Freedom FOR WANT, Laurine Grosjean PDF

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Freedom from Want, Norman Rockwell (1943) To what extent is this painting rooted in American culture? Introduction I will introduce you Freedom for Want which is a painting of Norman Rockwell created in November 1942 and published in the 6th of March 1943 as the cover of the Saturday Evening Post. This oil on canvas measures 116x 90cm and is exposed in the Norman Rockwell Museum in Stockbridge, Massachusetts. In this presentation, I will discuss to what extent is this painting rooted in American culture. My first part will be dedicated to the representation of a traditional American feast. In addition, WWII had influenced Rockwell’s works and he considered himself as a committed painter, an issue I will address in my second part. I will finally close this analysis by examining the parodies and representations of Freedom for Want. First of all, I would like to introduce the painter. Norman Rockwell was born in New York in 1894. From an early age, he was found of drawings. He created many newspaper covers until 1960, especially in the Saturday Evening Post. He did not considered himself as a painter but rather as an illustrator. Indeed, he is famous for his attention to details and his realistic facial expressions. His work is realistic and have a narrative style. He is considered as one of the most popular american painter of the 50s. He died in 1978 at Stockbridge, Massachusetts, the place where was founded the Norman Rockwell Museum.

I. A Traditional feast How a traditional feast is represented. Description This is a family scene in which young, middle aged and old people are sitting round a table for a meal. In the center, the women who is supposed to be the grandmother is wearing an apron, which suggests that this is her who cooked the turkey she brings in the table already full of food. The point of view is at the eye level, from the stand point of the viewer as if we were standing up in front of the table, face to face with the couple. The framing is middle shot, we can discern the couple from head to the hips, whereas the sitting people are cut. At the bottom of the painting, there are the members of the family who are waiting for her and are talking to each other, they laugh and smile together happily. At the top of the board next to the grandmother is the grandfather, he is going to carve the turkey. It is the only one who wears a black suit and tie. The two characters are distinguished from the others because this is the only two ones who are standing up. They may be the grand parents couple who are receiving their family members. In the background of the painting there are white curtains which allow a bright light to pass through. It frames the dark jacket of the patriarch of the family. This abondance of food, the silverware and this feast atmosphere are clearly referring to a famous American day: Thanksgiving, symbolised with the turkey, the typical dish of this feast. This is why this painting is also known as The Thanksgiving Picture, Giving Thanks or Thanksgiving Dinner. Here are some informations on Thanksgiving Day, which is an iconic celebration of the family holiday gatherings as important as Christmas. It is celebrated on each 4th Thursday of November. This celebration existed thanks to the discovery of America on 1620 with the Mayflower to thank the Natives for giving food to the European settlers. This is both a national feast and a religious one. Grosjean Laurine

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Composition The clear and pastel colours create a very soothing atmosphere. They are soft and cool, like the blue and the white colours. The natural lights come from the window at the back. There is a lot of light in the room which is accentuated with the white table and the apron. However, there are also warm colours which are used for the dishes, in this sense the turkey looks appealing and there is an emphasis on the welcomed and warm atmosphere which is ad to the sereine atmosphere created with the balance of cool and warm colours. The gaze is appealed by the light and is lead to the couple thanks to triangular and vertical lines of the table and the empty space. It manages the shape of a house, which could also suggest a welcoming and happy moment. The lines suggest a symmetrical composition of the painting which balance the scene and ad once again a sense of serenity. A straight line in the middle of the painting is crossing the fruits on the bottom and the turkey symbolises abundance. The empty space in the foreground is a free space for the observer who is looking at the scene. It seems as if the observer is invited to the table. This invitation is accentuated by the man on the bottom right corner who is winking at us. This is Norman Rockwell himself who included him on the painting. The celebration of Thanksgiving is taking place at the Grandparents’ home in order to pass down and to perpetuate the traditional values to the following generations. Transition Norman Rockwell was attached to defend the sens of family, abundance and peace. This painting contrasts with the harsh life some countries have experienced during World War Two. In this respect, Rockwell had struggled to defend the war effort and was engaged in the political life of his time. II. A committed painter engaged in the political life & war effort During WWII, Rockwell decided to paint a series of four painting entitled « the Four Freedoms » to make an emphasis on the essentials concepts in the daily life the american people are lucky to have access to. The notions of unity, patriotism and family values were necessary. « The four freedoms » are referring to the famous discourse of Roosevelt in 1941 in which he introduced the four fundamental freedoms: Freedom of Speech, February 21, 1943, Freedom of Worship, February 27, 1943, Freedom from Want, March 6, 1943, Freedom from Fear, March 13, 1943. As I said before, Rockwell was committed in the war effort, this is why he painted this series of four freedoms.

Here is an extract of Roosevelt’s speech. ‘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. Grosjean Laurine

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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 neighbour--anywhere in the world.’’ Franklin D. Roosevelt’s 1941

Transition This painting is rooted in American culture thanks to the representation of a traditional feast and also thanks to the historical background, WWII. Moreover, this American model was the subject of a lot of parodies and reinterpretations with other American models. III. Parodies &reinterpretations this painting is also rooted in the american society thanks to parodies Rockwell is famous for his popular paintings which depict everyday scenes. In this respect, the American people could easily identify themselves to his creations. His paintings have a worldwide influence to the point that some people abroad are familiar with his work. Because of it, there were a lot of parodies. 1/ Freedom From Want, Redneck style by illustrator Sam Spratt: no date. (+- 2010s beginnings) redneck: a working-class white person from the southern US ( acc. merriam webster) Successfull parody: people are familiar with the original painting and the transformation references. This painting introduces a family from a social groupe called « reckneck » with all the stereotypes associated to them. The turkey has been replaced by a can of « boneless turkey », everybody is drinking cans of Coke and is smoking drugs. The grandmother is no longer wearing an apron but a NASCAR top (National Association for Stock Car Auto Racing) and the grandfather is tattooed. The colours are similar to the original however the characters’ actions are different. Indeed, one is taking a man in picture while another is smoking with a bong. The difference between this parody and the original one is that this one does not depict a traditional family but another kind of lifestyle. Maybe it will be the traditional family of the 2020s. It represents the cultural evolution of what a happy family can be, according to the South. 2/ Freedom From Want, Fox’s The Simpsons From Want, Superhero version, Blaine (Staino on Deviant Art) Freedom From Want, Muppets version Freedom From Want, Disney style, Disney artist and illustrator Charles Boyer: Re-presentations of an American model painting mixed with other american models : with whom American people are accustomed with both. This is a mixture of the american culture.

Conclusion To conclude, Freedom for Want is rooted in American culture as traditional feast: Thanksgiving a religious feast in a simple and harmonious decoration. This board is full of happiness and everybody is happy to meet and to share a meal. The atmosphere is pleasant, serene and warm. Rockwell paints here a form of idealism of the American religious feasts. At the same time, Freedom for Want had been created thanks to the influence of WWII and by the discourse of Roosevelt. This painting Grosjean Laurine

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is also rooted in the american society thanks to parodies. It is efficient thanks to the cultural models which are within a traditional and cultural painting. Quote by Rockwell “I paint life as I would like it to be”, Norman Rockwell, My Adventures As An Illustrator : An Autobiography (1979), p 24. His paintings evoke an idealist view of the American Dream and of his hopes for the nation.

Bibliography PERRY, P. (2009) Norman Rockwell’s Four Freedoms, The Saturday Evening Post. [ en ligne ] Disponible sur : < http://www.saturdayeveningpost.com/2009/01/01/artentertainment/norman-rockwell-art-entertainment/rockwells-four-freedoms.html > [ConsultI le 9 fIvrier 2018] CUMMING, L. (2011) Norman Rockwell's America – review, The Observer. [ en ligne ] Disponible sur : < https://www.theguardian.com/artanddesign/2011/jan/09/norman-rockwell-america-dulwich-cumming > [ConsultI le 9 fIvrier 2018] PAMA, Peel Art Gallery Museum Archives, Posters and propaganda. [en ligne] Disponible sur : < https://www.pama.peelregion.ca/en/pamascollection/postersandpropaganda.asp?_mid_=28496 > [ConsultI le 9 fIvrier 2018] IIHIH, The 37 Best Parodies of Rockwell’s Freedom From Want. [en ligne] Disponible sur : [ConsultI le 9 fIvrier 2018] SAM SPRATT, Illustrations, Freedom For Want, Redneck Style. [en ligne] Disponible sur : < http://www.samspratt.com > [ConsultI le 10 fIvrier 2018] REDNECK dans Merriam Webster. RepèrI à < https://www.merriam-webster.com/ > [ConsultI le 10 fIvrier 2018] ROCKWELL, N. (1979) My Adventures As An Illustrator : An Autobiography, p24

Grosjean Laurine

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