Simply
no one captures the idealism and essence of vintage Americana like
Norman Rockwell. You can generously apply all the cliche descriptors
enthusiastically, and without remorse — EPIC, ICONIC, etc. — because
never have they been more appropriate. 1942′s “The Tattooist” above has
long been one of my favorite Rockwell works– so I thought I’d share
some of the history behind it, via the Tattoo Archive–
Norman Rockwell worked from various staged photographs while painting The Tattooist, which was used as The Saturday Evening Post cover on the March 4, 1944 issue. In Fact, Rockwell used photographs as an aid in
doing most of his paintings. Rockwell had many willing participants in
his town of Arlington, Vermont. For the actual tattooist, he used one
of his fellow illustrators from the Saturday Evening Post, and a
neighbor, Clarence Decker, as the sailor. This was Schaeffer’s only
appearance as a central figure in a Rockwell illustration. Decker was
‘Master of the Grange’ in Arlington, and shows up in quite a few other
Rockwell illustrations. For The Tattooist, Rockwell borrowed a
tattoo machine from the Bowery tattooist Al Neville. Rockwell
obviously consulted with Al Neville, along with former sailors to insure
the accuracy in his painting The Tattooist.
Circa 1945: Portrait of American
artist Norman Rockwell (1894-1978) sketching with a pencil while sitting
at a drafting table. He holds a pipe with his free hand. (Photo by
Hulton Archive/Getty Images)
