|The Facts of Life, Norman Rockwell|
It’s a sad fact that in the United States one can defame the reputation of a dead person with impunity and his or her loved ones and heirs can do nothing to stop it. Such is the case with Deborah Solomon’s American Mirror: the Life and Art of Norman Rockwell, which characterizes Rockwell as a complex, depressed, repressed gay man whose repression led to pedophiliac urges expressed in his paintings.
|A Scout is Helpful, 1941, Norman Rockwell|
A nice person—one not looking for duplicity everywhere—would agree with Rockwell’s granddaughter’s assessment: “My grandfather was a charming, kind, generous man; his models, without exception, say that posing for him was one of the highlights of their lives. He had a marvelous sense of humor, was a remarkable observer of people and human behavior…”
Rockwell was a fantastically successful illustrator because his ear was perfectly tuned to the 20th century zeitgeist, which celebrated work, home, family and children. Of course, Deborah Solomon is in perfect tune with the zeitgeist of our times, which holds that there is nothing good in this world. Nor is there any privacy, apparently.
|The Babysitter, 1927, Norman Rockwell|
Abigail Rockwell has done an excellent job of debunking Solomon’s sources, but she gets little traction in modern media, because she—unfortunately—is working at cross-purposes to our modern world. We like knowing that others are ‘no better than they should be.’
But why is it being gay is so frequently the ‘secret sin’ of which artists are accused? (For a start, see Caravaggio, Michelangelo, and Leonardo Da Vinci; never mind that their culture cannot be transcribed literally into our culture.) And why did a publisher like Farrar, Straus and Giroux publish an outrageous, unsubstantiated claim of a putative link between homosexuality and pedophilia? If that had come from the Right, the howling would have been deafening.
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