Looks like a Rockwell. Did you frame it that way or did the artist set the subject and scene and widow to create the lower right to upper left “movement”?
This framed reproduction of a painting was a gift many years back and I didn’t know much about it except that, like you, I suspected it to be Rockwell. I never bothered to look it up though until just now. It is in fact a Rockwell, or a crop of the Rockwell painting titled And Every Lad May Be Alladin (Crackers in Bed). You can see the full painting and read an interesting description of it written by his granddaughter that appeared in the Saturday Evening Post (of course!) in 2015 here.
It is interesting to note that the diagonal leading lines in the photograph, or movement as you called it, is preserved or perhaps even enhanced in the full view of the painting compared to the cropped version in my photo. The Saturday Evening Post article points out how the widow shade draw cord, stuck in the curtains, draws your eye back to the boy rather than out the window, which is really interesting and creative use of leading lines. If you go back and look at the POTD post, you will not see the window shade cord. That’s because I didn’t have the actual framed picture in front of me when working on the photograph on my computer and I thought that cord was actually a hair or something that had gotten stuck to the glass on the picture frame, so I got rid of it in Photoshop. I should have looked at it closer!
Looks like a Rockwell. Did you frame it that way or did the artist set the subject and scene and widow to create the lower right to upper left “movement”?
This framed reproduction of a painting was a gift many years back and I didn’t know much about it except that, like you, I suspected it to be Rockwell. I never bothered to look it up though until just now. It is in fact a Rockwell, or a crop of the Rockwell painting titled And Every Lad May Be Alladin (Crackers in Bed). You can see the full painting and read an interesting description of it written by his granddaughter that appeared in the Saturday Evening Post (of course!) in 2015 here.
It is interesting to note that the diagonal leading lines in the photograph, or movement as you called it, is preserved or perhaps even enhanced in the full view of the painting compared to the cropped version in my photo. The Saturday Evening Post article points out how the widow shade draw cord, stuck in the curtains, draws your eye back to the boy rather than out the window, which is really interesting and creative use of leading lines. If you go back and look at the POTD post, you will not see the window shade cord. That’s because I didn’t have the actual framed picture in front of me when working on the photograph on my computer and I thought that cord was actually a hair or something that had gotten stuck to the glass on the picture frame, so I got rid of it in Photoshop. I should have looked at it closer!