(piano music)
- [Voiceover] We're at the Crystal Bridges
Museum of American Art
looking at an American icon,
Norman Rockwell's painting of Rosie the Riveter
from 1943.
- [Voiceover] We see this woman who is muscular
and tough and wearing goggles,
and eating a ham sandwich,
and wearing denim overalls
that iconic image of the support
that women lent on the home front for World War II.
- [Voiceover] Thousands and thousands of women
entered the workforce during the war.
Men went to serve in the war
and women served their country
by going to work taking the place of men.
- [Voiceover] If you're able to see a picture of the woman
who sat as Rockwell's model for Rosie,
she was much more feminine,
but he marries her face with
the Prophet Isaiah that is at the top of
the Sistine Chapel.
That figure that Michelangelo created
was this incredibly muscular figure,
so in a way this is a male figure
onto which a female head and then also
a more voluptuous body is created.
He also uses that point of view
that Michelangelo used so well.
Having us the viewer look up at the figure.
Anytime that you're looking from below
it makes the figure loom larger.
- [Voiceover] And that machine she's carrying,
the riveter that she used to construct airplanes,
it looks heavy.
It looks like she must have been very strong
to carry that and to do her job.
- [Voiceover] You get the sense that she has the power.
Both the physical power,
but also the grit to be successful.
I love the way that she is holding her lunchbox,
which gives us her name, Rosie.
She is almost holding it like an animal claw,
going over it, that is again so strong.
She's on her lunch in this picture,
but there is nothing relaxed about her.
She is on a mission and she is never going to waver.
We have the stars and stripes
reminding us her reason for taking on this work.
At the same time, if you look at her feet,
and she's wearing such an American pair of loafers.
- [Voiceover] Oh, and I love her socks.
- [Voiceover] Don't you love her socks.
And you can just really feel the texture of them,
but she is standing and crushing a copy of Mein Kampf.
- [Voiceover] That was a book that Hitler wrote
explaining his anti-Semitic ideology
and his plans for Germany.
But what's interesting for me too
is that riveter, that machine,
and the hose that comes out of it
almost reads like a serpent.
There is a passage in Isaiah
where he refers to the serpent,
and of course this is a symbol of evil.
So we have a sense of her righteousness,
her patriotism, her desire to serve her country,
and also, to stamp out Nazi ideology.
- [Voiceover] That riveting drill has overcome
that serpent like shape
and basically brought it under control.
- [Voiceover] And well also when you said
that idea of it being on her lap,
I thought immediately of images from the Renaissance,
of a Madonna and child.
But here no child but a machine.
- [Voiceover] Where that takes me
is to thinking about how this painting
is created in 1943,
America's increasing connection to the war,
lending that power that would allow
the Germans to be defeated
was really coming into its own at this moment.
We see the home version of what's helping that happen.
- [Voiceover] I just want to through in my favorite part,
which is what's tucked into her pocket,
because in all of her strength
and all of the way that she reads in a masculine way,
she's got a compact and handkerchief.
She's working in this job that is traditionally a man's job,
wearing man's clothing, and these masculine looking
shoes and socks.
She's not forgetting her femininity.
- [Voiceover] I love the fact that it looks like
she's just put on her lipstick.
And even in the pose it has an elegance
that does have a feminine twist to it.
- [Voiceover] You can sense that the paint
was applied very thinly.
You can see the texture of the canvas underneath
as though Rockwell seems to have chosen
a canvas that was especially course in its weave.
So her roughness and her ability to tough it out,
and to do what her country needs,
fits with the surface that this was painted on.
- [Voiceover] It allowed Rockwell to get that feeling
of blue jean denim without having to
actually paint the texture.
Another detail that I just love in this painting
is the row of buttons.
You see a Red Cross pin.
You also see a V for victory pin.
You see some other buttons that relate to
supporting organizations that were lending help.
Particularly those that women were engaged in for the war.
But here they also act has her jewelry.
In another circumstance, if she had had on
her white cotton blouse and her skirt,
she would have probably had on a necklace to go with,
but here the organizational buttons provide that.
- [Voiceover] And it's funny that you said that,
because I was just thinking about how
overalls are fashionable today,
and how unusual this would have been.
To see a woman wearing clothing like this.
This must have been shocking in a way
that I think is hard for us to recapture today.
- [Voiceover] There's so many things
that were overturned during this World War II period
as far as what was acceptable for women to do.
It's interesting because after the war
there was a real tension and real challenges.
Particularly in the workplace,
because women proved that they could
do the job of men.
When you had veterans coming home,
who of course wanted their jobs back,
there was on the one hand this great feedom
that women felt and they really felt
that they could go on and do so many more things
than say in the pre-war era,
but at the same time
there was a conversation around what really is
a woman's proper place.
♫ Rosie, Rosie, Rosie
♫ The riveter
♫ On the assembly line ♫