Springfield Senior High School - Wildcat Yearbook (Springfield, OH)

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74110 Rommel, the Fox, had pushed the British Army under Montgomery across the African desert almost to the Pyramids. Russian armies were backing into the great ex- panse beyond the Kneiper. Moscow seemed doomed. Stalingrad was yet to be. Hitler was crushing the Red Army. Great armadas of Nazi bombers were pulverizing London night after night. In the East, Tojo was extending his sphere of influence with bomb and bayonet over helpless China. Christian civilization seemed doomed. Under a flat gray sky in the North Atlantic two men met and gave hope to an anxious and subjugated world. Proclaimed President Franklin D. Roosevelt and Prime Minister Winston Churchill . . . Our own objectives are clear, the objective of smashing the militarism imposed by war lords upon their enslaved peoples . . . the objective of liberating the sub- jugated nations . . . the objective of establishing and secur- ing freedom of speech, freedom of religion, freedom from want and freedom from fear anywhere in the world. This, the Atlantic Charter, electrified mankind with a resolute hope for a new world. fl, N f ' Q2 if i. Ivy : .qJ-hx. J , .,,s,.j ij ,,, , 5- 'thy

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47 The simple things, the homey things in the life of the common man have been spread over the colorful canvasses of the American artist Norman Rockwell for the past thirty years. The antics of a basket of pups, the anguish of a sixteen year old jilted lover, six year olds and their lemonade stand, the Easter parade and those things called hats, the anemic old postmaster in his rustic post office borrowing a Lovers' Magazine . . . all have labeled Norman Rockwell as the artist of and for the common man. When the Four Freedoms were flashed to the world, great editors realized the need for dramatic paintings to bring home these truths to all the people. Norman Rockwell was the artist who could most effectively dramatize this new political philosophy. Sponsored by the Saturday Evening Post, he gave the Four Freedoms visual interpretation. His models were his neighbors. His critics were his neigh- bors. In fact the plain, simple folk who lived around him did the four great paintings. Norman Rockwell merely mixed the colors, wielded the brush, worried and suffered.