The 'Problem We All Live With' was based on Ruby Bridges

Norman Rockwell had a 21st-century resurgence

For decades, he was written off by the art world as a simplistic commercial artist, but critics began to reconsider Rockwell's work many years after his death. Arguably, the height of that resurgence came in 2011, when President Barack Obama hung "The Problem We All Live With" (on loan from the Norman Rockwell Museum) in the White House to mark the 50th anniversary of Ruby Bridges' desegregation walk.

Rockwell's 'Rosie the Riveter' alludes to Michelangelo's Sistine Chapel

Norman Rockwell's 1943 painting was intended to show the strength of female contributions to the American war effort and used the character of Rosie the Riveter, popularized in a 1942 song, to represent that. Although Rockwell used a model for the portrait, he made the woman larger on the canvas to parallel Michelangelo's painting of the Prophet Isaiah on the ceiling of the Sistine Chapel.

Rockwell's 'Murder in Mississippi (Southern Justice)' was a response to real events

The 1965 painting was inspired by the 1964 murders of three men—James Chaney, Andrew Goodman, and Michael Schwerner. The men were affiliated with the Council on Racial Equity and killed by the Ku Klux Klan in Philadelphia, Mississippi. The painting accompanied an article about the inequities of the justice system, which is why its title often includes the parenthetical "(Southern Justice)."

Rockwell based many of his paintings on staged photographs

Rockwell’s work was often noted for its realism. His paintings' near-photographic precision was no accident. Early in his career, he painted from live models. Later, he’d conceived a scene, staged it, photographed it, and then used the photos as the foundation for his paintings.

See a massive collection of Norman Rockwell's paintings

Rockwell's works sought to capture authentic scenes from American life and, in the process, came to define the American ideal. This collection includes 244 of his paintings, from his early days at the Saturday Evening Post through his more socially minded work for Look, to the end of his career. Below is 1951's "Saying Grace."

Rockwell worked with psychoanalyst Erik Erikson

In 1953, the painter and his family moved to Stockbridge, Massachusetts, to be closer to the Austen Riggs Center, where his wife was undergoing treatment for alcoholism and depression. Rockwell began treatment, too, working with Erikson—famous for coining the term “identity crisis”—on his anxieties about his art.

Charles Dickens' novels inspired a young Norman Rockwell

Rockwell is considered a narrative painter who tells stories through his portraits of everyday Americans. The interest in using images to tell stories began at a young age, when his father read Dickens aloud to him while the young Norman illustrated the books’ scenes.

Rockwell's 'Saying Grace' sold for $46M in 2013

The 1951 painting is classic Rockwell: an image designed for the cover of the Saturday Evening Post featuring a humble American family engaging in a traditional value. To date, it's the highest-grossing work in Rockwell's catalog. Its buyer? "Star Wars" director George Lucas.

Aaron Douglas' art defined the visual aesthetic of the Harlem Renaissance

Douglas learned about Harlem's cultural scene while teaching high school in Kansas City and was eventually recruited to New York by Charles S. Johnson, the editor of the National Urban League's periodical. Soon, Douglas was illustrating periodicals and books affiliated with the movement. In 1934, the Works Progress Administration commissioned him to paint the "Aspects of Negro Life" murals. One of those murals, "Song of the Towers," pictured below, portrays Black life during the Harlem Renaissance.

Rockwell's 'Four Freedoms' raised millions for the US war effort

Rockwell initially pitched the "Four Freedoms" project to the US Ordnance Department, but was rejected. Rockwell's editor at the Saturday Evening Post, however, loved the idea and published the images across four consecutive issues. After they became a sensation, the Saturday Evening Post partnered with the US Department of the Treasury to send the paintings on a 16-date national tour, which raised $133M in war bonds and stamps. Meanwhile, the Office of War Information printed four million sets of the posters with "Buy War Bonds" emblazoned on them.

FDR inspired Rockwell's 'Four Freedoms'

In his 1941 State of the Union speech, President Franklin Delano Roosevelt defined "Four Freedoms" that democratic societies provided: freedom of speech, freedom of worship, freedom from want, and freedom from fear. Rockwell conceived of a series of paintings based on those values, using his small-town examples of the principles in action. Below is "Freedom From Want."

Rockwell left the Saturday Evening Post and began creating more politically charged work

Rockwell left the magazine in 1963 and joined Look magazine, where he began depicting a more complex America than he had at the Post. His work at Look dealt with racial segregation and violence, and often made unambiguous statements about real events.

Rockwell left high school to become an artist

He began taking art classes at 14, while still in high school, but by 1910, he left traditional schooling to focus on his training at the National Academy of Design. He transferred to the Art Students League soon after to study under Thomas Fogarty, who taught him the particulars of commercial illustration, and George Bridgman, who was known for anatomically precise portraits.

Norman Rockwell considered himself an 'illustrator' rather than a 'painter.'

Hughes’ ‘Harlem’ inspired Lorraine Hansberry’s ‘A Raisin in the Sun’

Hughes' 11-line poem from “Montage of a Dream Deferred” is one of the most recognizable verses in American literature. Part of that is due to its legacy as the inspiration for the title of Lorraine Hansberry’s landmark 1959 play “A Raisin in the Sun,” the first show written by a Black woman to appear on Broadway.

Langston Hughes wrote several children's books

Later in his career, the “Poet Laureate of Harlem” branched out into children’s literature, releasing a series of “First Book” titles (“The First Book of Rhythms,” “The First Book of Jazz”) as well as some that helped young Black children cope with racism, like 1969’s “Black Misery.”

Rockwell's first full-time magazine job was for Boys' Life

After graduating from the Art Students League of New York, Rockwell found work illustrating for Boys’ Life, the magazine of the Boy Scouts of America. He went on to create images for over 50 magazine covers and to design the organization’s annual calendars.

David Bowie tried to hire Norman Rockwell for the cover of 'Young Americans'

The Thin White Duke thought the iconic artist, known for his classic Americana, would be the perfect artist for his campy 1975 album, “Young Americans.” Bowie called the Rockwell residence and made the request, but was told that Rockwell would need around six months to complete the painting, which Bowie felt was too long.

In the 1920s, Rockwell worked as a commercial illustrator

After getting his start at Boys’ Life, Rockwell began illustrating advertisements for products like Jell-O and Orange Crush. Below is one of Rockwell’s advertisements for Jell-O, from 1923.

Jazz provided a soundtrack for the Civil Rights Movement

Songs like Billie Holiday's "Strange Fruit," which portrayed the grim brutality of lynching, and John Coltrane's "Alabama," which was modeled on the rhythm of a speech by Martin Luther King Jr., were the backbeat of the movement.

Norman Rockwell was sometimes confused with another Rockwell, who was a notorious Nazi

George Lincoln Rockwell was the founder of the American Nazi Party and had no relation to Norman Rockwell, the beloved American painter. But that didn't stop people from confusing the two or suggesting that they were family members. It was something that Norman Rockwell's granddaughter said had greatly disturbed the painter.

Rockwell helped define the American Christmas

Rockwell painted 30 Christmas covers for the Saturday Evening Post. Drawing on his love of Charles Dickens’ “A Christmas Carol,” Rockwell placed the holiday’s unofficial traditions in an American context, with images of eager children, snow-covered small towns, and warm family meals.

Many critics dismissed Norman Rockwell as overly sentimental

The painter’s portraits of American life were often dismissed as commercially minded, banal, or kitschy, especially when compared with the more abstract art of the time. Rockwell, however, was undeterred, commenting that he wanted to produce work that would make viewers “want to sigh and smile at the same time.”

A stolen Norman Rockwell painting was found in Stephen Spielberg's collection

In 1989, the famed director purchased "Russian Schoolroom" from a legitimate dealer. He remained unaware that it was looted years prior from a gallery in Missouri until his staff spotted the painting on an FBI list of stolen works of art. In 2007, the FBI confirmed its authenticity.

Rockwell's Saturday Evening Post created an idealized American life

The Saturday Evening Post’s circulation exploded in the early 20th century, due in no small part to Rockwell’s iconic cover illustrations, which often portrayed idyllic portraits of American life from the not-so-distant past. This documentary explores how Rockwell’s covers played on national nostalgia, creating a vision of the country that grew to be associated with the American Dream.

'The Negro Speaks of Rivers’ introduced a teenage Hughes to the literary world

While traveling to Mexico to visit his father, Hughes began scrawling “The Negro Speaks of Rivers” as he crossed the Mississippi River, using the river as a metaphor for the Black experience. The poem was published in 1921 in the Crisis, an NAACP magazine edited by WEB DuBois, kickstarting Hughes’ literary career.

Truth was the first Black woman honored with a bust in the US Capitol

Getting Truth's bust into the Capitol took a decade of campaigning by the National Congress of Black Women. The legislation was sponsored by Rep. Sheila Jackson Lee and then-Sen. Hillary Clinton and signed into law by President George W. Bush in 2006.

Augusta Savage's masterpiece was destroyed after a limited exhibition

"Life Every Voice and Sing," sometimes called "The Harp," debuted at the 1939 New York World's Fair. Based on the James Weldon Johnson poem (and eventual unofficial Black national anthem) of the same name, the massive, 16-foot-tall sculpture depicted a kneeling Black man holding a bar of music in front of 12 chorus singers. After the fair ended in 1940, Savage was unable to pay to preserve it, so it was destroyed.

Eleanor Roosevelt's 1941 flight with a Black pilot helped legitimize the Tuskegee Airmen program

During a 1941 visit to the Tuskegee Institute, Roosevelt ignored protests from her Secret Service detail and flew for an hour over Alabama with chief instructor Charles Alfred Anderson. Photos of the flight were shared nationwide and helped advance the case for Black pilots in combat.

How one Texas Western team changed college hoops

Texas Western, featuring college basketball's first all-Black starting five, stunned No. 1 Kentucky in 1966. Coach Don Haskins shrugged off the issue of race, but he received 40,000 pieces of hate mail after the game. This in-depth history relives the Miners' speed-driven triumph, their snub from Ed Sullivan, and a quiet revolution that sparked integration across the South's courts.

Norman Rockwell's 'Freedom of Speech' has become an internet meme

The famous painting, which portrays a man in work clothes speaking up in a crowd of men in suits, has become a companion image for internet users posting unpopular or controversial opinions. (Some users may experience a paywall.)

​​Augusta Savage's sculptures emphasized realistic Black figures

The artist became known for her realistic busts of prominent Black figures, like WEB DuBois and Marcus Garvey, which emphasized their natural features, a stark contrast to stereotypical depictions of Black people in popular culture. Below is "Gamin," Savage's 1929 sculpture of her nephew.

'Blowin' in the Wind' became a rallying cry for the Civil Rights Movement

The song is based on a spiritual titled "Many Thousand Gone," whose melody Dylan reworked. The result was popularized by the folk trio Peter, Paul, and Mary and from there became an anthem for the growing Civil Rights Movement, culminating in Dylan's appearance at the March on Washington.

Langston Hughes performed with Muddy Waters at the Newport Jazz Fest

Hughes became involved with the Rhode Island music festival in 1956, sensing an opportunity to introduce the predominantly white audience to Black culture. In 1960, he helped book Muddy Waters for a blues session that featured the music alongside Hughes' poetic explanation of its history. The final song of the set, "Goodbye Newport Blues," found Waters' pianist singing lyrics Hughes had written earlier that day.

Read Langston Hughes’ most famous poems

The writer is considered one of the most important voices in American verse, noted for his use of authentic vernacular, vivid imagery, and jazz-inspired rhythm in poems such as “Harlem,” “I, Too,” and “The Weary Blues.

‘A Raisin in the Sun’ made history in 1959

The play was the first on Broadway written by a Black woman. Lorraine Hansberry, the playwright, was 29 when it debuted at the Ethel Barrymore Theatre on March 11, 1959.

Check out a list of the 100 best artworks about America, including Norman Rockwell, Jasper Johns, and many more.

In 1956, Althea Gibson became the first Black Grand Slam champion

From 1944 to 1956, Althea Gibson dominated the American Tennis Association circuit, all while Jim Crow laws denied her entry into tournaments or even a hotel room like her fellow white competitors. This Wimbledon video shows her experience becoming the first Black woman to play the tournament in 1951, and meeting Queen Elizabeth II in 1957 when she won.

The Martha Graham Dance Company was the first integrated Broadway dance company

In 1951, Graham hired Mary Hinkson and Mattie Tierney, two Black dancers who started in the company's dance corps and eventually took on lead roles in productions. The move broke color barriers that were the norm for the time.

Nina Simone's childhood home was preserved in 2017

Four visual artists purchased the home in Troy, North Carolina, in 2017 to preserve it as an arts space. The house is where Simone, a jazz legend and a member of the Rock and Roll Hall of Fame, learned to play piano.

Roosevelt resigned from a prominent women's organization after it barred a Black singer from performing

When the Daughters of the American Revolution refused to allow Marian Anderson to perform at their Washington hall in 1939 because she was Black, Roosevelt publicly cut ties with the group. She worked to arrange an alternative outdoor concert for Anderson at the Lincoln Memorial, which drew a crowd of 75,000.

After public schools were integrated, segregation found a home in private schools

The 1954 Brown v. Board of Education ruling banned segregation in public schools, but it didn’t eliminate the problem: Many white families moved to “segregation academies,” which were private schools founded to skirt the new law

Watch the 1956 jukebox musical movie, 'Rock, Rock, Rock!,' an early rock 'n' roll artifact featuring Chuck Berry, Frankie Lymon, and others.

Hughes' 'Black Nativity' reworked the Christmas story through jazz improvisation

Although he’s primarily known as a poet, Langston Hughes was also a popular playwright. One of his most inventive works is the 1961 stage show “Black Nativity,” which told the story of Christ’s birth with an all-Black cast. Hughes’ original script encourages improvisation, calling on his love of jazz, and includes 27 songs.

Langston Hughes wrote a foundational text for the Harlem Renaissance

Although the 1920s artistic movement lacked formal leaders, Hughes' 1926 essay "The Negro Artist and the Racial Mountain" established him as one of its figureheads. Hughes' piece argues that Black artists should not be ashamed of their race; instead, they should embrace it, while simultaneously pursuing their own individual artistic visions.

The time Bob Dylan was accused of plagiarizing ‘Blowin’ in the Wind’

“Blowin’ in the Wind” is a defining song of the Civil Rights Movement, one that Dylan openly acknowledged was based on a traditional African spiritual. But when Newsweek accused Dylan of stealing the song in 1963, they weren’t talking about influence. They suggested he’d jacked the tune from a helpless high school student. This article breaks down the falsehood and why it was given so much attention while Dylan was becoming a household name.

Claude McKay's poem 'If We Must Die' criticized racial violence

The poem, a Shakespearean sonnet, is a critique of the violence that Black Americans faced at home in America. It was written in the summer of 1919, also known as "Red Summer," when several white supremacist attacks and race riots broke out across the country.

Novelist Jean Toomer was uncomfortable with the term 'Negro writer'

Toomer's modernist novel "Cane" is, among critics, one of the great works of the Harlem Renaissance. Toomer, however, was uncomfortable with his work being labeled as "Negro," including in Alain Locke's movement-defining collection "The New Negro." He found the title both reductive and inaccurate: He was mixed-race, telling writer Claude McKay that he was "French, Dutch, Welsh, Negro, German, Jewish and Indian," and preferred to be considered "American."

Dorothea Lange's iconic 'Migrant Mother' photo was just one image of many she captured of the woman with her children.

Cassatt painted more than just mothers and daughters

In one 1884 portrait, she captured her brother, Alexander Cassatt, and her nephew during a family holiday. The image is just as tender as her paintings of mothers and daughters, with the father and son—their faces near mirror images—in an intimate embrace.