Arnold Newman began producing Cubist-like cutout collages and photographic portraits in 1941. With what were called environment portraits, the American photographer captured his subjects in their natural surroundings, thus creating metaphors of the lives of his sitters. Collaborating mostly with artists, he enjoyed juxtaposing them with their artworks or the objects that defined their activity such as Igor Stravinsky and his graphic monumental piano, creating an almost abstract composition resembling a musical note, Hans Arp’s face confounding itself with one of his curvaceous sculptures, Jackson Pollock and dozens of dripping paint tins or Edward Hopper and his wife in a landscape clearly evocative of his silent, moody paintings. Arnold Newman who also enjoyed depicting American presidents, generally refused to capture actors and music stars, what he called the ‘famous for being famous’: ‘I hate the whole idea of celebrity.’ He made an exception for Marilyn Monroe surely because with her, he observed more than mere stardom. With the actress’s portraits, he illustrated a heartbreaking melancholy, a tearful fragility.