Blondie: The Story behind Norman Rockwell’s Thanksgiving

Rockwell Thanksgiving
November23/ 2017


Nov 23, 2017


Norman Rockwell’s  THANKSGIVING DINNER Picture

***Blondie alone

Interesting history here. It’s always a struggle and many are never content to just enjoy and appreciate.

But I do! Hope you have a nice day!


The Story Behind Norman Rockwell’s ‘Thanksgiving Picture’

Michael Patrick Leahy23 Nov 2017 BREITBART

Norman Rockwell’s “Thanksgiving Picture” is one of the most iconic images ever created of American life.

First published in the March 6, 1943 weekly edition of The Saturday Evening Post, Rockwell worried that the presentation of such a large turkey at the center of the bountiful and happy feast back home might cause unhappiness among the American troops fighting in Europe, North Africa, and the Pacific at a time when the tide of the war had not yet turned. It was still more than a year before the successful D-Day invasion on the beaches of Normandy June 6, 1944.

Among the troops, the reaction was largely the opposite of what Rockwell feared.

In fact, the alternate name given the picture, “I’ll Be Home for Christmas,” bespoke the optimism it engendered among American soldiers and sailors serving in far off lands. It offered them a reminder of what they were fighting for, and gave them a future to which they sought to return.

How the picture has come to be seen over time has obscured some of the controversy that surrounded its creation.

On January 6, 1941–a full 11 months before the Japanese attack on Pearl Harbor and America entering World War II–President Franklin D. Roosevelt delivered his most famous State of the Union address to Congress.

The address was labeled “The Four Freedoms Speech,” and in it Roosevelt outlined four freedoms he argued were the universal rights of everyone in the world, not just American citizens:

1. Freedom of speech
2. Freedom of worship
3. Freedom from want
4. Freedom from fear

Roosevelt had just been elected to an unprecedented third term as president and was looking for political support for the Lend-Lease bill he was about to introduce to Congress, whose purpose was to finance the construction of armaments and war material that could be shipped to Great Britain, which had been engaged in a deadly war of survival with Nazi Germany since the fall of 1939.

The first two freedoms — freedom of speech and freedom of worship — were not controversial at all, as they were embodied within the First Amendment of the Constitution.

The second two freedoms, however, included a crucial change in the preposition used — “of” became “from” — and asserted rights for everyone in the world that are not found in the Constitution — freedom from want and freedom from fear.

To New Dealers, the addition of these two new freedoms — scholars refer to them as “positive liberties” as opposed the more familiar Constitutional “negative liberties”– represented a logical extension of the social welfare state.

To conservative critics–then and now–the addition of these two positive liberties in Roosevelt’s assertion of universal rights represented a dangerous embrace of Statism and an abandonment of individual responsibility.

In the 1940s, The Saturday Evening Post, published weekly, was the most widely read and popular magazine in the United States. Norman Rockwell’s art had been a defining feature of the publication since his work first graced its cover in 1916. Over the next 50 years, Rockwell’s work was on the cover of the magazine 300 different times.

After the United States entered World War II in December, 1941, the management and owners of The Post felt it was paramount that the populace support the war effort, both politically and financially, despite their general opposition to Roosevelt’s New Deal.

To encourage that support, in 1942 they commissioned their star artist, Rockwell, to create four magazine covers that could communicate the meaning of President Roosevelt’s Four Freedoms, resonate with the American people, and bolster their support for the war effort.

Rockwell labored seven months to create the four iconic covers, which ran in four consecutive weeks of the Post’s editions published from February to March 1943.

Each cover was accompanied by an essay.


The Norman Rockwell Museum is located in Stockbridge, Massachusetts, and is open to the public seven days a week, year round


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