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Rockwells Art an Iconic Symbol to Many Americans

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Painting by Norman Rockwell

Freedom from Want
A large family gathered at a table for a holiday meal as the turkey arrives at the table.
Artist Norman Rockwell
Yr 1943
Medium oil on canvas
Dimensions 116.2 cm × xc cm (45.75 in × 35.5 in)
Location Norman Rockwell Museum,
Stockbridge, Massachusetts,
United states

Freedom from Want , as well known as The Thanksgiving Picture or I'll Be Abode for Christmas , is the third of the Four Freedoms serial of 4 oil paintings by American artist Norman Rockwell. The works were inspired by United States President Franklin D. Roosevelt'south 1941 Land of the Matrimony Address, known as Four Freedoms.

The painting was created in Nov 1942 and published in the March 6, 1943, issue of The Saturday Evening Mail service. All of the people in the picture were friends and family of Rockwell in Arlington, Vermont, who were photographed individually and painted into the scene. The piece of work depicts a grouping of people gathered effectually a dinner table for a vacation repast. Having been partially created on Thanksgiving Twenty-four hour period to depict the commemoration, it has become an iconic representation for Americans of the Thanksgiving vacation and family vacation gatherings in general. The Post published Freedom from Desire with a respective essay by Carlos Bulosan as function of the Four Freedoms series. Despite many who endured sociopolitical hardships abroad, Bulosan's essay spoke on behalf of those enduring the socioeconomic hardships domestically, and it thrust him into prominence.

The painting has had a broad array of adaptations, parodies, and other uses, such every bit for the encompass for the 1946 book Norman Rockwell, Illustrator. Although the paradigm was pop at the time in the United States and remains so, it caused resentment in Europe where the masses were enduring wartime hardship. Artistically, the work is highly regarded as an instance of mastery of the challenges of white-on-white painting and as one of Rockwell's nearly famous works.

Background [edit]

The third is freedom from want—which, translated into globe terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants—everywhere in the globe.

—Roosevelt's 1941 Country of the Union address introducing the theme of the Iv Freedoms[i]

Freedom from Want is the 3rd in a series of 4 oil paintings entitled Iv Freedoms by Norman Rockwell. They were inspired by Franklin D. Roosevelt'southward State of the Marriage Address, known every bit Four Freedoms, delivered to the 77th Usa Congress on Jan 6, 1941.[ii] In the early 1940s, Roosevelt'south Four Freedoms themes were withal vague and abstract to many, just the government used them to help heave patriotism.[iii] The Four Freedoms' theme was somewhen incorporated into the Atlantic Charter,[four] [5] and information technology became part of the charter of the Un.[two] The series of paintings ran in The Saturday Evening Post accompanied by essays from noted writers on four sequent weeks: Freedom of Speech (February 20), Freedom of Worship (February 27), Freedom from Want (March 6), and Freedom from Fear (March 13). Eventually, the serial was widely distributed in poster form and became instrumental in the U.S. Government War Bond Bulldoze.[six]

Description [edit]

The illustration is an oil painting on canvas, measuring 45.75 by 35.5 inches (116.2 cm × 90.2 cm). The Norman Rockwell Museum describes it every bit a story illustration for The Sabbatum Evening Post, complementary to the theme,[7] but the paradigm is also an democratic visual expression.[eight]

The painting shows an aproned matriarch presenting a roasted turkey to a family of several generations,[ix] in Rockwell'south idealistic presentation of family values. The patriarch looks on with fondness and approval from the head of the tabular array,[10] which is the key element of the painting. Its creased tablecloth shows that this is a special occasion for "sharing what we have with those nosotros dearest", according to Lennie Bennett.[8] The table has a bowl of fruit, celery, pickles, and what appears to exist cranberry sauce. There is a covered silver serving dish that would traditionally hold potatoes, according to Richard Halpern,[11] but Bennett describes this as a covered casserole dish.[8] The servings are less prominent than the presentation of white linen, white plates and h2o-filled glasses. The people in the painting are not however eating, and the painting contrasts the empty plates and vacant space in their midst with images of glut.[12]

Production [edit]

Our cook cooked it, I painted it and nosotros ate it. That was one of the few times I've ever eaten the model.

—Rockwell[xiii]

In mid-June Rockwell sketched in charcoal the Four Freedoms and sought commission from the Part of State of war Information (OWI). He was rebuffed by an official who said, "The last state of war, you illustrators did the posters. This war, we're going to apply fine arts men, existent artists."[14] Still, Saturday Evening Post editor, Ben Hibbs, recognized the potential of the set and encouraged Rockwell to produce them right away.[14] By early on fall, the authors for the Four Freedoms had submitted their essays. Rockwell was concerned that Freedom from Want did not match Bulosan'due south text. In mid-November, Hibbs wrote Rockwell pleading that he not scrap his third work to start over. Hibbs alleviated Rockwell's thematic business; he explained that the illustrations only needed to address the same topic rather than exist in unison. Hibbs pressured Rockwell into completing his work by alert him that the magazine was on the verge of being compelled by the government to identify restrictions on 4-color printing, so Rockwell had better get the piece of work published before relegation to halftone printing.[15]

In 1942, Rockwell decided to use neighbors as models for the serial.[sixteen] In Liberty from Want, he used his living room for the setting and relied on neighbors for advice, critical commentary, and their service as his models.[14] For Freedom from Want, Rockwell photographed his cook as she presented the turkey on Thanksgiving Day 1942.[13] He said that he painted the turkey on that day and that, dissimilar Freedom of Speech communication and Freedom of Worship, this painting was not difficult to execute.[17] Rockwell's wife Mary is in this painting, and the family cook, Mrs. Thaddeus Wheaton,[18] is serving the turkey, which the Rockwell family ate that day.[19] The nine adults and two children depicted were photographed in Rockwell's studio and painted into the scene subsequently.[20] [21] The models are (clockwise from Wheaton) Lester Castor, Florence Lindsey, Rockwell'south mother Nancy, Jim Martin, Mr. Wheaton, Mary Rockwell, Charles Lindsey, and the Hoisington children.[13] Jim Martin appears in all 4 paintings in the serial.[22] Shirley Hoisington, the girl at the end of the table, was 6 at the time.[23]

Afterward the 4 Freedoms serial ran in The Saturday Evening Post, the magazine made sets of reproductions available to the public and received 25,000 orders. Additionally the OWI, which 6 months earlier had declined to apply Rockwell to promote the Four Freedoms, requested ii.5 one thousand thousand sets of posters featuring the Iv Freedoms for its state of war-bond drive in early on 1943.[24]

Rockwell ancestral this painting to a custodianship that became the Norman Rockwell Museum in Stockbridge, Massachusetts, and it is now function of the museum'south permanent collection. Rockwell lived in Stockbridge from 1953 until his death in 1978.[8]

Reactions [edit]

A black-and-white portrait photo of a young Norman Rockwell with his arms crossed in a light suit coat with a dark tie and white shirt

Norman Rockwell early in his career

Freedom from Want is considered i of Rockwell's finest works.[20] Of the 4 paintings in the Iv Freedoms, it is the one well-nigh often seen in art books with critical review and commentary. Although all were intended to promote patriotism in a time of state of war, Liberty from Want became a symbol of "family togetherness, peace, and enough", according to Linda Rosenkrantz, who compares information technology to "a 'Hallmark' Christmas".[25] Embodying nostalgia for an indelible American theme of holiday celebration,[26] the painting is not exclusively associated with Thanksgiving, and is sometimes known as I'll Be Home for Christmas.[27] The affluence and unity information technology shows were the idyllic hope of a post-war globe, and the image has been reproduced in various formats.[25]

According to writer Amy Dempsey, during the Cold War, Rockwell'southward images affirmed traditional American values, depicting Americans as prosperous and free.[28] Rockwell's work came to be categorized inside art movements and styles such equally Regionalism and American scene painting. Rockwell's work sometimes displays an idealized vision of America'due south rural and agricultural past.[29] Rockwell summed upwards his own idealism: "I pigment life every bit I would similar it to be."[30]

Despite Rockwell's general optimism, he had misgivings about having depicted such a large turkey when much of Europe was "starving, overrun [and] displaced" as World War Ii raged.[21] [31] [32] Rockwell noted that this painting was non popular in Europe:[31] [32] "The Europeans sort of resented information technology because it wasn't liberty from want, it was overabundance, the table was and so loaded downwards with food."[11] Exterior the United States, this overabundance was the common perception.[33] However, Richard Halpern says the painting non only displays overabundance of food, merely likewise of "family, conviviality, and security", and opines that "glut rather than mere sufficiency is the true answer to want." He parallels the emotional nourishment provided by the image to that of the food nourishment that it depicts, remarking that the picture is noticeably inviting. However, by depicting the table with nix but empty plates and white dishes on white linen, Rockwell may have been invoking the Puritan origins of the Thanksgiving holiday.[11]

To art critic Robert Hughes, the painting represents the theme of family unit continuity, virtue, homeliness, and abundance without extravagance in a Puritan tone, as confirmed by the modest beverage selection of water.[34] Historian Lizabeth Cohen says that by depicting this freedom as a commemoration in the private family habitation rather than a worker with a job or a government protecting the hungry and homeless, Rockwell suggests that ensuring this freedom was not every bit much a government responsibleness every bit something built-in from participation in the mass consumer economy.[31]

One of the notable and artistically challenging elements of the image is Rockwell's use of white-on-white: white plates sitting on a white tablecloth.[viii] [33] Art critic Deborah Solomon describes this as "one of the most ambitious plays of white-against-white since Whistler'southward Symphony in White, No. 1".[35] Solomon further describes the work as "a new level of descriptive realism. Yet, the painting doesn't feel congested or fussy; it is open up and airy in the center. Extensive passages of white paint nicely frame the private faces."[35]

Jim Martin, positioned in the lower right, gives a coy and maybe mischievous glance back at the viewer.[35] He is a microcosm of the entire scene in which no one appears to be giving thank you in a traditional manner of a Thanksgiving dinner.[35] Solomon finds it a departure from previous depictions of Thanksgiving in that the participants do not lower their heads or heighten their hands in the traditional poses of prayer. She sees information technology as an example of treating American traditions in both sanctified and casual ways.[36] Theologian David Brown sees gratitude as implicit in the painting,[37] while Kenneth Bendiner writes that Rockwell was mindful of the Concluding Supper and that the painting's perspective echoes its rendition by Tintoretto.[38]

Essay [edit]

Freedom from Want was published with an essay past Carlos Bulosan equally part of the 4 Freedoms series. Bulosan'due south essay spoke on behalf of those indelible domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence.[39] [nb 1] As he neared his thirtieth birthday, the Philippine immigrant and labor organizer[xl] Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting equally a migrant laborer working intermittent jobs.[41] Post editors tracked down the impoverished immigrant to request an essay contribution.[42] Bulosan rose to prominence during World War II when the Republic of the Philippines, a Usa territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized.[39] The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the just draft of the essay at a bar in Tacoma.[41]

Freedom From Desire had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fright, and religion); this liberty added economic freedom every bit a societal aspiration.[43] In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be "given equal opportunity to serve themselves and each other according to their needs and abilities", an repeat of Karl Marx's "from each according to his abilities, to each according to his needs".[44] In the terminal paragraph of the essay, the phrase "The America we hope to meet is not merely a physical but besides a spiritual and intellectual world" describes an egalitarian America.[44] In a voice likened to Steinbeck's in works such equally The Grapes of Wrath,[41] [43] Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as "haunting and sharp" confronting the backdrop of Rockwell's banquet of plenty. It proposed that while citizens had obligations to the land, the country had an obligation to provide a basic level of subsistence.[41] Unlike Roosevelt, Bulosan presented the case that the New Deal had non already granted freedom from want as information technology did not guarantee Americans the essentials of life.[twoscore]

References in popular culture [edit]

Visual arts [edit]

Tony Bennett standing at the head of the table during a holiday meal gathering of over a dozen men as the turkey arrives.

  • The painting was used as the 1946 book embrace for Norman Rockwell, Illustrator, written during the prime of Rockwell'southward career when he was regarded as America's near popular illustrator.[26] This image's iconic status has led to parody and satire.
  • MAD magazine #39 (May 1958) presented a magazine satire chosen "The Saturday Evening Pest",[45] which featured a parody of Liberty from Desire on the comprehend. In the parody, the family's circumstances are far from ideal.[46]
  • New York painter Frank Moore re-created Rockwell's all-white Americans with an ethnically diverse family, equally Liberty to Share (1994), in which the turkey platter brims over with health care supplies.[47] Amongst the meliorate known reproductions is Mickey and Minnie Mouse entertaining their drawing family with a festive turkey. Several political cartoons and fifty-fifty frozen vegetable advertisements have invoked this paradigm.[33]
  • The painting was reenacted in the May 16, 2012, flavour 3 "Tableau Vivant" episode of the comedy television serial Mod Family.[48]
  • Another faux of the work is the cover fine art to Tony Bennett's 2008 Christmas anthology, A Swingin' Christmas (Featuring The Count Basie Big Band).[49] [50] The parody includes all 13 members of Count Basie'south band.[51]
  • A promotional poster for the 2018 moving-picture show, Deadpool 2 replaced the paintings characters with characters from the film.[52]

Film [edit]

  • A snapshot at the end of the 2002 Walt Disney Feature Blitheness picture show Lilo & Run up shows the picture's characters, including some clearly alien life forms, seated at a Thanksgiving table that echoes the painting.[53]
  • In the 2009 pic The Bullheaded Side, when the Touhy family gathers at the Thanksgiving table, the scene is transformed into a replica of the famous painting.[54]

Footnotes [edit]

  1. ^ The essay is considered ane of the author's nigh notable works and is compared to John Steinbeck'due south The Grapes of Wrath.

References [edit]

  1. ^ "Bulletin To Congress 1941" (PDF). Marist College. Retrieved August 21, 2014.
  2. ^ a b "100 Documents That Shaped America:President Franklin Roosevelt's Annual Bulletin (Four Freedoms) to Congress (1941)". U.South. News & World Report. U.S. News & World Report, Fifty.P. Archived from the original on Apr 12, 2008. Retrieved Apr 11, 2008.
  3. ^ Murray, Stuart & James McCabe (1993). Norman Rockwell'southward Four Freedoms. Gramercy Books. p. vii. ISBN0-517-20213-1.
  4. ^ Boyd, Kirk (2012). 2048: Humanity's Agreement to Live Together. ReadHowYouWant. p. 12. ISBN978-one-4596-2515-0 . Retrieved Baronial 21, 2014.
  5. ^ Kern, Gary (2007). The Kravchenko Case: One Man's War on Stalin. Enigma Books. p. 287. ISBN978-i-929631-73-five . Retrieved August 21, 2014.
  6. ^ Ngo, Sang (February 20, 2013). "And that'southward the way information technology was: February 20, 1943". Columbia Journalism Review . Retrieved Jan 15, 2014.
  7. ^ "Norman Rockwell (1894–1978), "Freedom from Want," 1943. Oil on sail, 45 ¾ ten 35 ½"". Norman Rockwell Museum. Retrieved December 17, 2013.
  8. ^ a b c d e Bennett, Lennie (November 17, 2012). "'Freedom From Want' and Norman Rockwell are most more than nostalgia". Tampa Bay Times . Retrieved Dec 17, 2013.
  9. ^ Sickels, Robert C. (2004). The 1940s. Greenwood Publishing Group. p. 225. ISBN0-313-31299-0 . Retrieved November 29, 2013.
  10. ^ Fichner-Rathus, Lois (2012). Understanding Fine art (10th ed.). Cengage Learning. p. 559. ISBN978-one-111-83695-5 . Retrieved November 30, 2013.
  11. ^ a b c Halpern, Richard (2006). Norman Rockwell: The Underside of Innocence. University of Chicago Press. p. 72. ISBN0-226-31440-5 . Retrieved November 28, 2013.
  12. ^ Halpern, Richard (2006). Norman Rockwell: The Underside of Innocence. University of Chicago Press. pp. 72–73. ISBN0-226-31440-v . Retrieved Nov 28, 2013.
  13. ^ a b c Meyer, Susan E. (1981). Norman Rockwell'south People. Harry N. Abrams. p. 133. ISBN0-8109-1777-7.
  14. ^ a b c Fischer, David Hackett (2004). Liberty and Freedom: A Visual History of America'south Founding Ideas. Oxford University Press. p. 556. ISBN0-19-516253-half dozen . Retrieved November 28, 2013.
  15. ^ Claridge, Laura (2001). "21: The Big Ideas". Norman Rockwell: A Life . Random House. pp. 307–308. ISBN0-375-50453-2.
  16. ^ "Norman Rockwell in the 1940s: A View of the American Homefront". Norman Rockwell Museum. Archived from the original on July 20, 2007. Retrieved April 12, 2008.
  17. ^ Hennessey, Maureen Hart & Anne Knutson (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. p. 100. ISBN0-8109-6392-two.
  18. ^ Henningsen, Vic (April ane, 2013). "Henningsen: The 4 Freedoms". Vermont Public Radio. Retrieved Dec 17, 2013.
  19. ^ "Honoring the American Spirit" (PDF). Norman Rockwell Museum. Retrieved December 17, 2013.
  20. ^ a b Solomon, Deborah (2013). "15: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. p. 209. ISBN978-0-374-11309-four.
  21. ^ a b Heitman, Danny (November 27, 2013). "Thanksgiving: A look back at Norman Rockwell'southward iconic illustration 'Freedom From Want': Deborah Solomon's book 'American Mirror' gives a new perspective to one of Rockwell's most famous paintings". Christian Science Monitor . Retrieved December 17, 2013.
  22. ^ "I Like To Please People". Time. June 21, 1943. Retrieved April seven, 2008.
  23. ^ Murray, Stuart & James McCabe (1993). Norman Rockwell'south Four Freedoms. Gramercy Books. p. l. ISBN0-517-20213-1.
  24. ^ Heydt, Bruce (February 2006). "Norman Rockwell and the Four Freedoms". America in WWII . Retrieved December 17, 2013.
  25. ^ a b Rosenkrantz, Linda (November 13, 2006). "A Norman Rockwell Thanksgiving". County Repository. The Repository. Archived from the original on April 22, 2008. Retrieved April seven, 2008.
  26. ^ a b Guptill, Arthur 50. (1972). Norman Rockwell, Illustrator (seventh ed.). Watson-Guptill Publications. pp. cover, vi, 140–149.
  27. ^ Daniels, Robert L. (December xvi, 2008). "Review: 'Tony Bennett'". Variety . Retrieved June 12, 2014.
  28. ^ Dempsey, Amy (2002). "1918–1945: American Scene". Art in the Mod Era. Harry Northward. Abrams, Inc. p. 165. ISBN0-8109-4172-four. During the Cold War, Rockwell'south images of domestic America—solid, dependable, prosperous and, above all, free—gave a whole generation of Americans an immensely appealing and persuasive view of their traditional values.
  29. ^ Dempsey, Amy (2002). "1918–1945: American Scene". Art in the Modern Era. Harry Northward. Abrams, Inc. p. 165. ISBN0-8109-4172-4. Two defining events of the 1930s, the Slap-up Depression and the rise of Fascism in Europe, prompted many American artists to plough away from abstraction and to prefer realistic styles of painting. For Regionalists (see *American Scene), this meant the promotion of an idealized, often chauvinistic vision of America'south agrestal by.
  30. ^ Wright, Tricia (2007). "The Low and Globe War II". American Art and Artists. HarperCollins Publishers. pp. 122–123. ISBN978-0-06-089124-4.
  31. ^ a b c Borgwardt, Elizabeth (2007). A New Deal For The Earth. Harvard Academy Press. ISBN978-0-674-28192-nine . Retrieved November 28, 2013.
  32. ^ a b Albisa, Catherine; Martha F. Davis; Cynthia Soohoo, eds. (2007). Bringing Human Rights Abode: Portraits of the movement. Praeger Perspectives. p. 33. ISBN978-0-275-98821-0 . Retrieved November 28, 2013.
  33. ^ a b c Hennessey, Maureen Hart; Knutson, Anne (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. p. 102. ISBN0-8109-6392-2.
  34. ^ Hughes, Robert (1997). "The Empire of Signs". American Visions: The Ballsy History of Art in America . Alfred A. Knopf. pp. 508–509. ISBN0-679-42627-two.
  35. ^ a b c d Solomon, Deborah (2013). "Fifteen: The 4 Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. p. 210. ISBN978-0-374-11309-4.
  36. ^ Solomon, Deborah (October 2013). "Inside America'southward Great Romance With Norman Rockwell". Smithsonian Mag. Retrieved November 27, 2013.
  37. ^ Brown, David (February 3, 2011). God and Grace of Body: Sacrament in Ordinary. Oxford Academy Press. p. 183. ISBN978-0-19-959996-7 . Retrieved August 21, 2014.
  38. ^ Bendiner, Kenneth (2004). Food in Painting: From the Renaissance to the Present. Reaktion Books. p. 191. ISBN978-1-86189-213-three . Retrieved Baronial 21, 2014.
  39. ^ a b Espiritu, Augusto Fauni (2005). Five Faces of Exile: The Nation and Filipino American Intellectuals. Stanford University Press. p. 50. ISBN0-8047-5121-8 . Retrieved November 29, 2013.
  40. ^ a b Westbrook, Robert B. (1993). "Fighting for the American Family unit". In Play a joke on, Richard Wightman and T. J. Jackson Lears (ed.). The Ability of Culture: Critical Essays in American History. University of Chicago Press. p. 204. ISBN0-226-25955-ii . Retrieved November thirty, 2013.
  41. ^ a b c d Saldívar, Ramón David (2006). The Borderlands of Culture: Américo Paredes and the Transnational Imaginary. Duke University Press Books. p. 211. ISBN0-8223-3789-4 . Retrieved November xxx, 2013.
  42. ^ Murray, Stuart & James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. p. 62. ISBN0-517-20213-ane.
  43. ^ a b Vials, Chris (2009). Realism for the Masses: Aesthetics, Pop Front Pluralism, and U.Southward. Civilisation, 1935–1947. University Press of Mississippi. p. XXI. ISBN978-ane-60473-123-i . Retrieved November 30, 2013.
  44. ^ a b Steiner, Michael C. (2013). Regionalists on the Left: Radical Voices from the American West. University of Oklahoma Press. p. 307. ISBN978-0-8061-4340-viii . Retrieved November 29, 2013.
  45. ^ "MAD Magazine #39 • USA • 1st Edition - New York". MAD Trash . Retrieved Oct 16, 2021. {{cite spider web}}: CS1 maint: url-status (link)
  46. ^ McGowan, Bob (July 26, 2017). "The Art of the Post: The Postal service's Rockwell and MAD's Drucker: Two Great American Artists". The Saturday Evening Post . Retrieved October 16, 2021. {{cite web}}: CS1 maint: url-status (link)
  47. ^ Green, Penelope (Oct 28, 2001). "Mirror, Mirror; Rockwell, Irony-Complimentary". The New York Times . Retrieved October 13, 2010.
  48. ^ Winn, Steven (November 4, 2012). "Norman Rockwell revival at Crocker". San Francisco Chronicle . Retrieved November 9, 2012.
  49. ^ "Tony Bennett: A Swingin' Christmas". AllMusic. Retrieved June 12, 2014.
  50. ^ Edgar, Sean (December 16, 2008). "Tony Bennett featuring the Count Basie Big Ring: A Swingin' Christmas". Paste . Retrieved June 12, 2014.
  51. ^ Loudon, Christopher (December 2008). "Tony Bennett: That Vacation Feeling". JazzTimes. Archived from the original on Oct 21, 2015. Retrieved June 12, 2014.
  52. ^ "Deadpool 2 new promotional poster". collider.com. October ten, 2017. Retrieved October x, 2017.
  53. ^ Neighbors, R.C.; Rankin, Sandy (July 27, 2011). The Galaxy Is Rated G: Essays on Children's Scientific discipline Fiction Movie and Television. McFarland. p. 25. ISBN978-0-7864-8801-8.
  54. ^ "Michael Oher Tells A Whole Unlike Story Most 'The Bullheaded Side'". icepop.com. August 9, 2017. Retrieved June 19, 2018.

External links [edit]

  • Freedom From Want at Norman Rockwell Museum

parkeryage1992.blogspot.com

Source: https://en.wikipedia.org/wiki/Freedom_from_Want

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