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The One Art Where the Family Is Having Dinner at Thanksgiving

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Painting past 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 × 90 cm (45.75 in × 35.v in)
Location Norman Rockwell Museum,
Stockbridge, Massachusetts,
United states

Freedom from Want , also known as The Thanksgiving Motion picture or I'll Be Home for Christmas , is the third of the Four Freedoms series of four oil paintings by American artist Norman Rockwell. The works were inspired by United states of america President Franklin D. Roosevelt'south 1941 State of the Spousal relationship Accost, known equally Four Freedoms.

The painting was created in Nov 1942 and published in the March 6, 1943, issue of The Saturday Evening Post. All of the people in the film were friends and family of Rockwell in Arlington, Vermont, who were photographed individually and painted into the scene. The work depicts a group of people gathered effectually a dinner table for a holiday meal. Having been partially created on Thanksgiving 24-hour interval to depict the celebration, it has become an iconic representation for Americans of the Thanksgiving holiday and family holiday gatherings in general. The Post published Freedom from Want with a corresponding essay by Carlos Bulosan every bit office of the Four Freedoms serial. Despite many who endured sociopolitical hardships away, Bulosan's essay spoke on behalf of those indelible the socioeconomic hardships domestically, and it thrust him into prominence.

The painting has had a wide array of adaptations, parodies, and other uses, such every bit for the comprehend for the 1946 volume Norman Rockwell, Illustrator. Although the epitome was pop at the time in the United States and remains then, it caused resentment in Europe where the masses were enduring wartime hardship. Artistically, the work is highly regarded as an case of mastery of the challenges of white-on-white painting and equally i of Rockwell's most famous works.

Background [edit]

The third is liberty from desire—which, translated into earth terms, ways economic understandings which will secure to every nation a healthy peacetime life for its inhabitants—everywhere in the world.

—Roosevelt's 1941 State of the Union address introducing the theme of the Four Freedoms[1]

Liberty from Want is the tertiary in a series of four oil paintings entitled Four Freedoms by Norman Rockwell. They were inspired by Franklin D. Roosevelt's Land of the Union Address, known as 4 Freedoms, delivered to the 77th United States Congress on January 6, 1941.[2] In the early 1940s, Roosevelt'due south Four Freedoms themes were still vague and abstruse to many, but the government used them to help boost patriotism.[iii] The Four Freedoms' theme was eventually incorporated into the Atlantic Charter,[4] [5] and it became part of the charter of the United nations.[two] The serial of paintings ran in The Saturday Evening Postal service accompanied by essays from noted writers on four consecutive weeks: Freedom of Speech communication (February 20), Freedom of Worship (Feb 27), Freedom from Want (March 6), and Freedom from Fearfulness (March 13). Eventually, the series was widely distributed in poster course and became instrumental in the U.Southward. Government State of war Bond Bulldoze.[6]

Clarification [edit]

The analogy is an oil painting on canvas, measuring 45.75 by 35.v inches (116.2 cm × xc.two cm). The Norman Rockwell Museum describes it as a story illustration for The Saturday Evening Post, complementary to the theme,[7] but the image is also an autonomous visual expression.[8]

The painting shows an aproned dame presenting a roasted turkey to a family of several generations,[nine] in Rockwell's idealistic presentation of family unit values. The patriarch looks on with fondness and approving from the head of the table,[10] which is the central chemical element of the painting. Its creased tablecloth shows that this is a special occasion for "sharing what nosotros have with those we love", according to Lennie Bennett.[8] The table has a bowl of fruit, celery, pickles, and what appears to exist cranberry sauce. In that location is a covered silver serving dish that would traditionally agree potatoes, co-ordinate to Richard Halpern,[11] merely Bennett describes this as a covered casserole dish.[viii] The servings are less prominent than the presentation of white linen, white plates and water-filled glasses. The people in the painting are non yet eating, and the painting contrasts the empty plates and vacant space in their midst with images of overabundance.[12]

Production [edit]

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

—Rockwell[13]

In mid-June Rockwell sketched in charcoal the Iv Freedoms and sought commission from the Office of War Data (OWI). He was rebuffed by an official who said, "The last war, you illustrators did the posters. This state of war, nosotros're going to apply fine arts men, existent artists."[14] However, Sat Evening Postal service editor, Ben Hibbs, recognized the potential of the set up and encouraged Rockwell to produce them right away.[xiv] Past early fall, the authors for the 4 Freedoms had submitted their essays. Rockwell was concerned that Liberty from Want did not match Bulosan'due south text. In mid-November, Hibbs wrote Rockwell pleading that he non bit his third work to offset over. Hibbs alleviated Rockwell'southward thematic concern; he explained that the illustrations only needed to accost the aforementioned topic rather than be in unison. Hibbs pressured Rockwell into completing his work by warning him that the mag was on the verge of being compelled past the regime to place restrictions on four-color printing, and then Rockwell had better get the piece of work published earlier relegation to halftone press.[15]

In 1942, Rockwell decided to utilise neighbors as models for the series.[16] In Freedom from Desire, he used his living room for the setting and relied on neighbors for communication, critical commentary, and their service equally his models.[14] For Freedom from Desire, Rockwell photographed his cook as she presented the turkey on Thanksgiving Day 1942.[xiii] He said that he painted the turkey on that 24-hour interval and that, dissimilar Freedom of Speech and Freedom of Worship, this painting was non difficult to execute.[17] Rockwell'due south wife Mary is in this painting, and the family cook, Mrs. Thaddeus Wheaton,[xviii] is serving the turkey, which the Rockwell family ate that twenty-four hours.[19] The nine adults and ii children depicted were photographed in Rockwell's studio and painted into the scene after.[20] [21] The models are (clockwise from Wheaton) Lester Brush, Florence Lindsey, Rockwell'due south female parent Nancy, Jim Martin, Mr. Wheaton, Mary Rockwell, Charles Lindsey, and the Hoisington children.[13] Jim Martin appears in all four paintings in the series.[22] Shirley Hoisington, the girl at the end of the table, was six at the time.[23]

Later on the Four Freedoms serial ran in The Saturday Evening Post, the magazine made sets of reproductions bachelor to the public and received 25,000 orders. Additionally the OWI, which six months before had declined to employ Rockwell to promote the 4 Freedoms, requested two.5 meg sets of posters featuring the 4 Freedoms for its state of war-bond drive in early 1943.[24]

Rockwell bequeathed this painting to a custodianship that became the Norman Rockwell Museum in Stockbridge, Massachusetts, and it is now role of the museum's permanent collection. Rockwell lived in Stockbridge from 1953 until his expiry in 1978.[eight]

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 on in his career

Freedom from Want is considered one of Rockwell'due south finest works.[xx] Of the iv paintings in the Four Freedoms, it is the one most frequently 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 plenty", co-ordinate to Linda Rosenkrantz, who compares information technology to "a 'Authentication' Christmas".[25] Embodying nostalgia for an enduring American theme of holiday celebration,[26] the painting is non exclusively associated with Thanksgiving, and is sometimes known as I'll Be Abode for Christmas.[27] The affluence and unity it shows were the idyllic hope of a mail service-war world, and the prototype has been reproduced in various formats.[25]

Co-ordinate to writer Amy Dempsey, during the Cold State of war, Rockwell'south images affirmed traditional American values, depicting Americans every bit prosperous and gratis.[28] Rockwell'due south work came to exist categorized within art movements and styles such every bit Regionalism and American scene painting. Rockwell'south piece of work sometimes displays an idealized vision of America'south rural and agricultural past.[29] Rockwell summed upwards his ain idealism: "I paint life as I would like information technology to exist."[xxx]

Despite Rockwell's full general optimism, he had misgivings about having depicted such a large turkey when much of Europe was "starving, overrun [and] displaced" as Earth War 2 raged.[21] [31] [32] Rockwell noted that this painting was not popular in Europe:[31] [32] "The Europeans sort of resented it because it wasn't freedom from want, it was overabundance, the table was so loaded downwards with nutrient."[11] Outside the U.s.a., this overabundance was the common perception.[33] However, Richard Halpern says the painting non only displays overabundance of food, simply also of "family unit, conviviality, and security", and opines that "glut rather than mere sufficiency is the true respond 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. Still, by depicting the tabular array with aught but empty plates and white dishes on white linen, Rockwell may take been invoking the Puritan origins of the Thanksgiving holiday.[11]

To art critic Robert Hughes, the painting represents the theme of family continuity, virtue, homeliness, and abundance without extravagance in a Puritan tone, equally confirmed by the modest drink choice of water.[34] Historian Lizabeth Cohen says that by depicting this freedom as a commemoration in the private family unit dwelling rather than a worker with a job or a government protecting the hungry and homeless, Rockwell suggests that ensuring this liberty was not as much a government responsibility as something built-in from participation in the mass consumer economic system.[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.[8] [33] Art critic Deborah Solomon describes this as "one of the nigh ambitious plays of white-against-white since Whistler's Symphony in White, No. 1".[35] Solomon further describes the work as "a new level of descriptive realism. Nevertheless, the painting doesn't experience congested or fussy; it is open and airy in the center. Extensive passages of white paint nicely frame the individual faces."[35]

Jim Martin, positioned in the lower right, gives a coy and perhaps 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 information technology a departure from previous depictions of Thanksgiving in that the participants practice not lower their heads or raise 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 Dark-brown sees gratitude as implicit in the painting,[37] while Kenneth Bendiner writes that Rockwell was mindful of the Last 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 as role of the Four Freedoms series. Bulosan'south essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence.[39] [nb ane] Equally he neared his thirtieth birthday, the Philippine immigrant and labor organizer[40] 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 as a migrant laborer working intermittent jobs.[41] Post editors tracked downwardly the impoverished immigrant to request an essay contribution.[42] Bulosan rose to prominence during World War Ii when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan'due south 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 re-create, had to track down the but 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, fear, and religion); this freedom added economical liberty as a societal aspiration.[43] In his essay, Bulosan treats negative liberties as positive liberties past suggesting that Americans be "given equal opportunity to serve themselves and each other according to their needs and abilities", an echo of Karl Marx's "from each according to his abilities, to each according to his needs".[44] In the concluding paragraph of the essay, the phrase "The America we hope to see is not only a physical but also a spiritual and intellectual world" describes an egalitarian America.[44] In a voice likened to Steinbeck's in works such as The Grapes of Wrath,[41] [43] Bulosan'due south essay spoke upward for those who struggled to survive in the capitalist democracy and was regarded as "haunting and sharp" against the backdrop of Rockwell'southward feast of plenty. It proposed that while citizens had obligations to the country, the state had an obligation to provide a basic level of subsistence.[41] Unlike Roosevelt, Bulosan presented the instance that the New Deal had not already granted freedom from want as it did non guarantee Americans the essentials of life.[40]

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 equally the 1946 volume embrace for Norman Rockwell, Illustrator, written during the prime number of Rockwell'southward career when he was regarded as America'due south most popular illustrator.[26] This image'south iconic status has led to parody and satire.
  • MAD magazine #39 (May 1958) presented a magazine satire called "The Sat Evening Pest",[45] which featured a parody of Freedom from Want on the cover. 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 unit, equally Freedom to Share (1994), in which the turkey platter brims over with wellness care supplies.[47] Among the better known reproductions is Mickey and Minnie Mouse entertaining their cartoon family with a festive turkey. Several political cartoons and fifty-fifty frozen vegetable advertisements have invoked this image.[33]
  • The painting was reenacted in the May 16, 2012, season 3 "Tableau Vivant" episode of the comedy television serial Modern Family.[48]
  • Some other imitation of the work is the embrace fine art to Tony Bennett's 2008 Christmas album, A Swingin' Christmas (Featuring The Count Basie Big Band).[49] [50] The parody includes all 13 members of Count Basie's ring.[51]
  • A promotional affiche for the 2022 pic, Deadpool ii replaced the paintings characters with characters from the film.[52]

Flick [edit]

  • A snapshot at the end of the 2002 Walt Disney Feature Animation film Lilo & Stitch shows the film's characters, including some clearly conflicting life forms, seated at a Thanksgiving table that echoes the painting.[53]
  • In the 2009 moving picture The Blind Side, when the Touhy family unit 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'due south most notable works and is compared to John Steinbeck's 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'due south Annual Message (Four Freedoms) to Congress (1941)". U.S. News & World Report. U.Due south. News & Earth Written report, L.P. Archived from the original on April 12, 2008. Retrieved Apr 11, 2008.
  3. ^ Murray, Stuart & James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. p. seven. ISBN0-517-20213-i.
  4. ^ Boyd, Kirk (2012). 2048: Humanity'southward Understanding to Live Together. ReadHowYouWant. p. 12. ISBN978-i-4596-2515-0 . Retrieved August 21, 2014.
  5. ^ Kern, Gary (2007). The Kravchenko Case: One Man's War on Stalin. Enigma Books. p. 287. ISBN978-1-929631-73-5 . Retrieved August 21, 2014.
  6. ^ Ngo, Sang (February twenty, 2013). "And that'southward the way information technology was: February 20, 1943". Columbia Journalism Review . Retrieved January fifteen, 2014.
  7. ^ "Norman Rockwell (1894–1978), "Freedom from Want," 1943. Oil on canvass, 45 ¾ x 35 ½"". Norman Rockwell Museum. Retrieved December 17, 2013.
  8. ^ a b c d e Bennett, Lennie (November 17, 2012). "'Freedom From Desire' and Norman Rockwell are almost more than than nostalgia". Tampa Bay Times . Retrieved December 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-five . Retrieved November 30, 2013.
  11. ^ a b c Halpern, Richard (2006). Norman Rockwell: The Underside of Innocence. Academy of Chicago Press. p. 72. ISBN0-226-31440-5 . Retrieved November 28, 2013.
  12. ^ Halpern, Richard (2006). Norman Rockwell: The Underside of Innocence. Academy of Chicago Printing. pp. 72–73. ISBN0-226-31440-5 . Retrieved November 28, 2013.
  13. ^ a b c Meyer, Susan E. (1981). Norman Rockwell's 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'southward Founding Ideas. Oxford University Printing. 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 North. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. p. 100. ISBN0-8109-6392-2.
  18. ^ Henningsen, Vic (April i, 2013). "Henningsen: The Four Freedoms". Vermont Public Radio. Retrieved December 17, 2013.
  19. ^ "Honoring the American Spirit" (PDF). Norman Rockwell Museum. Retrieved December 17, 2013.
  20. ^ a b Solomon, Deborah (2013). "Fifteen: The Iv Freedoms (May 1942 to May 1943)". American Mirror: The Life and Fine art of Norman Rockwell. Farrar, Straus and Giroux. p. 209. ISBN978-0-374-11309-4.
  21. ^ a b Heitman, Danny (Nov 27, 2013). "Thanksgiving: A await back at Norman Rockwell's iconic analogy 'Freedom From Want': Deborah Solomon's book 'American Mirror' gives a new perspective to ane of Rockwell's most famous paintings". Christian Scientific discipline Monitor . Retrieved December 17, 2013.
  22. ^ "I Like To Please People". Time. June 21, 1943. Retrieved April 7, 2008.
  23. ^ Murray, Stuart & James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. p. 50. ISBN0-517-20213-i.
  24. ^ Heydt, Bruce (February 2006). "Norman Rockwell and the Four Freedoms". America in WWII . Retrieved Dec 17, 2013.
  25. ^ a b Rosenkrantz, Linda (November 13, 2006). "A Norman Rockwell Thanksgiving". Canton Repository. The Repository. Archived from the original on April 22, 2008. Retrieved April vii, 2008.
  26. ^ a b Guptill, Arthur L. (1972). Norman Rockwell, Illustrator (seventh ed.). Watson-Guptill Publications. pp. cover, half-dozen, 140–149.
  27. ^ Daniels, Robert Fifty. (December sixteen, 2008). "Review: 'Tony Bennett'". Variety . Retrieved June 12, 2014.
  28. ^ Dempsey, Amy (2002). "1918–1945: American Scene". Art in the Modern Era. Harry N. Abrams, Inc. p. 165. ISBN0-8109-4172-4. During the Common cold War, Rockwell's images of domestic America—solid, undecayed, 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 N. Abrams, Inc. p. 165. ISBN0-8109-4172-4. Ii defining events of the 1930s, the Great Low and the rise of Fascism in Europe, prompted many American artists to turn abroad from abstraction and to prefer realistic styles of painting. For Regionalists (encounter *American Scene), this meant the promotion of an idealized, often chauvinistic vision of America'due south agrarian past.
  30. ^ Wright, Tricia (2007). "The Depression and World War II". American Fine 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 World. Harvard University Press. ISBN978-0-674-28192-9 . Retrieved November 28, 2013.
  32. ^ a b Albisa, Catherine; Martha F. Davis; Cynthia Soohoo, eds. (2007). Bringing Human Rights Dwelling house: Portraits of the motility. Praeger Perspectives. p. 33. ISBN978-0-275-98821-0 . Retrieved November 28, 2013.
  33. ^ a b c Hennessey, Maureen Hart; Knutson, Anne (1999). "The Iv Freedoms". Norman Rockwell: Pictures for the American People. Harry North. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. p. 102. ISBN0-8109-6392-two.
  34. ^ Hughes, Robert (1997). "The Empire of Signs". American Visions: The Epic History of Art in America . Alfred A. Knopf. pp. 508–509. ISBN0-679-42627-2.
  35. ^ a b c d Solomon, Deborah (2013). "15: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Fine art of Norman Rockwell. Farrar, Straus and Giroux. p. 210. ISBN978-0-374-11309-four.
  36. ^ Solomon, Deborah (October 2013). "Inside America's Great Romance With Norman Rockwell". Smithsonian Mag. Retrieved November 27, 2013.
  37. ^ Brownish, David (February 3, 2011). God and Grace of Trunk: Sacrament in Ordinary. Oxford University 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. ISBN978-1-86189-213-3 . Retrieved August 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 Nov 29, 2013.
  40. ^ a b Westbrook, Robert B. (1993). "Fighting for the American Family". In Fox, Richard Wightman and T. J. Jackson Lears (ed.). The Power of Culture: Critical Essays in American History. University of Chicago Printing. p. 204. ISBN0-226-25955-2 . Retrieved November 30, 2013.
  41. ^ a b c d Saldívar, Ramón David (2006). The Borderlands of Culture: Américo Paredes and the Transnational Imaginary. Duke Academy Press Books. p. 211. ISBN0-8223-3789-four . Retrieved November 30, 2013.
  42. ^ Murray, Stuart & James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. p. 62. ISBN0-517-20213-1.
  43. ^ a b Vials, Chris (2009). Realism for the Masses: Aesthetics, Popular Front end Pluralism, and U.South. Culture, 1935–1947. Academy Press of Mississippi. p. XXI. ISBN978-1-60473-123-1 . Retrieved Nov 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. ISBN978-0-8061-4340-8 . Retrieved November 29, 2013.
  45. ^ "MAD Magazine #39 • USA • 1st Edition - New York". MAD Trash . Retrieved October 16, 2021. {{cite web}}: CS1 maint: url-condition (link)
  46. ^ McGowan, Bob (July 26, 2017). "The Art of the Post: The Mail service's Rockwell and MAD's Drucker: 2 Great American Artists". The Saturday Evening Mail . Retrieved Oct 16, 2021. {{cite spider web}}: CS1 maint: url-condition (link)
  47. ^ Greenish, Penelope (October 28, 2001). "Mirror, Mirror; Rockwell, Irony-Free". The New York Times . Retrieved October 13, 2010.
  48. ^ Winn, Steven (November four, 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 Band: A Swingin' Christmas". Paste . Retrieved June 12, 2014.
  51. ^ Loudon, Christopher (Dec 2008). "Tony Bennett: That Holiday Feeling". JazzTimes. Archived from the original on October 21, 2015. Retrieved June 12, 2014.
  52. ^ "Deadpool 2 new promotional affiche". collider.com. October 10, 2017. Retrieved October 10, 2017.
  53. ^ Neighbors, R.C.; Rankin, Sandy (July 27, 2011). The Milky way Is Rated Grand: Essays on Children'due south Scientific discipline Fiction Film and Telly. McFarland. p. 25. ISBN978-0-7864-8801-8.
  54. ^ "Michael Oher Tells A Whole Different Story Nearly 'The Blind Side'". icepop.com. August ix, 2017. Retrieved June 19, 2018.

External links [edit]

  • Liberty From Desire at Norman Rockwell Museum

cleekreserefoot.blogspot.com

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

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