{"id":5100,"date":"2021-04-07T10:16:24","date_gmt":"2021-04-07T14:16:24","guid":{"rendered":"https:\/\/rcourihay.com\/?p=5100"},"modified":"2026-03-13T16:55:42","modified_gmt":"2026-03-13T16:55:42","slug":"the-new-york-times-a-model-and-her-norman-rockwell-meet-again","status":"publish","type":"post","link":"https:\/\/rcourihay.com\/staging\/blog\/the-new-york-times-a-model-and-her-norman-rockwell-meet-again\/","title":{"rendered":"The New York Times | MS Rau | A Model and Her Norman Rockwell Meet Again"},"content":{"rendered":"<header>\n<h3 aria-hidden=\"true\">A Model and Her Norman Rockwell Meet Again<\/h3>\n<h6 aria-hidden=\"true\">The Original Press Appeared in The New York Times. <a href=\"https:\/\/www.nytimes.com\/2021\/03\/09\/arts\/design\/rockwell-painting-model-teenager.html\" target=\"_blank\" rel=\"noopener\">Click Here<\/a> to View<\/h6>\n<p><strong>By\u00a0<a href=\"https:\/\/www.nytimes.com\/by\/james-barron\">James Barron | <\/a>March 9, 2021<\/strong><\/p>\n<\/header>\n<section>Charlotte Sorenson was riffling through a newspaper one morning in December when she recognized someone in a gallery advertisement for a Norman Rockwell painting that she had not seen in years: herself.<\/p>\n<p>There she was, a teenager in a cluster of schoolmates in graduation-day caps and gowns. Rockwell had called the painting \u201cBright Future for Banking.\u201d<\/p>\n<p>Sorenson, who is 81 and lives in Boulder, Colo., had posed for Rockwell when she was a 15-year-old high school sophomore in Stockbridge, Mass., the picture-postcard town in the Berkshires where he lived and worked from 1953 until his death in 1978. As the star illustrator for The Saturday Evening Post, he was known for summoning his neighbors to his studio to be models \u2014 dozens over the years. They were the faces in the quintessentially American images that the public loved but critics disdained. Sometimes he supplied the accessories at his easel, long after his subjects had left his studio. But for \u201cBright Future,\u201d Sorenson said, he had a cap and gown at the ready, even though he did not tell her what the painting would be about.<\/p>\n<\/section>\n<style>\/*! elementor - v3.5.4 - 23-01-2022 *\/<br \/>\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\n<figure><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/rcourihay.com\/wp-content\/uploads\/2021\/04\/merlin_181517232_bb888b63-171e-4888-80e3-6855c17b7a1a-jumbo.jpg\" sizes=\"(max-width: 640px) 100vw, 640px\" srcset=\"https:\/\/rcourihay.com\/wp-content\/uploads\/2021\/04\/merlin_181517232_bb888b63-171e-4888-80e3-6855c17b7a1a-jumbo.jpg 820w, https:\/\/rcourihay.com\/wp-content\/uploads\/2021\/04\/merlin_181517232_bb888b63-171e-4888-80e3-6855c17b7a1a-jumbo-240x300.jpg 240w, https:\/\/rcourihay.com\/wp-content\/uploads\/2021\/04\/merlin_181517232_bb888b63-171e-4888-80e3-6855c17b7a1a-jumbo-768x959.jpg 768w\" alt=\"\" width=\"640\" height=\"799\" \/><figcaption>Charlotte Sorenson, 81, outside her home in Boulder, Colo., saw \u201cBright Future for Banking\u201d recently in a gallery advertisement. \u201cIt wasn\u2019t one of his major exciting pictures,\u201d she said.Credit&#8230;Benjamin Rasmussen for The New York Times<\/figcaption><\/figure>\n<section>\n<p role=\"group\" aria-label=\"media\">Unlike famous Rockwell paintings like \u201cThe Problem We All Live With,\u201d with its civil rights theme, or \u201cThe Runaway,\u201d showing a police officer sitting at a lunch counter with a little boy who had run away from home, \u201cBright Future\u201d had an unusual history. It was almost thrown out in the trash. The gallery owner selling the painting said it had been salvaged by a man walking down a Manhattan street a few years after it had appeared in the magazine with which Rockwell was closely identified for nearly 50 years.<\/p>\n<p>\u00a0The gallery owner, William Rau of <a title=\"\" href=\"https:\/\/rauantiques.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">M.S. Rau<\/a> in New Orleans, said he had acquired the painting from two brothers who had inherited it after their father\u2019s death recently. (Now in their 60s and living in the New York area, they did not want to be identified or interviewed, he said.)<\/p>\n<p>The story he said they had told sounded like a scene from a Rockwell painting: Their father, walking along a street in Manhattan, had watched as a janitor from an office building heaved trash containers toward the curb. The men\u2019s father spotted the painting and asked if he could have it.<\/p>\n<p>The original work, signed by Rockwell, ended up on the wall in the older son\u2019s bedroom, Rau said. While Rau would not say how much he had paid for the painting, he said that the two sons had put it up for sale because neither son would buy the other\u2019s share. Rau\u2019s price for it is $885,000.<\/p>\n<p>Rockwell\u2019s paintings have climbed in value in the 2000s. \u201cSaying Grace\u201d (1951) sold for $46 million at Sotheby\u2019s in 2013, more than double the presale estimate. That topped \u201cBreaking Home Ties,\u201d which had sold for $15.4 million at Sotheby\u2019s in 2006. \u201cThe Gossips,\u201d a montage of friends, neighbors and Rockwell himself, went for $8.45 million at the 2013 auction with \u201cSaying Grace.\u201d More recently, in 2017, Rockwell\u2019s \u201cTwo Plumbers\u201d brought $1.9 million.<\/p>\n<p>Rockwell\u2019s paintings told stories, though he left it to the viewer to fill in the details in images like the one of the bride trying on a wedding dress or the one of the boy and his mother saying grace in a crowded restaurant. His paintings were immensely popular with The Saturday Evening Post\u2019s subscribers, but reviewers complained that they were treacly. After Rockwell painted his series \u201cThe Four Freedoms,\u201d a Time magazine review in 1943 said that he \u201cwould probably be incapable of portraying a really evil human being, or even a really complex one \u2014 perhaps even a real one.\u201d<\/p>\n<p>The people he painted were real, though. Like Sorenson in \u201cBright Future,\u201d many lived in or near Stockbridge. William J. Obanhein, the police chief in Stockbridge, posed for Rockwell several times (though he was better known as \u201cOfficer Obie\u201d in Arlo Guthrie\u2019s Vietnam-era ballad\u00a0<a title=\"\" href=\"https:\/\/www.youtube.com\/watch?v=WaKIX6oaSLs\" target=\"_blank\" rel=\"noopener noreferrer\">\u201cAlice\u2019s Restaurant Massacree\u201d<\/a>\u00a0because he had arrested Guthrie for littering).<\/p>\n<p>\u201cPeople who were Rockwell\u2019s models have a sense of a little bit of celebrity,\u201d said Stephanie Plunkett, the deputy director and chief curator of the\u00a0<a title=\"\" href=\"https:\/\/www.nrm.org\/\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Rockwell Museum<\/a>\u00a0in that town. \u201cSome of them, especially if they were children, didn\u2019t recognize what was being asked of them. It wasn\u2019t until they were adults that they realized that what they had done was so interesting and important.\u201d<\/p>\n<p>That applied to Sorenson.<\/p>\n<p>\u201cIt was quite common to be sitting somewhere or walking somewhere, and he would spot you,\u201d she said, \u201cand in his mind he had some painting that he was thinking of, so he would ask you or send somebody to ask if you would come up to his studio.\u201d<\/p>\n<p>Rockwell\u2019s studio on Main Street had a plate-glass window and was nicely situated for people-watching. Sorenson remembers that it was across the street from one important local hub, the drugstore, and next to another, the Western Union office.<\/p>\n<p>\u201cHe thought of himself as a movie director casting a role,\u201d Plunkett said. \u201cHe would sometimes test four or five people for one role in a painting. What that really meant was eventually one would be chosen and the rest would be on the cutting-room floor, so to speak, though he would sometimes use different components of each person. He might actually use a different face on a different body.\u201d<\/p>\n<aside aria-label=\"companion column\"><\/aside>\n<p>Sorenson believes that the request from Rockwell came in 1954, when she was in the 10th grade at the Stockbridge Plains School. After classes let out for the day, she said, \u201cthe fun thing was to walk down the street and go to the drugstore. You\u2019d go in and you\u2019d either sit in a booth and order a root beer float or sit on a stool at the counter on one of those wonderful stools that twirled around.\u201d<\/p>\n<p>She does not remember whom Rockwell sent to invite her to go across the street to his studio. Nor does she remember much about the modeling session. \u201cHe must have put that hat on my head and taken pictures,\u201d she said. \u201cAnd then I probably went back to twirling on the stool in the drugstore and sipping on my root beer float and I didn\u2019t think anything more of it.\u201d<\/p>\n<p>Plunkett, of the Rockwell museum, filled in some details about his encounters with potential subjects. \u201cHe had a studio assistant taking the actual photographs,\u201d she said. \u201cHe brought each person into the studio individually. He would very succinctly explain to them what the piece was and what kind of expression he was looking for. He would be right there coaching them. When he got the expression he wanted, he would tell the photographer to take the shot.\u201d<\/p>\n<p>She said he gave his models a Coca-Cola and paid them, typically $5 to $10 for a session that lasted about 20 minutes. \u201cMany of them say, \u2018I wish I hadn\u2019t cashed the check,\u2019\u201d she said. That fee was more than Rockwell\u2019s\u00a0<a title=\"\" href=\"https:\/\/www.illustrationhistory.org\/artists\/peter-rockwell\" target=\"_blank\" rel=\"noopener noreferrer\">son Peter<\/a>, who died last year at 83, said he had received. \u201cI got paid $1 an hour, and people outside the family got $5, which I thought was terribly unfair,\u201d he said in 1993.<\/p>\n<p>Rockwell painted more than 300 covers for The Saturday Evening Post. But \u201cBright Future\u201d was painted for an advertisement for a bank (although it appeared in the magazine, in 1955). \u201cHe used more female models and female subjects in advertisements, which tended to represent a wider cross-section of America \u2014 the Saturday Evening Post covers tended to be more male,\u201d said Deborah Solomon, an occasional Times contributor and the author of\u00a0<a title=\"\" href=\"https:\/\/www.amazon.com\/American-Mirror-Life-Norman-Rockwell\/dp\/0374113092\" target=\"_blank\" rel=\"noopener noreferrer\">\u201cAmerican Mirror: The Life and Art of Norman Rockwell\u201d\u00a0<\/a>(2013). \u201cIt was in the commercial interests of most companies to include images of women in their advertisements, which explains why Rockwell\u2019s most vivid images of girlhood and womanhood are probably those that he drew for advertisements for Crest toothpaste, Kellogg\u2019s Corn Flakes and Massachusetts Mutual Life Insurance.\u201d<\/p>\n<p>Sorenson said she posed alone, but in the painting, she was flanked by schoolmates \u2014 a girl who was nicknamed \u201cCarrots\u201d because of her red hair and two boys named Norman. But she felt a sense of disappointment when she saw the painting in The Saturday Evening Post \u2014 not on the cover, but inside, in the bank ad.<\/p>\n<p>\u201cIt wasn\u2019t one of his major exciting pictures like the runaway with the cop,\u201d she said. \u201cI was never that excited by it. I think it\u2019s kind of boring.\u201d<\/p>\n<aside aria-label=\"companion column\"><\/aside>\n<\/section>\n<p>James Barron is a Metro reporter and columnist. He is the author of the books \u201cPiano: The Making of a Steinway Concert Grand\u201d and \u201cThe One-Cent Magenta\u201d and the editor of \u201cThe New York Times Book of New York.\u201d<\/p>\n<p>A version of this article appears in print on\u00a0March 10, 2021, Section\u00a0C, Page\u00a01\u00a0of the New York edition\u00a0with the headline:\u00a0That Girl Looks Really Familiar.\u00a0<a href=\"http:\/\/www.nytreprints.com\/\">Order Reprints<\/a>\u00a0|\u00a0<a href=\"https:\/\/www.nytimes.com\/section\/todayspaper\">Today\u2019s Paper<\/a>\u00a0|\u00a0<a href=\"https:\/\/www.nytimes.com\/subscriptions\/Multiproduct\/lp8HYKU.html?campaignId=48JQY\">Subscribe<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Model and Her Norman Rockwell Meet Again The Original Press Appeared in The New York Times. Click Here to View By\u00a0James Barron | [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8961,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1974],"tags":[],"class_list":["post-5100","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-recent-press"],"acf":{"full_width":false,"header_transparent":false,"header_white":false},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The New York Times | MS Rau | A Model and Her Norman Rockwell Meet Again - R. Couri Hay<\/title>\n<meta name=\"description\" content=\"A Model and Her Norman Rockwell Meet Again The Original Press Appeared in The New York Times. 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