select a cover to learn more:















Saying Grace
November 24, 1951

This is one of Rockwell's most well-known Post
covers. The image is set in a railroad-station
cafeteria in Philadelphia. Rockwell intends to
relay a message here to the viwer. Despite the
cheap and common food, the Grandmother and young
boy are thanking God for their meal. A viewer can
tell that the two older boys, as well as others,
are interested in these actions. Rockwell's concept
of being grateful for what you have is clearly
depicted here. Interestingly enough, Rockwell
painted his eldest son, Jerry, into the picture.
He sits at the table with his back to the window.

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Girl At The Mirror
March 6, 1954

This Post cover perfectly captures a young
girl reaching womanhood. She sits in front
of the mirror with her doll cast to the side.
Her interests are instead focused on the
movie star's picture in her magazine. The
impact of Hollywood is clearly shown here.
The girl attempts to fashion herself after
the movie star in her lap, yearning to be
like the stars on TV.

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Breaking Home Ties
September 25, 1954

Here, Rockwell has created a moving piece. The
father sits slouched, worn and tired. The son,
however, is tidy in his new suit, sitting erect
on the runner of the old truck. The boy holds
his lunch, most likely prepared by his mother,
who is not present. The image clearly portrays
the twentieth century and the growing value of
education in American society.

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Marriage License
June 11, 1955

The lighting in this piece illuminates the couple
signing the marriage license. Everything else in the
scene seems to fall into shadows, as if unimportant.
The husband-to-be affectionately holds the woman as
she signs the papers. Rockwell has left the couple
in the light to purposely portray their youth. Couples
were marrying young, and once again, Rockwell has
painted people of the times.

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Before and After
November 8, 1958

When Rockwell was requested to paint a cover
illustrating election day in 1958, he focused
on local politician Casey. Here, the viewer
can see the look of shock on Casey's face,
probably a result of defeat as the pad on the
floor suggests. Casey has been well-beaten,
and Rockwell has clearly developed the look
of shock and exhaustion on the character's
face. The people file into the side room to
cast their votes. Rockwell has illustrated a
defeated candidate, a direct result of our
right to vote.  

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