“1955 Ford Hardtop Thunderbird” by Jerome Biederman. Detroit Historical Society.
Born in 1913, Jerome Biederman was a nationally recognized illustrator of transportation. Whether his subject was an automobile, aircraft, or locomotive, his renderings were technically accurate and highly detailed. His medium of choice was tempera paint on illustration board.
The above image is from the Detroit Historical Society’s collection of Biederman prints. They are all available for custom reproduction through RequestAPrint.
After graduating from the American Academy of Art in Chicago, he entered the advertising world where he did almost everything except illustration. By 1940, he chose to leave the corporate advertising world and return to the creative atmosphere of a studio.
For many years, Biederman’s steadiest assignments and commissions came from calendar companies. His work appeared regularly in Automobile Quarterly, Horseless Carriage Gazette and other magazines.
Before Biederman passed away in 1996, he donated many of his illustrations to the Detroit Historical Society’s collection.
“The Street was Never the Same Again” by Norman Rockwell. Detroit Historical Society.
Born Norman Percevel Rockwell in New York City on February 3, 1894, Norman Rockwell knew at the age of 14 that he wanted to be an artist, and began taking classes at The New School of Art. By the age of 16, Rockwell was so intent on pursuing his passion that he dropped out of high school and enrolled at the National Academy of Design. He later transferred to the Art Students League of New York. Upon graduating, Rockwell found immediate work as an illustrator forBoys’ Life magazine.
By 1916, a 22-year-old Rockwell, newly married to his first wife, Irene O’Connor, had painted his first cover for The Saturday Evening Post—the beginning of a 47-year relationship with the iconic American magazine. In all, Rockwell painted 321 covers for the Post. Some of his most iconic covers included the 1927 celebration of Charles Lindbergh’s crossing of the Atlantic. He also worked for other magazines, including Look, which in 1969 featured a Rockwell cover depicting the imprint of Neil Armstrong’s left foot on the surface of the moon after the successful moon landing. In 1920, the Boy Scouts of America featured a Rockwell painting in its calendar. Rockwell continued to paint for the Boy Scouts for the rest of his life.
The 1930s and ’40s proved to be the most fruitful period for Rockwell. In 1930, he married Mary Barstow, a schoolteacher, and they had three sons: Jarvis, Thomas and Peter. The Rockwells relocated to Arlington, Vermont, in 1939, and the new world that greeted Norman offered the perfect material for the artist to draw from. Rockwell’s success stemmed to a large degree from his careful appreciation for everyday American scenes, the warmth of small-town life in particular. Often what he depicted was treated with a certain simple charm and sense of humor. Some critics dismissed him for not having real artistic merit, but Rockwell’s reasons for painting what he did were grounded in the world that was around him. “Maybe as I grew up and found the world wasn’t the perfect place I had thought it to be, I unconsciously decided that if it wasn’t an ideal world, it should be, and so painted only the ideal aspects of it,” he once said.
