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In 1953, in his Arlington, Vermont studio, Rockwell began a work that he hoped would capture the spirit of the United Nations. He created a highly finished charcoal sketch, but never felt that the picture fulfilled his intentions, citing that it was “not because I lost faith in the UN, but because I had lost confidence in my ability to express what I had wanted to say in the picture.”
Ten years later in another studio, this time in Stockbridge, Massachusetts, Rockwell began work on the "Golden Rule," which would be published on the cover of "The Saturday Evening Post". After sketching out his ideas, Rockwell recalled his earlier United Nations study: “I remembered that down in the cellar of my studio was the ten-foot-long charcoal drawing of my United Nations picture…..In it I had tried to depict all the peoples of the world gathered together. That was just what I had wanted to express about the 'Golden Rule.'”
Coincidentally, a mosaic of Rockwell's "Golden Rule" currently appears... where else... at the United Nations headquarters in New York City:
http://www.un.org/Pubs/CyberSchoolBus/untour/subnor.htm
Channels: American ArtConservationIllustrationPaper
Artists: Norman Rockwell
Themes: Materials and ProcessObjects
This video was created for Norman Rockwell Museum's new exhibition "Conserving Norman Rockwell's 'United Nations,'" which examines the process of restoring one of Rockwell's important charcoal studies. Leslie Paisley, Conservator of Paper Department Head at Williamstown Art Conservation Center, takes viewers through the process of treating a fragile work on paper through such means as aqueous water technique-- viewers, don't try this at home!
The exhibition "Conserving Norman Rockwell's 'United Nations'" explore the intricacies of art conservation, from initial evaluation to complete restoration. A step-by-step investigation to the Williamstown Art Conservation Centers methods of conserving Norman Rockwells large-scale symbolic portrayal of the United Nations and the peoples of the world will offer insights into a rarely seen but essential preservation process. On view starting May 2, 2009.
Video produced by Jeremy Clowe. ©2009 Norman Rockwell Museum. All rights reserved.
Thank you for your very descriptive video...I have had to restore several of my works which had rubber cement as an adhesive with a cardboard back (was done in the 60's)your process verifies what I was trying to do.
I had trouble with yellow discolouration and used ether, alternately with acetone but have concerns about future discolouration. Any suggestions?
Also am not sure how you re-line a work on paper and canvas. I have several large drawings on newsprint which are quite fragile and a few paintings with fragile areas.
Thanks again it was fun to see your process and the integrity of your work<>Dianne Bigelow
Hi Rita,
Thanks for your kind words regarding the video- it was fun to put together.
As far as purchasing original Rockwell lithographs, I would try contacting the Norman Rockwell Museum store: 413.298.4100, ext 224- they sell original artist proofs, which might interest you; they could also direct you to other authentic sources. Best, NRM
how can i learn more about purchasing a real norman lithograph, vs. a fake one? my husband loves norman rockwell work, but we were fooled before paying as much as $1,500 for "the boy 0on stilts" . we were told it was an original lithograph, and learned it was a fake reproduction, thank you, Rita Woidislawsky I ENJOYED THE VIDEO
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