While prominent figures like Martin Luther King, Jr. and Rosa Parks are often associated with the movement, an unexpected advocate also emerged: Norman Rockwell, a white artist renowned for his nostalgic portrayals of “average America.” Before the 1960s, Rockwell was best known for his work as a cover artist for The Saturday Evening Post, capturing the charm of everyday life. However, as the Civil Rights Movement gained momentum, Rockwell underwent a profound shift in his artistic vision. He set aside his lighthearted depictions of American life to create powerful works centered on social justice, with The Problem We All Live With standing out as a defining piece of this era.
Norman Rockwell
Norman Rockwell, born in New York City at the dawn of the 20th century, showed exceptional artistic talent from a young age. By the time he was 18, he had already secured a job as a cover artist for Boys’ Life magazine. Just four years later, he began what would become a legendary career with The Saturday Evening Post, one of the most popular magazines of its time. For 47 years, Rockwell created 322 covers for The Post, capturing scenes of American life—childhood innocence, family moments, and the daily grind of the workforce. His work resonated with the public, offering a comforting and nostalgic vision of mid-century America. In 1963, at the height of his popularity, Rockwell made a significant career shift. He left The Saturday Evening Post and joined Look magazine, where his focus changed dramatically. No longer content with idyllic depictions of everyday life, Rockwell embraced themes of social justice, leaving behind his previous artistic style. Reflecting on this transition at the age of 75, he remarked, “For 47 years, I portrayed the best of all possible worlds—grandfathers, puppy dogs—things like that. That kind of stuff is dead now, and I think it’s about time.” A year after joining Look, Rockwell created one of his most iconic works, The Problem We All Live With, a powerful commentary on the Civil Rights Movement.
The Problem We All Live With
The Problem We All Live With features Ruby Bridges, a six-year-old African American girl, on her first day of school. Dressed in a clean white dress and carrying her school supplies, she appears like any other first grader. What surrounds the young girl, however, is not typical. Due to threats of violence, Bridges is escorted by four deputy U.S. marshals, their heads cropped from the frame, emphasizing her isolation as the only fully visible figure. Behind her, the wall bears racial slurs, and a splattered tomato—hurled by unseen protesters—serves as a symbol of the hostility she faced. The painting offers the perspective of the protesters, positioning the viewer within the crowd. Painted in oil on canvas, the work measures 36 inches (91 cm) in height and 58 inches (150 cm) in width, capturing this powerful moment in civil rights history.
The Historical Background
In the wake of the landmark 1954 Supreme Court decision in Brown v. Board of Education, Ruby Bridges was one of a select few students chosen to initiate the desegregation process in New Orleans. As the only child among this group to attend William Frantz School, she faced a hostile mob during her journey to the school’s entrance. Despite the turmoil, Bridges remained steadfast. Charles Burks, one of her U.S. Marshal escorts, remarked on her composure, stating, “She showed a lot of courage. She never cried. She didn’t whimper. She just marched along like a little soldier, and we’re all very proud of her.” Interestingly, Bridges views her response to the situation not as an act of bravery, but as a reflection of her childhood innocence. In a 2011 interview, she shared, “The girl in that painting at six years old knew absolutely nothing about racism—I was just going to school that day. So every time I see that, I think about the fact that I was an innocent child who knew nothing about what was happening that day.”
Legacy
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.” Bridges and Obama viewed the painting together on July 15, 2011, and he told her, “I think it’s fair to say that if it hadn’t been for you guys, I might not be here and we wouldn’t be looking at this together.”
Norman Rockwell’s Other Works on Social Change
Three years after the release of The Problem We All Live With, Norman Rockwell returned to the subject of racial integration with another painting for Look Magazine, titled New Kids in the Neighborhood. This piece depicts two groups of children, one Black and one white, meeting in what appears to be a suburban setting. A moving truck in the background hints at the arrival of the Black family, positioning the Black children near the truck’s cargo to signify they are the new residents. The expressions on the white children’s faces suggest a mix of curiosity and uncertainty, reflecting the broader societal tensions of the time as neighborhoods began to desegregate. The painting captures the cautious but meaningful first encounters that characterized the early stages of integration in American communities. (Photo credit: Norman Rockwell Museum, Massachusetts via Flickr / Wikimedia Commons). Notify me of new posts by email.
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