iBestTravel

Your Gateway to the Best Travel Experiences

Iconic Actresses of Classic Hollywood

Jessica Proctor04 mins

The Timeless Photography of Sir Cecil Beaton

Elegance and Formality

Beaton was versatile -- he worked for the UK Ministry of Information in World War II -- and he regularly invested his photographs with drama and sophistication. Even a seemingly casual shot, such as this 1956 picture of Marilyn Monroe, seems to tell a story.
Beaton was versatile — he worked for the UK Ministry of Information in World War II — and he regularly infused his photographs with drama and sophistication. Even a seemingly casual shot, such as this 1956 picture of Marilyn Monroe, seems to tell a story.

Capturing Personalities

Beaton became friendly with many of his subjects, including the reclusive Greta Garbo. By the late '50s, when this photo was taken, Garbo was rarely seen in public. But for Beaton, she relaxed and invited him into her home in New York's Plaza Hotel.
Beaton developed friendships with many of his subjects, including the reclusive Greta Garbo. By the late ’50s, when this photo was taken, Garbo was rarely seen in public. However, for Beaton, she relaxed and invited him into her home in New York’s Plaza Hotel.
Elizabeth Taylor, on the other hand, lived for the camera, and this 1953 Beaton photo shows her at her most alluring. It's no accident that Beaton photographed beautiful women so well; he was a staff photographer for Vogue and Vanity Fair in the '20s and '30s.
Elizabeth Taylor was undoubtedly at home in front of the camera, and this 1953 Beaton photo captures her allure. It is no coincidence that Beaton had an exceptional talent for photographing beautiful women; he served as a staff photographer for Vogue and Vanity Fair in the ’20s and ’30s.
Beaton took this photograph of Vivien Leigh in 1941. The photographer was also a costume designer and created some of Leigh's outfits for several 1940s projects. However, his relationship with the actress and her then-husband, Laurence Olivier, eventually disintegrated over perceived slights.
Captured by Beaton in 1941, this photograph of Vivien Leigh showcases his ability as both a photographer and a costume designer, as he created some of Leigh’s outfits for various 1940s projects. Nevertheless, his relationship with the actress and her then-husband, Laurence Olivier, eventually deteriorated over perceived slights.
Grace Kelly, seen in this 1954 photograph, was subject to some caustic Beaton criticism. 'If both sides of her face were the same as the right half she wouldn't be on the screen,' he wrote in his diaries. 'That side is very heavy, like a bull calf, but the left side is intensely feminine and creates the counter-point.'
This stunning photograph of Grace Kelly from 1954 highlights her beauty, though she was not without criticism from Beaton, who remarked about her uneven features in his writings. His keen eye for detail contributed significantly to his portraits.
Beaton, who kept detailed diaries, could be nasty in his private judgments. About Katharine Hepburn, seen here in the early 1930s, he said, 'She has a face that belongs to the sea and the wind, with large rocking-horse nostrils and teeth that you just know bite an apple every day.'
Beaton was known to maintain detailed diaries, and his private judgments could be quite harsh. For instance, he referred to Katharine Hepburn, seen here in the early 1930s, with unflattering descriptions that nevertheless reflected his artistic perspective.
Nevertheless, his portraits were rarely less than respectful -- and even playful. Marlene Dietrich, photographed in 1935, looks like a Renaissance vision despite the unfortunate eyebrows.
Beaton’s portraits of celebrities, including Marlene Dietrich, captured the playful elegance of their personas. This particular shot from 1935 showcases Dietrich looking radiant, despite her unconventional eyebrows.
Judy Garland, photographed in 1953, was on the verge of a comeback with 'A Star Is Born,' which would be released in 1954. Though she appears fatigued -- the lines under her eyes are accentuated by the lighting -- she also has a sprightly quality, as if ready to get back into action.
This photograph of Judy Garland from 1953 captures her just before her resurgence with “A Star Is Born.” Although she appears fatigued, the image simultaneously reflects her resilient spirit and readiness for a comeback.
And some figures brought out the best in both the photographer and subject. Beaton photographed Audrey Hepburn many times -- here in 1960 -- and also designed the black-and-white costumes for the Ascot scene in 'My Fair Lady.' Hepburn starred in the 1964 film, for which Beaton won two Oscars -- costume design and art direction. He died in 1980.
Some of Beaton’s most celebrated work involved Audrey Hepburn, who he photographed numerous times. Here, in 1960, he also designed the iconic black-and-white costumes for the Ascot scene in “My Fair Lady.” This collaboration earned Beaton two Oscars for his artistic contributions.


Related Posts

Back To Top