Norman Rockwell delivered this astonishing painting of an African American young lady bringing a change into the world.   In spite of the fact that this work of art was outside of his standard of the wry diversion, the romanticized American life, the inspiring touches, the ranges of dynamic shading, Rockwell still made this canvas. "The Problem We All Live With" was a plain, quieted, uncomplicated creation, and the subject! The subject was as humorless and uncomfortable as it gets.

On November 14, 1960, six year old Ruby Bridges went to William J. Frantz Elementary School in the ninth Ward of New Orleans. It was her first day, and in addition New Orleans' court-requested first day of integrated schools. The young girl depicted is none other than, Ruby Bridges as she strolled to Frantz Elementary School encompassed, for her assurance, by Federal Marshals. Obviously, we didn't have any acquaintance with her name was Ruby Bridges at the time; the press had not discharged her name out of sympathy toward her well-being. To the extent a large portion of the United States knew, she was an anonymous six year old African American amazing in her isolation and for the violence her little presence in a "Whites Only" school induced. Norman Rockwell was could not avoid such a story, and something about the scene -- visual, emotional or, perhaps, both -- lodged it into his artist's consciousness, where it waited until such time as it could be released.

The main thing that emerges in The Problem We All Live With is its point of convergence: the young lady. She is marginally to one side of focus, however adjusted by the expansive, red splotch on the divider right of focus. Rockwell brought creative permit with her flawless white dress, hair strip, shoes and socks.  This all-white outfit against her dull skin instantly jumps out of the artwork to get the viewer's eye. The white-on-dark territory glaring difference a distinct difference to the rest of the organization. The walkway is dark, the divider is mottled old cement, and the Marshals' suits are boringly impartial. Truth be told, the main different regions of connecting with shading are the heaved tomato and the red blast it has left on the divider, and the Marshals' yellow armbands. Rockwell additionally purposely forgets the Marshals' heads. They are all the more intense images as a result of their obscurity; they are faceless strengths of equity guaranteeing that a court arrange (incompletely unmistakable in the furthest left marshal's pocket) is upheld - in spite of the fury of the inconspicuous, shouting mob. The four figures shape a protecting defense around the young lady, and the main indication of their tension lies in their gripped right hands. As the viewers eyes goes in a counter-clockwise oval around the scene, it is not entirely obvious two scarcely discernible components that are the essence of “the problem we all live with." Scrawled on the divider are the racial slur, "NIGGER," and the threatening acronym, "KKK.”

Rockwell released this painting right in the heart of racism, in 1963.  If  you weren't around in the late 50s-mid 60s, it might be hard to envision exactly how antagonistic was the issue of integration. A considerable number individuals were brutally restricted to it, and scornful, dishonorable things were said and done.  This picture appeals to anyone in the world, no matter the race or gender.  Of course in this country, we know about slavery and how it impacted our country.  Even around the world, such as the Holocaust. This painting brings change but also pain.  The derogatory word used in the middle of the picture is offensive that some people find appealing.  Yes, there is still racism instilled in some people mind and will always be there. Although slavery was abolished, some people live in the time and you can see that around the world. This painting brought about plenty of mixed emotions. 

 African Americans could glance over this picture and would be a little upset.  Once you look deeper into the picture, you become aware that this picture is a great representation of change.  For the racists, they would have felt like the angry mob that wasn’t depicted in the painting.  Some of his fans probably were disgusted at the fact of the painting because it was at a crucial period of society, but Rockwell was more concerned about the future.  Five decades later there is still racism among us today and it is believed that it will always be here.  

Presently, almost 50 years after the fact, it is simpler to gage the significance of “The Problem We All Live With” when it initially showed up in 1964. Each school in the United States is integrated, at any rate by law if not truth be told. Despite the fact that progress has been made, we have yet to wind up a partially blind society. There are still racists among us, much as we may wish they weren't. Fifty years, a large portion of a century, and still the battle for fairness proceeds. In light of this, Norman Rockwell's “The Problem We All Live With” emerges as a more bold and judicious proclamation than we initially assumed.