Norman Rockwell's 'Rosie the Riveter' painting alludes to Michelangelo's Sistine Chapel, presenting the American icon as a religious figure.

For decades, he was written off by the art world as a simplistic commercial artist, but critics began to reconsider Rockwell's work many years after his death. Arguably, the height of that resurgence came in 2011, when President Barack Obama hung "The Problem We All Live With" (on loan from the Norman Rockwell Museum) in the White House to mark the 50th anniversary of Ruby Bridges' desegregation walk.

Rockwell's works sought to capture authentic scenes from American life and, in the process, came to define the American ideal. This collection includes 244 of his paintings, from his early days at the Saturday Evening Post through his more socially minded work for Look, to the end of his career. Below is 1951's "Saying Grace."

Rockwell initially pitched the "Four Freedoms" project to the US Ordnance Department, but was rejected. Rockwell's editor at the Saturday Evening Post, however, loved the idea and published the images across four consecutive issues. After they became a sensation, the Saturday Evening Post partnered with the US Department of the Treasury to send the paintings on a 16-date national tour, which raised $133M in war bonds and stamps. Meanwhile, the Office of War Information printed four million sets of the posters with "Buy War Bonds" emblazoned on them.

The painter’s portraits of American life were often dismissed as commercially minded, banal, or kitschy, especially when compared with the more abstract art of the time. Rockwell, however, was undeterred, commenting that he wanted to produce work that would make viewers “want to sigh and smile at the same time.”

George Lincoln Rockwell was the founder of the American Nazi Party and had no relation to Norman Rockwell, the beloved American painter. But that didn't stop people from confusing the two or suggesting that they were family members. It was something that Norman Rockwell's granddaughter said had greatly disturbed the painter.

In his 1941 State of the Union speech, President Franklin Delano Roosevelt defined "Four Freedoms" that democratic societies provided: freedom of speech, freedom of worship, freedom from want, and freedom from fear. Rockwell conceived of a series of paintings based on those values, using his small-town examples of the principles in action. Below is "Freedom From Want."

The famous painting, which portrays a man in work clothes speaking up in a crowd of men in suits, has become a companion image for internet users posting unpopular or controversial opinions.

The Saturday Evening Post’s circulation exploded in the early 20th century, due in no small part to Rockwell’s iconic cover illustrations, which often portrayed idyllic portraits of American life from the not-so-distant past. This documentary explores how Rockwell’s covers played on national nostalgia, creating a vision of the country that grew to be associated with the American Dream.

Rockwell painted 30 Christmas covers for the Saturday Evening Post. Drawing on his love of Charles Dickens’ “A Christmas Carol,” Rockwell placed the holiday’s unofficial traditions in an American context, with images of eager children, snow-covered small towns, and warm family meals.

Rockwell is considered a narrative painter who tells stories through his portraits of everyday Americans. The interest in using images to tell stories began at a young age, when his father read Dickens aloud to him while the young Norman illustrated the books’ scenes.

The 1951 painting is classic Rockwell: an image designed for the cover of the Saturday Evening Post featuring a humble American family engaging in a traditional value. To date, it's the highest-grossing work in Rockwell's catalog. Its buyer? "Star Wars" director George Lucas.

Rockwell’s work was often noted for its realism. His paintings' near-photographic precision was no accident. Early in his career, he painted from live models. Later, he’d conceived a scene, staged it, photographed it, and then used the photos as the foundation for his paintings.

The 1964 painting was based on Ruby Bridges, the first Black student to integrate an all-white school in Louisiana. Rockwell used Anita Gunn, the granddaughter of one of his friends, as the model, offering to pay for her violin lessons for her assistance.

The famous film directors are admirers and collectors of the American painter. Lucas, in particular, relates to Rockwell’s process, which resembles casting for a film. In 2010, the Smithsonian American Art Museum introduced a Rockwell exhibit showcasing works from Lucas’ and Spielberg’s private collections. This video from that exhibit features both directors talking about how and why they became interested in acquiring Rockwell’s work.

Rockwell left the magazine in 1963 and joined Look magazine, where he began depicting a more complex America than he had at the Post. His work at Look dealt with racial segregation and violence, and often made unambiguous statements about real events.

The Thin White Duke thought the iconic artist, known for his classic Americana, would be the perfect artist for his campy 1975 album, “Young Americans.” Bowie called the Rockwell residence and made the request, but was told that Rockwell would need around six months to complete the painting, which Bowie felt was too long.

After getting his start at Boys’ Life, Rockwell began illustrating advertisements for products like Jell-O and Orange Crush. Below is one of Rockwell’s advertisements for Jell-O, from 1923.

Critics had long been puzzled by the unrealistic flower pinned to the woman's chest in the 1905 painting "Mother and Child." In exploring the painting's history, researcher Nikki Georgopulos discovered that the flower alluded to a women's suffrage badge popular at the time, something Cassatt emphasized in the painting's original title, "Woman With a Sunflower."

During World War I, the United States government commissioned eight artists to accompany American Expeditionary Forces to Europe to sketch and document what they saw. Drawing tanks, soldiers, shattered villages, and even German prisoners of war, the artists preserved much of the war as a matter of historical record and to rally support back home.

Nelson Rockefeller commissioned painter Diego Rivera to paint a mural for the entrance of the Rockefeller Center. Allegedly in response to criticism that he had “sold out,” Rivera slipped in a painting of Vladimir Lenin.

After graduating from the Art Students League of New York, Rockwell found work illustrating for Boys’ Life, the magazine of the Boy Scouts of America. He went on to create images for over 50 magazine covers and to design the organization’s annual calendars.

He began taking art classes at 14, while still in high school, but by 1910, he left traditional schooling to focus on his training at the National Academy of Design. He transferred to the Art Students League soon after to study under Thomas Fogarty, who taught him the particulars of commercial illustration, and George Bridgman, who was known for anatomically precise portraits.

The 1965 painting was inspired by the 1964 murders of three men—James Chaney, Andrew Goodman, and Michael Schwerner. The men were affiliated with the Council on Racial Equity and killed by the Ku Klux Klan in Philadelphia, Mississippi. The painting accompanied an article about the inequities of the justice system, which is why its title often includes the parenthetical "(Southern Justice)."

In 1953, the painter and his family moved to Stockbridge, Massachusetts, to be closer to the Austen Riggs Center, where his wife was undergoing treatment for alcoholism and depression. Rockwell began treatment, too, working with Erikson—famous for coining the term “identity crisis”—on his anxieties about his art.

In 1940, Captain America’s debut showed him punching Hitler months before the US entered WWII. The bold cover sparked backlash and even threats.

The iconic image captured by AP photographer Joe Rosenthal went viral, as far as it could in the 1940s, showing six marines raising a flag atop Iwo Jima's Mount Suribachi. The shot was used for public relations by the military, but it would later be shrouded by controversy when it was revealed it was the second flag raising that day, inviting accusations it was staged.

Like so many art movements, the pantheon of pop art was mostly men, despite the contributions of several important women artists to its aesthetics and history. See paintings from British pop founder Pauline Boty and several artists who worked with, or exhibited alongside, the likes of Warhol and Haring.

See how US comic books, alongside international counterparts, served as powerful wartime propaganda tools from 1941 to 1945—boosting morale, promoting war bonds, and demonizing Axis powers through the use of iconic heroes and patriotic messaging.

"Afghan Girl" (1984), "Migrant Mother" (1936), and Marilyn Monroe in a billowing skirt (1954) are among the most famous portraits of all time. Capturing both unbelievable tragedy and delight, these 15 images are some of the most captivating in human history.

Warhol’s life and work hold clear religious through lines, from his Byzantine Catholic upbringing to reexaminations of his catalog, including an unfinished work for the 1968 world’s fair commissioned for the Catholic Church through a local Catholic university.

When the Daughters of the American Revolution refused to allow Marian Anderson to perform at their Washington hall in 1939 because she was Black, Roosevelt publicly cut ties with the group. She worked to arrange an alternative outdoor concert for Anderson at the Lincoln Memorial, which drew a crowd of 75,000.

The women in her portraits are often performing domestic work, something that contemporary scholars consider a subtle protest of how women's labor was often overlooked during Cassatt's time. Fittingly, Cassatt often hired working-class women as models, ensuring the portraits were not only accurate but that the subjects were appropriately compensated.

The graffito appeared seemingly everywhere throughout the 1940s and followed a similar pattern: A man with an oversized nose peering over a ledge, with the phrase written below it. Scholars believe it was an American form of similar tags that appeared in Australia and England, making "Kilroy" a meme long before the word had entered the lexicon.

In America, life was transformed by total war: sixteen million service members left civilian life, while massive industrial production demanded labor. Women, minorities, and teens filled factories, fueling boomtown growth and breaking social barriers. Simultaneously, rationing, recycling drives, Victory Gardens, ration stamps, blackout drills, and war bond campaigns permeated daily routines.

Sabin Howard is the sculptor for the National World War I Memorial, soon to be installed in Washington, DC. This Smithsonian Magazine article talks to the artist and details his approach and style in designing the piece. The finished sculpture will tell the story of a young WWI American soldier across five scenes featuring 38 larger-than-life figures, stretching out over 60 feet and standing at 10 feet.

Featuring work from 1915 to 1950, the movement illustrates the country's evolution between World War I and World War II. Artists captured the loss and uncertainty of a post-war, industrialized world.

Warhol produced iconic album art for The Rolling Stones and The Velvet Underground. He also inspired rappers Jay-Z and Tyler, the Creator. Warhol’s immense influence on art and pop culture elevated him to celebrity status, and his identity and style continue to be referenced in sometimes unexpected corners of cultural consciousness.

Although the American Impressionist's work is sometimes dismissed as overly sentimental, these Cassatt specialists argue that her portrayals of women are often subtly subversive, emphasizing how they defy the gender norms of the time.

Ken's Mojo Dojo Casa House in Greta Gerwig's "Barbie" was inspired by Hamilton's jumbled vision of a home in "Just what is it that makes today's homes so different, so appealing?" Set designers cited the work as inspiring the mishmash of Americana imagery in the man cave.

By 1937, Picasso's fame and influence had already made him a legend. Yet an unprovoked war crime in Guernica, Spain that same year—where 25 bombers dropped 100,000 pounds of bombs and explosives on civilians—inspired one of his most moving works.

Hitler frequently praised Ford's anti-semitic viewpoints, both before and during the Holocaust. While Ford denied being sympathetic to the Nazi regime, Hitler kept a portrait of Ford on his desk, and Ford accepted the highest military award available to a foreign citizen from the Nazi government.

Andy Warhol wasn't just an artist—he was a cultural force. From his early days working as a New York illustrator to managing The Velvet Underground and creating experimental films, Warhol blurred the line between art and commerce, leaving a legacy that changed pop culture forever.