Norman Rockwell Quotes

It wasn't easy telling my family that I'm gay. I made my carefully worded announcement at Thanksgiving. It was very Norman Rockwell. I said, 'Mom, would you please pass the gravy to a homosexual?' She passed it to my father. A terrible scene followed.

The secret to so many artists living so long is that every painting is a new adventure. So, you see, they're always looking ahead to something new and exciting. The secret is not to look back.

Commonplaces never become tiresome. It is we who become tired when we cease to be curious and appreciative. We find that it is not a new scene which is needed, but a new viewpoint.

I just wanted to do something important.

The View of life I communicate in my pictures excludes the sordid and the ugly. I paint life as I would like it to be.

Where Norman Rockwell is the Artist for the man on the street, O'Henry is his author.

I unconsciously decided that, even if it wasn't an ideal world, it should be so and painted only the ideal aspects of it - pictures in which there are no drunken slatterns or self-centered mothers . . . only foxy grandpas who played baseball with kids and boys who fished from logs and got up circuses in the back yard.

Now I'm standing in black stiletto heels in the middle of a Norman Rockwell painting.

Norman Rockwell saved my life.

I'll never have enough time to paint all the pictures I'd like to.

And I’m not sure why I wasted all that time and energy, because when I think about family—that thing I’d always longed for—it’s never been a Norman Rockwell painting that I picture. It’s me and Mom, on the couch, eating microwaved corn dogs while Dial M for Murder plays on TV. It’s running out from the library at night to her car, a greasy box of Little Caesars pizza in the passenger seat, her joking, I thought we’d do Italian. It’s being pulled away from watching the frost melt on the living room window to make stovetop hot cocoa from a packet, and that last tight hug at the end of the airport security line, and packing up cardboard boxes, knowing I’ll always have what I need, no matter how much I leave behind.

There are white moms who threw stones at the little girls in Little Rock and there are white moms who wish Andres and Omar and Elias and Greta's mom will be deported too.

I didn't grow up in a Norman Rockwell house... my house was more akin to Norman Lear.

My great hero was that archetype of cheerful American normalcy, Norman Rockwell.

The startling truth is this: as this narrative unfolded, amidst all the voices breaking free, telling their stories for the first time, the loudest voice of all was that of Norman Rockwell.

While endowed with the morose temper of genius, he [Lakes, Arts Professor] lacked originality and was aware of that lack; his own paintings always seemed beautifully clever imitations, although one could never quite tell whose manner he mimicked. His profound knowledge of innumerable techniques, his indifference to 'schools' and 'trends', his detestation of quacks, his conviction that there was no difference whatever between a genteel aquarelle of yesterday and, say, conventional neoplasticism or banal non-objectivism of today, and that nothing but individual talent mattered--these views made of him an unusual teacher. St Bart's was not particularly pleased either with Lake's methods or with their results, but kept him on because it was fashionable to have at least one distinguished freak on the staff. Among the many exhilarating things Lake taught was that the order of the solar spectrum is not a closed circle but a spiral of tints from cadmium red and oranges through a strontian yellow and a pale paradisal green to cobalt blues and violets, at which point the sequence does not grade into red again but passes into another spiral, which starts with a kind of lavender grey and goes on to Cinderella shades transcending human perception. He taught that there is no such thing as the Ashcan School or the Cache Cache School or the Cancan School. That the work of art created with string, stamps, a Leftist newspaper, and the droppings of doves is based on a series of dreary platitudes. That there is nothing more banal and more bourgeois than paranoia. That Dali is really Norman Rockwell's twin brother kidnapped by gipsies in babyhood. That Van Gogh is second-rate and Picasso supreme, despite his commercial foibles; and that if Degas could immortalize a calèche, why could not Victor Wind do the same to a motor car?

there's a part in the essay that kind of does this academic "Let's unpack the idea of Lynchian and what Lynchian means is something about the unbelievably grotesque existing in a kind of union with the unbelievably banal," and then it gives a series of scenarios about what -- what is and what isn't Lynchian. Jeffrey Dahmer was borderline Lynchian...what was Lynchian was having the actual food products next to the disembodied bits of the corpse. I guess the big one is, you know, a regular domestic murder is not Lynchian. But if the man -- if the police come to the scene and see the man standing over the body and the woman -- let's see, the woman's '50s bouffant is undisturbed and the man and the cops have this conversation about the fact that the man killed the woman because she persistently refused to buy, say, for instance, Jif peanut butter rather than Skippy, and how very, very important that is, and if the cops found themselves somehow agreeing that there were major differences between the brands and that a wife who didn't recognize those differences was deficient in her wifely duties, that would be Lynchian -- this weird confluence of very dark, surreal, violent stuff and absolute, almost Norman Rockwell, banal, American stuff, which is terrain he's been working for quite a while -- I mean, at least since -- at least since "Blue Velvet.

People always describe small towns as quaint or cozy or familiar. “You know who your neighbors are,” they always seemed to say. But what you won’t find depicted in a Norman Rockwell painting is how cruel those same neighbors can be.

Frank Marshall Davis, the former Communist who was Obama’s mentor in Hawaii, was so radical that he opposed President Truman’s Marshall Plan as a “device” for maintaining “white imperialism.” Truman and Marshall, he wrote, were using “billions of U.S. dollars to bolster the tottering empires of England, France, Belgium, Holland and the other western exploiters of teeming millions.” Indeed the objective of America after World War II was “to re-enslave the yellow and brown and black peoples of the world.” While Davis spurned America he praised “Red Russia” as “my friend.”3 Young Obama—sitting in Davis’s hut in Hawaii week after week for several years—took it all in. This portrait of devoted young Obama imbibing the ravings of a pot-smoking former Communist is the progressive version of a Norman Rockwell painting.

And at the end of the day, the family dinner is alive and well. Several studies and polls agree that the number of dinners families have together changed little from 1960 through 2014, despite the iPhones, PlayStations, and Facebook accounts.23 Indeed, over the course of the 20th century, typical American parents spent more time, not less, with their children.24 In 1924, only 45 percent of mothers spent two or more hours a day with their children (7 percent spent no time with them), and only 60 percent of fathers spent at least an hour a day with them. By 1999, the proportions had risen to 71 and 83 percent.25 In fact, single and working mothers today spend more time with their children than stay-at-home married mothers did in 1965.26 (An increase in hours spent caring for children is the main reason for the dip in leisure time visible in figure 17-6.)27 But time-use studies are no match for Norman Rockwell and Leave It to Beaver, and many people misremember the mid-20th century as a golden age of family togetherness.

This is Radio Free Hayden podcasting from somewhere dark and dingy that smells of ancient grease and more recent body odor. If anyone actually hears this podcast, I must first apologize that there’s no visual of me. My bandwidth is the digital equivalent of a mule train. So instead, I’ve posted this wonderful Norman Rockwell image instead of a video. You’ll note how the poor innocent ginger kid standing on the chair with his butt hanging out is about to be tranq’d in the ass by the ‘kindly country doctor.’ I felt the image was somehow appropriate.

Having grown up in this little town, I had attended countless street fairs, but I still felt comforted by the Norman Rockwell-esque nature of the scene as I felt like I was strolling in an oil painting of another era rather than an actual town. From my experience as a reporter in Philadelphia, our city streets and suburban neighborhoods were tougher and grittier than ever before and so there was something comforting about small-town America. The feeling of community was much stronger, the streets much softer and warmer. Three times each summer, people drove long distances to Shelbyville to attend street fairs, but the truth was that the booths weren't any different than the booths at the street fairs in their cities and neighborhoods. They came to be comforted.

The next forty minutes are a festival of soul eating. I know many immigrant families incorporate their traditional dishes into the Thanksgiving feast, but not my folks. Our menu is Norman Rockwell on crack. Turkey with gravy. Homemade cranberry relish and the jellied stuff from the can. Mashed potatoes, sweet potatoes with marshmallows, green bean casserole. Cornbread stuffing and buttery yeast rolls. The only nods to our heritage are mustard-seed pickled carrots and dill-cucumber salad, to have something cool and palate-cleansing on the plate. A crazy layered Jello-O dish, with six different colors in thin stripes, looking like vintage Bakelite. Jeff and the girls show up just in time for desserts... apple pie, pumpkin pie, pecan bars, cheesecake brownies, and Maria's flan.

Maria winks at me, takes a mouthful of stuffing, and rolls her eyes in ecstasy. The next forty minutes are a festival of soul eating. I know many immigrant families incorporate their traditional dishes into the Thanksgiving feast, but not my folks. Our menu is Norman Rockwell on crack. Turkey with gravy. Homemade cranberry relish and the jellied stuff from the can. Mashed potatoes, sweet potatoes with marshmallows, green bean casserole. Cornbread stuffing and buttery yeast rolls. The only nods to our heritage are mustard-seed pickled carrots and dill-cucumber salad, to have something cool and palate-cleansing on the plate. A crazy layered Jello-O dish, with six different colors in thin stripes, looking like vintage Bakelite. Jeff and the girls show up just in time for desserts... apple pie, pumpkin pie, pecan bars, cheesecake brownies, and Maria's flan.

Ah, New England. An amalgam of picket fences and crumbling bricks; Ivy League schools and dropped Rs; social tolerance and the Salem witch trials, Henry David Thoreau and Stephen King, P-town rainbows and mill-town rust; Norman Rockwell and Aerosmith; lobster and Moxie; plus the simmering aromas of a million melting pot cuisines originally brought here by immigrants from everywhere else searching for new ways to live. It’s a place where rapidly-growing progressive cities full of the ‘wicked smaaht’ coexist alongside blight-inflicted Industrial Revolution landscapes full of the ‘wicked poor’. A place of forested mountains, roaring rivers, crystalline lakes, urban sprawl, and a trillion dollar stores. A place of seasonal tourism beach towns where the wild, rank scent of squishy seaweed casts its cryptic spell along the vast and spindrift-misted seacoast, while the polished yachts of the elite glisten like rare jewels on the horizon, just out of reach. Where there are fiery autumn hues and leaves that need raking. Powder snow ski slopes and icy windshields that need scraping. Crisp daffodil mornings and mud season. Beach cottage bliss and endless miles of soul-sucking summer traffic . Perceived together, the dissonant nuances of New England stir the imagination in compelling and chromatic whorls.

The Clintons’ last act before leaving the White House was to take stuff that didn’t belong to them. The Clintons took china, furniture, electronics, and art worth around $360,000. Hillary literally went through the rooms of the White House with an aide, pointing to things that she wanted taken down from shelves or out of cabinets or off the wall. By Clinton theft standards $360,000 is not a big sum, but it certainly underlines the couple’s insatiable greed—these people are not bound by conventional limits of propriety or decency. When the House Government Reform and Oversight Committee blew the whistle on this misappropriation, the Clintons first claimed that the stuff was given to them as gifts. Unfortunately for Hillary, gifts given to a president belong to the White House—they are not supposed to be spirited away by the first lady. The Clintons finally agreed to return $28,000 worth of gifts and reimburse the government $95,000, representing a fraction of the value of what they took. One valuable piece of art the Clintons attempted to steal was a Norman Rockwell painting showing the flame from Lady Liberty’s torch. Hillary had the painting taken from the Oval Office to the Clinton home in Chappaqua, but the Secret Service got wind of it and sent a car to Chappaqua to get it back. Hillary was outraged. Even here, though, the Clintons got the last laugh: they persuaded the Obama administration to let the Clinton Library have the painting, and there it hangs today. In Living History, Hillary put on a straight face and dismissed media reports about the topic. “The culture of investigation,” she wrote, “followed us out the door of the White House when clerical errors in the recording of gifts mushroomed into a full-blown flap, generating hundreds of news stories over several months.”17

created by Norman Rockwell and is titled The Golden Rule. Across the front are these words carved in gold: “Do unto others as you would have them do unto you.” The mosaic shows the faces of twenty-eight people who represent all the different people we must love: black, white, Asian, Muslim, Jewish, Christian, atheist, racist, addicted, imprisoned, gay, homeless, young, old, sick . . . the list goes on.

Somewhere in the surrounding heavens, Norman Rockwell reaches for a brush to paint the modern vision for a modern people. Their bubbles fill the sky.

Just a normal dinner party, Dallas thought. Just your average, every day evening around the table with the man who may well have masterminded your kidnapping, the sister you're in love with, and the older woman you used to sleep with. No doubt about it--as a group, they made one hell of a Norman Rockwell painting.

You can't make the good old days come back just by painting pictures of them. That kind of stuff is dead now and I think it's about time.

America was built on the myth of the melting pot, but despite efforts of the powers that be, the ingredients never fully blended. At best there is a patchwork quilt of various ethnic groups struggling to live peacefully with one another while something called, "mainstream culture" - it looks like a Norman Rockwell painting, sounds like a George Gershwin musical, and tastes like Chef Boyardee - is offered up as the national exmple.

Do you realize there was a time when the United States of America actually made sense? A time when you could look at a Norman Rockwell painting of a GI peeling potatoes for Mom and get all choked up and nobody'd laugh at you?

Everything about Jocelyn had been ordinary. A Norman Rockwell painting of mom, dad, one boy, one girl. Scott was her wild storm, her great American novel, her epic story. Every extraordinary moment she experienced was because of him.

Everywhere Ethan looks, lights are coming on inside houses, the air becoming fragrant with the smell of suppers cooking. Through cracked windows, he hears clanging dishes, indistinct conversations, ovens opening, closing. Everyone he passes smiles and says hello. Like a Norman Rockwell painting come to life.

Inside was a tableau of frustration that might’ve been straight out of Norman Rockwell, if Norman Rockwell had painted people doing hard time in jail.

White Christian America had its golden age in the 1950s, after the hardships and victories of World War Ii and before the cultural upheavals of the 1960s. June Cleaver was its mother, Andy Griffith was its sheriff, Norman Rockwell was its artist. and Billy Graham and Norman Vincent Peale were its ministers.

Mr. and Mrs. Hankshaw were summoned from the waiting room where Saturday Evening Post fantasies had clouded their instinctive parental concern the way that Norman Rockwell's sentimental ideas cloud the purity of a blank canvas.

Though the ending is schmaltzy, there was bite enough in the film to distinguish it from a Norman Rockwell vision of the nation. The Best Years of Our Lives captured rather well the stresses encountered by many veterans and their families in the immediate aftermath of war.

James Montgomery Flagg emerged almost overnight as America’s preeminent poster artist. As

It was a perverse Norman Rockwell painting. Patrician wealth, mixed with barbarism, the mask of old-money civility unsettled by a baser lust. Was this a performance, or the lack of it? A fever dream, or reality uncovered?

Extensive market research conducted in 1953 by psychologists Ernest Dichter and Burleigh Gardner concluded that a Depression-era Betty did not suit the new prosperous postwar America.... By 1954, six commissioned artists, including Norman Rockwell, painted... six portraits, plus McMein's version and portrait of Adelaide Hawley, [and] were presented to a cross-section of 1,600 homemakers, who were asked to consider: Would you want her as a friend? Does she look honest? Does she look like a housewife or a career woman? Does she look relaxed or tense?

[They were possessed] of the conviction that optimistic publicity and euphemism had rendered their experience so falsely that it would never be readily communicable... what had happened to them had been systematically sanitized and Norman Rockwellized, not to mention Disneyfied.

In their authoritative 1995 work, Voice and Equality, political scientists Sidney Verba, Kay Lehman Schlozman, and Henry E. Brady demonstrated that political activity varied by class. Their study found that 86 percent of high-income people reported having voted, but only 52 percent of low-income people said they voted. And 73 percent of high-income people were involved with a political organization, compared to 29 percent of low-income people. A 2012 sequel by the same authors showed a widening of these patterns, as institutions of working-class participation such as trade unions continued to decline, while the influence of the wealthy concentrated. The affluent go to meetings, are active members of groups concerned with public issues, and develop “civic skills” far more than the poor do—and that disparity has been widening. The iconic Norman Rockwell painting of an ordinary working fellow standing up to speak his mind at a town meeting, meant to depict one of FDR’s Four Freedoms, belongs to another era. And yet, in the Trump rebellion, regular working people who had little regard for civic norms abruptly recovered their voices in a fashion characteristic of mass society—disaffected people sharing not always rational rage with an irrational leader. They even formed new, Tocqueville-style associations, the Tea Parties. Voice and Equality concluded that lower-income people participate at lower rates for three reasons: “they can’t” (because they lack the time or money); “they don’t want to” (because they don’t believe that politics will make a positive difference in their lives); and “nobody asked them” (the political system has few avenues of recruitment for lower-income people). In a survey of why so many people avoided politics, one key reason was that politics felt irrelevant. This view, of course, was also correlated by social class. Nobody in large corporations believes that politics is irrelevant. Trust in government—and in all major institutions—has been falling for half a century. When the American National Election Study first asked the question in 1958, 73 percent of Americans said they trusted the federal government to do the right thing “just about always” or “most of the time.” That sense of trust peaked in 1964, at 78 percent, and has been steadily dropping ever since. By 2015, it was down to just 19 percent. The

He is, however, picturesque. The colors of the Coors Light can are an almost perfect match for the streaks of silver-white in his beard, the blue of his shirt, and the red of the baseball cap, now hanging from one rail of his rocking chair. He looks like something that Norman Rockwell might have painted if he woke up in a really pissy mood.

Yeah, his being your friendly neighborhood drug lord, pimp, and enforcer really fit in with the Norman Rockwell routine. Totally.

Rockwell once said, 'The commonplaces of America are to me the richest subjects in art.' His paintings depict the dignity of everyday people, like the books of Charles Dickens, who in many ways was like Rockwell, appreciated by the masses in his lifetime, but not until after death by critics, and they were both the most fabulous storytellers....