NORMAN ROCKWELL

 

 Tom Sawyer Whitewashing the Fence
lithograph - 1936 - detail

 NORMAN ROCKWELL

                                         From: John Gandour at ‎Today's Inspiration Group

 

From an exhibition organized by the Norman Rockwell Museum :

  

In 1935, George Macy, the publisher of the Heritage Press and Limited Editions Club books, invited Norman Rockwell to illustrate Mark Twain’s The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn. Rockwell visited Hannibal, Missouri, Twain’s boyhood town, to find authentic details to include in his work. Twain’s vivid descriptions of character, setting and mood were an inspiration to the illustrator, who considered each of the writer’s scenes to be “complete and perfect to the last detail.”

Chuck Jones

 

What's Opera, Doc?

 Chuck Jones

 

  From: http://animationresources.org/

 

Chuck Jones shows how to draw Bugs Bunny

Saul Tepper

Carousel by Fannie Hurst Cosmopolitan Oct 1929

Saul Tepper

 

Title:  Untitled

Category:  Illustration
Medium:  Other
Signature:  Lower Left
Size:  28" x 40"
Style:  Illustration
Subject:  American Scene/Regionalism
Created:  1929

Seller's Notes/Description:  Carousel by Fannie Hurst Cosmopolitan Oct 1929 Won the Harvard Award in 1929; Newspaper Award in 1936 and was elected to the Society of Illustrations Hall of Fame in 1980.

 

artnet.com

Charles Edward Chambers

(American, 1883–1941)

Untitled (story illustration)

oil on canvas

24 x 16 in. (61 x 40.6 cm.)

Arthur W. Brown

 

 "The Best People" Redbook, 1943

 Arthur W. Brown

 

David Clemons‎ Today's Inspiration Group

Gilbert Stuart

            Oil and egg mixture on blue laid paper on canvas, 47.6 x 47.6 cm (18 3/4 x 18 3/4 in.)

Gilbert Stuart

           One can only accurately discern a persons visual characteristics though careful study of the profile. Guess who this famous American is before reading further, for the answer.

 

 harvardartmuseums.

Gallery Text

Few American paintings demonstrate the early nineteenth- century fascination with the ancient world as powerfully as this profile portrait. Stuart modeled it directly on the imagery of ancient Greek and Roman coins, medallions, and marble relief sculptures. The third president was certainly familiar with such classical sources. After sitting for the portrait in Washington, he thanked Stuart for “taking the head ‘à la antique.’”
Jefferson, one of the chief proponents of the neoclassical style in America, was particularly enamored of the profile format. Stuart’s painting was the fourth in a series of profile portraits that the president had commissioned for display at Monticello, his home in Virginia. Stuart was less familiar with this style of likeness; the portrait is unique in his oeuvre, which largely consists of half-length portraits in oil.

Identification and Creation

Object Number

1960.156

People

Gilbert Stuart, American (North Kingstown, RI 1755 - 1828 Boston, MA)

Title

Thomas Jefferson (1743-1826) (The Medallion Portrait)

Classification

Paintings

Work Type

painting

Date

1805

Places

Creation Place: North America, United States

Culture

American

Location

Level 2, Room 2240, European and American Art, 17th–19th century, The Arts in the Eighteenth–Century Atlantic World
View this object's location on our interactive map

Physical Descriptions

Medium

Oil and egg mixture on blue laid paper on canvas

Technique

Grisaille

Dimensions

47.6 x 47.6 cm (18 3/4 x 18 3/4 in.)
framed: 68 x 68.6 x 10.2 cm (26 3/4 x 27 x 4 in.)

Provenance

From the artist to the sitter, Thomas Jefferson, 1805; to daughter Martha Jefferson Randolph; to her daughter Ellen Wayles Randolph Coolidge; to her son Thomas Jefferson Coolidge; to his daughter Sarah Lawrence Coolidge Newbold; to his son Thomas Jefferson Newbold, Harvard class of 1910, 1917; to his wife, Mrs. Thomas Jefferson Newbold; her gift to the Fogg Art Museum, 1960.

 

Sabin Howard