"Scairt as a Rabbit, Bold as a Bear," Norman Rockwell, 1959. Chapter illustration for "My Adventures as an Illustrator" by Norman Rockwell and Thomas Rockwell, 1960. Ink on paper. Private Collection. ©NRELC: Niles, IL.

It’s Norman Rockwell’s birthday (February 3, 1894 to be exact)! To celebrate, Norman Rockwell Museum is offering free admission on Friday, February 3, 2012, to all Normans, Normas, and anyone else celebrating a birthday on that date!

The fun continues on Tuesday, February 7, 2012, when we will celebrate the 200th birthday of Rockwell’s literary hero, Charles Dickens! The Museum will offer free admission on that date to all Charlies, Charlenes, Chucks, and those who share the same birthday. And be sure to catch the exhibition Norman Rockwell and the Ghost of Dickens, on view at the Museum through March 4, 2012.

"The Marriage License," Norman Rockwell, 1955. Norman Rockwell Museum Collections. ©1955 SEPS: Curtis Publishing, Indianapolis, IN

Recently, we enjoyed the pleasure of a visit from Dr. Susan Birns and the bright, inquisitive Massachusetts College of Liberal Arts (MCLA) students in her American Family class. The group joined Curator of Education Tom Daly, Dr. Birns, and I in conversation about the power of published art in mid twentieth century America, and the messages about established gender roles in family life as reflected in the illustration art of the era. After their visit, the class was presented with a print of Norman Rockwell’s 1955 Saturday Evening Post cover, Marriage License, as well as an assignment from Dr. Birns, who invited them to analyze the piece within the context of their studies. We appreciate the opportunity to showcase the astute observations of six of Dr. Birns students, including Marissa Mahoney, Stephanie Esposito, Amanda Burnham, Samantha Burke, and Julia Ashton, and we know you will enjoy them too.

“The Marriage License” painting by Norman Rockwell reflects many aspects of gender roles in family life. First of all, the person working at the marriage license office is a male. This is because women did not often work outside the home then; it was mostly men. Next, the body language between the couple shows that the man is in charge by how he is holding her and guiding her as she fills out the paperwork. Also, the woman is on her tippy toes while the man is shown as strong and tall. This shows that the woman is more vulnerable than the man. This picture shows many characteristics of how the males were in charge back then and took authority.

Commentary by Marissa Mahoney

“The Marriage License” depicts a couple – an older man and a younger woman – applying for their marriage license while the office’s clerk, an old man, waits for them to finish. A perfect depiction of gender roles in family life, the woman is standing on her tiptoes to fill out her portion of the form while her soon-to-be husband looks over her shoulder, probably waiting to correct any silly mistakes. He’s holding onto the paper with one hand, ready to retrieve the form as soon as she’s done. The fact that the desk is so tall she has to tiptoe to reach it implies that it is a desk meant to have men stand in front of it. The old man sitting behind the desk is just patiently waiting while they finish. If the woman were not already accompanied by a man, however, I think we’d see a different image – the clerk standing over the woman guiding her through this very complicated form.

Commentary by Stephanie Esposito

This painting is similar in nature to many of Rockwell’s paintings. It may not be obvious at first, but there are clearly defined gender roles represented, even in an everyday situation like this. It is subtle, but it is clear that in this situation, the man is leading in a way. He is watching over his wife to be as she signs their marriage license. She stands up on her toes to be able to sign the document as well, giving her the presence of a weaker individual compared to the man who is clearly quite tall. Her dress also reflects the times in a way. It is bright yellow, almost an indication of what she is expected to be – bright, cheerful, innocent. This is not to say that Rockwell looks down on women, rather it is the reflection of the ideas of society at that time through the medium of painting done by a good man.

Commentary by Kevin Shea

Rockwell loved to depict family life as happy and loving relationships. He wanted to show these relationships as they should be. In this painting he shows a man and his young wife applying for their marriage license. Although the gentleman is very attentive towards his bride, with his arm around her, we can still see that the young woman seems quite childlike. She stands on her tiptoes in her heels and pretty dress as her soon-to-be husband guides her. It seems like he is watching over her every move to make sure she is doing it right. Although Rockwell wanted to show this bond between a man and a woman as a good thing, we still see these strict gender roles that existed in the 20^th century.

Commentary by Amanda Burnham

In Norman Rockwell’s painting “The Marriage License,” his view of gender roles in family life is clear. I first notice the patriarchal role displayed. The husband-to-be has his arm over his fiancée. Not only that, his whole upper body is closed around her space. That tells me that he is showing protection for her, but also a power he believes he has over her. The wife-to-be is standing on her tippy toes to show that she is smaller than him, and so less powerful and in need of protection. The wife-to-be is also the one filling out the application while the husband watches intently over her shoulder. This shows that Rockwell does believe that women should have some superior role in a relationship as well. Even though her husband is watching, she is the one filling out a legal document, not her husband. Rockwell does show the women as more angelic and innocent as well because she is in shown in bright colors that are used to light up the room.

Commentary by Samantha Burke

Norman Rockwell painted what he wanted us to remember. So, his view of the 1950s was relatively cheery compared to how that time actually was. In this painting there is a woman very much serving her gender role. She is wearing heels and a dress as was expected at the time and she is very dainty. As she is signing the certificate she seems somewhat unaware of the harsh, strict role of a 1950s wife that she is about to enter into. The man, her future husband, is fulfilling his gender role in that he is tall, strong, and protectively wraps his arm around her, showing his position of power. It is evident that his family role will be one as the head of a patriarchal family. He supervises his fiancée filling out the form as he will supervise her actions critically in the future. This painting very much reflects Rockwell’s style. He portrays the stereotypes of family and gender at the time, but he does it in a way that reflects a cheery, happy time. He wants us to remember the good times, not the bad.

Commentary by Julia Ashton

What do you think about Rockwell’s work and the views reflected in these essays? Please do share your thought with us, we look forward to hearing from you!

Everett Raymond Kinstler in His Studio

The enthusiastic stewards of the world’s largest, most significant collection of original artworks by Norman Rockwell, the Norman Rockwell Museum is also fortunate to hold a growing collection of illustration art highlighting the contributions of historic and contemporary masters. Many important artworks have come to us through the generosity of caring donors who seek to find an appropriate home for their treasured collections. This is the first among several upcoming posts sharing stories of the art that have been entrusted to us, and the individuals whose passion has, most fortunately, led them to our door.

Recently, internationally renowned portrait artist Everett Raymond Kinstler invited us to his light-filled studio in southern New England to pick up the latest of his extraordinary gifts to the Museum’s permanent collection. These stellar Golden Age illustrations by Charles Dana Gibson, seen here, and James Montgomery Flagg, a close friend of the artist, are significant additions, the best possible representative works by America’s top illustrators during the late 19th and early 20th centuries.

A master draughtsman and an astute humorist, Charles Dana Gibson (1867-1944) was the creator of the Gibson Girl, the confident, refined beauty who graced the pages of our nation’s most popular magazines, inspiring millions to emulate her style and presence. This outstanding work, one of the great Gibson illustrations, has been in Mr. Kinstler’s collection for forty years. Look carefuly at Gibson’s inscription, which dedicates the piece to the great James Montgomery Flagg (1877-1960). Widely published and admired, Flagg’s art was the gold standard for many, including  aspiring illustrator Everett Raymond Kinstler, who in his youth, sought Flagg out hoping to learn all that he could from a true master. With thanks to Mr. Kinstler, the Norman Rockwell Museum is also fortunate to own his heartfelt personal remembrance of his friend and mentor, a very fine portait painted from memory after Flagg’s death.

During the past forty years, Everett Raymond Kinstler has painted official White House portrtaits of two presidents, Ronald Reagan and Gerald Ford, likenesses of Richard Nixon, George H.W. Bush, and Bill Clinton, and cabinet members from every administration since that of John F. Kennedy. His painting of John Wayne is considered by many to be the actor’s definitive portrayal, and Carol Burnette, Tony Bennett, Tom Wolfe, Katharine Hepburn, James Cagney, James Montgomery Flagg, and many others famous American’s have been immortalized in his art. Recently, the Smithsonian’s National Portrait Gallery installed Mr. Kinstler’s life-size portrait of baseball legend Tommy Lasorda, the Hall of Fame manager of the Los Angeles Dodgers. We are grateful to Everett Raymond Kinstler for sharing his own art, and the art of those who inspired him, with the Norman Rockwell Museum. He has learned their lessons well, and we look forward to preserving and presenting these important works for many years to come.

Norman Rockwell’s American Dream

“Judging by the popularity of two traveling retrospectives, and plans for a third exhibition in 2010, America is re-discovering one of its most underappreciated and misunderstood artists: Norman Rockwell. With photographs excerpted from a new book by Ron Schick, the author explores the divide between Rockwell’s rocky private life and his sunny small-town iconography, the elaborate studies behind his paintings, and the truth that lies in his idealized vision of his country—resonating more deeply than ever today.”  -David Kamp

Read the Vanity Fair Magazine Article