Famous Faces

Celebrities are usually easy to recognize. Their images appear in magazines, on TV, in the movies, and on social media. So what can artists say about celebrities that might be new or insightful? This is the challenge artists face when creating celebrity portraits. Famous people have always looked to artists to preserve their images for all time. From a painting of a queen hanging in a palace to the cover of the latest issue of Vogue, the way artists represent celebrities can say a lot.

How do you know what a celebrity, or famous person, looks like? Their faces are usually easy to recognize. They appear in magazines, on TV, in movies, and on social media. But these images don’t always tell us who they are or what they stand for.

For centuries, artists have made portraits of famous people. These artworks ensure that people will remember those celebrities—and why they’re important—for years to come. 

Before the invention of photography, kings, queens, and other influential people relied on artists to represent their power. And painted portraits were expensive, so the ability to commission a painting showed that the sitter was wealthy. 

Artists were also expected to present their sitters as regal and beautiful. Marie Antoinette, queen of France from 1774 to 1792, hired Elisabeth Vigée Le Brun to paint her portrait. She was so happy with the result that she commissioned nearly 30 more portraits of herself from Le Brun—including the 1783 example at top. These portraits show Marie Antoinette’s beauty, wealth, and importance. They also elevated Le Brun’s status as an artist, helping her receive commissions from other important families in Europe. 

Before photography was invented, powerful people commissioned artists to paint or draw their portraits. Painted portraits were expensive, so only wealthy people could afford them. Artists were expected to show their subjects as important and beautiful. 

Marie Antoinette was queen of France from 1774 to 1792. She hired artist Elisabeth Vigée Le Brun to paint her portrait. She was so happy with it that she commissioned almost 30 more. The 1783 portrait at top shows Marie Antoinette’s beauty, wealth, and importance. These portraits also helped Le Brun become a more well-known artist among other wealthy families in Europe.

Soon after photography was invented in the 1830s, ordinary people could have portraits made of themselves. And for the first time, images of royalty, politicians, entertainers, and other celebrities could be printed and shared widely—for far less than the cost of a painting.

Abraham Lincoln saw an opportunity in the new medium. When Lincoln won his first presidential election in 1860, he credited a photo of him looking presidential for helping him win. He sat for many more photographs—always in a suit, with a serious expression, against a plain background. In 1865, at the start of his second term and just a few weeks before being assassinated, Lincoln sat for his last portrait, above, by Alexander Gardner. Lincoln’s willingness to embrace this new technology made him the first president whose face was as recognizable as his name.

When photography was invented in the 1830s, people could share images of celebrities more easily than ever before. Before Abraham Lincoln’s first presidential election in 1860, he sat for a photograph. He looked serious and presidential in the image. Lincoln believed that the photo helped him win people’s votes. 

In 1865, Alexander Gardner took the last photo of Lincoln, above, before the president was assassinated. Photos like these made Lincoln the first president whose face was as well-known as his name. 

The invention of photography also gave artists new freedom. Portraits of well-known people no longer had to look realistic. Instead, artists could make portraits that explored the subject’s personality or cultural significance.

Marilyn Monroe was one of the most famous actresses of the 1950s and early 1960s. People everywhere recognized her blonde curls and red lipstick. In 1967, Andy Warhol created a stylized portrait of the movie star. The resulting image, above, which Warhol created multiple times in different colors, isn’t a realistic likeness, but it conveys the idea that an individual’s brand and image are important for reaching the masses and achieving fame.

Photography gave artists who worked in other mediums more freedom. Painted portraits didn’t have to look realistic. Instead, artists could explore ideas and personalities in their portraits. 

Marilyn Monroe was a famous actress in the 1950s and early 1960s. People everywhere recognized her blonde curls and red lipstick. In 1967, Andy Warhol created a portrait of the movie star, above. The image of Monroe is stylized, not realistic. Warhol made many versions of this work. In each one, he uses color to draw attention to Monroe’s famous features.  

Chuck Close explores the meaning of fame in his 2009 portrait of actor Brad Pitt, above. The artist gets uncomfortably close to his subject—even Pitt’s pores are visible. First, Close photographed Pitt. Then the artist used a special machine to create a tapestry based on the photo, weaving threads together to make the larger-than-life image (it's 8.5 x 6.5 feet!). The imposing scale emphasizes Pitt’s stardom, and the medium adds to the work’s historic feel—creating a sense of importance like that of the royal portraits of the past.

Chuck Close also explores fame in his 2009 portrait of actor Brad Pitt, above. He photographed Pitt close-up. Then he used a special machine to weave threads together to make a tapestry of the image. It’s 8.5 feet tall! The large size shows Pitt’s star power. The tapestry makes the image seem important—like a royal portrait hanging in a palace.