Norman Rockwell: Highlights from the Collection

On View Now 

Life’s simple pleasures and the blush of first love are the focus of Norman Rockwell’s 1926 Saturday Evening Post cover, which portrays a young couple entranced by the moon, and by each other’s company. Their rickety wooden seating bends under their weight but does not deter them from their reverie, for they are taking time to enjoy the moment.

In 1926, Rockwell had already been working for the Post for ten years. A self-proclaimed specialist in painting child-centered scenes, he elevated the status of his youthful subjects by portraying them as complex individuals with dignity, despite their economic status.

Boy and Girl Gazing at Moon (Puppy Love)

Norman Rockwell (1894-1978)
Boy and Girl Gazing at Moon (Puppy Love)   1926
Cover illustration for The Saturday Evening Post, April 24, 1926
Oil on canvas
Norman Rockwell Museum Collection/Given by Bill, Casey, Maggie, Jennie and Jesse Millis in honor of Norman Rockwell, an incredible American.

In this work, Rockwell recalls the pleasures of spending vacations on rural farms on Long Island and in upstate New York, a respite from the bustle of life in New York City, where he was born and spent his youth. His composition invites us to peer over the shoulders of the children who are not aware of our presence. Their simple fishing gear—a branch equipped with line and a blue and orange bobbin (which repeats the artist’s color palette)—has been placed down behind them. Enrapt as they are, they are not aware that their bait is escaping from the can, or that the dog, now a third wheel, gazes longingly out from the canvas.

About the Artist

“The commonplaces of America are to me the richest subjects in art.”
⸺Norman Rockwell

Among Norman Rockwell’s best-known illustrations are heartwarming scenes that capture the essence of American holiday traditions celebrated throughout the year⸺from Valentine’s Day and Independence Day to Halloween, Thanksgiving, and the magic of the Christmas season.

Rockwell’s connection to holiday-inspired art can be traced to his youth, when at the age of fifteen, a parishioner of his family’s church employed his talents for Christmas card designs. As an adult, Rockwell would work with Hallmark, a company that continues to market his midcentury illustrations for holiday greeting cards. The Saturday Evening Post, which showcased his art for forty-seven years, typically delegated Christmas, Thanksgiving, and New Year’s covers to its most popular illustrators. During Rockwell’s first year with the magazine in 1916, his work was featured on a December cover, and subsequently, the front pages of many additional holiday issues were assigned to him. Seasonal rituals and snowy New England landscapes are viewed through the eyes of homecoming veterans and cheerful, intergenerational families who inhabit Rockwell’s artworks.

Throughout his career, Rockwell considered a strong visual story concept was “the first thing and the last,” no matter the subject. He often told reporters that despite his unending work schedule, he indulged himself by taking a half-day off on Christmas. Though he used his own art to embellish seasonal cards for friends and family, he was not overly sentimental about the holidays. He viewed turkey carving as “a challenge rather than an invitation,” and he once remarked, “I’ve never played Santa Claus in my life. I wouldn’t dare to.”  Holiday festivities were prominently featured in Rockwell’s work, and inspired readers to consider how their own experiences reflected, or stood in contrast, to those portrayed in his art. Many of Rockwell’s beloved seasonal images are on view.

Learn more…

IMAGES

Fruit of the vine

Norman Rockwell (1894–1978)
Fruit of the Vine, 1926
Oil on canvas
Painting for Sun-Maid Raisins advertisement
Collection of the Sun-Maid Growers of California

California Raisin Growers commissioned Rockwell to create a series of illustrations featuring families eating and cooking with Sun-Maid Raisins. Painted while Rockwell was married to his first wife, Irene O’Connor, this work features both Irene and her mother Catherine as his models. Like so many of Rockwell’s artworks, the piece depicts everyday life events at home within an extended family. The paintings now serve as a record of family life when geographical proximity and custom meant a greater closeness between family members. The illustrations ran as full page ads with descriptive text in women’s magazines such as McCall’s, Pictorial Review, The Farmer’s Wife, and Needlecraft.

In Rockwell’s original painting, a raisin box occupied the center left portion of the picture, and was later painted over for compositional reasons. Its reappearance is known as pentimento from the Italian word meaning to repent, referring to an artist’s change of mind.

Love at First Sight

Norman Rockwell (1894–1978)
Love at First Sight (Couple’s First Silver), 1923
Advertising illustration for Holmes & Edwards/International Silver Company
Oil paint and gouache over black and white photograph on fiberboard
Norman Rockwell Museum Collection, Museum purchase, NRM.1984.09

In 1898, a group of New England silver manufacturers banded together to form the International Silver Company based in Meriden, Connecticut, and the company employed illustrators to create advertising for the magazine market that promoted their designs, craftsmanship, and longevity. Rockwell’s narrative relays a story line easily recognizable to others, as an elegantly attired couple opens their wedding presents. Here they find their first silver and admire its fine workmanship, which was intended to last a lifetime.

If Your Wisdom Teeth Could Talk

Norman Rockwell (1894-1978)
If Your Wisdom Teeth Could Talk They’d Say,“Use Colgate’s,” 1924
Advertising illustration for Colgate’s Ribbon Dental Cream
Oil on canvas
Norman Rockwell Museum Collection, Bequest of Mrs. George Sheldon, NRM.1979.01

An example of early twentieth-century advertising illustration, this painting for Colgate toothpaste does not picture the product. An assignment such as this made it easy for Rockwell to paint the kind of storytelling pictures he preferred. In keeping with his subjectivity for picturing the tender grandfather-grandchild relationship, Rockwell composes his scene with an elderly man and a young boy. From the body language and the props, it appears the man is telling the boy about an adventure from his younger days.

When putting this piece in the context of the printed advertisement, the man is actually imparting words of “wisdom” regarding the importance of proper dental health to the boy. An accompanying black and white illustration of a boy scout brushing his teeth after a meal was also featured in the published advertisement.

The Stay at Homes

Norman Rockwell (1894–1978)
The Stay at Homes (Outward Bound), 1927
Illustration for Ladies’ Home Journal, October 1927
Oil on canvas
Norman Rockwell Museum Collection, Norman Rockwell Art Collection Trust, NRACT.1973.082

Though Rockwell’s paternal grandfather, John Rockwell, may not specifically appear as a model in his many pictures of elderly men, the tender grandfather-grandchild relationship is abundant in his work. Over a forty-nine-year period beginning in 1924, Norman Rockwell contributed thirty-seven illustrations to Ladies’ Home Journal. Some accompanied fictional stories, and some, like this one, told their own story, published with title only. Rockwell enjoyed working with children and older adults because he felt they were less self-conscious and freer to act out feelings and emotions.

The foreground of this painting was inspired by a New England setting. In the summer of 1912, Rockwell spent three months studying landscape painting with Charles Hawthorne in Provincetown, Massachusetts, which was then a Portuguese fishing village. Hawthorne had learned the art of plein air (working out-of-doors) from American Impressionist William Merritt Chase. In Rockwell’s painterly treatment of the roofs, waves, trees, grass, and man’s trousers, we see the influence of Chase’s impressionistic style. The house on the right is a duplicate of Rockwell’s own studio, which had been built as an attachment to his garage in New Rochelle, New York in 1927. Where the ornamental brace is attached to the chimney, however, Rockwell’s featured a decorative palette and brushes.

Family Home from Vacation

Norman Rockwell (1894-1978)
Family Home from Vacation, 1930
Cover illustration for The Saturday Evening Post, September 13, 1930
Oil on canvas
Collection of the Grace Family

Despite the Depression-era downturn, The Saturday Evening Post and other magazines presented uplifting images and hope for better times. Published almost a year after the crash, Rockwell’s 1930 cover illustration portrays a weary family that has managed to vacation despite challenging times. The box camera at the woman’s feet recorded their adventures, and clues like the pail and shovel, wilted bouquet, deflated balloon, and frog struggling to escape, give us a sense of the family’s experience.

Crestwood Commuter Station

Norman Rockwell (1894—1978)
Crestwood Commuter Station, 1946
Cover illustration for The Saturday Evening Post, November 16, 1946
Oil on canvas
Private Collection

This Saturday Evening Post cover featuring a flattened graphic composition captures a typically hectic moment at the Crestwood Metro-North Railroad station, a scene experienced by many New York area commuters who rush to make their trains with barely a moment to pick up a newspaper along the way. This station in Crestwood, New York, straddles the cities of Yonkers and Tuckahoe, less than seventeen miles from Grand Central Terminal. Rockwell himself is in motion in the foreground, picking up his newspaper.

The Lineman

Norman Rockwell (1894-1978)
The Lineman, 1948
Advertising illustration for New England Telephone
Oil on canvas
Norman Rockwell Museum Collection, Gift of Verizon, NRM.2007.11

In the original letter to Rockwell from Gordon M. Wilbur, an art buyer for the N W Ayer & Son, Inc. an agency representing the American Telephone & Telegraph Company, Wilbur proposed an inspirational painting rather than an advertisement. The artwork should demonstrate the important role a lineman plays in telephone service. “The work of the linemen for the telephone company,” said the letter, “is filled with opportunities for personal sacrifices and acts which stem only from devotion to national welfare, so that it seems fitting work to honor by such a painting.”

In the spring of 1948, Rockwell went in search of his model. His quest ended with John Toolan, a New England Telephone employee who was setting poles with a crew in Cheshire, MA, near the Vermont border. Toolan went to Rockwell’s studio where he posed on a makeshift pole supplied by the telephone company, which was fitted with cables and anchored to nearby trees. Toolan then lashed cables for several hours while photographs were taken. The photos were then sent to AT&T, where engineers checked them for accuracy. Four months later, Rockwell sent his preliminary drawing and color study for approval. Eleven changes were required, most of them technical, before Rockwell could proceed with this final oil painting.

Beanie

Norman Rockwell (1894-1978)
Beanie, 1954
Sis, 1954
Advertising illustrations for the Kellogg Company
Oil on canvas
Collection of the Norman Rockwell Museum, Gift of the Kellogg Company, NRM.1993.01, NRM.1993.03, NRM.1993.05, NRM.1993.06

In the early 1950s, with a stroke of creative acumen, Chicago advertising director Leo Burnett paired popular icons Superman, Howdy Doody, and Norman Rockwell with Battle Creek, Michigan’s star cereal maker, Kellogg. After the discussion of several concepts, Rockwell was commissioned to produce four children’s portraits⸺two boys and two girls of different ages and types. Since these images were not only to be used in print ads but on cereal boxes, too, the paintings had to have the “strongest and brightest colors and the greatest contrast.”

Rockwell’s signature fresh-faced kids, beaming with enthusiasm, happiness, and most of all, good health, was a key to the success of Kellogg’s Corn Flakes marketing campaign.

Gee Thanks Brooks

Norman Rockwell (1894-1978)
“Gee Thanks, Brooks!” Baseball Autograph (Portrait of Brooks Robinson), 1971
Advertising illustration for A-T-O, Inc.
Oil on canvas
Anonymous lender

This A-T-O marketing piece showcased Rawlings, part of the company’s sporting goods division. The company decided to feature Brooks Robinson as the centerpiece of this advertisement⸺he was named Most Valuable Player in the 1970 World Series when his team, the Baltimore Orioles, defeated the Cincinnati Reds four games to one. Rockwell’s depiction of the baseball equipment was corrected many times, and Harry E. Figgie, Jr., Chairman and Chief Executive Officer of the conglomerate, commented that Robinson’s glove looked too new.

Rockwell presented the final oil painting after making the necessary changes. He placed himself, smoking a cigar, as a fan in the stands. Pleased with the outcome, Figgie praised Rockwell’s work for “The life-like qualities, the realism…and the tremendous human warmth….”

MEDIA

American Chronicles: The Art of Norman Rockwell (Remastered)

Published: December 12, 2017

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VENUE(S)

Norman Rockwell Museum, 9 Glendale Road, Stockbridge, MA 01262

Hours

OPEN
Mon 10am-4pm
Tue 10am-4pm
Thu 10am-4pm
Fri 10am-4pm
Sat 10am-5pm
Sun 10am-5pm

CLOSED
Wednesdays
Thanksgiving Day
Christmas Day
New Year’s Day
ROCKWELL’S STUDIO
Closed for the season.
Opens May 1, 2025

Special Holiday Hours: Christmas Eve and New Year’s Eve: 10am-2pm.

Admissions

There are limited daily tickets for tours of Norman Rockwell’s Studio. It is recommended you purchase your museum admission and studio tour tickets online in advance of your visit.  Museum Visit admission is required for all tours.

Buy Admission

Members Adult Seniors /
Veterans & Military		 Children MA Teachers College
Students
Museum Visit: Free $25 $23 Free $22 $10
Curator Tour:
Original Sisters		 $10 + $20 + $20 Free + $20 + $20
Guided Tour:
Rockwell’s Life & Art
(40 minutes)		 Free +$10 +$10 Free +$10 +$10

There are limited daily tickets for tours of Norman Rockwell’s Studio. It is recommended you purchase your museum admission and studio tour tickets online in advance of your visit.  Museum Visit admission is required for all tours.

Buy Admission

Museum Visit:
Members, Children, & Active Military: FREE
Adults: $25
Seniors & Retired Military: $23
MA Teachers: $22
College Students: $10

Guided Tour:
Rockwell’s Life & Art
(40 minutes) – additional purchase
Members, Children, & Active Military: FREE
Ticket per person: $10

Curator Tour:
Original Sisters
Members: $10
Children: FREE
Adults: $20
Seniors & Active/Retired Military: $20
College Students: $20

Additional Discount Opportunities:

  • Front Line Medical Workers receive free admission.
  • AAA member, NARM member, Stockbridge Resident, and EBT/WIC/ConnectorCare Cardholder discounts available.

For Free and Reduced prices, you may be required to present a valid ID demonstrating your status for qualifying for discounted pricing.

Available Discounts
Kids Free is supported by:
Connector Card is supported by:
Norman Rockwell Museum receives support from:

DIRECTIONS

Norman Rockwell Museum
9 Glendale Road Route 183
Stockbridge, MA 01262
413-931-2221

Download a Printable version of Driving Directions (acrobat PDF).

Important note: Many GPS and online maps do not accurately place Norman Rockwell Museum*. Please use the directions provided here and this map image for reference. Google Maps & Directions are correct! http://maps.google.com/

* Please help us inform the mapping service companies that incorrectly locate the Museum; let your GPS or online provider know and/or advise our Visitor Services office which source provided faulty directions.

Route 7 runs north to south through the Berkshires. Follow Route 7 South to Stockbridge. Turn right onto Route 102 West and follow through Main Street Stockbridge. Shortly after going through town, you will veer to the right to stay on Route 102 West for approximately 1.8 miles. At the flashing light, make a left onto Route 183 South and the Museum entrance is 0.6 miles down on the left.

Route 7 runs north to south through the Berkshires. Follow Route 7 North into Stockbridge. Turn left onto Route 102 West at the stop sign next to The Red Lion Inn. Shortly after you make the left turn, you will veer to the right to stay on Route 102 West for approximately 1.8 miles. At the flashing light, make a left onto Route 183 South and the Museum entrance is 0.6 miles down on the left.

Boston (two-and-a-half hours) or Springfield (one hour):
Take the Ma ssachusetts Turnpike (I-90) West, getting off at exit 10 (formerly exit 2) – Lee. At the light at the end of the ramp turn left onto Route 20 East and then immediately turn right onto Route 102 West. Follow Route 102 West into Stockbridge Center (about five miles). Continue going west on Route 102 (Main St.). Shortly after going through town, you will veer to the right to stay on Route 102 West for approximately 1.8 miles. At the flashing light, make a left onto Route 183 South and the Museum entrance is 0.6 miles down on the left.

from Albany and west: (one hour) Take I-90 east to exit B3 – Route 22. Go south on New York Route 22 to Massachusetts Route 102 East. Stay on Route 102 East through West Stockbridge. Continue on Route 102 East approximately 5.5 miles until you come to a blinking light at the intersection of Route 183. Make a right at the blinking light onto Route 183 South and the Museum entrance is 0.6 miles down on the left.

(two-and-a-half hours) Take either the New York State Thruway or the Taconic State Parkway to I-90 East. Follow I-90 East to exit B3 – Route 22. Go south on New York Route 22 to Massachusetts Route 102 East. Stay on Route 102 East through West Stockbridge. Continue on Route 102 East approximately 5.5 miles until you come to a blinking light at the intersection of Route 183. Make a right at the blinking light onto Route 183 South and the Museum entrance is 0.6 miles down on the left.

(one-and-a-half hours) Take I-91 North to the Massachusetts Turnpike. Take the Massachusetts Turnpike (I-90) West, getting off at exit 10 (formerly exit 2) – Lee. At the light at the end of the ramp turn left onto Route 20 East and then immediately turn right onto Route 102 West. Follow Route 102 West into Stockbridge Center (about five miles). Continue going west on Route 102 (Main St.). Shortly after going through town, you will veer to the right to stay on Route 102 West for approximately 1.8 miles. At the flashing light, make a left onto Route 183 South and the Museum entrance is 0.6 miles down on the left.

(five minutes)
Go west on Route 102 (Main St.). Shortly after going through town, you will veer to the right to stay on Route 102 West for approximately 1.8 miles. At the flashing light, make a left onto Route 183 South and the Museum entrance is 0.6 miles down on the left.