Rockwell Video Minute: Triple Self-Portrait

In 1960, Norman Rockwell produced one of the most celebrated self-portraits in American art history. Despite this achievement, the artist maintained a naturally modest disposition, suggesting he likely harbored reservations about making himself the central subject of a magazine cover. While Rockwell had previously featured himself on covers, those instances were typically minor, cameo appearances integrated within larger group scenes. This particular work, titled "Triple Self-Portrait," represented a significant departure in focus and intimacy.

Prior to this major undertaking, Rockwell's presence on covers generally involved only brief inclusions. The "Triple Self-Portrait," however, demanded a comprehensive examination of the artist's persona, moving beyond simple background inclusion to a multi-faceted self-study that captivated the public imagination.

The cover art, despite its title, actually encompasses seven distinct self-portraits of the artist, creating a complex visual narrative. These representations include the painter actively working, his reflection visible in the mirror, and the unfinished painting itself, which Rockwell jokingly referred to as that "noble creature on canvas." Furthermore, four preliminary sketches of the artist are tacked onto the side of the main canvas, adding layers to the depiction of his creative process.

The composition is further enriched by Rockwell’s inclusion of small, skillful copies of four famous self-portraits created by other renowned artists. These inclusions serve as a nod to the lineage of artistic self-scrutiny and mastery that Rockwell acknowledged. The inclusion of these masters alongside his own image suggests a dialogue across art history regarding the self-portrait genre.

Positioned at the top of the easel, Rockwell included a personal reminder to himself: a warning not to be easily persuaded by superficial appearances. This sentiment was underscored by an anecdote involving a helmet purchased at a Paris antique shop. Rockwell initially believed the item was the headdress of an ancient Greek or Roman soldier. However, while returning to his Paris Hotel and observing firefighters saving a burning building, he realized every fireman wore an identical helmet, revealing the object's mundane origin.

Rockwell provided an explanation for the opaque appearance of his glasses within the painting. He stated that the glasses needed to appear fogged because, if they were clear, he would have been forced to accurately depict how he actually looked. This visual device granted him the artistic freedom to present a slightly enhanced version of himself, rather than a precise likeness.

Therefore I could stretch the truth just a bit and paint myself looking more suave and debonair than I actually am.

Although the artist might have been employing self-deprecating humor regarding his appearance, the painting ultimately functions as a thoughtful examination of Rockwell's multifaceted identity. The work successfully portrays the artist not just as a creator, but as a complex individual navigating different roles simultaneously. The composition crystallizes three essential aspects of his existence: the role of the Painter, the role of the Observer documenting the world, and the carefully constructed Public Image presented to the masses.