Stockbridge, Massachusetts is the final home and workplace of Norman. And his mid-eighteenth century Americana town still reflects what remains sustainable and worthwhile in the heart of common middle-American folk culture: modest but thoughtfully-stocked shops, under-stated signage (drive slowly though and keep your eyes pealed for points of interest), ample parking (complimentary), tree-lined streets shading strollers (or walk on the sunny-side sun-worshipers), friendly and attentive service (in each place we visited).
The historic Red Lion Inn offers not only a menu honoring our vegetarian palates and our carnivore neighbors, but a full range of seating choices! Linens deck antique tables in the spacious dining room, a sprawling outdoor patio sports wide umbrellas, wicker love seats and wooden rockers line the expansive front porch (for drinks), and best of all (in my opinion) the paneled tavern preserves the historic atmosphere of a hearty meal paired with local brews! (Reports note that Norman loved -and rendered in his own works- such dark paneled rooms painted by Dutch masters.) Our pleased party sampled ale, wine, and old-fashioned lemonade ... food and drinks were decidedly delightful!
In his painting, Stockbridge "Main Street at Christmas," Norman placed his studio in the right hand corner, just beyond the Red Lion Inn. After an awe-inspiring tour of the museum's main gallery, we descended to the lower-level and faced a jaw-dropping display of every cover Norman painted for The Saturday Evening Post. From the dates on each magazine, we figured Norman was an extraordinarily productive master. His deadlines demanded an amazing visual cover "story" every two to six weeks for nearly half a century! Awe-struck, we headed for Rockwell's studio.
Positioned now on museum grounds, this matte russet studio is trimmed in pale delft blue and overlooks the beloved Berkshire folk scenes Norman preserved for all time. Standing beneath his very own foot-worn step, I felt as if I was standing on holy ground. This amazing artist rendered American humanity at our best ... striving, questioning, compassionate, persevering, simple but honorable, proud but ultimately responsive to amassing calls for positively principled social evolution. What I question in the documentary of Norman's life and work is an interview response where he diminished the value of his illustrative art relative to "fine art."
Norman, I disagree that the masters rendered art more valuable, of higher quality than your illustrative documentary of American folk culture. And now, from the other side, in retrospect and with a virtual panoramic view, I suspect you might update and revise your expressed opinion also! Human beings are story-telling creatures ... and our current stories build upon the stories and progress of all those who lived and worked, birthed and passed on before us. Your work tells THAT story ...the story of us across time in this world. Your art offers vistas of "us," allowing us to see our bigger picture mapped out carefully, mindfully, appreciatively. And your artifacts, documented and preserved, reveal that you rendered "us" by means that technologically speaking were everywhere as fine as the "masters."(See Art Critic, 1955)
I pose instead that your works reveal art at an even higher level than what is traditionally considered "fine art." For you brought your subjects (us) not only alive in all our expressions of myriad personalities, but you contextualized us through our evolving stories reflected in paintings across time ... stories of our home lives, work lives, private lives, public lives - our hopes, desires and dreams. Your art is a testimony to the best of us ... our aspirations, traditions, institutions, failures, and restoration of union. And over the years, your very fine art illustrates our engagement in collaboration for vital social change ... for the progress of all.
Thank you, Normal Rockwell ... and thank you, Stockbridge!
