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Category: Saturday Evening Post

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Freedom from want

If you say grace tomorrow, you could do worse than thanking God for the four freedoms enumerated by Franklin D. Roosevelt.

Freedom from Want, 1943, Norman Rockwell

I had a painting teacher who hated Norman Rockwell. She was in agreement with the art establishment of her time, which derided him as ‘just an illustrator.’ They also rebelled against his view of America, but that wasn’t what she said. “He has no sense of perspective,” she told me. “He just layers objects to give the illusion of depth.”

For some of his cover art that was true. Consider The Runaway (below), painted for the September 20, 1958 cover of the Saturday Evening Post. It’s just three figures square to the picture plane, surrounded by the horizontal lines and miscellany of the soda shop counter. If that was the only Rockwell painting you ever saw, you could be forgiven for thinking as she did.

The Runaway, 1958, Norman Rockwell

Compare that with Shiner (also below), from the May 23, 1953 cover of the same magazine. The little girl is again square to the picture plane, but there is a second focal point at the top right. They’re tied together by the linoleum. We’re seeing the subject from a kid-height viewpoint. Rockwell understood perspective quite well, thank you.

Freedom from Want was painted during World War II as part of Norman Rockwell’s Four Freedoms series. The series was meant to illustrate a passage from President Franklin Roosevelt’s State of the Union address of January 6, 1941, when Nazi Germany occupied most of Western Europe. The paintings were so idiosyncratically American, however, that they instead have come to represent American values. Freedom from Want is now irrevocably entwined with the American holiday season, which kicks off tomorrow.

The foil for the whole painting is the white-on-white table, surrounded by a wreath of faces. If you’ve ever wondered about Rockwell as a painter, study that table. He’s as brilliant with the whites as JoaquĂ­n Sorolla, albeit in a much more American way.

Shiner, 1953, Norman Rockwell

The table is significantly foreshortened and the centerpiece—a fruit bowl—is at the very bottom of the picture. That and the truncated faces at the bottom make you wonder how much longer the table actually is.

This clever cropping make you think you’re looking at a snapshot of someone’s dinner. Of course, you’re not. He painted the figures from life, using his friends and neighbors as models. About the turkey, Rockwell said, “Our cook cooked it, I painted it and we ate it. That was one of the few times I’ve ever eaten the model.”

Note that there’s almost no other food on the table. Such is the magic of his realism that Rockwell makes you believe it’s an overloaded table. In fact, that was the criticism of it at the time, that it depicted indulgence while Europe was starving.

Of course, Thanksgiving is a meal of excess. (I myself plan to make seven pies today.) But if you say grace tomorrow—and I hope you do—you could do worse than thanking God for the four freedoms enumerated by President Roosevelt all those years ago:

Freedom of Speech

Freedom from Want

Freedom from Fear

Freedom of Worship

This was originally published in 2017. Have a very blessed holiday!

Posted on

Freedom from want

If you say grace tomorrow, you could do worse than thanking God for the four freedoms enumerated by Franklin D. Roosevelt.
Freedom from Want, 1943, Norman Rockwell
I had a painting teacher who hated Norman Rockwell. She was in agreement with the art establishment of her time, which derided him as ‘just an illustrator.’ They also rebelled against his view of America, but that wasn’t what she said. “He has no sense of perspective,” she told me. “He just layers objects to give the illusion of depth.”
For some of his cover art that was true. Consider The Runaway (below), painted for the September 20, 1958 cover of the Saturday Evening Post. It’s just three figures square to the picture plane, surrounded by the horizontal lines and miscellany of the soda shop counter. If that was the only Rockwell painting you ever saw, you could be forgiven for thinking as she did.
Compare that with Shiner (also below), from the May 23, 1953 cover of the same magazine. The little girl is again square to the picture plane, but there is a second focal point at the top right. They’re tied together by the linoleum. We’re seeing the subject from a kid-height viewpoint. Rockwell understood perspective quite well, thank you.
The Runaway, 1958, Norman Rockwell
Freedom from Want was painted during World War II as part of Norman Rockwell’s Four Freedoms series. The series was meant to illustrate a passage from President Franklin Roosevelt’s State of the Union address of January 6, 1941, when Nazi Germany occupied most of Western Europe. The paintings were so idiosyncratically American, however, that they instead have come to represent American values. Freedom from Want is now irrevocably entwined with the American holiday season, which kicks off tomorrow.
The foil for the whole painting is the white-on-white table, surrounded by a wreath of faces. If you’ve ever wondered about Rockwell as a painter, study that table. He’s as brilliant with the whites as JoaquĂ­n Sorolla, albeit in a much more American way.
Shiner, 1953, Norman Rockwell
The table is significantly foreshortened and the centerpiece—a fruit bowl—is at the very bottom of the picture. That and the truncated faces at the bottom make you wonder how much longer the table actually is.
This clever cropping make you think you’re looking at a snapshot of someone’s dinner. Of course, you’re not. He painted the figures from life, using his friends and neighbors as models. About the turkey, Rockwell said, “Our cook cooked it, I painted it and we ate it. That was one of the few times I’ve ever eaten the model.”
Note that there’s almost no other food on the table. Such is the magic of his realism that Rockwell makes you believe it’s an overloaded table. In fact, that was the criticism of it at the time, that it depicted indulgence while Europe was starving.
Of course, Thanksgiving is a meal of excess. (I myself plan to make seven pies today.) But if you say grace tomorrow—and I hope you do—you could do worse than thanking God for the four freedoms enumerated by President Roosevelt all those years ago:
Freedom of Speech
Freedom from Want
Freedom from Fear
Freedom of Worship
This was originally published in 2017. Have a very blessed holiday!

Posted on

Freedom from want

If you say grace tomorrow, you could do worse than thanking God for the four freedoms enumerated by Franklin D. Roosevelt.

Freedom from Want, 1943, Norman Rockwell
I had a painting teacher who hated Norman Rockwell. She was in agreement with the art establishment of her time, which derided him as ‘just an illustrator.’ They also rebelled against his view of America, but that wasn’t what she said. “He has no sense of perspective,” she told me. “He just layers objects to give the illusion of depth.”
For some of his cover art that was true. Consider The Runaway (below), painted for the September 20, 1958 cover of the Saturday Evening Post. It’s just three figures square to the picture plane, surrounded by the horizontal lines and miscellany of the soda shop counter. If that was the only Rockwell painting you ever saw, you could be forgiven for thinking as she did.
The Runaway, 1958, Norman Rockwell.
Compare that with Shiner (also below), from the May 23, 1953 cover of the same magazine. The little girl is again square to the picture plane, but there is a second focal point at the top right. They’re tied together by the linoleum. We’re seeing the subject from a kid-height viewpoint. Rockwell understood perspective quite well, thank you.
Freedom from Want was painted during World War II as part of Norman Rockwell’s Four Freedoms series. The series was meant to illustrate a passage from President Franklin Roosevelt’s State of the Union address of January 6, 1941, when Nazi Germany occupied most of Western Europe. The paintings were so idiosyncratically American, however, that they instead have come to represent American values. Freedom from Want is now irrevocably entwined with the American holiday season, which kicks off tomorrow.
Shiner, 1953, Norman Rockwell.
The foil for the whole painting is the white-on-white table, surrounded by a wreath of faces. If you’ve ever wondered about Rockwell as a painter, study that table. He’s as brilliant with the whites as Joaquín Sorolla, albeit in a much more American way.
The table is significantly foreshortened and the centerpiece—a fruit bowl—is at the very bottom of the picture. That and the truncated faces at the bottom make you wonder how much longer the table actually is.
This clever cropping make you think you’re looking at a snapshot of someone’s dinner. Of course, you’re not. He painted the figures from life, using his friends and neighbors as models. About the turkey, Rockwell said, “Our cook cooked it, I painted it and we ate it. That was one of the few times I’ve ever eaten the model.”
Note that there’s almost no other food on the table. Such is the magic of his realism that Rockwell makes you believe it’s an overloaded table. In fact, that was the criticism of it at the time, that it depicted indulgence while Europe was starving.
Of course, Thanksgiving is a meal of excess. (I myself plan to make seven pies today.) But if you say grace tomorrow—and I hope you do—you could do worse than thanking God for the four freedoms enumerated by President Roosevelt all those years ago:
  • Freedom of Speech
  • Freedom from Want
  • Freedom from Fear
  • Freedom of Worship

Have a very blessed holiday!
Posted on

Freedom from want

Freedom from Want, Norman Rockwell, 1943
This Thanksgiving Day the average American will consume more than 4500 calories, accordingto the Calorie Control Council. I’m all for eating right, but I think the capacity of our nation to throw an annual bash is an unequivocally good thing.
Thanksgiving is the most universal of American holidays—celebrated by people of all religions, by new immigrants, and by wanderers like my friend Martha in Edinburgh, who has located a 6 kg. turkey and a circle of friends to share her holiday.
Freedom of Worship, Norman Rockwell, 1943
Perhaps that’s why Norman Rockwell chose it to illustrate Freedom from Want in his Four Freedoms series. The painting celebrates family, love, and happiness. Critics who call it an illustration of American overconsumption perhaps don’t notice that there is almost no food on that table. There is no wine; there is only water in plain, clear glasses. The black suit and white table are almost Puritan in effect. What abundance there is comes straight from the hosts’ hands, and the joy around the table comes from each other.
Freedom of Speech, Norman Rockwell, 1943
The arresting composition may be why this painting is one of Rockwell’s enduring favorites. Many of his covers for the Saturday Evening Post were done as one-dimensional knock-outs, with no perspective to speak of. This view from the bottom of the table, with its luminous white-on-white table set starkly against Grandpa’s black suit, is a masterwork of composition. (Rockwell said that it was the easiest of the four paintings.)
Freedom from Fear, Norman Rockwell, 1943
Rockwell painted the Four Freedoms in seven months’ time, during which he lost 15 lbs. They were based on President Franklin Roosevelt’s Annual Message to Congress in 1941, which were dark days for those in opposition to Nazi Germany. As we take time from holiday preparations, it’s worth contemplating Roosevelt’s words:
In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.

The first is freedom of speech and expression—everywhere in the world.

The second is freedom of every person to worship God in his own way—everywhere in the world.

The third is freedom from want—which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants—everywhere in the world.

The fourth is freedom from fear—which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor—anywhere in the world.

That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of tyranny which the dictators seek to create with the crash of a bomb.
Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!