Inhabit the Light-

 An Exhibit, a book and the poetics of Light- the work of Norman Rockwell- essay- Brian Keeler

To say that the current exhibit at the Norman Rockwell Museum in Stockbridge, MA  represents a turning point in history is certainly true (the onset of electric lights) but it is also a sublime presentation from which the viewer can muse about light.  In short, this collection is a wonderfully conceived theme, on light at the intersection of science and art- at the dawning of a new era. We can relate to the human element, the social aspects, spiritual revelations and the scientific breakthrough.  Taking the birth of the electric light as metaphor for illumination, enlightenment and aspirations is the take away gleaned from a marvelous collection titled "Ilustrators of Light- Rockwell, Wyeth and Parish- From the Edison Mazda Collection."   

We take having light for granted today- wherever and whenever we want it.  This exhibit shows works from accomplished illustrators at the dawn of the 20th century showing that interior lights and outdoor street lights were once new.  We may also pause to recall that most of the paintings in our museums today were created with natural light only. And those medieval and Renaissance churches and homes were usually dark. By contrast, the common scenes in this exhibit of interiors and outdoor nocturnes are brimming with beauty and the magic of many different kinds of lights.

Above- Norman Rockwell's genre scene of 1925 was done as an advertising illustration for Edison Mazda Lamps. It is also an homage to the work of Vermeer and other Dutch 17th century artists. See the link to the video tour and sketch by the author at the bottom.

"Above- the author's painting of a Luthier at work takes inspiration from the work of Vermeer as did Rockwell. A solitary figure at work in front of a window is part of the conceptual formulation of space and light.

Entering the Light-

The title of this essay, "Inhabit the Light" is from a book of poems that I just purchased,  titled,  "Inhabit the Poem."  This collection of essays by Helen Venler presents poems by famous poets with the authors' insights into  the meaning within and beyond the written word.   To live within a poetic landscape of the poet's world can be to further embrace the visual world of the painter. In these visual essays, we engage and enter the narrative of each illustration.  By extension we can take these paintings of various types of light as a metaphor for spiritual enlightenment.   We may think of other such art works that address spirituality specifically with light.  One that comes to mind is the 17th century painting by the French artist Georges de Latour of the woman holding her hand in front of a candle.  It is a highly evocative work done in the dark tenebrism of baroque paintings of the era.

The show in one room of the Norman Rockwell Museum presents works done as illustrations that present the warmth and wonder of electric lighting for the Edison Mazda Lamps, a division of General Electric.  So, we keep in mind that these paintings were done to serve a client with a specific agenda.  Still, as promotions they rise way above the commercial intention and each work is a unique expression that certainly sidesteps any inkling of propaganda.   It has been said, the difference between fine art and illustration is the motivation and the goal.  We assume that fine art is addressing something personal or societal whereas the illustration is merely at the service of patron's needs.

The clarification with light and the coalescing of concepts into a visual poem is part of the rewards of appreciating the work of these illustrators. Their process of taking an art director's mandate and assignment into a visually coherent theme is shown here with remarkable examples. The research, study and final coalescing into an image that we can "inhabit" and muse upon is part of the magic. Rockwell has some humorous takes on the frustrations and challenges of this process and struggle. Showing an artist in front of nearly blank canvas is one such piece- but not part of this show.

And like many people of my generation we grew up with Rockwell. One section of my father's studio wall had dozens of Saturday Evening Post covers stapled up. And one of the earliest art books I had was a large volume of Rockwell's work. So a visit to this museum is delightful in many ways.

Above- Nocturnes like this one by Rockwell employ outdoor electric lighting  and warm interior lights. This work from 1920 is titled, "And Symbol of Welcome is Light- Guests Arriving at a Party.)

For the General Electric Company their motivation seems to be a beneficial one- to promote the use of electric lights and to show the life-enhancing aspects of electric lights. These new light bulbs provided a bright and more even light than candles or oil lamps and they lasted longer.  So, activities like reading and domestic chores as well as commercial and industrial jobs could be made more efficient. 

The name Ahura Mazda is the mythical Pesian God associated with wisdom and light- hence the name of the subsidary company of G.E. that sponsored these ilustrations. So we see the thinking behind G.E. naming their subsidary company "Mazda." Some of my generation know Ahura as the lone black woman in the original Star Trek.  Anyway, the naming of this division of General Electric seems prescient and certainly ties in with this exhibit and this essay as it underscores the message of light being a symbol of revelation if not wisdom.  These illustrations were viewed by millions in the Saturday Evening Post, The Ladies Home Journal and as calendars.

The painting that caught my interest for an extended period of time was an interior scene with a woman posing in a kitchen while lighting an oil lamp. The concept, pose, lighting and geometry of composition are reminiscent of the work of Pieter de Hooch, Vermeer, Metsu  and Gerard ter Borch.   It is more than just reminiscent- it is evident that Rockwell truly understood the lessons of Vermeer and these other Dutch Golden era genre painters.  I sketched from this work to appreciate the intervals and light.  The divisions of space in the composition are an homage to the geometry of the Dutch artists.  The title of this work from 1925 shows the agenda of General Electric,  "But You'll Have Light at the Touch of a Finger."  The idea, of course, is to suggest the ease of electric light usage.  Still this quiet domestic activity seems not a drudgery and it recalls Vermeer's "Geographer."  It had relevance to me as I did a painting of a Luthier with same type of light and concept.

There were many memorable works in the show. One showed two sweethearts from the back sitting on a couch with a lamp wonderfully painted and occupying most of the canvas.  A daring and effective composition.  Another masterwork was a painting by Dean Cromwell that showed Thomas Edison in his laboratory in Menlo Park, NJ with assistants around him as the first light bulb was activated. It is truly a masterpiece of figurative art that captures a special moment in history- when light became available at a new level.

Above- An illustration my Maxfield Parrish in the exhibit at the Rockwell Museum.

"Incadescent!" is the way the show is described by an Article in American Fine Art Magazine, Here's a quote:

The museum’s chief curator, Stephanie Plunkett comments, “Knowing that his work would be in the company of successful illustrators like Maxfield Parrish, N.C. Wyeth, and Dean Cornwell, among others, Rockwell was challenged to do his absolute best.

In the day of smart phones, the internet and AI, it’s difficult to imagine the impact of electricity and the light bulb. Edison Mazda patented their version of the tungsten bulb in 1906 and strove to replace carbon filament bulbs with a brighter, more dependable product. The 1920 campaign promoted the company’s new tungsten filament light bulbs. 

Above- This painting by Dean Cromwell shows Thomas Edison in his workshop as the first tungsten filament light bulb was lit up. The culmination of a long period of work and determination is illustrated here- with global signifcance. Edison is supposed to have said that his process was 10 percent inspiration and 90 percent perspiration.

To show an ancient aspect of illumination there is an amazing figure painting by N.C. Wyeth of Greek athletes running with torches in an amphitheatre with spectators.  We appreciate through Wyeth how he orchestrated this composition probably from imagination.  The painting also contrasts the 20th century light bulb to fire.

In the adjacent gallery there is a very moving and profoundly pertinent exhibit focused on a series Rockwell did called the Four Freedoms.  We segue from the purely aesthetic and spiritual into the topical, political and social issues that are at times fractious yet fundamental to American life. These canvases are not related to light directly but addressing the important American and Ancient concepts of democracy and virtue.   As our country is currently undergoing a tragic assault on democracy and freedom of speech, these topics are certainly a central part of the 21st century. This group of paintings is just as relevant today as it was in the 1960's.  Further, it shows Rockwell to be a painter of great depth, conviction and skill.   He is sometimes disparaged as a mere illustrator or worse.  Clement Greenburg, the 20th century art critic, referred to Rockwell as the King of Kitsch.  And in a scene from Woody Allen's movie Annie Hall, Allen wryly quips to Diane Keaton that she comes from a Norman Rockwell Painting.  The implication that she is a bit too much buttermilk and pancakes -kind of too wholesome.

These jabs are undercut and rendered as a fascile view of Rockwell, as we see his painting depicting the consequences of hatreds and divisions with racial slurs scrawled on a wall as a young black girl is escorted to her classroom.  Where is this idealism expressed in these Rockwell canvases in America today?  Instead we have leaders who traffic in racism, ugly stereotypes and a populace that applauds. Rockwell's painting of people from various cultures cohabitating would not pass the muster of Trump's ministers of culture wars.  It is much too diverse and shows too many non- Christian and non-white people- i.e. it is too DEI for the MAGA crowd today.   The paiting in the museum referenced here is "The Golden Rule" - which is now in the United Nations. And we need to recall the president's recent speech where he denigrated and rebuked the United Nations.

Above- Rockwell's painting of the "Golden Rule" shown above is too "DEI" to be acceptable to today's cultural ministers of Trump and MAGA.

Above- "Freedom of Speech" a painting by Rockwell has as much relevance today as when it was created.

Who would ever think that an artist like Norman Rockwell would be too radical for the Smithsonian Museums in Washington, DC?  That would certainly be the case today under Trump's assault on our museums and other national cultural institutions.  Rockwell's painting in this gallery as part of the Four Freedoms that is also poignantly relevant is the "Freedom from Fear."  It shows parents lovingly putting children to bed.  It was created during WWII and suggests the bombing that could be occurring in London or other European cities.

So we have here in this one museum a striking collection of Rockwell's work along with others that show the benefits of light.  Inhabiting the light as this essay suggests is part of the elation and delight of viewing this work.  Putting oneself in the illustration so as to feel the space and mood of various lights, actual and symbolic is the upshot.   And the final exhibit of the Four Freedoms shows how art can be in service of noble causes.

Above- The author sketching from the Rockwell painting in the museum in Stockbridge, MA.

To view a video tour - of the exhibit as Keeler explains about his sketch of the Rockwell painting- go to this link; https://youtu.be/3ZxyBTOkl1w?si=Arzq7fxZvDuryQK6