Lot 180
William Wallace "Bill" Norton, Jr. (American, 1925-2010). "Jesus Crucified with Two Thieves" acrylic and ink on paper, n.d. William Wallace "Bill" Norton, Jr.'s rendition of the crucifixion scene injects a raw and unconventional energy into a cornerstone of Christian iconography. Against a backdrop of swirling blues, sandy yellows, and the hopeful arc of a rainbow in the upper right, three figures are starkly crucified. Jesus, central and slightly smaller, has a speech bubble proclaiming with bewildered regret, "I WAS A NICE JEWISH GUY AND I CHASED THE MONEY CHANGERS OUT OF THE TEMPLE. BOY, WHAT A MISTAKE...." To his right, the first thief, also affixed to a cross, directs cynical words towards those below, "HEY, THE RICH GUYS DON'T LIKE ALL THAT HELP-THE-POOR SHIT." To Jesus's left, the second thief offers a stark assessment of their fate under Roman rule, stating, "THE ITALIANS FROM ROME EITHER KILL YOUR ASS, STEAL ALL THE MONEY OR SELL YOU AS A SLAVE." Size of painting: 16.75" W x 13.75" H (42.5 cm x 34.9 cm); of frame: 25.2" W x 19.5" H (64 cm x 49.5 cm)
Below, a figure in green, identified as a Roman soldier, espouses a brutal philosophy: "KILL, RAPE, STEAL..... THAT'S WHAT THE EMPEROR SAYS. HE OUGHT TO KNOW. RIGHT?" Near him kneels a sorrowful figure, presumably the Virgin Mary, whose speech bubble reveals a mother's anguish and futile warning: "I'M ONLY THE MOTHER, AND I TOLD THAT MUMSER TO KEEP HIS MOUTH SHUT. HE WOULDN'T LISTEN." A small bird rests on the ground, offering a surprising and cynical commentary: "THEY SAY NICE GUYS FINISH LAST. OY VEH!"
Norton's interpretation starkly deviates from the biblical accounts of the Crucifixion. The Gospels portray Jesus as largely silent on the cross, bearing his suffering with divine dignity, though he does speak words of forgiveness, concern for his mother, and a cry of abandonment. The thieves, while acknowledging their guilt, engage in a brief exchange with Jesus, with one asking for remembrance in his kingdom. Norton's Jesus expresses regret for his actions that provoked the authorities, a sentiment absent from the biblical narrative. The first thief's statement reflects a cynical view of societal power structures and the rejection of helping the marginalized, a social commentary injected into the scene. The second thief's grim pronouncement highlights the brutal reality of Roman oppression and the lack of agency faced by the condemned. The Roman soldier's brutal pronouncements further underscore the oppressive force of the empire. Mary's words emphasize a mother's pain and the tragic irony of her son's defiance.
Perhaps the most striking departure is the bird's Yiddish exclamation, "Oy veh!" and the preceding statement about nice guys finishing last. This anachronistic and seemingly cynical remark injects a modern, almost world-weary perspective into the scene, entirely absent from the biblical accounts. It could be interpreted as a commentary on the perceived futility of goodness in a corrupt world, a sentiment that resonates with Norton's often cynical artistic lens. The rainbow, a traditional symbol of hope and divine covenant after the flood, here stands in stark contrast to the grim pronouncements and suffering, perhaps suggesting a broken promise or a questioning of traditional religious assurances.
In essence, Norton's painting strips away the traditional solemnity and replaces it with raw human emotion, regret, cynicism, and a questioning of power and morality. It's a deeply personal and unconventional reimagining of a foundational religious story, filtered through the artist's own experiences and perspectives on the world, forcing a confrontation with the human elements of this divine tragedy. The inclusion of the second thief's stark statement about Roman brutality further amplifies this sense of a world devoid of justice and compassion in that pivotal moment.
William Wallace "Bill" Norton, Jr. (1925-2010) was an American screenwriter best known for his collaborations with Burt Reynolds on films like "White Lightning" and "Gator." Born in Utah and raised in California, his early life was marked by poverty during the Great Depression and service as an infantry officer in Patton's Third Army during World War II, experiences that later informed his writing. Norton even joined the Communist Party in his youth and testified before the House Un-American Activities Committee in 1958. His Hollywood career gained momentum with "The Scalphunters" (1968), leading to a diverse filmography including "Big Bad Mama" and John Wayne's "Brannigan," showcasing his talent for action-oriented narratives.
Later in life, Norton's path took a dramatic turn. Angered by violence in Northern Ireland after moving to Ireland, he attempted to smuggle a significant cache of weapons from the United States to the Irish National Liberation Army (INLA) in 1986. This led to his arrest in France, along with his wife Eleanor and INLA members, and a subsequent prison sentence. After his release, the couple sought asylum in Nicaragua, where Norton shot and killed an intruder in his home. He then spent a year in Cuba, becoming disillusioned with Communism before reportedly being smuggled back into the U.S. from Mexico by his ex-wife.
Returning to the United States, Norton settled in Santa Barbara, California, where he lived out his days and even wrote a screenplay, "Exiled in America," based on his tumultuous experiences. He passed away at the age of 85, survived by his second wife, Eleanor, and his children, including writer-director Bill L. Norton. His life story, marked by both creative success in Hollywood and extraordinary international incidents, paints a portrait of a complex and unconventional individual.
Provenance: private Los Angeles, California, USA collection
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#193560
- Condition: Unsigned. Mounted behind glass in custom matte and frame; has not been examined outside of frame. Adhered to matte via scotch tape in lower corners, but otherwise appears to be in excellent overall condition. A few marks to frame that do not affect painting. Suspension hook on verso for display.
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