In December 2013, one of Norman Rockwell’s best loved paintings, Saying Grace, sold in auction for a record $45 million.
Until then, the highest price ever paid for an American painting was $27.7 million, the 1999 selling price for George Bellows’ “Polo Crowd.” Rockwell’s own previous auction record was $15.4 million for “Breaking Home Ties”, which sold in 2006.
Saying Grace was first published as the cover art on the Saturday Evening Post on November 24, 1951. It was characteristic of Rockwell’s works: complex, layered with details which only gradually reveal their story—like the umbrellas and grey-streaked window which hint at a dreary rain, and the other customers standing in the crowded restaurant, lending a sense of movement.
But more than that, Rockwell’s paintings are rife with meaning.
Look closely at Freedom of Speech, one of Rockwell’s Four Freedoms paintings which were based on President Franklin D. Roosevelt’s 1941 State of the Union address. The man’s ear—isn’t it abnormally large? It is, and it’s through this small detail that Rockwell conveys his appeciation for the rights accorded in America, in this case the right to speak freely in the public forum.
In Rockwell’s Self-Portrait, he adds a touch of self-effacing humor. On a trip to Europe, Rockwell had hoped to find a historical treasure; so when he encountered a vendor selling what appeared to be an original centurion’s helmet, he was excited by his find. Only later did he learn that his prize was actually a cheap tourist souvenir, not a priceless artifact. Rockwell kept the helmet on his easel as a reminder, lest he ever take himself too seriously; and there it remains to this day in his Stockbridge studio.
Saying Grace is one of Rockwell’s best loved works. The winsome grandmother with her young grandson, heads bowed in simple prayer, are in sharp contrast with the hardened youths who share their table; but the young men, who perhaps have never seen such an unabashed expression of devotion, are not offended. Rather, the youths seem curious, attracted to these people, the grandmother and the child, whose staunch hometown values include a strong faith lived with assurance. If this is the young men’s first encounter with Christians, one hopes that they meet others who can further confound them, touching their hearts and stirring in them the desire to know more.
In The Everlasting Man, G.K. Chesterton wrote that “a young man who is serious about his atheism cannot be too careful about what he reads.” One might add, he cannot be too careful about with whom he sits at dinner.
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Our family enjoyed Rockwell’s art when our children were growing up. We visited his studios in Stockbridge, Massachusetts, and we had a number of picture books showcasing his work. One which still claims a place of honor on my bookshelf is Norman Rockwell’s FAITH of AMERICA, a hard-cover picture book which features many of Rockwell’s religious paintings and some which reveal truths about the society in which we live. Author Fred Bauer provided a profile of the artist, and explained how Rockwell had depicted Americans’ faith in our friends and neighbors, our loved ones, our traditions, our country, our God and ourselves. It was originally published in 1980, but it’s still available on Amazon.
Check out his magazine cover art, mostly for the Saturday Evening Post, in Norman Rockwell: 332 Magazine Covers.
And a favorite for younger children was Norman Rockwell’s Counting Book.