Al Hirschfeld: King of Caricature

In this installment of ‘Profiles in History,’ we meet a young artist with a gift for studying faces and character and becomes America’s greatest caricaturist.
Al Hirschfeld: King of Caricature
"Characterist" Al Hirschfeld, in 1955. Public Domain
Dustin Bass
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Al Hirschfeld (1903–2003) grew up with an unmistakable gift for artistry. He was born and raised in St. Louis in a Jewish household with two older brothers. His father was a traveling salesman and his mother was a department store clerk, who eventually opened her own candy store. Hirschfeld’s talent, however, would cause the family to completely alter their lives. Hirschfeld’s tutor strongly encouraged the Hirschfelds to move to New York City so that the young artist could be properly trained.

In 1914, the family moved to New York and the young Hirschfeld attended night classes at the National Academy of Design. He was drawn to the Big Apple’s blossoming theater district, specifically the vaudeville shows. By the time he reached 17 years old, his work was in demand by Hollywood—or Culver City to be more logistically precise. Goldwyn Pictures (the company merged with Louis B. Mayer and Metro Pictures to become MGM in 1924) was the first film studio to purchase his work in 1920. The following year, Hirschfeld became the art director for Selznick Pictures, primarily producing movie posters. Although Hirschfeld was the art director for a studio with a large advertising budget, he continued his night classes, though at the Art Students’ League.
The film studio went bankrupt a few years later in 1923 (it would be revived again in 1935). Luckily, Warner Brothers was interested in Hirschfeld’s work, and he began working with the studio in 1924. It was this year that he would receive his greatest artistic influence.

Covarrubias and Bali

American artist and caricaturist Al Hirschfeld. (<a href="https://www.flickr.com/people/36277035@N06">John Mathew Smith</a>/<a href="https://creativecommons.org/licenses/by-sa/2.0/">CC BY-SA 2.0.</a>)
American artist and caricaturist Al Hirschfeld. John Mathew Smith/CC BY-SA 2.0.

Hirschfeld shared an art studio with Miguel Covarrubias, the talented Mexican artist who had moved to New York City and whose work was primarily published in Vanity Fair and The New Yorker. It was Covarrubias who introduced Hirschfeld to the art of caricature.

Hirschfeld’s artistry began to evolve into caricature, and it would soon become a truly signature form. The timely meeting of Covarrubias and his work with Warner Brothers was serendipitous, as the film studio was the first to purchase one of his caricature productions in April 1925. He would go on to produce many caricatures of Hollywood film actors and actresses, but it was his association with theater productions for which he would become most known.

In December 1926, he sold his first theatrical caricature. Additionally, since the bankruptcy of Selznick Pictures, Hirschfeld decided to solely work freelance. Of his clients, arguably his biggest, and most certainly his most consistent, was The New York Times—a working relationship that lasted 75 years from 1927 to 2003.

Between the time of his first film and then first theatrical caricature, Hirschfeld began a renovation of his artistic method. He moved to Paris in October 1925. It was the beginning of many consecutive travels that influenced the rest of his life and, specifically, his artistry. From Paris, he went to North Africa, then Moscow, then Tehran, Tahiti, and then, after an invitation from his friend Covarrubias, the Indonesian island of Bali, where he spent 10 months. It was here on the small island that his art received its most significant change, and it had less to do with spending time with Covarrubias and more to do with standing in the beaming sun.

“The Balinese sun seemed to bleach out all color, leaving everything in pure line. The people became line drawings walking around,” he recalled. “It was in Bali that my attraction to drawing blossomed into an enduring love affair with line.”

Returning Home, and ‘National Insanity’

Hirschfeld didn’t remain in Bali because of the weather and beaches. He had actually run out of money. As luck would have it, though, he made the acquaintance of a famous American actor Charlie Chaplin. Chaplin loved Hirschfeld’s work, and also knew the young artist needed to get back to New York City. So the actor purchased most of his artwork, providing him enough funds to return home.

When he returned home, one of the first pieces of caricature art he produced was in April 1931 of Duke Ellington, the renowned jazz composer. The Des Moines Register printed the drawing, and Ellington chose it as the official promo art for his tour. It quickly became apparent that Hirschfeld was able to capture not only the look, but also the character of his subjects.

“Duke Ellington 1973,” by Al Hirschfeld. (The Al Hirschfeld Foundation)
“Duke Ellington 1973,” by Al Hirschfeld. The Al Hirschfeld Foundation

In addition to his regular entertainment work, he also created illustrations for the Works Progress Administration (WPA), which was instituted to help provide jobs during the Great Depression. His work during the 1930s and into the 1940s leaned into the political. This form comparatively, however, would not last very long, ending around 1945. It may have been because he found it less enjoyable than caricaturing entertainers, or perhaps it had something to do with his first child, Nina, being born.

Nina, by her mere existence, played a significant part in his work. Hirschfeld began a long and ongoing art game with readers by placing the name “Nina” in his drawings. The game began with a theatrical assignment for the Sunday Times, but, over the years, it became a tradition for New York Times readers, something Hirschfeld called “a national insanity.”

‘Hirschfelded’

Throughout his illustrious career, Hirschfeld drew the faces of some of America’s most famous entertainers, including Chaplin, Leonard Bernstein, Marlon Brandon, Jessica Tandy, Jack Lemmon, Jack Nicholson, Arnold Schwarzenegger, Jason Robards, Spencer Tracy, Katharine Hepburn, Judy Garland, and Meryl Streep.
Actress Carol Channing hand-signs a lithograph of herself by caricaturist Al Hirschfeld at her home in Beverly Hills, Calif. (Damian Dovarganes/AP Photo, File)
Actress Carol Channing hand-signs a lithograph of herself by caricaturist Al Hirschfeld at her home in Beverly Hills, Calif. Damian Dovarganes/AP Photo, File

His last name became a verb. To have one’s profile drawn by Hirschfeld was to be “Hirschfelded.” It was no insult. It meant that the person had officially reached stardom. As aforementioned, Hirschfeld had a gift of capturing both the look and the character of the person. It was why Hirschfeld didn’t call himself a caricaturist, but rather a “characterist.”

“No one ‘writes’ more accurately of the performing arts than Al Hirschfeld,” noted five-time Tony Award winning playwright Terrence McNally. “He accomplishes on a blank page with his pen and ink in a few strokes what many of us need a lifetime of words to say.”

Hirschfeld produced art for movie posters, book covers, album covers, as well as for 15 postage stamps. He earned two Tony awards for lifetime achievement. His art collections have been exhibited in the Metropolitan Museum of Art, the National Portrait Gallery, the Harvard Theatre Collection, and the Whitney Museum of American Art. In 1993, he was added to the St. Louis Walk of Fame. In 1996, the New York City Landmarks Commission declared him a Living Landmark. In 2000, the Library of Congress declared him a Living Legend. Shortly before his death in January 2003, he was informed he would receive the Medal of Arts from the National Endowment of the Arts. Lastly, and perhaps most fittingly, the Broadway theater, the Martin Beck Theatre, was renamed to the Al Hirschfeld Theatre.

Theater District, Midtown, Manhattan, New York City. (<a href="https://www.flickr.com/people/83136374@N05" target="_blank" rel="nofollow noopener">Ajay Suresh</a>/<a href="https://creativecommons.org/licenses/by/2.0/">CC BY 2.0</a>)
Theater District, Midtown, Manhattan, New York City. Ajay Suresh/CC BY 2.0
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Dustin Bass
Dustin Bass
Author
Dustin Bass is an author and co-host of The Sons of History podcast. He also writes two weekly series for The Epoch Times: Profiles in History and This Week in History.