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Jack O’Lanterns – The Hallmark of Halloween

October 28, 2020 – Written By: Venus Van Ness

In addition to scary witches and ghosts, glowing pumpkins with carved faces are a quintessential sign of the Halloween season.  People have been making jack o’lanterns at Halloween for centuries, but where did the idea come from? One theory as to their origin looks to Ireland and an 18th century folktale about a man named “Stingy Jack.”

According to the story, Stingy Jack invited the Devil to have a drink with him. True to his name, Stingy Jack refused to pay for his drink, and convinced the Devil to turn himself into a coin that Jack could use to buy their drinks. Once the Devil did so, Jack decided to keep the money and put it into his pocket next to a silver cross, which prevented the Devil from changing back into his original form.

The next year, Jack again tricked the Devil into climbing into a tree to pick a piece of fruit. While he was up in the tree, Jack carved a sign of the cross into the tree’s bark so that the Devil could not come down until the Devil promised Jack not to bother him for ten more years.

Jack died soon after, and God refused to allow such an unsavory figure into heaven. The Devil, upset by the tricks Jack had played on him, would not allow Jack into hell. He sent Jack off into the dark night with only a burning coal to light his way. Jack put the coal into a carved-out turnip and has been roaming the Earth with it ever since. The Irish began to refer to this ghostly figure as “Jack of the Lantern,” and then, simply “Jack O’Lantern.”

In Ireland, people began to make their own versions of Jack’s lanterns by carving scary faces into turnips or potatoes and placing them into windows or near doors to frighten away Stingy Jack and other wandering evil spirits. Irish Immigrants brought the jack o’lantern tradition with them when they came to the United States. They soon found that pumpkins, native to the region, made perfect jack o’lanterns.

Grandfather Frightened by Jack O'Lantern

Norman Rockwell (1894-1978)
Grandfather Frightened by Jack-O-Lantern, 1920.
Cover for The Saturday Evening Post, October 23, 1920,
Tearsheet, Norman Rockwell Museum Collection

But how did jack o’lanterns become associated with Halloween? Halloween is thought to be based on the pagan Celtic festival Samhain, a celebration in ancient Britain and Ireland that marked the end of summer and the beginning of the new year on November 1st.  It was believed that during Samhain the souls of those who had died that year traveled to the otherworld and that other souls would return to visit their homes. A similar festival was carried on by Christians during the feast of All Hallows’ Eve—observed on October 31st, the evening before All Saints’ (or All Hallows’) Day.  In both cases, the jack o’lanterns served a similar purpose – to frighten away evil or unwanted spirits that could cause mischief or harm.

Man Playing Violin

Norman Rockwell (1894-1978)
Man Playing Violin, 1921
Cover illustration for The Country Gentleman, October 22, 1921
Tearsheet, Norman Rockwell Museum Collection

Boy Holding Jack-O-Lantern

J.C. Leyendecker (1874-1951)
Boy Holding Jack-O-Lantern, 1912
Cover illustration for The Saturday Evening Post, October 26, 1912
Tearsheet, Norman Rockwell Museum Collection

The Witch's Ride

J.C. Leyendecker (1874-1951)
The Witch’s Ride, 1923
Cover illustration for The Saturday Evening Post, October 27, 1923
Tearsheet, Norman Rockwell Museum Collection

To find out more about Norman Rockwell and J.C. Leyendecker, visit their profiles on the Museum’s Illustration History website (IllustrationHistory.org).

Virtual Exhibit: Fiends

Written By: Barbara Rundback

Last year, when cataloging the Julian Allen collection, I came across a painting that was perfect for an exhibition relating to Halloween. When chief curator Stephanie Plunkett asked me to write a blog about spooky holiday illustrations, I used the opportunity to curate an on-line exhibit exploring the theme.

Fiends

Halloween is rooted in an ancient Celtic festival marking the end of the year. On this night, it was believed that the boundary between the worlds of the living and the dead were blurred. As a way to Christianity spread, the Roman Catholic Church created All Saint’s Day to coincide with this event, and the night before called All Hallows’ Eve. Over the years, this holiday and other traditions from different cultures have influenced America’s favorite Halloween activities. The Norman Rockwell Museum Collection has a selection of frightful images that exemplify the occasion. Enjoy the haunting imagery.

Halloween

Jan Pienkowski (b. 1936)
[Halloween], 1975
Cover illustration for Cricket, the magazine for children, October 1975
Art paper mounted, 38 ½ x 34 ½ in.
Norman Rockwell Museum Collection, Gift of Ned and Stephanie Clayton, NRM.2016.08

Jan Pienkowski’s illustration epitomizes the season as witches and ghoulish creatures move towards the medieval castle. The two-time Kate Greenaway Medal artist mastered the tradition of making silhouettes by paper cutting, and filled this picture with intricate workmanship.

Bloodshed - NRM.2017.03.211

Bascove (b. 1946)
Bloodshed, 1976
Story illustration for “Bloodshed” by Cynthia Ozick, Esquire, January 1976, p. 101
Ink on paper, 10 x 7 in.
Norman Rockwell Museum Collection, Gift of the artist, NRM.2017.03.211

In this illustration, Bascove made a unique artistic choice and created an image featuring the characteristics of a man and a goat. This short story revolved around a rebbe discussing an old Jewish ritual, the sacrificing of two goats on the Day of Atonement.

The priest sprinkled fresh fuel on the basin - NRM.2013.08.2

Henry Charles Pitz (1895-1976)
The priest sprinkled fresh fuel on the basin, 1929
Story illustration for The Red Prior’s Legacy by Alfred H. Bill (New York and London: Longmans, Green, and Co., 1931, p.145)
Ink on paper, 20 x 15 in.
Norman Rockwell Museum Collection, Gift of The Kelly Collection of American Illustration, NRM.2013.08.2

In this book, Henri Charles Joseph de Mirecourt, the central character, fell into a strange dream. He narrated, “Above it (shallow basin) shone a brown bare chest looped with shining necklaces, and a dark-eyed, thin-lipped, livid face in a square striped head-dress of an Egyptian priest.” Author Alfred H. Bill’s rich, descriptive text provided everything the artist Henry Pitz needed to create this nightmarish image.

Roller Coaster at night - NRM.2010.53.1.29

William Steig (1907-2003)[Roller Coaster at night], 1982
Cover illustration for The New Yorker, May 31, 1982
Ink and watercolor on paper, 11 1/8 x 8 ¼ in.
Norman Rockwell Museum Collection, Gift of Jeanne Steig, NRM.2010.53.1.29

Once, cheerful clowns were viewed as circus entertainers or animal balloon creators hired for children’s birthday parties. In recent years, mass media has introduced the “evil clown” which has given rise to coulrophobia, the fear of clowns. For this New Yorker cover, William Steig illustrates an eerie image of two fools thrill-seeking in the moonlight.

The Monster (Boris Karloff) - NRM.2008.05

Rolf Armstrong (1899-1960)
The Monster (Boris Karloff), 1935
Pastel on paper, 42 ½ x 32 in.
Norman Rockwell Museum Collection, Bequest of Jewell Flowers Evans, NRM.2008.05

Today, countless people celebrate Halloween by watching one of the many horror movie marathons offered on television networks and streaming services. A classic viewing choice is Frankenstein, the 1931 black and white film based Mary Shelley’s science fiction novel. In this pastel drawing, Rolf Armstrong portrayed Boris Karloff in full makeup on the set of Bride of Frankenstein, a sequel made in 1935.

Lucy Westenra (Sadie Frost) - NRM.2019.18.0112

Julian Allen (1942-1998)
Lucy Westenra (Sadie Frost), 1995
Watercolor and pencil on paper, 14 x 19 in.
Norman Rockwell Museum Collection, Gift of Victoria Allen in Memory of Julian Allen, NRM.2019.18.0112

Dracula, a novel written by Bram Stocker in 1897, recounted the world of the undead. In 1992, Francis Ford Coppola directed a movie inspired by this work. In this illustration, Julian Allen painted the moment when Lucy Westernra, a vampire who feeds on children, is about to be destroyed by Van Hesling.

...a huge black cat tumbled down the chimney - NRM.2013.02.3

Joseph Clement Coll (1881-1921)
…a huge black cat tumbled down the chimney, 1907
Illustration for The Devils of Loudun by H. Addington Bruce
Ink on paper, 23 ¼ x 18 ¾ in.
Norman Rockwell Museum Collection, Gift of Robert T. Horvath, NRM.2013.02.3

During the 17th century, the French village of Loudun experienced unexplained demonic events. This illustration depicts a priest exorcising possessed nuns from evil spirits.

Artists Costume Ball - NRM.2004.01

Norman Rockwell (1894-1978)
Artists Costume Ball, 1921
Poster illustration for the New Rochelle Art Association
Oil on canvas, 29 x 21 ½ in.
Norman Rockwell Museum Collection, Gift of the Ethan Wolcott Hitchcock family, 2004, NRM.2004.01

After World War I, the New Rochelle Art Association held three annual costume balls to raise funds for a war memorial. Member Norman Rockwell volunteered to paint this 1921 poster design to advertise the last one. At one of these occasions, a society photographer captured Rockwell sporting a Spanish mariachi assemble complete with a pom-pom brimmed hat. While this outfit might not have been scary, it was definitely festive.

About the Blog Authors

Venus Van NessArchivist
Venus Van Ness is the Archivist at the Norman Rockwell Museum and oversees the physical and digital archival collections as well as the museum’s research library. Over the last several years, her work has focused on making collections more broadly accessible through numerous digitization and processing projects.
Barbara RundbackAssociate Registrar and Assistant Curator
Barbara Rundback is an associate registrar and assistant curator at the Norman Rockwell Museum. Over the last 10 years, she has processed the original artwork to the NRM permanent collection, curated seasonal exhibitions, and contributed content to the Museum’s digital interactives and websites.