–2007)
Reference photograph for The Problem We All Live With, 1963
Look, January 14, 1964, pp. 22–23
Norman Rockwell Museum Collection,
Norman Rockwell Museum Art Collection Trust.
© 1963 Norman Rockwell Family Agency. All rights reserved.


In this photograph, model Lynda Gunn gets assistance from her father, who helps her to steady herself on the boards propping her feet up. Rockwell frequently used this tech- nique to simulate the appearance of walking.



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Louie Lamone (1918–2007)
Reference photograph for The Problem We All Live With, 1963
Look, January 14, 1964, pp. 22–23
Norman Rockwell Museum Collection,
Norman Rockwell Museum Art Collection Trust.
© 1963 Norman Rockwell Family Agency. All rights reserved.


Rockwell frequently stood in as a model when creating photo- graphic reference for his art, as seen in this image.



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Louie Lamone (1918–2007)
Reference photograph for The Problem We All Live With, 1963
Look, January 14, 1964, pp. 22–23
Norman Rockwell Museum Collection,
Norman Rockwell Museum Art Collection Trust.
© 1963 Norman Rockwell Family Agency. All rights reserved.


Rockwell neighbor and model, Lynda Gunn, was six years old when she posed for The Problem We All Live With, the same age as young Ruby Bridges when she integrated a New Orleans public school.



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Louie Lamone (1918–2007)
Reference photographs for The Problem We All Live With, 1963
Look, January 14, 1964, pp. 22–23
Norman Rockwell Museum Collection,
Norman Rockwell Museum Art Collection Trust.
© 1963 Norman Rockwell Family Agency. All rights reserved.


Though The Problem We All Live With is inspired by the story of Ruby Bridges, the first African American child to attend an all-white public school in New Orleans, Rockwell’s painting is not a factual portrait of Bridges. The artist photographed three schoolgirls from the Stockbridge, MA area and the final figure is a composite of all three. Rockwell’s preparatory photographs include images of the clenched hands of U.S. Marshalls, scrawled racist epithets, and the smashed tomato with its violent splatter. Lynda Gunn, who was chosen as Rockwell’s model, is seen here in the center.



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New York Daily News photographer
Central Park Hooverville with Central Park West in
the background, 1932
Digital reproduction
New York Daily News


During the Depression, Shanty towns, called Hoovervilles after President Herbert Hoover, sprung up on vacant lots and public land. The largest of these in New York City was on what would become Central Park’s Great Lawn—construction on a drained reservoir bed north of Belvedere Castle had been delayed due to the economic crisis.
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Norman Rockwell (1894–1978)
Children’s Crusade for Children Coin Bank, 1940
Lithograph on tin
Norman Rockwell Museum Collection,
Gift of Steven M. Lomazow, M.D., RC.1979.1.1


This collection can was illustrated with the image of a school boy with his hand in his pocket, extracting change in support of “children in war-stricken lands.”
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Norman Rockwell (1894–1978)
Children’s Crusade for Children, April 22–30, 1940
Digital reproduction
Library of Congress Prints and Photographs Division Washington, D. C., POS-US.R62








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Norman Rockwell (1894–1978)
On to Washington, August 21–30, 1935 by Request of President Franklin D. Roosevelt
Poster
Collection of Franklin D. Roosevelt Presidential Library
and Museum


The first national Boy Scout Jamboree was planned for August of 1935. President Roosevelt himself requested that scouts from across the nation attend the event, which would feature a presidential review of those gathered. Rockwell’s poster—which also appeared on the cover of Boy’s Life that July—indicates widespread anticipation of the Jamboree amid the uncertainties of the Depression. Unfortunately, an outbreak of infantile paralysis (today known as polio) led to the cancellation of the event. Roosevelt instead addressed the disappointed scouts via radio, expressing his support for a rescheduled Jamboree, which took place in 1937.





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Norman Rockwell (1894–1978)
‘OK,’ the Pause that Refreshes, 1931
Advertising illustration for Coca-Cola
Oil on canvas
The Coca-Cola Company


Though Norman Rockwell preferred magazine cover illustration to advertising, the latter was more lucrative. Rockwell created imagery for more than one-hundred-fifty corporations and institutions, including Coca-Cola, which commissioned six original illustrations by the artist. In this Depression-era work, a barefoot boy takes a break from fishing to enjoy simple pleasures, including a bottle of Coke.





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Norman Rockwell (1894—1978)
Poster illustration for U.S. Office of War Information, 1944
Oil on canvas
Norman Rockwell Museum Collection, NRM.1978.12


Painted for the War Manpower Commission, this portrait of a coal miner was accompanied by the slogan, “Mine America’s Coal. We’ll make it hot for the enemy! See your United States Employment Service.” Critical during World War II, coal was one of the largest raw material industries in America, powering locomotives and the production of iron, steel, and electricity. During the war effort, posters encouraged worker production. Mine America’s Coal showed that a middle-aged man, who was already sacrificing two children in the service of war, was willing to give even more. Patriotism has often been invoked to recruit new workers for dangerous trades.



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Paul Warchol
View of Franklin D. Roosevelt Four Freedoms Park, NYC, 2012
Digital reproduction
© Paul Warchol


President Roosevelt made it clear that the Four Freedoms were “no vision of a distant millennium.” They are, he said, “a definite basis for a kind of world attainable in our own time and generation.” The Franklin D. Roosevelt Four Freedoms Park, a memorial to the president, is a constant reminder of that challenge. The first memorial dedicated to the former President in his home state of New York, it is located on the southern tip of Roosevelt Island in New York City. It is the last work of the late Louis I. Kahn, an iconic architect of the 20th century.



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Unknown Photographer
Mary Ann Johnson Riveting the Skin onto a Boeing Bomber,
c. 1942
Digital reproduction
The Boeing Company Corporate Archives


While many wartime Rosie the Riveters did take on riveting tasks, their responsibilities were countless. By the war’s end women were at work in approximately one of every three industrial positions. By most accounts, the work gave them a heightened sense of self-confidence. More practically, their average income had risen by thirty-eight percent.
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Unknown Photographer
Mary Ruth Berry Working on Boeing Aircraft, c. 1942
Digital reproduction
The Boeing Company Corporate Archives


Riveters typically worked on the outside of a plane’s assembly while their partners, known as buckers, worked on the inside. The dual task required precision teamwork and concentration. In this photograph, a bucker and a riveter demonstrate not only that women were equal to the task, but also that racial diversity was often an ordinary circumstance in many wartime factories. The prospect of industrial work during the war fostered a Second Great Migration, with millions of African Americans moving to industrial boomtowns, creating a significantly more integrated workforce than had existed before the war.
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Unknown Photographer
President Franklin D. Roosevelt Receiving Norman Rockwell’s Children’s Crusade for Children Painting, 1940
Digital reproduction Bettmann/Getty Images


The Children’s Crusade for Children was a charitable organization formed by educational reformer, social activist, and author Dorothy Canfield Fisher and others, with support from Eleanor Roosevelt. Its goal was to make American children aware of the advantages of living in a democratic country, and to assist children in war torn nations by contributing to their cause. From April 22 to 30, 1940, the crusade culminated in a drive with a nationwide collection of money from public, private, and parochial school children. Norman Rockwell was commissioned by Fisher, a fellow Arlington, Vermont resident, to create the drive’s poster illustration. He is seen here with his oldest son, Jarvis (far right), presenting his painting to President Roosevelt during their only known meeting.






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Var Tan Ian
America in Action, 1942
Playbook by Action Playbooks, Inc., New York
Collection of Drs. Lois and Daniel Fermaglich


Even prior to U.S. involvement in World War II, comics and playbooks depicted superheroes fighting and saving the world from Adolf Hitler and the Axis forces. Superheroes also helped the war effort by delivering supplies and stopping spies at home, and in comic narratives, good always triumphed over evil.
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Know your Airlanes Plane-O-Graph, 1942
Plane dial published by Plane Facts, New York
Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich


During World War II, official spotters were not the only people checking the skies then they heard the sound of a plane. Children served as unofficial spotters who learned to identify planes with decks of cards, from charts that were printed in comic books, newspapers and magazines, or premiums such as the one seen here.


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Our Armed Forces are the Best Dressed in the World, c. 1940s Cereal box illustration for Wheaties cereal, General Mills Lithograph on cereal box cardboard
Collection of Drs. Lois and Daniel Fermaglich









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There are 20 Things Wrong with this Soldier’s Uniform and Equipment, c. 1940s
Cereal box illustration for Wheaties cereal, General Mills Lithograph on cereal box cardboard
Collection of Drs. Lois and Daniel Fermaglich





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War Ration Booklet with Ration Stamps, 1943
Issued by the Unites States of America Office of Price Administration
Collection of Kimble Antique Automobiles, Nebraska


Rationing was an inconvenient fact of life for Americans during World War II. With the usual pathways for food distribution severely limited in wartime, the Office of Price Administration issued ration booklets in order to fairly distribute foods that were available only in limited supply, such as canned goods, meat, and coffee. Consumers could only purchase rationed goods by submitting a coupon from their booklet, a program overseen by a local ration board. Local black markets occasionally flourished during the war, but the rationing program was generally successful in its goal of widely distributing goods.



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What our country’s “Best Dressed” men are wearing. Can you name all these uniforms? n. d.
Product illustration for Wheaties Lithograph on cardboard
Collection of Drs. Lois and Daniel Fermaglich







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Acknowledgements


Generous support for this presentation has been made possible by a gift from Neil and Jane Golub.


There is a personal story of donor Neil Golub’s connection to Norman Rockwell’s pictures and the event represented in Murder in Mississippi that he wished to share. While at college, Mickey Schwerner became Neil Golub’s “Little Brother” when he joined a fraternity in 1958, and the two became good friends. A year later, in 1959, they continued their studies at Cornell University—Neil for graduate school and Mickey for veterinary medicine. They roomed next to each other at Cornell,
and after graduation in 1960, their paths went in different directions.


Moving forward to the 1980s, Neil, then CEO of Price Chopper, and his wife Jane, participated in fundraising efforts to help build a new, state-of-the art Norman
Rockwell Museum. When the building was opened, a gallery was named in honor of Neil’s parents, William and Estelle Golub, and Neil came for a visit. He was
overwhelmed to discover that Murder in Mississippi was on display there along with Rockwell’s other civil rights paintings.


“I will forever be touched by this memory of my friend, Mickey Schwerner, and his two compatriots Andrew Goodman and James Cheney,” Neil wrote. “Rockwell
had captured that moment at the time of their murder. Thank you, Norman, for immortalizing my friend and his courageous companions, I will forever be touched by your humanity.”
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Changing Times: Rockwell and Civil Rights


In the 1960s, leaving behind his beloved storytelling scenes, Norman Rockwell threw himself into a new genre: the documentation of social issues. As evidenced in his Four Freedoms paintings, he wanted to make a difference with his art, and as a trusted and highly marketable illustrator, he had the opportunity to do so. Humor and pathos—traits that made his Saturday Evening Post covers successful—were replaced by the direct, reportorial style of magazine editorials.


After ending his forty-seven year career with the Post in 1963, Rockwell sought new artistic challenges. His first assignment for Look magazine—The Problem We All Live With—was a simple assertion of moral decency. It portrayed Ruby Bridges, a six-year-old African-American girl being escorted by US marshals to her first day at an all-white school in New Orleans. In 1965, Rockwell focused on the murder of three civil rights workers in Philadelphia, Mississippi. And in 1967, he chose children, once again, to illustrate desegregation in our nation’s suburbs. In an interview later in his life, Rockwell recalled that he once had to remove an African-American character from a picture since the Post’s policy dictated showing people of color in service industry jobs only. Freed from such restraints, Rockwell anxiously sought opportunities to correct the editorial prejudices reflected in his previous work.
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Eleanor Roosevelt and the United Nations Declaration of Human Rights


Just as Franklin D. Roosevelt proposed the Four Freedoms that Norman Rockwell immortalized on canvas, Eleanor Roosevelt inspired the citizens and leaders of the world to acknowledge the continued signi-ficance of those freedoms. Convinced that the United States had been “spared for a purpose” from the destruction the war had inflicted on other nations, she seized all avenues at her disposal—speeches, newspaper columns, articles, private conversation, and correspondence—to urge Americans to recognize what was a stake and assume both the respon-sibility and the financial cost of world leadership. Fervently and repeatedly, Roosevelt cautioned her fellow Americans: “You cannot live for yourselves alone. You depend on the rest of the world and the rest of the world depends on you.” She understood how crucial a commonly shared vision could be in overcoming the haunting legacy of war.


Established in 1946 by the UN General Assembly, the United Nations Commission on Human Rights promptly elected Roosevelt its chair. Charged with creating an international bill of rights, the UNCHR put forward, for the first time, a definitive outline of the fundamental human rights to be universally protected. To accomplish this goal, Roosevelt conducted more than three thousand hours of debate, and had to create a climate in which all eighteen member nations—representing very di=erent political and cultural backgrounds from all regions of the world—could envision and articulate rights and freedoms. The Declaration was proclaimed by the United Nations General Assembly in Paris, on December 10, 1948. Since then, it has inspired dozens of international covenants, the creation of international courts, new governments, and an increasingly powerful international movement. Roosevelt considered this work to be her finest achievement, as it instituted a legacy for the Four Freedoms and left them in our hands to protect.
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FDR’s Freedoms


Although the nation was not yet at war in January 1941, President Franklin D. Roosevelt used his annual message to Congress to proclaim the Four Freedoms as a de facto war standard to one and all. Building on his reflections into the nature of freedom in the months beforehand, he enumerated for his audience each of the freedoms, stressing that they were not just a national ideal, but one that was needed “everywhere in the world.” Seven months later, in a secret meeting with British Prime Minister Winston Churchill at sea, the two leaders signed the Atlantic Charter, whose principals built on the Four Freedoms and gave the president’s notion even more publicity.


Despite these highly public moments, however, the concept of the Four Freedoms failed to resonate on Capitol Hill, in media reports, or even with the American public. Not even the government’s official Four Freedoms pamphlet, released six months after Pearl Harbor, was able to attract much attention. As pollster George Gallup noted, the president’s rallying cry had still “not registered a very deep imprint here at home.” By early 1943, staffers within the Office of War Information had begun to conclude in internal memoranda that FDR’s Four Freedoms theme had turned into an embarrassing flop.
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Freedom’s Legacy


President Roosevelt made clear that the Four Freedoms were “no vision of a distant millennium.” Their odyssey did not end with FDR, nor with Rockwell. As World War II came to a close, the Allies began to hold planning meetings for what would become the United Nations. Eleanor Roosevelt, who championed the late president’s legacy, ceaselessly touted FDR’s freedoms as an appropriate summation of democracy and human rights, and war weary nations agreed. Enshrined in the 1948 Universal Declaration of Human Rights, the Four Freedoms are a testament that arose from the ashes of war to a=irm the precious nature of freedom everywhere in the world.


The Four Freedoms have continued to play a prominent role in national and international thought. Many constitutions have adopted these ideals as a guarantee of human rights. Heroic individuals—from those who have fought for the rights of enslaved populations to those who have dared to criticize totalitarian governments—have been recipients of the Roosevelt Institute’s Four Freedoms Awards. The Four Freedoms Park, a memorial to FDR on New York’s Roosevelt Island, is a reminder of the challenge that we continue to face in upholding freedom at home and abroad. Rockwell’s interpretations, too, have lived on. His Four Freedoms are among the most recognizable images in American history. Whether we encounter them in the original, in print, or online, they are constant reminders of the profound influence of visual imagery on the human imagination. They reveal FDR’s timeless ideals in real world terms, even
as they remind us that we, too, are heirs to these cherished values.
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Murder in Mississippi


Commentary by Louis Henry Mitchell


What could shift the heart of America’s illustrator from celebrating the joy of life to revealing the evidence of horror in that same America? An event that revealed hatred against people of color extended even to white citizens seeking to help emancipate them. Another all too frequent murder had taken place against an African-American as well as his two white fellow civil rights workers. Norman Rockwell became exceedingly angry. He set out to expose this dreadful event with a painting entitled Murder in Mississippi.


With an unusual approach, Rockwell kept vigil over this particular project, which he seemed to treat more as a calling. He became a student of this massacre and devoted his time exclusively toward making this visual account, even after receiving letters expressing objections to his previous Look magazine painting, The Problem We All Live With.


Rockwell wove threads of truth into this painting, overlapping other heartbreaking events with authentic reference that surpassed many of his most dedicated efforts. His research took him to images of people in bloodstained clothing in the newspapers during the concurrent Vietnam War. Michael Schwerner’s pose holding James Chaney (modeled by Rockwell’s son, Jarvis), came directly from Hector Rondond’s 1963 Pulitzer Prize winning photo “Aide from the Padre.” But this was not enough for Rockwell. He insisted upon posing with human blood dripping on his own hand, staining the shirt that he was wearing. This formidable detail could not be simulated in the artist’s mind. His heart was deeply imbedded in authentically exposing this murder with as much reality as he could provide. Although Rockwell’s color study was ultimately published, the power, anger and authenticity lives through this work of art, a labor of love that unfortunately is as relevant today as it was in 1965.


Louis Henry Mitchell is Creative Director of Character Design at Sesame Workshop, and a member of the Norman Rockwell Museum Board of Trustees.
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Norman Rockwell, Dr. Martin Luther King, Jr., and the NAACP


Commentary by Louis Henry Mitchell


A spark of excitement and inspiration was ignited within me as a teenager when I walked into a local bookstore on my first day of high school. That was also the first day I discovered Norman Rockwell. He was not just an amazing artist but a profoundly conscientious human being. He used his extraordinary gifts and talents to elevate the vision of joy, hope and humanity to a world that sincerely needed it.


There was another man who caught my attention when I was even younger. Dr. Martin Luther King Jr. awakened ideas within me before I could even understand them. As I grew I learned how he also used his extraordinary gifts and talents to elevate the world’s vision of joy, hope and humanity, but in different way. While Rockwell revealed the potential of happiness King revealed the realities of injustice. What makes this the proverbial example of “two sides of the same coin” was where Rockwell and King indirectly joined forces.


King brought tremendous attention to the Civil Rights Movement through speeches, marches and demonstrations. Rockwell brought attention to civil rights in his own unique and powerful way. He was not initially known for incorporating people of color into his work due to restrictions from publishers. But he made up for this later in his career with some highly controversial paintings. One of the most impactful, The Problem We All Live With, depicted the beginning of integration in American southern schools. This image even blatantly features a most degrading word used against African-Americans to this very day. The shock of this painting is multiplied by the fact that it is done by Rockwell. He took a stand from Stockbridge, Massachusetts, which became his own courageous “front-line” demonstration, made possible by the artist’s fame and the trust that Americans placed in him. However, their connection goes even further. King, was an official, card-carrying life member of the N.A.A.C.P. and so was Norman Rockwell.


Louis Henry Mitchell is Creative Director of Character Design at Sesame Workshop, and a member of the Norman Rockwell Museum Board of Trustees.
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Norman Rockwell’s Creative Process


In the summer of 1942, when he was contemplating the Four Freedoms, Norman Rockwell was at the peak of his career and one of the most famous imagemakers in America. Though he struggled for seven months with how Roosevelt’s ideas could most effectively be portrayed, he resolved to root the universal, symbolic images in his own experiences and surroundings, using as models his neighbors in Arlington, Vermont.


As was his complex, customary process, the artist’s thumbnail drawings and large scale charcoal sketches, no longer extant, were followed by preliminary color studies in oil. Freedom from Want and Freedom from Fear were clearly conceptualized in his mind from the start, but Freedom of Speech and Freedom of Worship presented greater challenges. For each painting, he carefully choreographed the expressions and poses of each of his models, working closely with his studio assistant, Gene Pelham, to photograph them for future reference. Freedom of Worship was initially set in a barber shop with people of different faiths and races chatting amiably and waiting their turn. Rockwell ultimately rejected the notion as stereo-typical. For Freedom of Speech, he experimented with several different vantage points, including two that engulfed the speaker in the crowd. In the final work, the speaker stands heads and shoulders above the observers as the clear center of attention. Fortunately, Rockwell’s Four Freedoms escaped destruction in a fire that destroyed his studio shortly after they were delivered to The Saturday Evening Post. His reference photographs and most related artworks did not survive the blaze.
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Pops Peterson: Reinventing Rockwell


In 2015, Berkshire-based artist and writer Pops Peterson debuted Reinventing Rockwell, a series of artworks reimagining mid-century illustrations by Norman Rockwell in a manner reflective of today’s times. Celebrating America’s rich diversity and embracing Rockwell’s sense of humanity, Peterson has created images that envision social change and express his desire for a positive, inclusive, and just world.


Launched at the High School of Music and Art in New York, Peterson’s artistic education continued at Pratt Institute and Columbia University. His writings have been published in Andy Warhol's Interview, Essence, The Village Voice and The New York Times, and he has authored stage plays and screenplays for television and film. The Northeast Regional Conference on Fair Housing and Civil Rights named Peterson the first Artist in Residence of the Massachusetts Commission Against Discrimination.


Peterson is the owner and general manager of Seven salon spa in Stockbridge, MA, a business established with his husband Mark Johnson that is situated across the street from Rockwell’s former home. Freedom from What? (I Can’t Breathe) has travelled across the nation in Norman Rockwell: Imagining Freedom, and we are honored to share a broader selection of images from this impactful series. Peterson’s work is also on view at Sohn Fine Art in Lenox, MA.



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Private Willie Gillis: Rockwell’s American GI


Distant from the activities of the war raging in Europe and Asia, Norman Rockwell found it a challenge to record his interpretation of the effects of World War II on servicemen for Americans at home. His unassuming fictional private, named Willie Gillis, told the story of one man’s army in a series of popular Saturday Evening Post covers. Rockwell depicted him engaged in mundane tasks like receiving a care package from home, peeling potatoes, or reading the hometown news. The artist met his Willie Gillis model, Robert Otis “Bob” Buck, at an Arlington, Vermont, square dance. Then fifteen years of age, Buck was still too young to fight, but he eventually began his service in 1943 as a naval aviator in the South Seas. The name Willie Gillis was coined by Rockwell’s wife, Mary Barstow Rockwell, an avid reader who drew inspiration from the story of Wee Gillis, a 1938 book about an orphan boy by Munro Leaf. The first Willie Gillis cover appeared on October 4, 1941, while the last emerged after the war when this familiar character enrolled in college on the GI Bill. Published widely, Willie Gillis enlargements were distributed by the USO, ultimately appearing in USO clubs at home and abroad, as well as in numerous railway stations and bus terminals.
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Reimagining the Four Freedoms


Since the time of the Enlightenment, philosophers and activists have contemplated the nature of liberty and its associated responsibilities. Building on those ideas, President Franklin D. Roosevelt presented an ambitious treatise on the theme in his 1941 Annual Address to Congress. He argued that Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear should be accepted as human rights not only in the United States, but everywhere in the world.


In our times, it seems as though the very notion of common good, and of civic engagement and civil discourse, is called into question. Are the Four Freedoms, as articulated by President Roosevelt and interpreted by Norman Rockwell for The Saturday Evening Post, still relevant as organizing principals of civil society, or are they reflective of a bygone era?


Inspired by the legacies of Roosevelt and Rockwell, Reimaging the Four Freedoms is a juried exhibition inviting contemporary artists to consider two questions: How might notions of freedom, as presented by Roosevelt and Rockwell during the World War II era, be reinterpreted for our times? What does freedom look like today? This installation represents the diverse spectrum of responses received from artists across North America. Their compelling artworks gives voice to their observations and concerns about freedoms lost and sometimes found in our times.
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Reimagining the Four Freedoms


Since the time of the Enlightenment, philosophers and activists have contemplated the nature of liberty and its associated responsibilities. Building on those ideas, President Franklin D. Roosevelt presented an ambitious treatise on the theme in his 1941 Annual Address to Congress. He argued that Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear should be accepted as human rights not only in the United States, but everywhere in the world.


In our times, it seems as though the very notion of common good, and of civic engagement and civil discourse, is called into question. Are the Four Freedoms, as articulated by President Roosevelt and interpreted by Norman Rockwell for The Saturday Evening Post, still relevant as organizing principals of civil society, or are they reflective of a bygone era?


Inspired by the legacies of Roosevelt and Rockwell, Reimaging the Four Freedoms is a juried exhibition inviting contemporary artists to consider two questions: How might notions of freedom, as presented by Roosevelt and Rockwell during the World War II era, be reinterpreted for our times? What does freedom look like today? This installation represents the diverse spectrum of responses received from artists across North America. Their compelling artworks gives voice to their observations and concerns about freedoms lost and sometimes found in our times.
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Roosevelt, Churchill, and The Atlantic Charter


Roosevelt’s White House touted the Four Freedoms theme throughout the spring and summer of 1941. When FDR and British Prime Minister Winston Churchill met near the coast of Newfoundland that August, the President proposed including the freedoms in the resulting Atlantic Charter. This pivotal policy statement defined Allied goals for the postwar world: no territorial aggrandizement or changes made against the wishes of the people; restoration of self-government to those deprived of it; reduction of trade restrictions; global cooperation to secure better economic and social conditions for all; freedom from fear and want; freedom of the seas; abandonment of the use of force; and the disarmament of aggressor nations.


Unfortunately, the document did not include freedom of speech and freedom of worship. Though sources within the administration claimed that their omission was a simple oversight, it was a troubling sign that the campaign to promote the president’s ideals was not functioning efficiently. Less than six months later, in the aftermath of the Japanese attack at Pearl Harbor, 26 governments signaled their support for the charter by signing the Declaration by United Nations on January 1, 1942. The agreement would establish the basis for the modern United Nations.
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The Anatomy of Rockwell’s Murder in Mississippi


As evidenced in his 1943 Four Freedoms, in the adjacent gallery, Norman Rockwell wanted to make a difference with his art, and as a popular and trusted illustrator, he had the opportunity to do so. In 1963, leaving behind his beloved storytelling scenes and forty-seven year career with The Saturday Evening Post, he began documenting America’s most pressing social concerns for Look, where he found an audience ready to receive his messages.


In the beginning of 1965, Rockwell began work on a piece about the June 21, 1964 murders of three young civil rights workers. Michael Schwerner and his chief aide, James Chaney, were in Philadelphia, Mississippi to help train volunteers like Andrew Goodman, who with other college students, was working to expand voter registration as part of the Mississippi Summer Project.


The anatomy of this particular work illuminates Rockwell’s intensive focus on the incident and his process of creating a painting that expressed his outrage. Veering from his habit of working on five or six projects at a time, he ignored other commissions, and in an intensive five-week session, gathered research and produced charcoal preliminaries, an oil color study, and a large final painting. In an interview later in life, Rockwell recalled having been directed by the Post to remove an African American from a group picture because the magazine’s policy dictated showing black people in service industry jobs only. Later, freed from such restraints, he seemed to look for opportunities to correct the editorial prejudices reflected in previous work. Murder in Mississippi helped usher in that new era for the artist.



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The Artistic Response to the Four Freedoms Ideals


Recognizing that his Four Freedoms were not capturing public attention, President Roosevelt and his team considered alternative ways to publicize them on the home front. In 1942, the White House invited the art world to lend a hand in raising public awareness, and the nation’s artists, writers, actors, designers, composers, and musicians vigorously took up the challenge of promoting the war effort and advancing the Four Freedoms.


By encouraging artists across the country to offer interpretations through art, music, and writing, the president hoped that the Four Freedoms would finally resonate in a nation distracted by the stresses of wartime. America’s artists vigorously took up the challenge. A flood of Four Freedoms tributes resulted—in the form of sculptures, paintings, drawings, quilts, poems, plays, exhibitions, and even a full-length symphony. A series of Four Freedoms stamps was announced, and artists submitted their creative proposals for those designs as well. Many had been engaged in the New Deal through the Works Progress Administration’s Federal One projects for Art, Theater, Music, and Writers. Drawing on those experiences, they now brought their creative energies to a new cause.


Despite the quality and volume of the works produced, most failed to gain a widespread following. Like the president’s words, the impact of the Four Freedoms remained intangible for most observers. Though the art world had valiantly championed the cause of the Four Freedoms, true engagement with the president’s idealistic notions was still elusive.
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The Four Freedoms War Bond Show


In April 1943, one month after their appearance in the Saturday Evening Post, Rockwell’s original paintings began a sixteen-city Four Freedoms War Bond Show tour to publicize the Second War Loan Drive. The US Treasury Department, realizing the images’ potential to generate revenue through the sale of war bonds and to boost public morale, partnered with the Post to sponsor the tour.


Starting in Washington, DC, and gradually working its way around to points west, the exhibition featured hundreds of other artworks, posters, pamphlets, and manuscripts. Each stop vied to offer the biggest thrills and the most notable celebrity appearances, and volunteers were at the ready to sell war bonds to an avid public. At the Boston stop, local organizers brought in the original models from Rockwell’s paintings. In Buffalo, visitors purchased enough war bonds to sponsor four new fighter-bombers, each named after one of the Freedoms. Portland, Oregon, used “over 1,000 column inches of newspaper publicity” to attract more than one hundred thousand bond purchasers to that city’s stop on the tour. A huge parade down Woodward Avenue opened the Four Freedoms War Bonds Show in Detroit. From June 16 to 26, 1943, the exhibition was on view at New York’s Rockefeller Center. Over the course of the tour, it became the rallying point of a massive national outpouring of patriotic enthusiasm.


Rockwell himself ended up being part of the tour, but only for the first stop. He appeared at Hecht’s department store in downtown Washington, DC, but found that he had no appetite for the nonstop routine of signing autographs, meeting celebrities, and talking to reporters. Asked to continue with the exhibition, Rockwell allowed the protective Post editor Ben Hibs to say, “No, Norman’s going to stay home and do Post covers.” The tour still did extremely well, raising $132 million in war bond sales and reaching 1.2 million war-weary viewers. Equally important was the elevation of Roosevelt’s Four Freedoms in the public consciousness, and their emergence as democratic ideals worth fighting for.
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The Unity Project: Illustration that Inspires
Us to Vote


AN ARTS AND CIVICS education program of the Norman Rockwell Museum, the Unity Project is a dynamic poster campaign designed to inspire citizens to vote. Striking imagery by the nation's top illustrators aims to unify Americans, who share in common the right to elect a government of and for the people.


A rally to vote campaign, the project highlights original concepts by six leading contemporary illustrators commissioned by the Museum to design motivational art in the great tradition of the illustrated poster, an influential presence across time, history, and geography. Compelling imagery by Mai Ly Degnan, Rudy Gutierrez, Anita Kunz, Tim O'Brien, Whitney Sherman, and Yuko Shimizu reflect each artist's personal voice and diverse visual responses to the theme,-from realist and expressionist paintings to comics-inspired digital appeals.


Norman Rockwell's legacy lives on in this project. His widely-circulated illustrations punctuated pivotal moments in history and unified Americans around democratic ideals, calling attention to the imperative of civil rights, the wonders of space exploration, and the importance of government transparency. The Unity Project establishes a new niche for the Museum, putting contemporary illustration to work to inspire civic engagement and underscore the right established by the United States Constitution to elect a representative government.


Support for The Unity Project has been provided by Jack and Susy Wadsworth.
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Letters to Look Editor Regarding Murder in Mississippi - George Stanley
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President Roosevelt Receiving Norman Rockwell’s Children’s Crusade Painting...
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Letters to Look Editor Regarding Murder in Mississippi - Mary Allison
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Charges these nine men were named as members of the lynch mob
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Correspondence to Norman Rockwell regarding Freedom of Speech
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Correspondence to Norman Rockwell regarding The Four Freedoms
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Correspondence to Norman Rockwell regarding The Four Freedoms
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Correspondence to Norman Rockwell regarding The Four Freedoms
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Correspondence to Norman Rockwell regarding interracial relations
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Letter from Look Editor - Allen Hurlburt - to Norman Rockwell
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America in Action
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Children’s Crusade for Children Coin Bank
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Children’s Crusade for Children
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Fun at the Breakfast Table, No. 29
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Fun at the Breakfast Table, No. 31
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Fun at the Breakfast Table, No. 32
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War Ration Booklet with Ration Stamps
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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Boris Artzybasheff (1899–1965)
Heinrich Himmler, Nazi Gestapo Chief (1936–1945), 1943
Cover illustration for Time, October 11, 1943
Gouache on board
Courtesy of the Syracuse University Art Collection


During World War II, Artzybasheff worked with the Psychological Warfare Branch of the State Department. His stark portrayals of politicians and military leaders shed light on the issues that governed the course of the conflict. Heinrich Himmler was one of the most powerful men in
Nazi Germany and one of the people directly responsible for the Holocaust. Artzybasheff worked with the Psychological Warfare Branch of the State Department, and created war bonds poster illustrations for the Office of War Information.


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Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
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Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
HTMLText_6787FB96_66D9_66ED_41BB_6C1334CCB986.html =
Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
HTMLText_679913BF_66F6_A61C_41CE_CD07973CECF2.html =
Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
HTMLText_AF9A4D4B_666A_A27B_41D0_1BBE70A7006F.html =
Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
HTMLText_96AA9DE5_666B_622F_41D8_697144F0F588.html =
Erzählt von:
Setsuko Winchester
Künstlerin, Fotografin und Journalistin


Am 23. April 1943 besuchte die First Lady Eleanor Roosevelt das Konzentrationslager Gila River in Arizona. Der WRA Fotograf Francis Stewart nahm das Foto von ihr in Begleitung von Dillon Myer, National Director der War Relocation Authority, auf, während sie von einer Menge Häftlinge enthusiastisch begrüßt wurden.


Frau Roosevelt war eine der wenigen in der FDR Administration, die sich öffentlich für loyale Bürger und Einwanderer japanischer Herkunft sowohl vor und nach Pearl Harbor aussprach. Sie versuchte ohne Erfolg den Präsidenten von der Anordnung der Massendeportation abzuhalten, in der sie eine Verletzung der Menschenrechte und der amerikanischen Ideale sah und sie lud sogar japanische Amerikaner ins Weiße Haus ein.


Ihr Besuch im Lager war eine Antwort auf die Anklagen der örtlichen Presse, die Bundesregierung würde japanische Amerikaner in den Lagern verhätscheln. Ihr Ziel war es, diese Einrichtungen zu besuchen und jene Behauptungen zu untersuchen. Sie kehrte zurück, hob die Arbeit, die die Gefangenen für die Kriegsanstrengungen in den Fabriken für Tarnnetze und Schiffmodelle leisteten, hervor und merkte an, dass die Milch, die sie in der Messe probiert hatte, sauer schmeckte— ihre Art, um auf die Presseberichte zu reagieren, die Gefangenen erhielten Rationen in besserer Qualität als andere Amerikaner.


Die Los Angeles Times berichtete drei Tage später von ihrem Besuch in einem Artikel, in dem sie die Lebensbedingungen, wenn auch nicht als anstößig, so doch als „bestimmt nicht luxuriös“ beschrieb und sie fügte hinzu, „ich würde so nicht leben wollen“. Man zitierte auch ihre Aussage: “Je früher wir die jungen [gebürtigen] Japaner aus diesen Lagern herausbekommen, desto besser. Wenn wir nicht aufpassen, schaffen wir sonst noch ein weiteres Indianerproblem.”
HTMLText_6771AF72_6639_FE25_41D0_EE73A1096064.html =
Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
HTMLText_6787FB93_66D9_66EB_41D4_950B8D03E7AA.html =
Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
HTMLText_AF9C1D48_666A_A265_41D3_FB6149C0BD79.html =
Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
HTMLText_67677A3E_6659_661D_41C1_04C4657FF9E9.html =
Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
HTMLText_679913BC_66F6_A61C_41C4_EA06EE8B12CE.html =
Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
HTMLText_96A68DE2_666B_6225_41B9_F16FCDB6BCEB.html =
Francis Stewart (1909–1992)
Mrs. Eleanor Roosevelt Accompanied by Dillon Myer, National Director of the War Relocation Authority, visit the Gila Relocation Center, Arizona, April 23, 1943
Digital reproduction
National Archives and Records Administration Collection


In 1943, Eleanor Roosevelt visited the internment camp at Gila River, and though the War Relocation Authority used this and other photographs as propaganda, she chose to speak out for confined Japanese Americans. In her syndicated daily newspaper column, she lauded the efforts of the inmates to grow their own food, combat the harsh desert climate, and police and educate themselves. But in an interview published in the Los Angeles Times three days after her visit, she strongly recommended that the camps be closed as soon as possible. Though Eleanor Roosevelt was a champion for human rights and the Four Freedoms, this was her most open public expression of opposition during the war.
HTMLText_AF9D8D49_666A_A267_41BA_A529560792BF.html =
Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
HTMLText_6787FB95_66D9_66EF_41D5_292D94207F89.html =
Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
HTMLText_96A87DE4_666B_622D_41D0_38A37945A37E.html =
Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
HTMLText_67677A40_6659_6665_41D4_D967FED75416.html =
Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
HTMLText_6771AF74_6639_FE2D_41D5_B352BAFD17BD.html =
Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
HTMLText_679913BE_66F6_A61C_41A1_3815B63C5BCD.html =
Narrado por:
Setsuko Winchester
Artista, Fotógrafa y Periodista


El 23 de abril de 1943, la Primera Dama Eleanor Roosevelt visitó el campo de concentración del río Gila en Arizona. El fotógrafo de WRA Francis Stewart tomó la foto de ella, acompañado por Dillon Myer, director nacional de War Relocation Authority, mientras son recibidos por una multitud de reclusos entusiastas.


La Sra. Roosevelt fue una de las pocas en la administración de FDR de hablar públicamente en nombre de los ciudadanos leales e inmigrantes de origen étnico japonés, tanto antes como después de Pearl Harbor. Intentó, sin éxito, disuadir al presidente de ordenar la expulsión masiva, que consideraba una violación de los derechos humanos y los ideales estadounidenses, e incluso invitó a los estadounidenses de origen japonés a la Casa Blanca.


Su visita al campamento fue en respuesta a las acusaciones de la prensa local de que el gobierno federal estaba mimando a los estadounidenses de origen japonés en los campamentos. Su objetivo era recorrer las instalaciones e investigar esas afirmaciones. Ella salió, destacando el trabajo que los prisioneros estaban haciendo para el esfuerzo bélico en las fábricas de red de camuflaje y modelos de barcos y notó que la leche que probaba en el comedor era agria: esa fue su forma de responder a los informes de prensa que los prisioneros estaban recibiendo mejor raciones de calidad que otros estadounidenses.


El diario Los Ángeles Times informó sobre su visita tres días más tarde en un artículo en el que describió las condiciones de vida como -si bien no indecentes- "ciertamente no lujosas", y agregó: "No me gustaría vivir de esa manera". Ella también fue citada diciendo que "Cuanto antes saquemos a los jóvenes [nativos] japoneses de los campamentos, mejor. De lo contrario, si no estamos vigilantes, crearemos otro problema indio ."
HTMLText_679913BD_66F6_A61C_41C9_35E58E228447.html =
Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
HTMLText_96AB4DE3_666B_622B_41D3_E8A92C9AF0E9.html =
Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
HTMLText_67677A3F_6659_661B_41AA_0627555F52E9.html =
Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
HTMLText_AF9CDD49_666A_A267_41D7_9019ECA2A12C.html =
Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
HTMLText_6771AF73_6639_FE2B_41D4_292FCE2C525A.html =
Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
HTMLText_6787FB94_66D9_66ED_41AE_C1B969F0749C.html =
Narrated By:
Setsuko Winchester
Artist, Photographer and Journalist


On April 23, 1943, First Lady Eleanor Roosevelt paid a visit to the Gila River concentration camp in Arizona. WRA photographer Francis Stewart took the photo of her, accompanied by Dillon Myer, National Director of the War Relocation Authority, as they are greeted by a crowd of enthusiastic inmates.


Mrs. Roosevelt was one of the few in the FDR Administration to speak out publicly on behalf of loyal citizens and immigrants of Japanese ethnicity both before and after Pearl Harbor. She tried without success to dissuade the President from ordering mass removal, which she regarded as a violation of human rights and American ideals, and even invited Japanese Americans to the White House.


Her visit to the camp was in response to accusations by the local press that the federal government was coddling Japanese Americans in the camps. Her aim was to tour the facilities and investigate those claims. She came away, highlighting the work the prisoners were doing for the war effort in the camouflage net and ship model factories and noted that the milk she tasted in the mess hall was sour—her way of responding to press reports that the prisoners were receiving better quality rations than other Americans.



The Los Angeles Times reported on her visit three days later in an article in which she described the living conditions as—while not indecent—”certainly not luxurious,” adding, “I wouldn’t like to live that way.” She was also quoted as saying, “The sooner we get the young [native-born] Japanese out of the camps the better. Otherwise if we don’t look out we will create another Indian problem.”
HTMLText_67677A40_6659_6665_41C9_8A1FDE9366C4.html =
Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
HTMLText_AF9DED4A_666A_A265_41D5_B252E4A43D63.html =
Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
HTMLText_96A8EDE4_666B_622D_416F_45DC0643D2FF.html =
Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
HTMLText_6771AF74_6639_FE2D_41C1_41B404DC8659.html =
Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
HTMLText_679913BE_66F6_A61C_41C6_52A8E0E96FFE.html =
Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
HTMLText_6787FB95_66D9_66EF_41D2_20FC79630AC6.html =
Raconté par :
Setsuko Winchester
Artiste, photographe et journaliste


Le 23 avril 1943, Eleanor Roosevelt visite le camp de détention de Gila River en Arizona. Le photographe de la War Relocation Authority, Francis Stewart, était présent, accompagné du directeur national, Dillon Myer.


Madame Roosevelt était une des rares personnes de l’entourage du président des Etats-Unis à s’exprimer publiquement en faveur des citoyens et immigrants d'origine japonaise. Ceci avant et mais aussi après Pearl Harbor. C’est en vain qu’elle a tenté de dissuader le président d'ordonner un renvoi massif de cette population - ce qu’elle considérait comme une violation des droits de l'homme et des idéaux américains. Eleanor Roosevelt a même été jusqu’à inviter des Américains d'origine japonaise à la Maison blanche.


Sa visite au camp avait pour but de démentir les accusations de la presse locale qui affirmaient que le gouvernement fédéral réservait à ces détenus un traitement de faveur. Elle a décrit le travail effectué par les prisonniers qui fabriquaient des filets de camouflage pour l’armée et des maquettes de navires. Elle a aussi mentionné qu'elle a goûté le lait et qu’il était sûre.


Dans un article du Los Angeles Times, elle explique que les conditions de vie des citoyens japonais n’étaient pas indécentes, mais n’étaient pas non plus confortables. Son message se résume à ces quelques mots : « Je ne voudrais pas vivre ainsi » et « Plus tôt nous permettrons à ces jeunes japonais de quitter les camps, mieux cela vaudra. Si nous ne faisons rien, nous créerons un nouveau problème semblable à celui des Amérindiens ».
HTMLText_67677A43_6659_666B_41AC_90A9AEED0B42.html =
روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
HTMLText_679913C1_66F6_A664_41BF_8FEED470177F.html =
روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
HTMLText_6787FB98_66D9_66E5_4197_C6EBBFE6DD50.html =
روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
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روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
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روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
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روته:
سيتسوكو وينشستر
فنانة ومصورة وصحفية


في 23 أبريل 1943، قامت السيدة الأولى إليانور روزفلت بزيارة إلى معسكر اعتقال نهر جيلا في ولاية أريزونا. التقط مصور هيئة ترحيل الحرب فرانسيس ستيوارت صورة لها ويرافقها ديلون ماير، المدير الوطني لهيئة ترحيل الحرب، حيث يستقبلهم حشد من النزلاء المتحمسين.


كانت السيدة روزفلت واحدة من القلائل في إدارة فرانكلين ديلانو روزفلت تتحدث علانية نيابة عن المواطنين والمهاجرين الأوفياء من الأصل الياباني قبل وبعد موقعة ميناء بيرل. حاولت دون جدوى أن تثني الرئيس عن أمر الترحيل الجماعي، التي اعتبرتها انتهاكًا لحقوق الإنسان والمثل الأمريكية، بل ودعت الأمريكيين اليابانيين إلى البيت الأبيض.


كانت زيارتها للمعسكر ردا على اتهامات من الصحافة المحلية بأن الحكومة الاتحادية كانت تدلل الأميركيين اليابانيين في المعسكرات. كان هدفها القيام بجولة في المرافق والتحقيق في تلك الادعاءات. خرجت وسلطت الضوء على العمل الذي كان يقوم به السجناء كمجهود حربي في شباك التمويه ومصانع نماذج السفن وأشارت إلى أن الحليب الذي تذوقته في قاعة الطعام كان رديئًا – كانت هذه هي طريقة ردها على التقارير الصحفية التي تفيد بأن السجناء كانوا يتلقون حصص إعاشة أفضل من المواطنين الأمريكيين الآخرين.


نشرت صحيفة لوس أنجلوس تايمز تقريرا عن زيارتها بعد ثلاثة أيام في مقال وصفت فيه الظروف المعيشية هناك بأنها "ليست غير لائقة"، ولكنها بالتأكيد ليست فارهة، وأضافت "لم لكن لأحب أن أعيش على هذا النحو". كما أنها اقتبست قائلة: "كلما أسرعنا في إخراج الشباب الياباني [المولود في أمريكا] من المعسكرات كان ذلك أفضل. عذا ذلك، إذا لم نحترس، فسنخلق مشكلة هندية أخرى."
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Dieser Teil der Ausstellung widmet sich den kleinen Freuden des Lebens – ein besonders beliebtes Thema in den amerikanischen Zeitschriften während der Weltwirtschaftskrise, als viele Menschen es sich einfach nicht leisten konnten, viel Geld für Unterhaltung auszugeben. Was wir hier auf dieser wunderbaren Titelblatt-Illustration für die Saturday Evening Post aus dem Jahr 1936 sehen, ist eine Gruppe von Männern, die sich in einem Frisörladen zusammengefunden haben und sich dabei vergnügen, gemeinsam zu singen. Richtig populär wurde das Konzept des Barbershop-Quartetts und allgemein des Amateurgesangs in den 1890er-Jahren und blieb es während der gesamten Wirtschaftskrise. Hier konnte Rockwell das, was ihm an Menschen so gefiel, ausgiebig zur Geltung bringen – Gesichtsausdrücke voller Leben, die vielen interessanten Eigenarten seiner Charaktere und sogar Handbewegungen, mit denen er eine Verbindung zwischen den einzelnen Figuren schafft.


Es ist eine großartige Szene, die sogar einen anderen bedeutenden Illustrator mit einschließt, der ebenfalls für die Post und andere Zeitschriften arbeitete. Walter Beach Humphrey ist auf der rechten Seite zu sehen, das Gesicht zur Hälfte rasiert und zur Hälfte mit Rasiercreme bedeckt. Er hält eine Zeitschrift namens Police Gazette in der Hand, von der man eigentlich annehmen könnte, dass sie Informationen über die Aktivitäten der amerikanischen Polizisten enthielt, die in Wirklichkeit aber ein Männermagazin mit Geschichten der etwas dunkleren Sorte war.


Als Rockwell dieses Werk im Jahr 1936 anfertigte, lebte er in New Rochelle (New York), der Stadt mit der damals landesweit größten Anzahl an Illustratoren pro Einwohner. New Rochelle besaß den Vorteil, 45 Minuten vom Broadway entfernt zu sein, und so konnten die Künstler ein etwas beschaulicheres, ländliches Leben genießen, obwohl man auch in New Rochelle durchaus einiges unternehmen konnte. Da die Zugfahrt von New York City nicht lang war, konnten die Illustratoren, die dort wohnten, ihre Werke ohne großen Aufwand bei ihren Verlagen abliefern.
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Erzählt von:
Stephanie Haboush Plunkett
Stellvertretende Leiterin / Chefkuratorin – Norman Rockwell Museum


Norman Rockwells Saturday Evening Post-Titelblatt vom 1. April 1961, Golden Rule (Goldene Regel), entstand ursprünglich als Zeichnung. 1952, am Höhepunkt des Kalten Krieges und zwei Jahre nach Beginn des Koreakrieges, entwarf Rockwell ein Bild von den Vereinten Nationen als Zukunftshoffnung für die Welt. Seine Wertschätzung für diese Organisation und ihre Mission dienten ihm als Inspiration für ein komplexes Werk, auf dem Mitglieder des Sicherheitsrates der Vereinten Nationen und 65 Personen, die die Nationen der Welt repräsentieren, dargestellt sind. Als Studie für ein Kunstwerk, welches der Künstler ursprünglich als Gemälde geplant und bis zur endgültigen Fassung ausrecherchiert und zeichnerisch fertig ausgeführt hatte, schaffte es United Nations allerdings niemals wirklich auf die Leinwand.


Über seine Arbeit an der Zeichnung The United Nations sagte Rockwell: „Wie jeder andere auch bin ich über die Lage der Welt besorgt, und wie jeder andere auch möchte ich etwas beitragen, um zu helfen. Die einzige Möglichkeit für mich, etwas beizutragen, sind meine Bilder.“ Als Perfektionist in seiner Kunst nahm Rockwell beträchtliche Mühen auf sich, um Fotografien zu erstellen, die seinen Vorstellungen genau entsprachen und um genau die richtigen Modelle für sein Werk zu finden. Er stellte Recherchen über die Kostüme und Requisiten an und inszenierte jedes einzelne Designelement, das fotografiert werden sollte, bevor er Farbe auf die Leinwand bringen wollte.


Mithilfe seiner Fotografien setzte Rockwell die Einzelheiten von Komposition und Wert gezielt ein, um diese detailreiche Schwarzweiß-Zeichnung mit einem Wolff-Zeichenstift und Kohle herzustellen. „Ich nehme die Anfertigung der Kohleentwürfe sehr ernst“, meinte er. „Zu viele Neulinge warten meiner Meinung nach, bis sie bei der Leinwand angelangt sind, bevor sie versuchen, viele ihrer Probleme zu lösen. Weit besser ist es, sich mithilfe von Studien bereits im Vorhinein darum zu kümmern.“


Obwohl er sich hingebungsvoll mit dem Konzept für sein Werk befasste, fand er es letztlich zu komplex, um daraus eine endgültige Illustration zu erschaffen. Etwa sieben Jahre später erforschte er die Möglichkeit eines neuen Ansatzes, dem er schließlich in seinem Werk Golden Rule (Goldene Regel) folgte.


Rockwell sagte: „Eines Tages wurde mir plötzlich klar, dass die goldene Regel „Was du nicht willst, das man dir tu', das füg' auch keinem andern zu“ das Thema war, nach dem ich gesucht hatte.“


In seinem Werk Golden Rule porträtiert Rockwell vier Mütter mit ihren Kindern. Die eine in der rechten oberen Ecke ist seine zweite Frau Mary Barstow Rockwell, die 1959, zwei Jahre vor der Veröffentlichung dieses Bildes, verstorben war. Hier ist sie mit ihrem ersten Enkelkind, Geoffrey Rockwell, vereint, das sie in Wirklichkeit nie kennenlernen konnte.


Norman Rockwells Werk Golden Rule, das vor nahezu sechs Jahrzehnten veröffentlicht wurde, ist eines seiner symbolträchtigsten Bilder, reflektiert es doch unsere gemeinsame Menschheit und Rockwells eigene Überzeugungen, die auch in der heutigen Zeit noch relevant sind.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


Esta sección de la exposición analiza los pequeños placeres de la vida, que fueron temas especialmente populares en las revistas estadounidenses durante la Gran Depresión, cuando muchas personas realmente no tenían los medios para gastar mucho dinero en entretenimiento. Lo que estamos viendo aquí en la maravillosa ilustración de la portada de 1936 del Saturday Evening Post es un grupo de hombres que se han reunido en una barbería y que lo están pasando maravillosamente cantando juntos. El concepto del cuarteto de barbería y el canto aficionado en general se popularizó en la década de 1890 y continuó hasta la Depresión. Aquí, Rockwell, realmente muestra lo que tanto le gustaba de la gente, las expresiones faciales animadas, muchas idiosincrasias maravillosas en sus personajes e incluso gestos con las manos que conectan a cada una de las figuras entre sí.


Es una gran escena que en realidad incluye otro ilustrador importante, que también ilustró para el Post y otras revistas. Walter Beach Humphrey es visto en el lado derecho, su cara medio afeitada, medio cubierta con crema de afeitar. Tiene una publicación llamada Police Gazette, que podríamos imaginar que nos contaría sobre las actividades de los policías estadounidenses, pero en realidad era una revista para caballeros que tenía historias sobre el lado oscuro de la vida.


Cuando Rockwell hizo esta pieza en 1936, vivía en New Rochelle, Nueva York, que, en ese momento, tenía el número más alto de ilustradores per capita de cualquier ciudad en toda la nación. New Rochelle tenía la ventaja de estar a 45 minutos de Broadway, por lo que los artistas podían disfrutar de una existencia rural más bucólica, aunque New Rochelle ciertamente tenía su parte de actividad. Fue un corto viaje en tren desde la ciudad de Nueva York, por lo que los ilustradores que viven allí realmente podrían entregar su trabajo muy fácilmente a sus editores.. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus.
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Narrado por:
Stephanie Haboush Plunkett
Directora Adjunta/Curadora Jefe - Museo Norman Rockwell


La portada del Saturday Evening Post del 1 de abril de 1961 de Norman Rockwell, Golden Rule en realidad comenzó como un dibujo. En 1952, en el apogeo de la Guerra Fría y dos años después de la Guerra de Corea, Rockwell concibió una imagen de las Naciones Unidas como la esperanza mundial para el futuro. Su aprecio por la organización y su misión inspiró una obra compleja que retrata a los miembros del Consejo de Seguridad de las Naciones Unidas y a 65 personas que representan a las naciones del mundo. Un estudio para una obra de arte que originalmente tenía la intención de completar en forma pintada, investigó y desarrolló hasta la etapa de dibujo final, la pieza de United Nations del artista nunca llegó a la realidad.


Sobre su trabajo en el dibujo de The United Nations, Rockwell dijo, "Al igual que todos los demás, me preocupa la situación mundial y, como todos los demás, me gustaría aportar algo para ayudar. La única forma en que puedo contribuir es a través de mis imágenes." Un perfeccionista


Usando sus fotografías como referencia, Rockwell trabajó con los detalles de la composición y el valor en este dibujo en blanco y negro ricamente detallado, creado con lápiz y carbón Wolff. "Me tomo la elaboración de los diseños de carbón muy en serio," él dijo: "Demasiados novatos, creo, esperan hasta que estén sobre el lienzo antes de tratar de resolver muchos de sus problemas. Es mucho mejor luchar con ellos antes con los estudios ".


A pesar de que estaba dedicado al concepto de este trabajo, finalmente descubrió que era demasiado complejo para crearlo como una ilustración final y, finalmente, unos siete años más tarde, exploró la posibilidad de un nuevo enfoque que adoptó en Golden Rule.


Rockwell dijo: "Un día, de repente, llegué a la idea de que The Golden Rule -- hacer a los demás lo que quisieras que te hicieran -- era el tema que estaba buscando".


En The Golden Rule, Rockwell retrata cuatro grupos de madres y sus hijos. El que está en el rincón superior derecho en realidad representa a su segunda esposa, Mary Barstow Rockwell, que falleció en 1959, dos años antes de que se publicara esta imagen. Aquí está junto a su primer nieto, Geoffrey Rockwell, a quien nunca tuvo la oportunidad de conocer.


Publicado casi seis décadas atrás, The Golden Rule de Norman Rockwell es una de sus imágenes más emblemáticas, retratando nuestra humanidad común y reflejando las propias creencias de Rockwell, que siguen siendo relevantes para nuestros tiempos.
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Narrated By:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


Norman Rockwell's April 1st 1961, Saturday Evening Post cover, Golden Rule actually started out as a drawing. In 1952 at the height of The Cold War and two years into the Korean War, Rockwell conceived an image of The United Nations as the world's hope for the future. His appreciation for the organization and its mission inspired a complex work portraying members of The United Nations' Security Council and 65 people representing the nations of the world. A study for an artwork that he originally intended to complete in painted form, researched and developed to the final drawing stage, the artist's United Nations piece never actually made it to canvas.


Of his work on The United Nations drawing, Rockwell said, "Like everyone else, I'm concerned with the world's situation and like everyone else, I'd like to contribute something to help. The only way I can contribute is through my pictures." A perfectionist in his art, Rockwell went to elaborate lengths to create photographs that portrayed his concepts exactly and to find just the right models for his work. He researched costumes and props and carefully orchestrated each element of the design to be photographed before putting paint to canvas.


Using his photographs as a reference, Rockwell worked with the details of composition and value in this richly detailed black and white drawing, created with Wolff pencil and charcoal. "I take the making of the charcoal layouts very seriously." he said, "Too many novices, I believe, wait until they are on the canvas before trying to solve many of their problems. It is much better to wrestle with them ahead though studies."


Though he was dedicated to the concept of this work, he ultimately found it too complex to create as a final illustration and eventually, about seven years later, explored the possibility of a new approach which he took in Golden Rule.


Rockwell said, "One day I suddenly go the idea that The Golden Rule, do unto others as you would have them do unto you, was the subject I was looking for."


In Golden Rule, Rockwell portrays four sets of mothers and their children. The one in the upper right hand corner actually represents his second wife Mary Barstow Rockwell who had passed away in 1959, two years before this image was published. Here she is united with her first grandchild, Geoffrey Rockwell, who she never actually had the opportunity to meet.


Published almost six decades ago, Norman Rockwell's Golden Rule is one of his most iconic images, portraying our common humanity and reflecting Rockwell's own beliefs, which remain relevant for our times.
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Narrated by:
Stephanie Haboush Plunkett
Deputy Director / Chief Curator - Norman Rockwell Museum


This section of the exhibition looks at life's small pleasures, which were especially popular subjects in American magazines during the Great Depression, when many people really did not have the means to spend a lot of money for entertainment. What we're seeing here in the wonderful 1936 cover illustration for the Saturday Evening Post are a group of men who have gathered in a barbershop and are just having a wonderful time singing together. The concept of the barbershop quartet and amateur singing in general really became popular in the 1890’s and continued right up through the Depression. Here, Rockwell, really gets to show off the thing that he so enjoyed about people, animated facial expressions, lots of wonderful idiosyncrasies in his characters, and even hand gestures that connect each of the figures to each other.


It's a great scene that actually includes another important illustrator, who also illustrated for the Post and other magazines. Walter Beach Humphrey is seen on the right hand side, his face half-shaved, half-covered with shaving cream. He holds a publication called the Police Gazette, which we might imagine to tell us about the activities of the American policemen, but instead was actually a gentleman's magazine that had stories about the darker side of life.


When Rockwell did this piece in 1936, he was living in New Rochelle, New York, which, at the time, had the highest per capita number of illustrators of any city in the entire nation. New Rochelle had the advantage of being 45 minutes from Broadway, and so artists could enjoy a more bucolic rural existence, though New Rochelle certainly had its share of activity. It was a short train ride from New York City, so illustrators living there could actually deliver their work very easily to their publishers.
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Narratrice :
Stephanie Haboush Plunkett
Directrice adjointe / Conservatrice en Chef - Musée Norman Rockwell


La couverture du Saturday Evening Post du 1er avril 1961, La Règle d’Or, était au départ un dessin. En 1952, à l’apogée de la Guerre froide et deux ans après le début de la Guerre de Corée, Rockwell représenta Les Nations Unies comme un espoir pour le futur. Son respect pour cette institution et sa mission lui inspira un travail complexe mettant en scène les membres du Conseil de sécurité des Nations unies, ainsi que 65 personnes représentant les différentes nations du monde. Cette étude prévue à l’origine pour devenir un tableau nommé Les Nations Unies n’aboutira finalement jamais à une peinture sur toile.


À propos de son travail sur Les Nations Unies, Rockwell disait “comme tout le monde, je me soucie de l’état du monde, et comme tout le monde j’aimerais apporter ma contribution. Et ma seule façon de le faire, c’est à travers ma peinture.”


Très perfectionniste, Rockwell consacra beaucoup de temps à rechercher les modèles adéquats et à les photographier afin de représenter avec précision ce qu’il avait en tête. Il chercha les costumes et les accessoires adaptés et disposa avec précision chaque élément de sa composition pour les photographier avant de commencer à peindre sa toile.


En prenant ces photos comme modèles, Rockwell composa un dessin noir et blanc extrêmement détaillé, réalisé au fusain et au crayon. “J’attache beaucoup d’importance à l’élaboration des esquisses au fusain.” disait-il, “Je pense que beaucoup trop de débutants attendent d’être devant leur toile pour se demander comment aborder certaines difficultés. À mon sens il est préférable de s’y attaquer en faisant d’abord des esquisses.”.


Bien que très investi dans ce travail, il finit par le trouver trop complexe à réaliser. Environ sept ans plus tard, il prit donc la décision de tenter une nouvelle approche avec La Règle d’Or.


Rockwell disait “Un jour, l’idée m’est soudain venue que La Règle d’Or, consistant à dire “Fais aux autres ce que tu aimerais qu’ils te fassent”, était le sujet que je cherchais.”


Dans le tableau La Règle d’Or, Rockwell représente sept mères accompagnées de leurs enfants. Celle qui se trouve sur la droite est d’ailleurs sa seconde épouse, Mary Barstow Rockwell, décédée en 1959, deux ans avant que l’œuvre soit publiée. Elle est ici représentée avec son premier petit-fils, Geoffrey Rockwell, qu’elle n’a en réalité jamais connu.


Publié il y a environ 60 ans, La Règle d’Or est l’un des tableaux les plus emblématiques de Norman Rockwell, représentant notre humanité et reflétant les propres opinions de Rockwell, des opinions toujours pertinentes à notre époque.
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Narratrice:
Stephanie Haboush Plunkett
Directeur Adjoint / Conservateur en Chef – Musée Norman Rockwell


Cette partie de l'exposition s’intéresse aux petits plaisirs de la vie, sujets particulièrement populaires dans les magazines américains pendant la Grande Dépression, où les gens avaient trop peu de moyens pour se permettre de dépenser de l’argent pour se divertir. Cette magnifique illustration de couverture de 1936 pour le Saturday Evening Post, montre un groupe d'hommes qui se sont réunis dans un salon de coiffure et qui s'amusent en chantant ensemble. Le concept du Quatuor du salon de coiffure et de la chanson amateur en général devient très populaire dans les années 1890 et le restera pendant toute la durée de la Dépression. Ici, Rockwell montre réellement ce qu'il apprécie tant chez les gens, les expressions animées des visages, de nombreuses singularités dans ses personnages, jusqu’aux gestes des mains qui lient les personnages les uns aux autres.


C'est une superbe scène où est représenté un autre illustrateur célèbre, qui a également dessiné pour le Saturday Evening Post et d'autres magazines. Walter Beach Humphrey se trouve sur le côté droit, le visage à moitié rasé, à moitié recouvert de crème à raser. Il tient dans la main une publication intitulée « Police Gazette », que l’on imaginerait traiter des activités des policiers américains, mais qui en fait était un magazine pour hommes qui publiait des histoires sur le côté sombre de la vie.


À l’époque où Rockwell a peint ce tableau, en 1936, il vivait à New Rochelle, dans l’État de New York, qui, comptait alors le plus grand nombre d'illustrateurs par habitant que n'importe quelle autre ville des États-Unis. New Rochelle avait l'avantage d'être à 45 minutes de Broadway, et ainsi les artistes pouvaient profiter d'une existence rurale plus bucolique, bien que New Rochelle fut certainement une ville très animée. On pouvait rejoindre rapidement New York en train. Il était donc très facile pour les illustrateurs qui vivaient à New Rochelle de livrer leur travail aux éditeurs.
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Norman Rockwell (1894-1978)
Freedom From Fear, 1943.
Illustration for The Saturday Evening Post, March, 13, 1943.
Norman Rockwell Museum Collection.
© 1943 SEPS: Licensed by Curtis Licensing, Indianapolis, IN. All rights reserved.
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Norman Rockwell (1894-1978)
Cover illustration for The Saturday Evening Post, September 26, 1936
Oil on Canvas
Collection of Mrs. Louise Holland
© 1936 SEPS - Curtis Licensing


During the 1930s, Norman Rockwell celebrated life’s simple pleasures in artworks filled with pathos and humor. This work was likely inspired by the professional and amateur barbershop quartets that were popular from the 1890s through the 1930s. Facial expression and hand gestures tell Rockwell’s story, as do details like the straight razor, shaving cup and mug, and well-worn comb. When Rockwell painted this work, he was living in New Rochelle, New York, a hub for noted illustrators. Fellow Post artist, Walter Beach Humphrey, appears on the far right, his face half-covered with shaving cream. In Humphrey’s hand is a copy of The Police Gazette, an early twentieth century gentleman’s magazine featuring tales about the seamier side of life.
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Norman Rockwell (1894-1978)
Tear sheet
The Saturday Evening Post, September 26, 1936
Norman Rockwell Museum Collection
© 1936 SEPS - Curtis Licensing
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Norman Rockwell (1894–1978)
Family Home from Vacation, 1930
Cover illustration for The Saturday Evening Post, September 13, 1930
Oil on canvas
Collection of the Grace Family
© 1930 SEPS - Curtis Licensing


Despite the Depression-era downturn, The Saturday Evening Post and other magazines presented uplifting images and hope for better times. Published almost a year after the crash, Rockwell’s 1930 cover illustration portrays a weary family that has managed to vacation despite challenging times. The box camera at the woman’s feet recorded their adventures, and clues like the pail and shovel, wilted bouquet, deflated balloon, and frog struggling to escape, give us a sense of the family’s experience.
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Norman Rockwell (1894–1978)
Golden Rule, 1961
Cover illustration for The Saturday Evening Post, April 1, 1961
Oil on canvas
Norman Rockwell Museum Collection, NRACT.1973.010
© 1961 SEPS Curtis Licensing. All rights reserved


Golden Rule features a gathering of men, women, and children of different races, religions, and ethnicities. The inscription “Do Unto Others as You Would Have Them Do Unto You” was simple but universal and reflected the artist’s personal philosophy. Rockwell considered himself a citizen of the world and traveled throughout his life. Of the painting, Rockwell said, “I had tried to depict all the peoples of the world gathered together. That is just what I wanted to express about the Golden Rule.”






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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


غلاف جريدة "ساترداي إيفنينغ بوست" لنورمان روكويل بتاريخ 1 أبريل 1961 المُعنون بـ "القاعدة الذهبية" بدأ كرسمٍ في الواقع. سنة 1952 وفي عزّ الحرب الباردة وبعد سنتين من الحرب الكورية، صمّم روكويل صورة لـ "الأمم المتحدة" على أنها أمل العالم للمستقبل. إعجابه بالمنظمة ومهمتها ألهمه لإنجاز عمل معقّد يصوّر أعضاءً من مجلس أمن الأمم المتحدة و 65 شخصا يمثلون بلدان العالم. كانت "الأمم المتحدة" دراسة لعمل فنّي كان يُزمع في الأصل اتمامه في شكل رسم، تمّ البحث فيه وتطويره إلى مرحلة الرسم النهائي، إلّا أنه لم يتم إتمامه على القماش.


قال روكويل بشأن رسمه "الأمم المتحدة": "كغيري من الناس، أنا قلق بشأن حالة العالم، وكغيري من الناس أودّ أن أساهم بشيء للمساعدة. الطريقة الوحيدة التي يمكنني عبرها المساعدة هي من خلال صوري." ولأنّه يسعى للمثالية في فنّه، لم يدخر روكويل جهدا في انشاء الصور التي تعبّر عن مفاهيمه تماما والبحث عن النماذج المثالية لعمله. بحث عن البدلات والدعائم كما نسّق كل عنصر من التصميم حتي يتمّ تصويره قبل الشروع في وضع الألوان على قماش الرسم.


مستخدما صوره كمرجع، عمل روكويل مع تفاصيل البنية والقيمة في هذا الرسم الأبيض والأسود ذو التفاصيل الغنية، والذي أنجِز باستخدام قلم وولف والفحم. يقول: "آخذ مخططات الفحم على محمل الجدّ"، مضيفا: "الكثير من المبتدئين، في اعتقادي، ينتظرون إلى غاية الوصول إلى القماش قبل محاولة حلّ الكثير من المشاكل التي تعترضهم. من الأفضل بكثير مجابهة هذه المشاكل مسبقا عبر الدراسات."


على الرغم من أنه كان متفانيا تجاه فكرة عمله، إلا أنه وجد في النهاية أنه من المعقّد جدّا تشكيلها كرسم نهائي، وفي الأخير وبعد سبع سنوات، بحث في إمكانية مقاربة جديدة، وهي التي تبناها عندما أخذ "القاعدة الذهبية".


قال روكويل: "في أحد الأيام جاءتني فجأة فكرة أنّ القاعدة الذهبية، عامل غيرك كما تريد منهم أنت أن يعاملوك، كانت هي الفكرة التي كنت أبحث عنها."
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الراوي:
ستيفاني هابوش بلونكيت
نائب مدير / رئيسة أمناء المتحف – متحف نورمان روكويل


هذا القسم من المعرض يتناول متع الحياة الصغيرة التي كانت مواضيع رائجة بالخصوص في المجلات الأمريكية أثناء فترة الكساد الكبير، أين لم يكن في حوزة الكثير من الناس الوسائل اللازمة لإنفاق الكثير من المال على الترفيه. الذي نراه هنا في رسم غلاف جريدة "ساترداي إيفنينغ بوست" سنة 1936 هو مجموعة من الرجال الذين اجتمعوا في محلّ للحلاقة وهم يقضون وقتا ممتعا في الغناء سوية. أصبحت فكرة رباعيّ محلّ الحلاقة وغناء الهواة عموما رائجة جدّا في تسعينيات القرن التاسع عشر واستمرت أثناء فترة الكساد. هنا، يتسنّى لروكويل ابراز أكثر الأشياء التي يستمتع بها بشأن الناس: تعبيرات الوجه المتحركة إلى جانب الكثير من الخصوصيات الرائعة في شخصياته، وحتى حركات اليد التي تربط الشخصيات ببعضها.


أنه مشهد رائع يتضمّن رساما مهما آخرا في الحقيقة، وقد كان يرسم لجريد الـ "بوست" ومجلات أخرى. يُمكن رؤية "والتر بيتش هامفري" على الجانب الأيمن، وجهه نصف حليق والنصف الآخر مغطى بكريمة الحلاقة. يمسك بمنشور معنون بـ "بوليس غازيتي"، والذي قد نظنّ أنه يخبرنا بنشاطات الشرطة الأمريكية، لكنها في الحقيقة مجلّة خاصة بالرجال النبلاء وتحتوي على قصص تتناول الجانب المظلم للحياة.


عندما أنجز روكويل هذا الرسم سنة 1936، كان يعيش في نيو روشيل بنيويورك، والتي كان بها في ذلك الوقت أكبر عدد من الرسامين بالنسبة للفرد الواحد في البلد بأكمله. كانت نيو روشيل تتميز بأنها تبعد مسافة 45 دقيقة فقط عن برودواي، لهذا كان في وسع الفنانين التمتع بالمزيد من الوجود الريفي، على الرغم من أنّ نيو روشيل كانت لها حصتها من الحركة أيضا. كانت رحلة قصيرة بالقطار كفيلة بربطهم بنيويورك، وعليه كان بمقدور الرسامين الذين يعيشون هناك تقديم أعمالهم لناشريهم بكل سهولة.
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Norman Rockwell’s Creative Process


In the summer of 1942, when he was contemplating the Four Freedoms, Norman Rockwell was at the peak of his career and one of the most famous imagemakers in America. Though he struggled for seven months with how Roosevelt’s ideas could most e=ectively be portrayed, he resolved to root the universal, symbolic images in his own experiences and surroundings, using as models his neighbors in Arlington, Vermont.


As was his complex, customary process, the artist’s thumbnail drawings and large scale charcoal sketches, no longer extant, were followed by preliminary color studies in oil. Freedom from Want and Freedom from Fear were clearly conceptualized in his mind from the start, but Freedom of Speech and Freedom of Worship presented greater challenges. For each painting, he carefully choreographed the expressions and poses of each of his models, working closely with his studio assistant, Gene Pelham, to photograph them for future reference. Freedom of Worship was initially set in a barber shop with people of different faiths and races chatting amiably and waiting their turn. Rockwell ultimately rejected the notion as stereo-typical. For Freedom of Speech, he experimented with several different vantage points, including two that engulfed the speaker in the crowd. In the final work, the speaker stands heads and shoulders above the observers as the clear center of attention. Fortunately, Rockwell’s Four Freedoms escaped destruction in a fire that destroyed his studio shortly after they were delivered to The Saturday Evening Post. His reference photographs and most related artworks did not survive the blaze.
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Norman Rockwell’s Creative Process


In the summer of 1942, when he was contemplating the Four Freedoms, Norman Rockwell was at the peak of his career and one of the most famous imagemakers in America. Though he struggled for seven months with how Roosevelt’s ideas could most e=ectively be portrayed, he resolved to root the universal, symbolic images in his own experiences and surroundings, using as models his neighbors in Arlington, Vermont.


As was his complex, customary process, the artist’s thumbnail drawings and large scale charcoal sketches, no longer extant, were followed by preliminary color studies in oil. Freedom from Want and Freedom from Fear were clearly conceptualized in his mind from the start, but Freedom of Speech and Freedom of Worship presented greater challenges. For each painting, he carefully choreographed the expressions and poses of each of his models, working closely with his studio assistant, Gene Pelham, to photograph them for future reference. Freedom of Worship was initially set in a barber shop with people of different faiths and races chatting amiably and waiting their turn. Rockwell ultimately rejected the notion as stereo-typical. For Freedom of Speech, he experimented with several different vantage points, including two that engulfed the speaker in the crowd. In the final work, the speaker stands heads and shoulders above the observers as the clear center of attention. Fortunately, Rockwell’s Four Freedoms escaped destruction in a fire that destroyed his studio shortly after they were delivered to The Saturday Evening Post. His reference photographs and most related artworks did not survive the blaze.
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Norman Rockwell’s Creative Process


In the summer of 1942, when he was contemplating the Four Freedoms, Norman Rockwell was at the peak of his career and one of the most famous imagemakers in America. Though he struggled for seven months with how Roosevelt’s ideas could most e=ectively be portrayed, he resolved to root the universal, symbolic images in his own experiences and surroundings, using as models his neighbors in Arlington, Vermont.


As was his complex, customary process, the artist’s thumbnail drawings and large scale charcoal sketches, no longer extant, were followed by preliminary color studies in oil. Freedom from Want and Freedom from Fear were clearly conceptualized in his mind from the start, but Freedom of Speech and Freedom of Worship presented greater challenges. For each painting, he carefully choreographed the expressions and poses of each of his models, working closely with his studio assistant, Gene Pelham, to photograph them for future reference. Freedom of Worship was initially set in a barber shop with people of different faiths and races chatting amiably and waiting their turn. Rockwell ultimately rejected the notion as stereo-typical. For Freedom of Speech, he experimented with several different vantage points, including two that engulfed the speaker in the crowd. In the final work, the speaker stands heads and shoulders above the observers as the clear center of attention. Fortunately, Rockwell’s Four Freedoms escaped destruction in a fire that destroyed his studio shortly after they were delivered to The Saturday Evening Post. His reference photographs and most related artworks did not survive the blaze.
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Norman Rockwell’s Creative Process


In the summer of 1942, when he was contemplating the Four Freedoms, Norman Rockwell was at the peak of his career and one of the most famous imagemakers in America. Though he struggled for seven months with how Roosevelt’s ideas could most e=ectively be portrayed, he resolved to root the universal, symbolic images in his own experiences and surroundings, using as models his neighbors in Arlington, Vermont.


As was his complex, customary process, the artist’s thumbnail drawings and large scale charcoal sketches, no longer extant, were followed by preliminary color studies in oil. Freedom from Want and Freedom from Fear were clearly conceptualized in his mind from the start, but Freedom of Speech and Freedom of Worship presented greater challenges. For each painting, he carefully choreographed the expressions and poses of each of his models, working closely with his studio assistant, Gene Pelham, to photograph them for future reference. Freedom of Worship was initially set in a barber shop with people of different faiths and races chatting amiably and waiting their turn. Rockwell ultimately rejected the notion as stereo-typical. For Freedom of Speech, he experimented with several different vantage points, including two that engulfed the speaker in the crowd. In the final work, the speaker stands heads and shoulders above the observers as the clear center of attention. Fortunately, Rockwell’s Four Freedoms escaped destruction in a fire that destroyed his studio shortly after they were delivered to The Saturday Evening Post. His reference photographs and most related artworks did not survive the blaze.
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Norman Rockwell’s Creative Process


In the summer of 1942, when he was contemplating the Four Freedoms, Norman Rockwell was at the peak of his career and one of the most famous imagemakers in America. Though he struggled for seven months with how Roosevelt’s ideas could most e=ectively be portrayed, he resolved to root the universal, symbolic images in his own experiences and surroundings, using as models his neighbors in Arlington, Vermont.


As was his complex, customary process, the artist’s thumbnail drawings and large scale charcoal sketches, no longer extant, were followed by preliminary color studies in oil. Freedom from Want and Freedom from Fear were clearly conceptualized in his mind from the start, but Freedom of Speech and Freedom of Worship presented greater challenges. For each painting, he carefully choreographed the expressions and poses of each of his models, working closely with his studio assistant, Gene Pelham, to photograph them for future reference. Freedom of Worship was initially set in a barber shop with people of different faiths and races chatting amiably and waiting their turn. Rockwell ultimately rejected the notion as stereo-typical. For Freedom of Speech, he experimented with several different vantage points, including two that engulfed the speaker in the crowd. In the final work, the speaker stands heads and shoulders above the observers as the clear center of attention. Fortunately, Rockwell’s Four Freedoms escaped destruction in a fire that destroyed his studio shortly after they were delivered to The Saturday Evening Post. His reference photographs and most related artworks did not survive the blaze.
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חייו של פרנקלין ד 'רוזוולט, נשיא ארצות הברית ה -32, 1943
חוברת קומיקס בהוצאת משרד המידע למלחמה,
סריקה דיגיטלית
הארכיון הלאומי בקולג 'פארק, מרילנד
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حياة فرانكلين روزفلت ، الرئيس الثاني والثلاثون للولايات المتحدة ، 1943
كتاب هزلي نشره مكتب معلومات الحرب ،
مسح رقمي
المحفوظات الوطنية في كوليدج بارك ، ماريلاند
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