Question: Was Norman Rockwell's works of the cultural icon of World War II representing men or women?

full_context: Document 1: Rosie the Riveter (disambiguation): Rosie the Riveter is a cultural icon representing the working women of the United States during World War II.
Document 2: Asian American women in World War II: Asian American women during World War II served many crucial functions that tend to be overlooked, or erased entirely, from modern history books. Women’s roles are under-appreciated or unmentioned in the context of war; these women, however, were tasked with various duties that greatly aided American forces going into combat. Japanese American women, known as “Nisei”, contributed to war efforts by providing medical care as nurses and doctors, as well as serving as military intelligence officials and linguists. These women were also on the front lines of combat in many instances, with Filipino American women fighting as an underground coalition resistance in the Philippines. Asian American women initially began their involvement with the formation of the Army Nurse Corps (ANC) and Women's Army Corps (WAC), serving as linguists and translators at Fort Snelling, Minnesota. Their roles became increasingly more prominent and involved, however, with the bombing at Pearl Harbor and the United States' entry into the war against Japan.
Document 3: The Problem We All Live With: The Problem We All Live With is a 1964 painting by Norman Rockwell. It 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 and violence against her, she is escorted by four deputy U.S. marshals; the painting is framed such that the marshals' heads are cropped at the shoulders. On the wall behind her is 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 in high by 58 in wide.
Document 4: Women Airforce Service Pilots Badge: The Women Airforce Service Pilots Badge is an award of the United States Army that was issued during the Second World War. The badge created for the Women Airforce Service Pilots, or WASP (not WASPs, because the acronym already includes the plural "Pilots"), was awarded to more than a thousand women who had qualified for employment as civilian, non-combat pilots of military aircraft used by the U.S. Army Air Forces during World War II. The first wings were privately and hastily designed and paid for out of the pockets of Floyd Odlum and his wife, Jacqueline Cochran, who in 1942 became the head of WASP.
Document 5: Women in war: The experiences of women in war have been diverse. Historically women have played a major role on the homefront. By the 18th century, some women accompanied armies assigned combat missions, usually handling roles such as cooking and laundry. Nursing became a major role starting in the middle 19th century. The main role in World War I (1914-1918) was employment in munitions factories, farming, and other roles to replace men drafted for the army. Women played an important role in making the system of food rationing work. World War II (1939-1945) marked a decisive turning point, With millions of women handling important homefront roles, such as working in munitions factories and otherwise replacing drafted men. Volunteer roles expanded. The most romantic new change was millions of women in regular military units. Typically they handled clerical roles so that men could be released for combat. Some women (especially in the Soviet Union, Germany, and Britain) were assigned limited combat roles, especially in anti-aircraft units, where they shot down enemy bombers while at the same time being safe from capture. Underground and resistance movements made extensive use of women in support roles. Reaction set in after 1945, and the roles allowed to women was sharply reduced in all major armies. Restarting in the 1970s, women played an increasing role in the military of major nations, including by 2005 roles as combat pilots. The new combat roles were highly controversial, raising issues of gender identity not just for the women, but for the male soldiers whose masculinity seemed to be problematic if women can do the same job.
Document 6: James Montgomery Flagg: James Montgomery Flagg (June 18, 1877 – May 27, 1960) was an American artist and illustrator. He worked in media ranging from fine art painting to cartooning, but is best remembered for his political posters.
Document 7: Woman's film: The woman's film is a film genre which includes women-centered narratives, female protagonists and is designed to appeal to a female audience. Woman's films usually portray "women's concerns" such as problems revolving around domestic life, the family, motherhood, self-sacrifice, and romance. These films were produced from the silent era through the 1950s and early 1960s, but were most popular in the 1930s and 1940s, reaching their zenith during World War II. Although Hollywood continued to make films characterized by some of the elements of the traditional woman's film in the second half of the 20th century, the term itself disappeared in the 1960s. The work of directors George Cukor, Douglas Sirk, Max Ophüls, and Josef von Sternberg has been associated with the woman's film genre. Joan Crawford, Bette Davis, and Barbara Stanwyck were some of the genre's most prolific stars.
Document 8: Australian women in World War I: The role of Australian women in World War I was focused mainly upon their involvement in the provision of nursing services. Australian women also played a significant role on the homefront, where they undertook fundraising and recruiting activities as well as organising comfort packages for soldiers serving overseas. Around the issue of conscription, women were involved in campaigning on both sides of the debate, while they were also equally involved in the New South Wales strike in 1917. Nevertheless, despite this involvement, women have never occupied a central position in the Australian version of the ANZAC myth, although since the 1970s their role has been examined in more detail as a result of the emergence of feminist historiography, and specialist histories such as the history of nursing.
Document 9: Rosie the Riveter: Rosie the Riveter is a cultural icon of World War II, representing the women who worked in factories and shipyards during World War II, many of whom produced munitions and war supplies. These women sometimes took entirely new jobs replacing the male workers who joined the military. Rosie the Riveter is used as a symbol of feminism and women's economic power. Similar images of women war workers appeared in other countries such as Britain and Australia. Images of women workers were widespread in the media as government posters, and commercial advertising was heavily used by the government to encourage women to volunteer for wartime service in factories. "Rosie the Riveter" became the subject and title of a song and a Hollywood movie during WWII.
Document 10: J. C. Leyendecker: Joseph Christian Leyendecker (March 23, 1874 – July 25, 1951) was one of the preeminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for "The Saturday Evening Post". Between 1896 and 1950, Leyendecker painted more than 400 magazine covers. During the Golden Age of American Illustration, for "The Saturday Evening Post" alone, J. C. Leyendecker produced 322 covers, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. Leyendecker "virtually invented the whole idea of modern magazine design."
Document 11: Willie Gillis: Willie Gillis, Jr. (more commonly simply Willie Gillis) is a fictional character created by Norman Rockwell for a series of World War II paintings that appeared on the covers of eleven issues of "The Saturday Evening Post" between 1941 and 1946. With the rank of private, Gillis was an everyman whose career was tracked on the cover of the "Post" from induction through discharge without being depicted in battle. Gillis and his girlfriend were modeled by two of Rockwell's acquaintances.
Document 12: John Alan Maxwell: John Alan Maxwell (March 7, 1904 – April 13, 1984) was an American artist known primarily for his book and magazine illustrations, as well as historical paintings. He also was an illustrator for many commercial publications, including "Collier's Weekly", "The Saturday Evening Post", "The Golden Book Magazine", "The American Magazine", and "Woman's Home Companion".
Document 13: Earl Mayan: Earl Mayan (1916December 12, 2009) was an American illustrator whose early career spanned the era of pulp magazines to the post World War II years alongside Norman Rockwell at "The Saturday Evening Post". From 1954 to 1961, he painted ten "Saturday Evening Post" covers and illustrated many of stories that appeared as inside the magazine.
Document 14: Norman Rockwell: Norman Perceval Rockwell (February 3, 1894 – November 8, 1978) was a 20th-century American author, painter and illustrator. His works enjoy a broad popular appeal in the United States for its reflection of American 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 also is 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.
Document 15: Mort Künstler: Mort Künstler (born August 28, 1927) is an American artist known for his illustrative paintings of historical events, especially of the American Civil War. He was a child prodigy, who, with encouragement from his parents, became a skilled artist by the time he was twelve. Today he is considered the "best-known and most respected historical artist in the country."
ground_truth: women