Norman Rockwell Museum

American Chronicles in transit

Below are abstracts to exhibitions curated and presented by The Norman Rockwell Museum available for hosting at appropriate venues. Please contact us if you would like to inquire about the terms and availability of these exhibitions for your institution. 

Norman Rockwell Museum Associate Registrar Rob Doane, Exhibitions Manager Russell Horton, and Collections Manager Martin Mahoney (left to right) put Rockwell on the road again this Fall.  American Chronicles: The Art of Norman Rockwell, the Museum’s national traveling exhibition, was recently packed for transit and accompanied by curatorial staff to warmer environs for its recent opening at the Museum of Art, Fort Lauderdale. By all reports, the exhibition is beautifully installed, and is complimented by many exciting learning opportunities throughout its stay in Florida, which is ongoing until February 7, 2010. After its close, our staff will hit the open road again, this time traveling to Wichita, Kansas, where American Chronicles opens on March 6, 2010. 

“Couriering reflects what registrar’s do best, which is to ensure the care, condition, and safety of artworks,” said Martin Mahoney. “When we unpack Norman Rockwell’s paintings at other museum sites, the enthusiasm of staff who have grown up with Rockwell images, but who may be seeing his original paintings for the first time, is palpable. This aspect of the experience is always rewarding and is just the beginning, since audiences expressing similar sentiments will soon follow.” After packing and loading artworks for travel, couriers “ride shot-gun in direct non-stop transit,” often for many hours until reaching their final destination. After unloading, unpacking, and checking the condition of each object, curatorial staff oversee the installation before heading back to Stockbridge to take on their next challenge. 

For detailed information about any of the Norman Rockwell Museum’s traveling exhibitions, please contact Mary Melius, Manager of Traveling Exhibitions, at 413-298-4100, ext. 245 or   mmelius AT nrm DOT org

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Untitled (Fortune Teller at Thanksgiving), cover illustration for The New Yorker, November 30, 1992. (c)William Steig. All rights reserved.

I think I feel a little differently than other people do. For some reason I’ve never felt grown up. ―William Steig

William Steig: Love & Laughter explores the richness of the artist’s imagery―from his 1930s Small Fry series recalling the colorful Bronx neighborhood of his youth, New Yorker covers and cartoons, and symbolic drawings offering commentary on the human condition, to beloved picture books like Shrek!, the inspiration for blockbuster DreamWorks animated films. Love, laughter, and everyday life, emerge in intuitive drawings in which friends are giving and couples are loving, “just not every single minute.” An astute observer of the world around him, the acclaimed King of Cartoons was captivated by children and had a deep affection for cats, dogs, and every manner of creature, evident in hilarious scenarios inspired by his ongoing speculations about what they might be thinking and what they would say or do―if only given the chance.
Contents: approx. 200 original artworks; artifacts, reference materials and personally significant objects; documentary and reference photographs
Insurance: all risk fine arts, wall to wall
Security: high, all works must be within sight of a trained security officer/staff member at all times during public hours
Environment: light level 18 to 22 foot candles for paintings and 5 to 7 foot candles for works on paper and other light restricted objects. Humidy 50% plus of minus 5% and temperature 68-72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets
Shipping: air ride, climate controlled
Space: 304.65 running feet or approx. 2588 square feet.

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"No Swimming," Norman Rockwell. 1921. Oil on canvas, 25 1/2" x 22 1/4". Cover illustration for "The Saturday Evening Post," June 4, 1921. ©1921 SEPS: Licensed by Curtis Publishing, Indianapolis, IN. From the permanent collection of Norman Rockwell Museum.

North Carolina Museum of Art; Raleigh, North Carolina
November 6, 2010 – January 30, 2011

Tacoma Art Museum; Tacoma, Washington
February 26, 2011 – May 30 , 2011

Dayton Art Institute; Dayton, Ohio
November 12, 2011 – February 5, 2012

Winnipeg Art Gallery; Canada 

March 3, 2012 - May 27, 2012

Crocker Art Museum; Sacramento, California
November 10, 2012 – February 2, 2013

Crystal Bridges Museum of American Art; Bentonville, Arkansas
March 7, 2013 – June 2, 2013

One of the most popular American artists of the past century, Norman Rockwell (1894-1978) was a keen observer of human nature and a gifted storyteller. For nearly seven decades, while history was in the making all around him, Rockwell chronicled our changing society in the small details and nuanced scenes of ordinary people in everyday life, providing a personalized interpretation—albeit often an idealized one—of American identity. His depictions offered a reassuring visual haven during a time of momentous transformation as our country evolved into a complex, modern society. Rockwell’s contributions to our visual legacy, many of them now icons of American culture, have found a permanent place in our national psyche.

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Reference photo for Norman Rockwell's "Boy in a Dining Car, 1946. Photo montage created by Ron Schick. Licensed by Norman Rockwell Licensing, Niles, IL. From the permanent collection of Norman Rockwell Museum.

An exhibition organized by
Norman Rockwell Museum

Brooklyn Museum; Brooklyn, New York
February 18 through May 24, 2011

Photography has been a benevolent tool for artists from Thomas Eakins and Edgar Degas to David Hockney. And to illustrators, always on the lookout for better ways to meet deadlines, the camera has long been a natural ally. But the thousands of photographs Norman Rockwell created as studies for his iconic images are a case apart. A natural storyteller, Rockwell envisioned his narrative scenarios down to the smallest detail. Yet at the easel he was an absolute literalist who rarely painted directly from his imagination.

From the beginning of his career Rockwell employed professional models, but in time the long hours of static poses impeded his evolving naturalism. Adopting photography in the late 1930’s, he began to call on friends and neighbors to model and bring new flesh-and-blood realism to his work. Their cooperative enthusiasm in front of the camera and unassuming tolerance for his demands enabled Rockwell to capture difficult poses and nuanced expressions more spontaneous than any professional model could deliver. Photography opened a door to the keenly observed authenticity that defines Norman Rockwell’s art. And for us today it is a revelation to discover that so many of his most memorable characters were, in fact, real people.

Curator and author Ron Schick is the first to undertake a frame-by-frame study of the Norman Rockwell Museum’s newly digitized photography archive, the product of a just-completed two-year “Save America’s Treasures” project that has preserved the artist’s archive of almost 20,000 negatives and made accessible the full range of the artist’s photography. His forthcoming book, Norman Rockwell: Behind the Camera, will be published by Little, Brown and Company in 2009. The publication will accompany a traveling exhibition to open at the Norman Rockwell Museum in November 2009.

Security: High, all works must be within sight of a trained security officer/staff member at all times during public hours.

Environment: Light level -18 to 22 foot candles for paintings and 5 to 7 foot candles for works on paper and other light restricted objects. Humidity -50% plus or minus 5% and temperature 68 – 72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets.

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An exhibition organized
by the Norman Rockwell Museum

James A. Michener Art Museum; Doylestown, Pennsylvania
September 25, 2010 through January 30, 2011

Fitchburg Art Museum; Fitchburg, Massachusetts
September 25, 2011 through January 1, 2012

Munson Williams Proctor Art Institute; Utica, New York
March 3, 2012 through April 29, 2012

A comprehensive analysis of a significant emerging artistic and literary genre, LitGraphic: The World of the Graphic Novel will examine the use of sequential art as a significant form of visual communication, and place specific emphasis on the art of the contemporary graphic novel. Published in book form, these stand alone stories employ words and pictures to address thought provoking subjects that will serve as the thematic framework for the exhibition. Commentary by artists and curators focusing on recurring subjects, artistic and cultural influences, and the climate that impacts the creative process will be woven throughout the exhibition where contemporary art meets traditional America.

An increasing number of artists are choosing to express themselves through graphic novels, which have received increased recognition in the popular sector, in noted periodicals including The New York Times, The New Yorker and in classrooms, libraries, and bookstores throughout the United States and abroad. A graphic novel employs the technique of cinematographic narrative, developed by comic-book artists, telling the story through metaphors and visual images, particularly images of action.

Graphic novels, or long-form comic books, have started to gain the interest and consideration of the art and literary establishment. Graphic novels, with their antiheroes and visual appeal, are approaching the popularity of the novel. Focused on subjects as diverse as the nature of relationships, the perils of war, and the meaning of life, graphic novels comprise the fastest-growing sections of many bookstores.

LitGraphic: The World of the Graphic Novel will feature over 200 original art works, including paintings, drawings, storyboards, studies, books, photographs, and a documentary film, offering insights into the lives of the artists and the nature of their work. The impact on art discourse and the surrounding public community will be deepened and heightened by the powerful literary element of the exhibition.

Contents: Approximately 200 original works – paintings, drawings, storyboards, studies, books, photographs, and a documentary film.
Security: High, all works must be within sight of a trained security officer/staff member at all times during public hours.
Environment: Light level -18 to 22 foot candles for paintings and 5 to 7 foot candles for works on paper and other light restricted objects. Humidity -50% plus or minus 5% and temperature 68 – 72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets. Relative humidity levels will be maintained at 50% plus or minus 5%. A stable temperature will be maintained between 68 and 72 degrees Fahrenheit. The required light level is 18 to 22 foot-candles for paintings and 5 to 7 foot-candles for works on paper and other light restricted objects.
Space: 2300 square feet

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An exhibition organized
by the Norman Rockwell Museum

 El Paso Museum of Art; El Paso, Texas
June 12, 2011 through September 4, 2011

The Norman Rockwell Museum has organized an exhibition of original paintings from the collection of Pfizer Inc by legendary American illustrator, Norman Rockwell. Created for use in advertising campaigns for three pharmaceutical companies and an optical company between 1929 and 1961, these outstanding works celebrate the doctor/patient relationship and portray the physician as a revered figure in mid-twentieth century American culture. Norman Rockwell’s time-honored images will be juxtaposed with original works by noted contemporary illustrators who have explored issues of health and well-being for the major publications of our day.

The contemporary component is optional.

Contents:

• eleven original paintings by Norman Rockwell;
• related advertisements; tear sheets
• forty original artworks created for publication by contemporary artists;
• related photographic material and correspondence;
• introductory panels and extended identification labels included.

Security: High, all works must be within sight of a trained security officer/staff member at all times during public hours.
Environment: light level -18 to 22 foot candles for paintings and 5 to 7 foot candles for works on paper and other light restricted objects. Humidy-50% plus of minus 5% and temperature 68-72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets.
Space: 2,283 sq. ft. or 270 lf.

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An exhibition organized
by the Norman Rockwell Museum

Norton Museum of Art, West Palm Beach, FL
June 5, 2010 through September 5, 2010

Nearly a year had gone by since I first made the discovery. It was purely by chance. I was tracking down some information about the spice trade in China when my eye fell upon a curious old leather-bound sketchbook. …Was this sketchbook merely a fantasy, or had I stumbled upon the only surviving record of a lost civilization
— James Gurney
Dinotopia: A Land Apart from Time

James Gurney’s Dinotopia bring the worlds of science and the imagination to life by chronicling Arthur and Will Denison’s remarkable experiences on a lost island in vibrant color and meticulous detail. Recounted in words and pictures in the best-selling book series, Dinotopia: A Land Apart From Time (1992), Dinotopia: The World Beneath (1995), and Dinotopia: First Flight (1999), the artist’s compelling tale has engaged and enchanted readers by inviting them to explore the far reaches of a mysterious destination. Waterfall City, the island’s center of learning, The Hatchery, birthplace of many of Dinotopia’s prehistoric inhabitants, and The Forbidden Mountains, where dinosaurs dare not venture, are just a few of the places described in Arthur Denison’s fictional journal and in the outstanding works on view.

Inspired by a deep and abiding interest in archaeology, lost civilizations, and the art of illustration, James Gurney invites viewers to enter a fantastical world in which dinosaurs and humans live side-by-side. His luminous paintings, beautifully crafted drawings and hand-made models, which are featured in this exhibition, explore the wonders of the distant past through the lens of the imagination. The artist’s original New York Times bestseller, Dinotopia: A Land Apart from Time, appears in eighteen languages with over two million copies sold. Dinotopia: Journey to Chandara, the next installment in the series, is scheduled for publication in 2007.

Contents: Approximately 60 original works of art; studies; introductory and biographical panels and object/extended identification labels.
Security: High, all works must be within sight of a trained security officer/staff member at all times during public hours.
Environment: Light level -18 to 22 foot candles for paintings and 5 to 7 foot candles for works on paper and other light restricted objects. Humidity -50% plus or minus 5% and temperature 68 – 72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets.

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Fenimore Art Museum and The Farmers’ Museum Cooperstown, NY
October 1, 2012 – December 31, 2012

Tasha Tudor: Around the Year illuminates the changing seasons and special celebrations with outstanding, rarely seen examples of this beloved author and illustrator’s original art for children’s books and greeting cards highlighting holidays beginning with New Year’s………Christmas, her favorite.

Original portraits of Tasha Tudor by her mother, Rosamond Tudor, evocative watercolors, delicate childhood drawings, original handwritten manuscripts, miniature doll cards, hand-decorated boxes and Easter eggs, personal photographs, and one hundred first-issue holiday cards dating from the early 1940s onward are among the heartwarming treasures to be enjoyed.

Spanning seven decades, Tasha Tudor’s heartwarming images remind us of the simple pleasures that can be had by savoring each passing season and cherishing the special moments which weave into the fabric of our lives.

Contents: approximately 130 original works of art including original paintings, books, cards and calendars, studies, manuscripts, doll cards & letters, and ephemera, artifacts including hand-painted goose eggs and hand-decorated floral box.

Security: High, all works must be within sight of a trained security officer/staff member at all times during public hours.

Environment: light level -18 to 22 foot candles for paintings and 5 to 7 foot candles for works on paper and other light restricted objects. Humidy-50% plus of minus 5% and temperature 68-72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets.

Space: 1900 square feet or 175 linear feet.

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With narrative illustration . . . each picture is a link in a chain, and they all exist in counterpoint with the text. And although you want each picture to have impact, just like a jacket, book illustration can be much more subtle. It can be pondered and savored over a period of time.

—Fred Marcellino

Fred Marcellino was a gifted visual communicator whose memorable images have been seen and enjoyed by millions. His illustrations and designs have graced the covers and pages of hundreds of noteworthy literary works for children and adults, enhancing and expanding upon the words and ideas of many prominent authors.

This exhibition features award-winning works of original art for best-selling novels and children’s books including A Handmaid’s Tale, The Unbearable Lightness of Being, The Bonfire of the Vanities, The Accidental Tourist, and The White Hotel, as well as A Rat’s Tale, Puss in Boots, The Steadfast Tin Soldier, The Wainscott Weasel and I, Crocodile among others.

Contents: 100 framed artworks requiring 275 running feet approximately, introductory, biographical and section panels, object/extended identification labels, 2 calligraphy journals, 26 original studies and reference materials, and 4 mounted photo panels featuring the artist.
Security: High, all works must be within sight of a trained security officer/staff member at all times during public hours.
Environment: Light level -18 to 22 footcandles for paintings and 5 to 7 footcandles for works on paper and other light restricted objects. Humidity -50% plus or minus 5% and temperature 68 – 72 degrees, no direct sunlight and no direct contact with light fixtures or heating, air conditioning, ventilation, or electrical outlets.

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Louisiana State University Museum of Art, Shaw Center for the Arts, Baton Rouge, LA
October 14, 2012 – January 6, 2013

Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed. And perhaps, therefore, this is one function of the illustrator. He can show what has become so familiar that it is no longer noticed. The illustrator thus becomes a chronicler of his time.

—Norman Rockwell

In the minds of many people, The Saturday Evening Post and Norman Rockwell are synonymous. Americans, who lived through the rapid growth and change of the twentieth century, view the Rockwell covers as an identifiable and comfortable image of their life in the United States.

At the start of his career, Norman Rockwell’s secret ambition was to have his work published on the cover of The Saturday Evening Post. He viewed the Post as the greatest show window in America for an illustrator. Rockwell’s career with the Post lasted 47 years.

Contents: 323 original tear sheets (including one composite), 6 decade panels, 14 ½” x 11 ½” x 1 ¼” plus introductory and biographical panels 20” x 16” x 1 ¾” and photograph panels 19” x 15” x 1 ¾” with one no photography sign 14” x 11” 1 ¾”
Shipping: 6 crates, each crate weighs 325 pounds, dimensions 41” x 50” x 22” or 63” x 38 ½” x 25 ½” depending on availability and one box (approximately 40 pounds and 24 ¾” x 18 ¼” x 27”)
Insurance: Borrowers will be responsible for insuring the exhibition while it is in their care both during transportation and while on display.
Security: Moderate, security hardware required
Environment: Light level—10-foot candles, humidity—50% plus or minus 5%, no direct sunlight
Space:  hang 4 up, 920 sq ft or 100 lf
Speaker: Available upon request. Fee, lodging and transportation costs additional

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