‘Russian Schoolroom’ Teaches New Lessons
July 23, 2008
Norman Rockwell's 'Russian Schoolroom' (Courtesy: Las Vegas Sun)
Norman Rockwell’s “Russian Schoolroom” typifies the artist’s transition from the production of idealistic, dreamlike American scenes to then modern-day socio-political commentary. Today, the same painting has shifted in representation once again: now, “Russian Schoolroom” stands for modern greed and the ever-spinning, circular financial ramifications of art theft disputes.
The lithograph in question features a room of Russian schoolchildren (male) facing a bust of Lenin. It was produced in an era when the Cold War and the Russian Question in general were at the forefront of global consciousness–quite a leap from Rockwell’s characteristic happy-family-and-turkey productions for which he is mainly remembered in modern cultural recollection.
The plot began in 1968, when Jack Solomon, a lithograph company owner who worked with Rockwell during his heyday, purchased “Russian Schoolroom.” In 1973, after Solomon lent the piece to a gallery, it was stolen. In 1988 Judy Goffman Cutler bought the painting (and then sold it to director Steven Spielberg, whose assistant eventually discovered the stolen status of the painting).
“Russian Schoolroom”’s estimated value hovers around the figure of $700,000, but Cutler and Solomon have already collectively surpassed this amount in legal fees through their litigation. The painting is still in limbo, and the year-long argument over the piece seems to have taken over both of their lives.
Of course, art isn’t about monetary value. This Rockwell piece is a piece of history. But isn’t it also true that during the time this pair spends arguing over a piece of history, they are losing critical moments of history in their own lives?
