Norman Rockwell 1894-1978

Norman Rockwell is considered one of the most important visual communicators of the twentieth century and his imagery, most notably in the form of illustrations for the Saturday Evening Post, was rooted in the idealization of American life.  In the 1970s, the Franklin Mint was an organization devoted to producing collectibles reflective of icons and ideals of American culture, that could be disseminated to the masses.    The partnership that would form between Rockwell and The Franklin Mint at this time represented a union fundamentally committed to promulgating American idealism.

Spirit of America was one of two paintings commissioned by the Franklin Mint for a limited edition print to be given to members of the Collector's Society.  The painting captures a diverse demographic of both age and race across a large horizontal expanse of canvas that includes a self-portrait of the artist and his wife against the background of a brilliant American flag flying boldly and unfailingly.

According to Ned Rifkin, “Rockwell’s pictures often honored the American spirit.  Particularly during times of crisis, Rockwell created images that communicated patriotism and unquestioned allegiance to the United States.  Rockwell’s stories promoted American values such as industriousness, fair play, and decency…The images served to build consensus and to boost American confidence in a period of rapid growth and changing mores” (Norman Rockwell: A New Viewpoint, New York, 1999, p. 54)  Rockwell, as a skilled storyteller, created images which were both accessible and profound.  Laurie Norton Moffatt writes, “Whether it is the proud strength of Rosie the Riveter, the democratic principles in The Four Freedoms, the injustice of bigotry in The Problem We All Live With, or the hopes and struggles of growing up in Girl at Mirror, Rockwell’s paintings powerfully portray the universal truths, aspirations and foibles of humanity.  His work is part of the fabric of America, and at its best it reflects our most fundamental beliefs about who we are as a people” (The People’s Painter, Stockbridge, Massachusetts, 1999, p. 27)