Marriage License

Last updated

Marriage License. Norman Rockwell 1955. Norman Rockwell Museum. Marriage-License.jpg
Marriage License. Norman Rockwell 1955. Norman Rockwell Museum.

Marriage License is an oil painting by American illustrator Norman Rockwell created for the cover of the June 11, 1955, edition of The Saturday Evening Post . It depicts a young man and woman filling out a marriage license application at a government building in front of a bored-looking clerk. The man is dressed in a tan suit and has his arm around his partner, who is wearing a yellow dress and standing on tiptoe to sign her name. Although the room and its furnishings are dark, the couple are illuminated by the window beside them. The contrast between the couple and the clerk highlights two reoccurring themes in Rockwell's works: young love and ordinary life.

Contents

Rockwell had a long history of using people who lived near him as models. He used photographs of local shopkeeper Jason Braman; Stockbridge, Massachusetts, native Joan Lahart; and her fiancé Francis Mahoney as a reference while creating the painting. Lahart was suggested for the role by her sister Peggy, a nurse at the Austen Riggs Center where Mary Rockwell was receiving treatment. During the photo shoot, Braman was captured in a more natural and uninterested pose compared to the one envisioned by the artist. Rockwell liked it and used it for his painting instead.

Since its appearance in The Saturday Evening Post, the painting has been praised by critics and is considered one of Rockwell's best works. Commentators have compared it to the works of Johannes Vermeer due to Rockwell's use of light and dark. The 45.5 by 42.5 inches (116 cm × 108 cm) painting is in the collection of the Norman Rockwell Museum and has been a part of major exhibitions in 1955, 1972, and 1999. In 2004 Mad magazine published a parody of Marriage License by Richard William that used the original work to explore how same-sex marriage challenges the meaning of marriage and government role.

Description

The facial expressions of both the couple signing the license and the clerk from Marriage License Marriage License crop.jpg
The facial expressions of both the couple signing the license and the clerk from Marriage License

Marriage License is an oil painting on canvas measuring 45.5 by 42.5 inches (116 cm × 108 cm). [1] It is set in a dark city hall office filled with bookshelves. [2] The floor is strewn with used cigarettes and a brass spittoon. [3] [4] In the middle of the painting stand a young couple in front of a rolltop desk filling out their application for a marriage license. [4] [5] The man is wearing a tan suit and has his arm protectively around his fiancée. [6] The woman wears a yellow dress with high heels but has to stand on her tiptoes to sign the document. Light from the open window beams down on the couple's faces. [5]

A bored looking older man in a bow tie and waistcoat sits behind the desk, with a cat resting beside his chair. [5] Rubber galoshes have been placed over his shoes. [7] The wearied look on the clerk's face starkly contrasts with the excited couple. [8] Behind the clerk, in the window, sits a single red geranium. [4] On top of the bookshelf is an unfolded United States flag, thought by the Norman Rockwell Museum to be a sign that the couple has come in at the very end of the day. [9] In the background a calendar gives the date as June 11, 1955, the date the painting appeared on the cover of The Saturday Evening Post . [5]

Themes

Marriage License highlights two reoccurring themes in Norman Rockwell's works: the drab of ordinary life and the excitement of young love. The subject choice of a couple signing a marriage license, in private, rather than a public wedding was a deliberate one. Throughout his career, Rockwell consistently opted to show small moments of American life. [10] Love is a topic that Rockwell explored extensively in paintings such as The Letterman (1938), Little Girl Observing Lovers on a Train (1944), Before the Date (1949), and The University Club (1960). [11] Marriage License is one of the few times he directly addressed the theme post-World War II. [3] The subject is amplified by the juxtaposition of the excited young couple next to the uninterested clerk. Depending on the side of the desk the painting is being viewed from, the day depicted in the painting is either run-of-the-mill or monumental. [3]

Creation

Commission and models

The Little Street. Johannes Vermeer c. 1657-1658. Rijksmuseum. Johannes Vermeer - Gezicht op huizen in Delft, bekend als 'Het straatje' - Google Art Project.jpg
The Little Street. Johannes Vermeer c. 1657–1658. Rijksmuseum.

Rockwell moved from Arlington, Vermont, to Stockbridge, Massachusetts, in 1953 to be close to his wife Mary, who was receiving psychiatric treatment at the Austen Riggs Center, and to receive therapy from Erik Erikson. [12] [13] He set up a studio and continued to paint illustrations for magazine covers and yearly Boy Scout calendars. [14]

Starting in the 1930s Rockwell created his paintings from 50 to 100 reference photographs. [15] The models for these were often drawn from the local community. Marriage License's three main figures –the young couple and the older man –are drawn from around Stockbridge. [16] The office and surrounding buildings draw from both Johannes Vermeer's The Little Street and photographs of Stockbridge's town clerk's office. [17] [18]

In 1954 Rockwell approached Peggy Lahart, a nurse at the Riggs center, to pose for a painting depicting a bride-to-be. [17] Peggy passed the opportunity to her younger sister Joan, who was engaged to Francis "Moe" Mahoney, a retired NBA player, in January 1955. [16] After some prodding, Mahoney agreed to pose with his fiancée. For their photo shoot, Rockwell told the couple what to wear: a specific yellow summer dress with puffed sleeves for Lahart and a "light blue shirt and wingtips" for Mahoney. [16] [17] The dress had to be custom made as summerwear was impossible to buy in Stockbridge during winter. [17] The couple were each paid $25 (equivalent to $250in 2021) and received an oil sketch of the painting as a wedding gift. [16] [18] [19] [note 1]

The older man was modeled by Jason Braman, a shopkeeper in Stockbridge. [21] Braman was chosen as the model because his wife had recently died. Rockwell originally positioned him sitting nearer the couple. [22] During the photo shoot Braman relaxed and "slumped down" in the chair, [23] a more natural pose Rockwell took a liking to and used for the final painting. [8]

Process

Using his collection of reference photographs, Rockwell composed a series of full-size sketches which were used to create a smaller final color study. [15] [note 2] A filing cabinet from the clerk's office made its way into a study but was removed in the final painting in favor of a potbelly stove to make the room look older. [17] [18] The final painting was created by transferring the sketch onto the canvas and painting over it. [15] It took Rockwell just over a month to finish the painting, [25] which was framed and then sent to The Saturday Evening Post. [26] The Post had the painting color photographed. It was used to create four plates (blue, red, yellow, and black) which would be used to print a color reproduction. [26]

Provenance

Marriage License was first published as the cover of The Saturday Evening Post in 1955. That same year the painting was included in an exhibition of Rockwell's work at the Corcoran Gallery of Art organized and paid for by the magazine. [27] After the show, the work returned to Rockwell's collection until 1969 when it and thirty-four other paintings –including the Four Freedoms (1943) and Shuffleton's Barbershop (1950) –were permanently loaned to the Old Corner House in Stockbridge. [28] In 1972 the painting was included in Norman Rockwell: A Sixty Year Retrospective at the Brooklyn Museum on the condition that it was not part of the national tour of the same name. [29]

Rockwell donated the entirety of his personal collection of paintings, including Marriage License, to the Norman Rockwell Art Collection Trust in 1973. [1] [30] The trust became the core of the Norman Rockwell Museum's permanent collection after the artist died in 1979. Marriage License has been displayed elsewhere only once since joining the collection, for the November 1999 –February 2002 tour, Norman Rockwell: Pictures for the American People, which visited the High Museum of Art, Chicago History Museum, Corcoran Gallery of Art, San Diego Museum of Art, Phoenix Art Museum, Norman Rockwell Museum, and the Solomon R. Guggenheim Museum. [31] [ failed verification ]

Reception

The Milkmaid. Johannes Vermeer c. 1657-1658. Rijksmuseum. Johannes Vermeer - Het melkmeisje - Google Art Project.jpg
The Milkmaid. Johannes Vermeer c. 1657–1658. Rijksmuseum.

The painting has been generally well received. In the catalog for the 1972 retrospective exhibition of Rockwell's works, museum director Thomas Buechner described the painting, along with Breaking Home Ties (1954), as the artist's two best works. [32] Art critic Deborah Solomon found the painting to be a "peak of [Rockwell's] talents as a realist painter", [33] and novelist John Updike praised the painting's small and "unnecessary" details. [34] Popular culture historian Christopher Finch considered Marriage License to be iconic, one of Rockwell's "most successful canvases", and belonging "with the very finest examples of Rockwell's art". [35] Writing in 1955 for The Washington Post , critic Leslie Judd Portner described the painting as boring and "pedestrian" in her scathing review of the Rockwell exhibition at the Corcoran Gallery of Art. [36]

Philosopher of art Marcia Muelder Eaton uses Marriage License and Vermeer's The Milkmaid as foils in Art and Nonart: Reflections on an Orange Crate and a Moose Call to explore the boundaries of "aesthetic value" by testing a series of assertions about what makes "good art". [37] She tries to test the idea that only one of the two paintings draws from earlier works of art, but fails. Much like Deborah Solomon and Dave Ferman of the Fort Worth Star-Telegram , Eaton notes that Marriage License is influenced by Dutch old masters, based on its use of light and dark interiors. [38] [39] [40] When analyzing the technical skill needed to produce the works, she finds that both artists have a high degree of craftsmanship. [41] Where Eaton finds the paintings differ is on the subject matter and presentation. [42] She describes Rockwell's work as "cheaply achieved" and "childish" due to the shallow symbolism, and compares it to a mass-market cartoon. [43] Eaton later writes that she has "very little, if any, drive to hear what others have to say about it [Marriage License]" due to the lack of interpretation a viewer performs. [44]

Legacy

If Norman Rockwell Depicted the 21st Century. Richard Williams 2004. If Norman Rockwell Depicted the 21st Century.jpg
If Norman Rockwell Depicted the 21st Century. Richard Williams 2004.

As a well-known Rockwell painting, Marriage License has been used as inspiration for other works. There were plans for a Christmas-themed film based on the painting and several other Rockwells in 1979. [45] The production company filmed exterior shots, but production stopped in January because Stockbridge's Board of Selectmen was not properly notified of the project. [46] Despite several attempts the producers could not receive permission to film largely because the Selectmen wanted the best possible deal for the town. [47] [48]

As a response to Goodridge v. Department of Public Health , the first state supreme court decision in favor of same-sex marriage, in 2004, artist Richard Williams created a parody of Marriage License for Mad magazine titled If Norman Rockwell Depicted the 21st Century. [49] The parody stays close to the source material but with the cast iron stove replaced by a photocopier, the spittoon becoming a trash can, and a pair of gay men signing their marriage license. [50] [51] The woman's yellow dress in the original is paralleled by the shirt of the man closer to the viewer. [50]

Gender studies scholar Katie Oliviero interpreted If Norman Rockwell ... as a commentary on the "competing frameworks of civil marriage's competing public and private meanings". [52] Psychologists Earl Ginter, Gargi Roysircar and Lawrence Gerstein saw it instead as a commentary on the role of government in deciding which marriages are valid and which ones are not. [53] The parody was re-posted in 2012 on Mad's website in celebration of the Second Circuit striking down the Defense of Marriage Act in United States v. Windsor . [54]

Related Research Articles

<span class="mw-page-title-main">Norman Rockwell</span> American painter and illustrator (1894–1978)

Norman Percevel Rockwell was an American painter and illustrator. His works have a broad popular appeal in the United States for their reflection of the country's culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout Is Reverent and A Guiding Hand, among many others.

<span class="mw-page-title-main">Rockwell Kent</span> American artist (1882-1971)

Rockwell Kent was an American painter, printmaker, illustrator, writer, sailor, adventurer and voyager.

<span class="mw-page-title-main">Josephine Hopper</span> American model

Josephine Verstille Hopper was an American painter who studied under Robert Henri and Kenneth Hayes Miller, and won the Huntington Hartford Foundation fellowship. She was the wife of Edward Hopper, whom she married in 1924.

<span class="mw-page-title-main">Norman Rockwell Museum</span> Art museum in Stockbridge, Massachusetts, US

The Norman Rockwell Museum is an art museum in Stockbridge, Massachusetts, United States, dedicated to the art of Norman Rockwell. It is home to the world's largest collection of original Rockwell art. The museum also hosts traveling exhibitions pertaining to American illustration.

The Berkshire Museum is a museum of art, natural history, and ancient civilization that is located in Pittsfield in Berkshire County, Massachusetts.

<span class="mw-page-title-main">Famous Artists School</span> Art school based in Wilton, Connecticut

Famous Artists School is an art correspondence course institution, in operation since 1948. The school was founded by members of the New York Society of Illustrators, principally Albert Dorne and Norman Rockwell.

<i>Freedom from Fear</i> (painting) 1943 painting by Norman Rockwell

Freedom from Fear is the last of the well-known Four Freedoms oil paintings produced by the American artist Norman Rockwell. The series was based on the four goals known as the Four Freedoms, which were enunciated by President Franklin D. Roosevelt in his State of the Union Address on January 6, 1941. This work was published in the March 13, 1943, issue of The Saturday Evening Post alongside an essay by a prominent thinker of the day, Stephen Vincent Benét. The painting is generally described as depicting American children being tucked into bed by their parents while the Blitz rages across the Atlantic in the United Kingdom.

<span class="mw-page-title-main">Willie Gillis</span> Fictional character by Norman Rockwell

Willie Gillis, Jr. is a fictional character created by Norman Rockwell for a series of World War II paintings that appeared on the covers of 11 issues of The Saturday Evening Post between 1941 and 1946. Gillis was an everyman with the rank of private whose career was tracked on the cover of the Post from induction through discharge without being depicted in battle. He and his girlfriend were modeled by two of Rockwell's acquaintances.

<i>Four Freedoms</i> (Rockwell) 1943 painting series by Norman Rockwell

The Four Freedoms is a series of four oil paintings made in 1943 by the American artist Norman Rockwell. The paintings—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—are each approximately 45.75 by 35.5 inches, and are now in the Norman Rockwell Museum in Stockbridge, Massachusetts. The four freedoms refer to President Franklin D. Roosevelt's January 1941 Four Freedoms State of the Union address, in which he identified essential human rights that should be universally protected. The theme was incorporated into the Atlantic Charter, and became part of the Charter of the United Nations. The paintings were reproduced in The Saturday Evening Post over four consecutive weeks in 1943, alongside essays by prominent thinkers of the day. They became the highlight of a touring exhibition sponsored by The Post and the U.S. Department of the Treasury. The exhibition and accompanying sales drives of war bonds raised over $132 million.

<i>Freedom of Speech</i> (painting) 1943 painting by Norman Rockwell

Freedom of Speech is the first of the Four Freedoms paintings by Norman Rockwell, inspired by United States President Franklin D. Roosevelt's 1941 State of the Union address, known as Four Freedoms.

<i>Freedom of Worship</i> (painting) 1943 painting by Norman Rockwell

Freedom of Worship or Freedom to Worship is the second of the Four Freedoms oil paintings produced by the American artist Norman Rockwell. The series was based on the goals known as the Four Freedoms enunciated by Franklin D. Roosevelt, president of the United States from 1933 to 1945, in his State of the Union Address delivered on January 6, 1941. Rockwell considered this painting and Freedom of Speech the most successful of the series. Freedom of Worship was published in the February 27, 1943, issue of The Saturday Evening Post alongside an essay by philosopher Will Durant.

<i>Freedom from Want</i> 1943 painting by Norman Rockwell

Freedom from Want, also known as The Thanksgiving Picture or I'll Be Home for Christmas, is the third of the Four Freedoms series of four oil paintings by American artist Norman Rockwell. The works were inspired by United States President Franklin D. Roosevelt's 1941 State of the Union Address, known as Four Freedoms.

Francis H. Mahoney was an American professional basketball player. He had a brief stint in the National Basketball Association (NBA) during the 1950s.

Pierre Clerk is a contemporary artist who works primarily in painting and sculpture.

<i>The Problem We All Live With</i> 1964 painting by Norman Rockwell

The Problem We All Live With is a 1964 painting by Norman Rockwell that is considered an iconic image of the Civil Rights Movement in the United States. It depicts Ruby Bridges, a six-year-old African-American girl, on her way to William Frantz Elementary School, an all-white public school, on November 14, 1960, during the New Orleans school desegregation crisis. Because of threats of violence against her, she is escorted by four deputy U.S. marshals; the painting is framed so that the marshals' heads are cropped at the shoulders. On the wall behind her are written the racial slur "nigger" and the letters "KKK"; a smashed and splattered tomato thrown against the wall is also visible. The white protesters are not visible, as the viewer is looking at the scene from their point of view. The painting is oil on canvas and measures 36 inches (91 cm) high by 58 inches (150 cm) wide.

<i>Saying Grace</i> (Rockwell) 1951 painting by Norman Rockwell

Saying Grace is a 1951 painting by American illustrator Norman Rockwell, painted for the cover of The Saturday Evening Post's November 24, 1951, Thanksgiving issue.

<span class="mw-page-title-main">Fanny Eaton</span> Artists model (1835–1924)

Fanny Eaton was a Jamaican-born artist's model and domestic worker. She is best known as a model for the Pre-Raphaelite Brotherhood and their circle in England between 1859 and 1867. Her public debut was in Simeon Solomon's painting The Mother of Moses, which was exhibited at the Royal Academy in 1860. She was also featured in works by Dante Gabriel Rossetti, John Everett Millais, Joanna Mary Boyce, Rebecca Solomon, and others.

<i>Little Girl Observing Lovers on a Train</i> Painting by Norman Rockwell

Little Girl Observing Lovers on a Train, also known as Travel Experience or Voyeur, is a painting by American illustrator Norman Rockwell. It was originally created for the cover of The Saturday Evening Post on 12 August 1944.

Murder in Mississippi, as named by the artist, is a 1965 painting by Norman Rockwell which was commissioned for an article titled "Southern Justice" in the American magazine Look. The painting depicts the 1964 murders of civil rights activists James Chaney, Andrew Goodman and Michael Schwerner, and was intended to illustrate an article written on the murders by civil rights attorney Charles Morgan Jr. The painting is oil on canvas 53 x 42 inches, and also has a pencil on board study of the same title, both of which reside in the collections of the Norman Rockwell Museum.

References

Notes

  1. ↑ The sketch was donated to the Norman Rockwell Museum by the couple in 1983. [20]
  2. ↑ The color study for Marriage License is in the archives of the Norman Rockwell Museum. [24]

Citations

  1. 1 2 "Marriage License". Digital Collection. Norman Rockwell Museum. Retrieved February 2, 2023.
  2. ↑ Ferman, Dave (January 16, 2000). "Rockwell Made Ordinary Extraordinary". News-Press. Fort Myers, Florida. Knight Ridder News Service. p. 2G. Archived from the original on October 22, 2022. Retrieved October 22, 2022– via Newspapers.com.
  3. 1 2 3 Finch 1976 , p. 81
  4. 1 2 3 Bauer 1980 , p. 56
  5. 1 2 3 4 Stump, Douglas G. (August 27, 2000). "Corcoran Exhibit Illustrates the Career of Norman Rockwell". Lebanon Daily News. Lebanon, Pennsylvania. p. 10B. Archived from the original on October 22, 2022. Retrieved October 22, 2022– via Newspapers.com.
  6. ↑ Shaw-Eagle, Joanna (June 17, 2000). "Norman Rockwell's Fanfare for the Common Man". Washington Times. Washington, DC – via Gale OneFile: News.
  7. ↑ Marriage License 1955 , 1:22
  8. 1 2 Marriage License 1955 , 1:03
  9. ↑ Marriage License 1955 , 1:17
  10. ↑ Larson & Hennessey 1999 , p. 48
  11. ↑ Finch 1976 , pp. 81–93
  12. ↑ Carson, Tom (February 26, 2020). "The awakening of Norman Rockwell". Vox. Archived from the original on October 26, 2022. Retrieved October 26, 2022.
  13. ↑ Solomon 2013 , pp. 282–283
  14. ↑ Solomon 2013 , pp. 284–286
  15. 1 2 3 Larson & Hennessey 1999 , p. 57
  16. 1 2 3 4 Ryan, Bill (November 27, 1983). "Norman Rockwell's Town is Full of Familiar Faces". Fort Worth Star-Telegram. Fort Worth, Texas. Hartford Courant. p. 6C. Archived from the original on October 22, 2022. Retrieved October 22, 2022– via Newspapers.com.
  17. 1 2 3 4 5 Meyer 1981 , p. 196
  18. 1 2 3 Marriage License 1955
  19. ↑ Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Archived from the original on June 19, 2020. Retrieved April 16, 2022.
  20. ↑ "Marriage License (study)". Digital Collection. Norman Rockwell Museum. Retrieved February 17, 2023.
  21. ↑ Ryan, Bill (January 1, 1984). "Rockwell's real people". Saturday Evening Post. Archived from the original on October 22, 2022. Retrieved October 22, 2022.
  22. ↑ Marriage License 1955 , 0:46
  23. ↑ Marriage License 1955 , 0:50
  24. ↑ "Marriage License (study)". Digital Collection. Norman Rockwell Museum. Retrieved February 5, 2023.
  25. ↑ Bauer 1980 , p. 13
  26. 1 2 Larson & Hennessey 1999 , p. 63
  27. ↑ Solomon 2013 , pp. 303–304
  28. ↑ Solomon 2013 , p. 418
  29. ↑ Solomon 2013 , pp. 424–428
  30. ↑ Ceglio 2002 , p. 283
  31. ↑ Hennessey & Knutson 1999 , p. 4
  32. ↑ Buechner 1972 , p. 107
  33. ↑ Solomon 2013 , p. 304
  34. ↑ Updike 2012 , pp. 22–25
  35. ↑ Finch 2013 , pp. 1, 24, and 658
  36. ↑ Solomon 2013 , p. 307
  37. ↑ Eaton 1983 , pp. 137–140
  38. ↑ Ferman, Dave (February 20, 2000). "Rockwell Exhibit Stirs Memories". Wisconsin State Journal. Madison, Wisconsin. Fort Worth Star-Telegram. p. H1. Retrieved October 25, 2022– via Newspapers.com.
  39. ↑ Solomon 2013 , pp. 304–305
  40. ↑ Eaton 1983 , p. 140
  41. ↑ Eaton 1983 , pp. 140–145, 153–154
  42. ↑ Eaton 1983 , pp. 145–149
  43. ↑ Eaton 1983 , pp. 149–151
  44. ↑ Eaton 1983 , p. 151
  45. ↑ Knobloch, Kevin T. (January 4, 1979). "Yule TV Film To Be Shot Here". Berkshire Eagle. Pittsfield, Massachusetts. p. 23. Archived from the original on October 25, 2022. Retrieved October 25, 2022– via Newspapers.com.
  46. ↑ Knobloch, Kevin T. (January 12, 1979). "Film Producer Says Comments by Beacco have 'Hurt' Project". Berkshire Eagle. Pittsfield, Massachusetts. p. 10. Archived from the original on January 23, 2023. Retrieved January 23, 2023– via Newspapers.com.
  47. ↑ "Film Makers Agree To Meet With Board". Berkshire Eagle. Pittsfield, Massachusetts. February 27, 1979. p. 24. Archived from the original on January 23, 2023. Retrieved January 23, 2023– via Newspapers.com.
  48. ↑ Moore, Steve (November 27, 1979). "Rise In Cost Of Treatment Plant Prompts Officials' Boston Trip". Berkshire Eagle. Pittsfield, Massachusetts. p. 18. Archived from the original on January 23, 2023. Retrieved January 23, 2023– via Newspapers.com.
  49. ↑ Oliviero 2013 , pp. 167–168
  50. 1 2 Oliviero 2013 , p. 168
  51. ↑ Kutner, Max. "Rethinking Rockwell in the Time of Ferguson". Smithsonian Magazine. Archived from the original on October 22, 2022. Retrieved October 22, 2022.
  52. ↑ Oliviero 2013 , pp. 168–169
  53. ↑ Ginter, Roysircar & Gerstein 2018, Chapter 13
  54. ↑ "Norman Rockwell's "Marriage License" Reimagined as New York Strikes Down the Defense of Marriage Act". Mad Magazine. E.C. Publications. October 18, 2012. Archived from the original on October 22, 2022. Retrieved October 23, 2022.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.