Join exhibition curators James J. Kimble and Stephanie Haboush Plunkett for a virtual conversation about Norman Rockwell: Imagining Freedom. Freedom as an aspirational idea and its realities through American history will be discussed through the art and artifacts on view.
About this Series:
Join illustrators, authors, and scholars for this series of programs in conversation about historical and contemporary notions of freedom, and the role of imagery to shape public perception, decision-making, and cultural narratives. Each event will explore a different aspect of aspirational ideals that Americans continue to work towards within the framework of democracy. Enjoy one program or participate in them all!
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.
It was not until Norman Rockwell painted his Four Freedoms that Americans could really understand what they were fighting for and why the Four Freedoms were so important to the country and the world.
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 determined to illustrate Roosevelt’s Four Freedoms. Finding new ideas for paintings never came easily, but this was a greater challenge.
After ending his forty-seven year career with The Post in 1963, Rockwell sought new artistic challenges. His first assignment for Look—The Problem We All Live With—portrayed a six-year-old African-American girl being escorted by U.S. marshals to her first day at an all-white school in New Orleans, an assertion on moral decency.