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janescottcumming | all galleries >> Galleries >> The Norman Rockwell Museum > The Problem We All Live With
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Jane Cumming

The Problem We All Live With

The Problem We All Live With is a 1964 painting by Norman Rockwell. An iconic image of the civil rights movement in the United States, it depicts Ruby Bridges, a six-year-old African-American girl, on her way into an all-white public school in New Orleans on November 14, 1960 during the process of racial desegregation. Because of threats and violence against her, she is escorted by four deputy U.S. marshals; the painting is framed such that the marshals' heads are cropped at the shoulders. On the wall behind her is written the racial slur "nigger" and the letters "KKK"; a smashed tomato thrown at Bridges is also visible. The white crowd is not visible, as the viewer is looking at the scene from their point of view. The painting is oil on canvas and measures 36 inches high by 58 inches wide.

The painting was originally published as a centerfold in the January 14, 1964 issue of Look. Rockwell had ended his contract with the Saturday Evening Post the previous year due to frustration with the limits the magazine placed on his expression of political themes, and Look offered him a forum for his progressive social interests, including civil rights and racial integration. Rockwell explored similar themes in Southern Justice (Murder in Mississippi) and New Kids in the Neighborhood;[ unlike his previous works for the Post, The Problem We All Live With and these others place black people as sole protagonists, instead of as observers, part of group scenes, or in servile roles. Like New Kids in the Neighborhood, The Problem We All Live With depicts a black child protagonist; like Southern Justice, it uses strong light-dark contrasts to further its racial theme.

At Bridges' suggestion, President Barack Obama had the painting installed in the White House, in a hallway outside the Oval Office, from July to October 2011. Art historian William Kloss stated, "The N-word there – it sure stops you. There’s a realistic reason for having the graffiti as a slur, [but] it’s also right in the middle of the painting. It’s a painting that could not be hung even for a brief time in the public spaces [of the White House]. I’m pretty sure of that."

Information is from Wikipedia

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bill friedlander25-Sep-2015 14:51
Great angle that gives a forward thrust to the movement in the picture. V
peterjay4525-Sep-2015 11:08
Your commentary on the time and the painting is much appreciated. Love this image.
Stephanie25-Sep-2015 10:56
Excellent capture of the painting Jane! Rockwell was an amazing artist! V
barbarajoy25-Sep-2015 08:34
A powerful statement, a brilliant drawing and your information excellent, Jane. V
Blandine Mangin25-Sep-2015 06:54
superb ! v
Jean Chiasson24-Sep-2015 20:59
Beautiful presentation Jane BV
Allan Jay24-Sep-2015 20:33
Thoroughly enjoyed the image and history, Jane.
V+++
Martin Lamoon24-Sep-2015 20:18
A thought provoking image.
v
Johnny JAG24-Sep-2015 19:08
Amazing to think this was within my lifetime, how things have changed!
Wim Ensie24-Sep-2015 19:05
The pov is fantastic because the painting comes alive
Neil Marcus24-Sep-2015 18:04
This painting lives in my mind. thank you for this image.
Jim Coffman24-Sep-2015 17:42
An iconic scene,Jane! Rockwell was very special!
globalgadabout24-Sep-2015 17:04
a potent image...illuminating to learn that Rockwell was so socially engaged...highlighting this particular scene with the young child, who hardly seems a threat to the fabric of society, underscores the superficial and simplistic thinking of racists...the splatter pattern of the tomato hints at the real dangers associated with the vitriol...your POV works well too, as the angular view imparts an extra edge..
Helen Betts24-Sep-2015 16:59
Such a moving painting, and an excellent narrative to go with it. V.
danad24-Sep-2015 16:45
A most striking painting ! V.
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