Conscience & Conviction
The Jury, a Norman Rockwell painting, appeared on the cover of The Saturday Evening Post published February 14, 1959.
This is one of several Rockwell paintings that can serve
more or less as a civics lesson (cf.
the 1964 painting, The Problem We All Live With;
from 1963, Southern Justice; and New Kids in the Neighborhood from 1967). I was thinking about
it again because it’s the cover jacket art for Kimberley Brownlee’s important
new book, Conscience and Conviction: The Case for Civil Disobedience
(Oxford University Press, 2012). Brownlee wrote the entry on “civil disobedience” for the Stanford Encyclopedia of Philosophy (SEP). In the
Introduction, she explains why she chose this painting for the cover of her
book:
“It captures a charged scene of a jury of 11 men and one
woman who are long into their deliberations. We do not know the facts of the
case or what verdict they are debating. All we know is that the woman sits in a
rickety chair with her back straight and her arms folded while 10 of the men
stand or sit around her, leaning over her in united opposition. One man dozes to
the side. In this smoke-filled, wood-paneled room echoing of a men’s club where
jackets have been shed and tempers are running high, she is entirely alone. She
is exposed. And, she might be wrong about what she thinks of the case. She seems
to be aware of this since she is listening intently to the men around her. But,
she is also unflinching. In her folded arms, straight back, and attentive
expression lie the kernels of the conception of conscientious conviction that I defend
in these pages.”
The following (sans notes) is from a “teacher’s guide”
“developed to accompany the exhibition Telling Stories: Norman Rockwell from the Collections of
George Lucas and Steven Spielberg, on view at the Smithsonian
American Art Museum in Washington, D.C., from July 2, 2010 through January 2,
2011. The show explores the connections between Norman Rockwell’s iconic images
of American life and the movies.”
“At the time Rockwell painted The Jury, eighteen
states still imposed restrictions on women’s jury service. Jury trials,
individual holdouts, and women’s roles were highlighted in television and film
in the late 1950s. Greer Garson starred in an episode of the popular series
Telephone Time that aired in September 1957, in which Garson’s character
campaigns for women to be selected as jurors in a murder trial. Without women,
the killer would go free because all available male jurors were either his
friends or too fearful to vote for conviction. The most revealing connection
between Rockwell’s painting and contemporary popular culture lies in the
parallels it shares with the movie 12 Angry Men (1957). In the film,
Henry Fonda stars as the holdout on a jury that, except for his dissenting vote,
will impose the death sentence on a young Hispanic man charged with killing his
father. Each of the other jurors votes to convict—some for personal reasons,
some out of prejudice against nonwhite Americans, some because they simply
wanted to escape the heat of the jury room and go to a baseball game. One by
one, as the Fonda character poses reasonable questions about the value of the
evidence presented, the other jurors acquiesce to his arguments. The final
ballot results in a unanimous verdict of not guilty. As in 12 Angry Men,
the jury deliberation portrayed on Rockwell’s canvas has been lengthy. Cigarette
butts and crumpled ballots litter the floor of the smoke-filled room, but the
holdout remains unswayed, despite the psychological pressure imposed by her
fellow jurors.”
Additional reading: A nice complement (owing to its historical focus) to Brownlee’s book is Lewis Perry’s Civil Disobedience: An American Tradition (Yale University Press, 2013).
Additional reading: A nice complement (owing to its historical focus) to Brownlee’s book is Lewis Perry’s Civil Disobedience: An American Tradition (Yale University Press, 2013).
0 Comments:
Post a Comment
<< Home