This contrast is due to three major reasons-firstly, Rockwell's painting deals with human's use of technology in their leisure time, in contrast to the mechanization of the modern office and of modern farming. Secondly, Rockwell painted his work after the end of World War II, and the advent of much greater American prosperity than had been enjoyed during the time when "The Family-Industry and Agriculture" by Harry Sternberg were created, during the Great Depression and the uncertainty of the early times of America's entry into World War II, when Hopper created his work of art. Thirdly, Rockwell's magazine cover was created for commercial purposes. Hopper, although he worked as a commercial illustrator, created his work for private purposes,

In contrast to the private gaze fixed upon the earlier chroniclers of human responses to technology, Hopper and Sternberg, Norman Rockwell captured the attention of millions of Americans with his 322 Saturday Evening Post covers. Unlike the paintings displayed in galleries and specifically designated artistic spaces, " every week at approximately the same time, millions of households across the country received The Saturday Evening Post and thus "the way most people were introduced to Rockwell images" was in "close up." (Knuston, 18)

for his own personal expression as an artist, and Sternberg unapologetically identified himself as a social activist as well as a teacher an a painter. ("A Tribute to Harry Sternberg," The San Diego Museum of Art, 2001)

In other words, humanity was still the appropriate subject of art, even while technology rendered human life increasingly regimented and materialistic-even farm work, in Sternberg's painting of modern life threatened by technology on a Depression-era farm. But in contrast to the strident social critique of Sternberg, and the enthusiastic affirmation of technology of Rockwell, critics describe Hopper's work of art is as "intensely private." Hopper himself is described as a man and an artist who made the "solitude and introspection" of modern life "important themes in his painting." When asked in later life if he met Picasso in Paris, as Hopper he went to study in France as a young man, Hopper shrugged and said, "Whom did I meet? Nobody. ("Edward Hopper," Art Archive, 2005)

In contrast to the large canvases of the social realist Sternberg and the urban realist Hopper, Rockwell's magazine covers were meant to make the gazer and reader feel as if they were about ordinary Americans, like "us." Of course, 'we' are workers on farms and in cities perhaps more like the words Hopper and Sternberg, but Rockwell created more of an optimistic image of normalcy that Americans longed to accept in the post-war cultural climate. Although Rockwell did not portray 'reality' he did portrayed what

Some common words found in the essay are:
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